(gentle piano music) (upbeat music) – [Roy] Welcome to "Pure Rolling 2". Our first match has Aaron on the left and Jorge on the right hand side. Jorge gets a single with a lapel and he'd like to be able to
pass over to his left side. But check it out. Look at how Aaron hooks
his foot with his left, with the top of his left foot. Jorge's trying to make
it around the left side. He could alternately step
and tip him over to the right but he's trying to make
it over to the left. He hooks with that foot, blocks that. And now Jorge gave up that grip 'cause it wasn't serving him anymore, which is so important to do. Aaron's blocking on the shoulder. Lookin' for an opportunity to be able to put his guard
back in som semblance. Okay, now this is a complicated
sequence right here. Aaron is gonna break the grip. Jorge's holding that knee. He breaks the grip, kicks and pulls, and then right when Jorge
goes for that toe hold he inverts, he's able
to ride that momentum.
That spiral momentum of twisting the foot all the way into a back take. Fairly difficult to choke. One he's very tough, he's ex-marine. Number two, not a whole lot of neck. So Aaron is trying to tweak the angle. See he's holding on to the hip, it'd be better if he could grab the knee but it's just a little bit out of reach. If Aaron could get on his
right hip instead of his left, leaning in toward his hip, it
would make all the difference and really make the choke
much more effective. Jorge circles back into him, spins in, immediately starts
assembling the lapels. Okay, so Jorge really likes to deep half. He's got a bite on that foot and just need a little hip switch and nine times out of ten in Jiu Jitsu, shifting your hip, changing
the angle will do it, pulling down with both lapels if one foot is bound, hip
switch, right to the sweep. Look at that. Very nice. They don't teach you
that on the first day. Jorge up on his knees lookin' to pass. Aaron circles that leg around.
That was a little bit
of an opportunity pass while he was circling but
this is the first round. Jorge and Aaron are goin' for it. They don't have to but they choose to. Push and pull. Push with the foot, pull the hand back, break the grip, limb substitution. Jorge uses his foot to do the job his hand was doin'. And with a really good card player, sometimes going for the foot lock is a perfectly good solution. Looked like Jorge was goin'
for the foot there and… Aaron squeaks out of
it by shifting his hip. Again, shifting your hip. You gotta be in control of
your own mobility there. Hm. Nice little tip up by Aaron. Jorge is quite content to play deep half. See how… And immediately Jorge
starts getting to work, see how he pulls on that belt? That's controlling the center.
The center, the hara in Japanese. And then he controls the lapel. That's actually quite a nice grip. Ah. Shifts his knee back, now he's coming up. Look at that unwinding by Aaron. Boom. That was a nice move. He unwinds so he doesn't get crossed up. Small half step. Then a lunge. Bam, right to knee-on-belly position. Jorge turns away. He makes a little bit of space. But Aaron's up on top. Aaron is very active, very mobile and very precise. He tries coming up, look at this big step. That big step. Sometimes you can go into
a monoplata from there. Jorge has his deep half
and then binds that, Aaron's right arm so he's
vulnerable to being swept over to the left.
He hold it but then when he tries to sweep he extends his arm and Aaron's
able to catch his balance. Jorge recovers the position and so he's lookin'. He's looking for the lapel. Should I tip him to the
left, he's hip to that. Maybe I should tip him to the right. Especially because Aaron's
foot is almost squeaking out. Oh. Almost free, almost free, tips him back. Almost free, again with
the circling of the leg. Remember that, that's a
very important motion. Jorge to his back. Constant feeding, constant feeding. Binding. That's really the essence
of the lapel game. Now arms on top. Boom, quick assembly. And as soon as he goes for it look at Jorge ride that momentum.
That is black belt stuff right there. (Aaron grunts) He tries to get it off, he tips him. Throws that leg over. If he could get his knee
under a little earlier before Aaron great that
pivot and that swivel he would've been in
great knee-bar position. We'll see that again later. Now Jorge really could go
for an inside heel hook. But that's not his game. However, at that position
that would have been great. He's goin' for a toe hold here. Not the best position
to go for a toe hold. One reason toe holds often fail is because the leg is too extended. Yes, sometimes you can get it. But most effective toe holds
are when the leg is bent And the foot is compressed
back into their hip so you take their foot back to their butt.
