Cult figure, rock & roll legend and music writer, Cub Koda defined Jump Blues as "an up-tempo, jazz-tinged style of blues that first came to prominence in the mid- to late '40s. Usually featuring a vocalist in front of a large, horn-driven orchestra or medium sized combo with multiple horns, the style is earmarked by a driving rhythm, intensely shouted vocals, and honking tenor saxophone solos - all of those very elements a precursor to rock & roll. The lyrics are almost always celebratory in nature, full of braggadocio and swagger. Jump blues was the bridge between the older styles of blues - primarily those in a small band context - and the big band jazz sound of the 1940s."
Dutch recording artist and top European guitar educator, Matthieu Brandt, spent the better part of the last decade examining Jump Blues in preparation for this TrueFire course. Brandt interviewed and studied with many of the originators to document the style and create TrueFire's Jump Blues syllabus.
Jump Blues is presented as a methodology covering theory, comping, accompanist riffs, horn lines arranged for guitar, and several approaches for soloing drilling down on many approaches for opening up the neck for the scales, arps and riffs that are employed in swing and Jump Blues guitar.
Jump Blues also ices the cake with 12 tasty solos, followed by in-depth analysis of several Jump Blues giants such as Brian Setzer, T-Bone Walker, Charlie Christian, Gatemouth Brown and Freddie King, all of whom have their own signature jump blues sound.
Accompanying vocalists and soloists is a big part of the Jump Blues style and is as challenging and rewarding as soloing. A sizable chunk of Jump Blues is dedicated to voicings, pulling off various rhythms and locking up with the rhythm section.
A comprehensive overview with dozens of examples is presented laying out the groundwork for Jump Blues.
Rhythm, comping and bass lines are thoroughly examined with dozens of examples and rhythm studies.
Twelve full-chorus signature-style solos are presented, broken down and analyzed in depth.
Dozens of essential horn lines and accompanist riffs, arranged for guitar, are presented and demonstrated.