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FULL ARTICLE ON JAZZGUITARTODAY!
https://jazzguitartoday.com/2021/05/how-to-comp-like-ed-bickert/
Ed Bickert is one of the finest guitarists to ever live! His unique chordal approach sets him apart, especially having played entirely on a Telecaster. In this video I talk about 3 things that make his comping so effective and perfect. Using 3 examples from the record \”Trio Sketches\” we dive into his melodic, harmonic, and rhythmic approaches. For a full PDF contact me at
https://zakkjones.com/lessons
https://www.instagram.com/beyondthefrets/
0:00 – Intro
6:23 – Example #1 \”Long Ago And Far Away\”
10:22 – Example #2 \”Can’t We Be Friends\”
21:45 – Example #3 \”Ornithardy\”
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Ed Bickert’s comping – book? – Google Groups
Someone-not-Ed set up an Ed Bickert MySpace page and sa he was working on a book about Ed’s playing , but later posted that he had abandoned the …
Source: groups.google.com
Date Published: 12/14/2022
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4 Great Chord Melody Jazz Guitarists Part 1: Ed Bickert
We’ve heavily referenced Ed Bickert throughout this book, so check it out if you’re keen to learn more about this genius of jazz guitar.
Source: www.fretdojo.com
Date Published: 2/22/2022
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How to Comp Like Ed Bickert – Jazz Guitar Today
JGT contributor Zakk Jones proves a lesson on what he believes is some of the greatest guitar comping you’ll ever find.
Source: jazzguitartoday.com
Date Published: 2/29/2022
View: 4040
Ed Bickert Solo Transcription – Jazz Guitar with Andy
In my latest YouTube veo lesson I covered Ed Bickert’s solo on with Benny Carter on the blues ‘Things ain’t what they used to be’.
Source: www.jazzguitarwithandy.com
Date Published: 10/14/2021
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A Face Like Yours by Ed Bickert | Goodreads
Digital Sheet Music of A Face Like Yours. Composed by: Victor Feldman. Performed by: Ed Bickert. Kindle Edition. Book details & editions …
Source: www.goodreads.com
Date Published: 1/13/2021
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Buy Ed Bickert by unknown at Low Price in India | Flipkart.com
Ed Bickert (English, Paperback, unknown) ; Check. Enter pincode ; Usually delivered in3 days ? ; Author. unknown ; Seller. Repro Books on Demand. 3.7. 7 Days …
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Date Published: 4/14/2021
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Ive Never Been in Love B4 Ed Bickert | PDF | Elements Of Music
Ive Never Been in Love B4 Ed Bickert – Free download as PDF File (.pdf), Text File (.txt) or read online for … Total Guitar – The ultimate scale book.pdf.
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Date Published: 2/17/2022
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- Author: Beyond The Frets
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- Date Published: 2021. 5. 5.
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Ed Bickert’s comping – book?
Either email addresses are anonymous for this group or you need the view member email addresses permission to view the original message
In article d9173e1d-6ac1-4e82…@q14g2000vbi.googlegroups.com >,Bill C < [email protected] > wrote:
> Is there a book or other extended study material available about Ed’s
> comping style? I’ve found a few snippets of transcription but that’s
> all.
Nope. Or at least none I have been able to find. Someone-not-Ed set up
an Ed Bickert MySpace page and said he was working on a book about Ed’s
playing style, but later posted that he had abandoned the project.
There are a few very interesting transcriptions out there, even if they
are fairly brief. Some include complete solos, some cover examples of
Ed’s comping and chord solos.
> … or maybe I’ll just have to get busy transcribing!
Yup. IMHO always the best approach, even if not actually transcribing
(which to my mind means writing it down but some refer to copping licks,
voicings, etc., as “transcription”). Not that I do enough of it…
I wonder if Ed has ever thought about writing the book about his playing
approach. Maybe if we asked nicely?
Ed Bickert Licks & Style Breakdown: The Ultimate Guide For Jazz Guitar
Part 1: Ed Bickert
Though he was not well known, I consider Ed Bickert to be one of the trailblazers of jazz guitar.
I’ll go even further to say that Ed Bickert is one of the greatest jazz guitarists the world has ever seen – I think his name deserves as much recognition as Joe Pass or Wes Montgomery.
The reason?
Bickert had very innovative approaches to chords and chord melody playing, as you’ll see in some of the examples below.
Ed Bickert’s Life & Career
Ed Bickert was born in Manitoba, Canada, to a family of farmers. His parents were musical, with his father being a fiddler and his mother a pianist.
Deciding to pursue music instead of farming, Bickert quickly established himself as a success, becoming one of the top jazz and studio guitarists of the scene in Toronto in the 60s.
But Bickert’s real lucky break came when he was introduced to Paul Desmond by Jim Hall, (Ed and Jim were friends), which led to several collaborations between Desmond and Bickert.