Extremely powerful and
difficult to kick out of. Jorge ridin' it out, just defending. (alarm beeps)
It was a nice job there both guys. – Whoo.
– Whoo. – [Man] Nice guys. (Aaron panting) (alarm beeps) Nice. – Whoo.
– Whoo. – [Man] Nice guys. (gentle music) – [Roy] Jay on the
left, Alan on the right. Alan is a second black belt. He drove out from Las Vegas. Formerly of South Haven, Mississippi. And Jay is a CVBJJ black belt. Really an amazing guard. And you can see how Jay works
that left foot all the time.
It's on the bicep, it's on
the shoulder, it's there. Oh. But he was asleep at the wheel. And then Alan sat back for that arm lock. Shift that knee, fall back. And that was a wake up call. That was definitely a
wake up call for Jay. Sometimes they call Jay my little brother because we have similar body types. Oh my gosh, I thought this was gonna be of course a warm up. And it started getting a little heated. Not too hot. But definitely kicking it off. Now Jay is very much into lapel guard. Using that lapel. Wrapping foot, wrapping the
lapel underneath the leg. Look at the sensitivity with Alan stuffing that foot. Just holding on at the
perimeter of the body.
If Alan had been able to get his knee under a little bit more he would've gone back for a heel hook. But that was just a check. Just a little inspection. He's not exactly sure
what Jay's strengths are but I think he's figuring it out. And you have to do kind
of tactical analysis in the role, especially as a black belt. So there we go. Now Alan stands up and
gets over that knee. It's very important. He passes, but again, Jay with that foot on the bicep all the
time, foot on the bicep. Very very difficult to clear. It is possible to clear
it but it's difficult. Jay frees that other leg and manages to get that
foot underneath the knee so he clears that, finds that bent knee. Boom, that was a beautiful sweep. If he'd been up to come
up and capitalize on it'd be a little better. Yeah, and Alan's back up.
Jay's tryin' to off balance off it. Alan has a really good base. He's a good stand up practitioner and obviously a very good Jiu Jitsu. His specialty, oh look at
that limb substitution. Stepping, stepping. You should always be
looking for opportunities to use your foot instead of your hand. But you have to be able
to hold the position. And he wasn't quite
able to get that knee in to complete the guard pass.
Oh. So nice off balance to that far corner. And he's trying to go for the
back but Alan senses that, goes a little bit further
and then turns around. So he rides the momentum. That's what black belts do. They ride the momentum and then
turn it to their advantage. And jay with the lapel again. Two hands and then boom two feet. He wants to find perch for two feet. Alan is now looking to
smash him a little bit more. Look at Jay. Look at Jay with that foot. Alan was able to clear that. He breaks that grip and as soon as he does Alan sits back for the foot. Now foot locks are one
of Alan's specialties. He's good at many techniques but in particular, the 4-11 leg position, or saddle, many many
different names for it.
But Alan is definitely not
afraid to sit back for the foot. And not afraid to come up on top either. So he gets that knee in there but look at what Jay's doing. Jay's feeding that lapel
underneath, inverting, and then look at this wind up, boom. Probing with that foot. Spins around actually gaining
momentum by inverting.
And he's lookin' to do
something with that. So he passes off the grip on the lapel. Very keen and light. And then gets his knee over Alan's knee. And Alan is like, that's totally fine. That's totally in my wheelhouse. He loves the heel hook, he
loves the straight foot lock. And he loves the 4-11 position,
he did an instruction on it, which was quite excellent. Hmm. Ashi Garami. And triangling those legs or
crossing those legs outside which used to be frowned upon but now is definitely in vogue. And to make that foot inaccessible, Jay is now holding on dearly to that cross grip on his sleeve. Four fingers on the
cuff, very very powerful. If you don't know that, that's an extremely efficient grip. So crossing somebody up, all throws are corner to corner and you can get somebody in a bad state by crossing 'em up like that.
