Here I present an instrumental arrangement of Jumping At Shadows.
It is based on Peter Green’s mesmerising live performance at the Boston Tea Party venue in 1970.
It later featured on a few of Fleetwood Mac’s albums, most famously, ‘Live in Boston”.
Originally a song by Duster Bennett in 1968, it was Green who really brought it alive with his spellbinding re-interpretation.
I’ve listened to a lot of Blues songs and solos etc in the last couple of years. This is right up there with the very, very best; if not the best.
From the note choices, the phrasing, the dynamics, the little nuances, and of course, Peter’s magical touch.
Not an easy one to try to emulate’ but very well worth the effort. It has been a great teacher; and a great one for me to continually refine.
My arrangement simply contains the ‘double’ intro,( Peter Green, then Danny Kirwan) followed by the main solo by Peter. As per usual, it’s a 100% live take, with no post editing or stitching together.
Hope you enjoy. Any comments, critique, suggestions etc very welcome.
Hi Shane. I always find it difficult to comment on your videos, further than providing superlatives of your playing. Your playing is very fluent and accurate, this is a beautiful piece. You move effortlessly across the fretboard, very difficult to fault anything.
Please don’t take this as critique as it is not. I noticed your eyes are glued to the fretboard all the time. I know you are working on tension and for me, forcing myself not to look had the great impact - easier said than done, though, especially with camera or live playing. This also helps with “letting go” and enjoying the piece you play. I got this advice from a fantastic player and then started noticing the same when the greats play. This is Kingfish playing Blues last week in London. I would say 80% of the time his eyes are closed. Justin also has a full lesson on this which I revisited once I was aware of this. This is just a suggestion for you to explore something new, I think it might benefit you.
Thanks for the listen Boris. And I appreciate the observation and feedback. Critiques are good things mate, so no worries there.
It is something I do consciously practice; this piece is quite involved though, so Im not at the point playing at this level, fretboard unsighted. In years to come, perhaps moreso.
I certainly agree though. Playing without looking is very beneficial.
Shane - excellent arrangement, I love it! Your playing is so smooth, flows like molten glass, and the awesome guitar sound adds to the impression. Very fine work, congrats
Yes it is what Boris says , what can I do futher than provide superlatives ? … so i did some superlatives and I could go on and on …it is now running for the 3rd 4e time, the only bad thing is that it stops…
I can’t imagine myself being able to play something like that without constantly looking at the fretboard, in fact I start look at it a little differently now, I do understand Boris 100% and it would be nice… but if you ( or I or…???) never manage to look at the public now and then but with such a new piece (maybe not for the first 5 years ) I would not care anymore , and also this way I am not distracted by staring eyes into the camera and now I look at your hands with focus and admiration… so in this case I am jumping in two minds, I think … it sounds I so nice that it’s so completely right what you do … for me
BIS BIS BIS
Greetings and thank for this wonderfull start of this music morning
I thoroughly enjoyed every second. You are well beyond my skill level, so all I can offer is applause and admiration. Your touch is great, too. All the efforts you put in your blues playing are shining through in this performance. The tone is lovely as well. Great start of the day!
This is awesome Shane! Your tone is so beautiful and your timing and phrasing are coming across to me so effortlessly (which means a lot of effort has gone into it to get it to this point!).
In the end of the day I am neutral to Fleetwood Mac (and by extension Peter Green) - they’re ok but few of their songs have grabbed me to want to listen to them again and again and I am not familiar with this song or the solo. So, from a “cold” listener perspective I would say if you want to put the cherry on the top (and it’s really just the cherry because everything is so so good already) bring in a bit more dynamic across the entire piece - most of it is played at similar volume, but if you quieten some parts and increase volume on others you’ll give the story an additional dimension.
Thoroughly enjoyed that, Shane. I do have a question:
Your timing is spot on and yet I do not detect any body movement. No knee bouncing from a foot movement or head bobbing. How do you do it? I struggle mightily with playing in time.
Your playing is very fluent and accurate, this is a beautiful piece. You move effortlessly across the fretboard, very difficult to fault anything.
Tjemig de peemig 
wow 
… so i did some superlatives and I could go on and on 
and now I look at your hands with focus and admiration… so in this case I am jumping in two minds, I think 
… it sounds I so nice that it’s so completely right what you do … for me 
Your touch is great, too. All the efforts you put in your blues playing are shining through in this performance. The tone is lovely as well. Great start of the day!