Bickert continued to play until the early 2000s, when he then retired.
Unlike other jazz masters, Bickert quietly pursued his art and didn’t overtly seek fame or success.
I think this is one of the reasons why Bickert developed such a uniquely personal style, as genuine as it is groundbreaking.
Now, let’s check out some of his playing.
Ed Bickert’s Style – Smooth As Silk
They say a picture is worth a thousand words.
But a video is worth a million.
So, check out this video of Bickert playing in a trio of the classic jazz standard Do Nothing Till You Hear from Me as a fine example of his silky smooth style:
(By the way, if you want to learn Ed Bickert’s solo off this track, click here for a closeup video walkthrough I found on Youtube and click here for a video of the notated transcription)
If I was only allowed to choose one player to emulate in a trio setting it would be Ed Bickert – laid back yet refined, I could listen to him all day long.
As Bickert plays a solo he often interchanges between single line, chord stabs and full chord soloing, skilfully creating interest and variety as you can hear in the video above.
What I love most about Bickert’s playing is his unique approach to chord voicings: easy on the hands, but very sophisticated.
Bickert was the master of implying harmony with chords.
His chords give the impression to the listener of many more notes being played in the voicings than what is actually there.
For jazz guitar, it’s usually only practical to play three or four note chords, so you need to make sure you get the most ‘bang-for-your-buck’ out of the chord tones for each shape you hold down.
Bickert’s voicings live on the upper structures of the harmony: he rarely plays the root or 5th in his chords and often uses quartal approaches.
Here’s the thing:
If you try to play Bickert’s voicings unaccompanied, they can often seem quite dissonant and unrelated to the given harmony.
But, in the context of a trio, they blend in beautifully – giving a warm, listenable, and attention grabbing sound to your comping and chord solos.
3 Ed Bickert Licks
No more armchair jazz guitar! It’s time for you to get to work now.
Get started by learning the following 3 licks in the style of Ed Bickert, which are strong examples of his key ideas.
Ed Bickert Lick 1
Listen & Play:
This first lick, based on a I – vi – ii – V turnaround, features colorful chord voicings at every turn.
Notice the skillful ‘smooth as silk’ voice leading that Bickert employs in this lick as he moves from chord to chord.
Also noteworthy is that all the chords in this lick are rootless voicings.
The reason?
If you’re playing in a trio, the bass player is usually playing the root notes, freeing you up to play more colorful tones on top.
Whilst this lick might sound a bit strange unaccompanied, try it along with the recording and it will make sense.
Ed Bickert Lick 2
Listen & Play:
In this lick, Bickert employs open strings to great effect.
Bickert liked using chord clusters, i.e groups of notes very close together. Employing open strings results in a chord cluster which can be otherwise be too tricky to play on guitar.
Again you’ll see the use of entirely rootless voicings, with Bickert playing exclusively in the upper structures of the harmony.
Also, notice that deliciously smooth voice leading that Ed Bickert is renowned for.
Ed Bickert Lick 3
Listen & Play:
I love this one.
The first chord is a sub of the iim7 chord, becoming a V/V7.
There’s also lots of chords in this lick with a b13 tension, giving it a really hip sound.
As this lick finishes on a I7 chord in the harmony, it’s a good one to use for a jazz blues progression.
Great Recordings of Ed Bickert
This list isn’t exhaustive, but is a good place to start checking out Ed Bickert’s playing at his finest:
Paul Desmond & Ed Bickert – Pure Desmond (1974)
Paul Desmond Quartet Live (1975 )
Out of The Past (1976)
Ed Bickert with Don Thompson: At the Garden Party (1979)
Conclusion
Despite being the musical equivalent of a ‘hidden yogi’, Ed Bickert is a master musician and essential study for any serious chord melody jazz guitarist.
His chord voicings are sophisticated yet easy to apply, which will give you a dynamic sound in your chord melodies and will help break you away from the more stock standard drop 2 and drop 3 chord voicings.
I encourage you to find out more about this fabulous player, one who should be more well known to jazz guitarists everywhere.
How to Comp Like Ed Bickert
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JGT contributor Zakk Jones provides a lesson on what he believes is some of the greatest guitar comping you’ll ever find.
Getting hip to Ed Bickert (1932 – 2019) was one of the greatest things that happened to me musically. I’ll never forget one night when a gaggle of us jazz students were hanging and some of the older cats were going on and on about this Canadian guitarist that played a telecaster. They were going back and forth, arguing their case as to what part of the neck he was actually playing on or which notes were in what voicings. Catching wind that I had never heard this guy in my life, they berated me and sent me home with some serious listening to do. The first record I was told to check out was “Pure Desmond”, with Paul Desmond, Ed Bickert, Connie Kay and Ron Carter. The album starts right out of the gate with Ed’s signature lush voicings and within minutes I was hooked for life.