So we're at little bit
of a stalemate here. But Alan broke free. Broke free. He's gettin' that heel hook. But his hips aren't
positioned quite right. Jay tries to step over. And pushing on the knee. Jay pushing on the knee,
extracting himself, and we're gonna reset position here. Jay throws his belt to the side. So does Alan. Parody. Boom. (hands slapping) Move of the day right there. This is good for both of 'em. It's good to roll with other black belts. Especially people that your
not that familiar with. Jay, not standing up. (people chattering)
(people laughing) What do I want, upper body
control, lower body control? Feeling each other out,
feeling another out. Try to pass, try to pass. Oh, nice. He doesn't wanna mess
around with that foot so he overpasses, he
spins and manages to hook that top arm and then look
at the foot land on the hip. Mm. Maybe he can get a Kimura but jay squeaks out of it. Jay pulling deep half. Pulling deep half and leading into an off balance. He gets a shin underneath there.
Jay grabs the ankle. Switches to the sleeve. Alan's trying to break it. And then he back steps. See Alan did a great pass. But again, Jay and that
foot, very difficult. Very difficult. We're doing six-minute rounds here. Alan looks up at the clock. Jay has his lasso goin' on. Now watch this grip switch. Grabs with his right. Left hand, grabs with the right, left hand goes over to the tricep, right hand back on the collar. That is great for forcing a omoplata. One of Anthony's specialties,
you'll see that again. This very reminiscent of my own game. Lots of hip bump. Off balancing attacks. Jay's my little brother. Although he gives me no
love a little bit later. Look how he gets that
leg over the shoulder. That's the beginning. And the hand also. The fingers in the armpit, one of the best grips you can get. Holding on to that lat.
Good old fashioned flower sweep. Basics never die. In fact basics are the things
you rely on a black belt. Jay takes the top position. And immediately presses on the wrist. (alarm beeps)
But we're out of time. (spectator applauds) – [Spectator] Oh! So much for the a warm up. I thought that was a warm up. (spectators chattering) Three minutes. (alarm beeps) Nice guys. (spectator applauds) (peaceful music) – [Roy] Jorge and Jay. These guys have trained
together for a long time. They know each other's games. Four fingers on the cuff
on the pant from Jay. And check out that same grip from Jorge. He grabs Jay's sleeve and then passes it underneath to the other hand.
So from right hand, four-finger cuff grip, let hand four-finger cuff grip. Jorge has opportunity to sweep Jay if he bumped him with his left knee and could get him to tip
to that top right corner. Jay is pushing down on the
knee and looking to extract. Jay chooses to step back. He could go to a 4-11
or a saddle position. Backed up is so wonderful because you can continue to advance even though you're moving backwards. It doesn't happen in all things. He could triangle his
legs and go into a 4-11 but Jay is gonna take his foot, push on Jorge's left femur,
and then extract his foot.
Now then it's a race. When you do that you have to stay on top. Jorge turns around and Jay stays in front with that elbow beating Jorge's knee. Guard passing is about beating
the knee with your knee. And sometimes it's about beating
their knee with your elbow. We got knee-on-belly position. Which is quite a bit more versatile than maybe taking the mount.
Jorge defending against chokes there. And Jay snaps into a
triangle off that sweep. So you got, Jay's vulnerable
to being pushed back. And he went with it. That's what black belts do. They go with it. And set up that triangle. Jorge has excellent
posture in this position so it would be easy for
him to smash out of it. Joe Barrera, my Jiu Jitsu grandfather, is a master of smashing. Mr. Harris is as well. It's not about just going forward. It's about how you sprawl
and thrust with your hip against the low end of their femur where it connects back to their hip. That's the pressure that
doesn't allow him to turn, locks into position, it's
untenable and it breaks. Just like Jorge did. Lasso guard from Jay. He wants to sweep him
over to the left side. Now they're square. Jorge grabs that ankle. And jay kicks it through. He pulls on the tricep
and kicks his leg free.