While Ed might not be a household name for every jazz fan, you’d be hard-pressed to find anyone who wouldn’t love his playing–lush chord voicings, perfectly sculpted solos, a relaxed and unwavering swing feel…he has it all, and then some. Besides his great work with Paul Desmond in the mid 70’s, he had a decades long musical relationship with valve trombonist and big band leader Rob McConnell. There’s one album that’s always stuck with me, “Trio Sketches” featuring Ed, Rob McConnell and Neil Swainson on bass. This unassuming trio record from 1993 is chock-full of incredibly spirited improvisations, hip arrangements of under-the-radar standards, and some of the greatest guitar comping you’ll ever find. Ed’s ability to support any musician is unparalleled, and in this lesson video I use three examples from this record to highlight the three elements of his comping that I think set him apart. It’s incredibly important to spend more time actively working on becoming a better accompanist (or, complementor), because what are you going to be doing 80% of the time on the bandstand? Not soloing, that’s for sure!
Melody
There’s a great anecdote that I’ll probably butcher but it basically goes like this:
Ed legitimately knew thousands of tunes, so calling something he didn’t know was quite rare. Apparently, so the tale goes, a saxophonist happened to want to play a song he didn’t know. So he writes the changes out so they can play the tune, and after the saxophonist takes his solo he looks to Ed who declines to take a chorus. Afterwards the sax player asked Ed “how come you didn’t blow?”. Ed’s reply was simply “well, how can I take a solo if I don’t know the melody”?
Nothing was more important than melody to Ed, and it’s quite clear from his playing that this is the case. Not only does he have an incredible way of playing melodies, he is always comping with melody in mind. One of the biggest things that sets his chordal playing apart is that it is incredibly singable. No matter what degree of complexity is happening with the harmony, his approach to comping is simply playing melodies that support and interact with the soloist. The timbre of his telecaster in combination with a hybrid-picking approach really makes the top note sing. Of course, the way he harmonizes these chordal passages are incredibly deep, but at the end of the day it’s his never-ceasing attention to melody that makes his comping so memorable and effective. Hell, he even had a record called “I Like to Recognize the Tune”
Rhythmic Variety
In my opinion the biggest difference between good comping and great comping is a rhythmic variety. It’s easy to forget that we are providing a rhythmic backdrop for soloists, in addition to conveying harmonic information. And of course, no matter how hip your voicings are, if they aren’t in time, what’s the point! Ed is no slouch with his rhythmic abilities, and he uses a wonderful mix of longer pads, syncopations, triplets, rhythmic motifs and much more. You’ll find many small group recordings without drums or bass, and Ed has no problem driving the bus with his indefatigable time feel. If Ed’s voicings are hard to pick out (they often can be), just transcribe the rhythms and you’ll have a gold mine of fantastic material to apply in any setting you’re comfortable with.
Harmonic Density
Of course, those that know Ed’s playing really go nuts over his incredible harmonic palette. While I plan to do some lessons covering his voice leading approaches, there’s something bigger that makes his playing undeniably “Ed”. He always had a masterful command of dense harmonic content, while also not being afraid to use “basic” triads and smaller voicings. This element of his approach made sure that there wasn’t TOO much information all the time, which is an important consideration when you’re comping for someone. Oddly enough, some of the most difficult passages I’ve transcribed from Ed ended up being seemingly simple triads and voicings I already knew well. As I mentioned before, the timbre of his guitar and the extraordinary way he played the instrument really does produce so much color and harmonics that you could swear there’s about 4 more notes than he’s actually playing! In addition, his note choice in each voicing is extremely deliberate, often switching between stretchy closed-voicing “grips” (as he called them), triads, various drop 2 or drop 2/4 chords or any other number of possibilities. His usage of the entire range of the instrument is also a huge part of his ability to blend and support anyone whether it’s Frank Rosolino, Rosemary Clooney, Rob McConnell or Paul Desmond.
There is a lot more I can say, but I hope this lesson gives you some insight into his comping, and the elements that I believe make it so darn perfect. I’ll leave you with three great records to listen to that feature the one and only Ed Bickert:
Trio Sketches – Rob McConnell, Ed Bickert, Neil Swainson (1993)
Thinking About You – Frank Rosolino (1976)
Song In My Heart – Ed Bickert and Jane Hall (1985)
Ed Bickert Solo Transcription — Jazz guitar with Andy
In my latest YouTube video lesson I covered Ed Bickert’s solo on with Benny Carter on the blues ‘Things ain’t what they used to be’. There’s a lot to like about this solo and for it is a fantastic lesson in phrasing.
I have to admit to not being overly familiar with Ed’s playing and having transcribed this solo I am going to check out a lot more of his playing. I love the fact he uses a Telecaster also!
Here is the PDF with tab and notation.
A Face Like Yours
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Start by marking “A Face Like Yours” as Want to Read:
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