Beautiful movement by Jorge. Total weight transfer,
very light on his feet. But Jay has that foot and then sweeps. So Jay has that foot on the bicep as usual and then sneaks his knee on the inside of Jorge's leg from
knee-on-belly position. The very popular sweep with Jay. I don't use it that often,
but I really should. I've used it before but not that often, but it's definitely a
staple in Jay's game. Side control, sliding that knee over. You don't need to do it all at once. Sometimes you just probe with that knee. And maybe get him to push on it so you can take control with Kimura. Jay stuffs that hand and if
he's right to triangle omoplata. He just holds it in position so when Jorge takes the bait and rolls up he's got a triangle. He blocked it with his hand so Jay quickly switches to the omoplata. He's trying to shift his hips to the right pulling on that belt
and pushing on that leg.
Trying to break him down, but it can be difficult
to break people down. Jay sits up a little bit. If Jay could take his right
foot underneath Jorge's leg that would stretch Jorge out and might allow him to be able to finish but Jorge's controlling that
foot, so you use what you got. Doublin' up on that lapel. A page out of Jorge's own playbook. Now Jay gets his foot on the ground here and that enables him to spin in a circle and get a little closer to finishing.
Trying to get that omoplata. Jay is trying to continually adjust and now he's thinking, okay I might need to
do something different. Jorge's best chance of
escape was that move where he tried to circle
around to his right. Go north, south, and
eventually side control. But Jay blocked it. Which led him back. So watch, he blocks. Block that avenue of escape. And do a little hand switch here. And he's feelin' the pressure. The pressure from Jorge. Sometimes you prevent people from extending into a submission. Sometimes you have to smash them down and just do a little stalemate.
So he switches back to the triangle. Sometimes you ping pong in
between two different attacks. Teepee triangle choke. I don't use this. Now it's not workin' on Jorge. It would be better, sometimes it can work and compress enough, but
it's so much more effective if you can get that knee
notched into the neck instead of the top of the head. If you can get in the neck, oh, it's over. Back to the omoplata,
playing back and forth. It's like switching
sides for the arm lock. You're gonna get one. You're gonna get something. Jorge continues to stuff that foot and make life difficult for Jay.
Jay's gonna do a great combination here. So he holds onto the belt. He's getting more and
more in line with Jorge. And difficult to see right
now, but he goes for a toe hold a la Frank Mir versus Tank Abbott. – [Jay] You okay? – Yeah–
– Oh, I thought it was– – No I was just drooling. – [Roy] Yeah, Jorge didn't tap. Jay thought he tapped which
caused us this little scramble. And now Jorge's workin' it. Jorge's workin' it. Jay rolls out, slippin'
that bottom knee through and gets the knee bar. This is really quite nice. Jorge got a little opportunity. That's all you need as a black belt. You get one opportunity and
you can capitalize on it. Jay rolls out. Now he slides the knee through first. Throws a leg over, traps Jay's leg, and Jay can't get out. And then do we have the knee bar. A very powerful position. – [Jorge] You okay? – [Roy] Jorge almost had that on, Jorge almost had that on Aaron but Aaron twisted and he didn't have the leg bound quite as much. Okay, Jay's on the war path.
Jay wants to get him back. He gave him a little bit of an opportunity that Jorge capitalized on, so. Passes guard. Slips to mount. That over hook is not really
serving Jay that well. I mean, it's okay, but
it kind of prevents him from steeping over into
an arm lock or whatever. So it's kind of a bound. Jorge has two arms underneath Jay's leg. Which is actually quite viable.
You can actually escape
the mount that way. You can also evade the triangle choke and when they shoot for it, you're already underneath the leg with both arms. I've done that against very
very good triangle players. Ends up being a little bit of a scramble. Now Jorge, look what he
does with his foot here. Boop, pop that around. More like a de la Riva hook. And that prevents Jay from
being able to come up. It's just a little two intertwined. Jay goes for the choke but his arms are too far out so flipping position here. Jay pulls with his hands. The legs are intertwined. Pulls with his hands and then when he feels Jorge
shifting his weight forward he begins the lift with his legs. Pull, he waits, then the lift and turn. (body thunking) So he gets that beautiful sweep. And now he wants to come up and
capitalize on that position. Every time you sweep you gotta come up. Otherwise it doesn't
really count now, does it? Jay goes for that arm lock.
And immediately slides toes first in for a possible triangle. He could slide that leg over and try to finish with the arm bar. But, you know, he's a triangle guy. So he slides that through. He's a little bit bound
by that black belt. And he's shootin' for it. He could get a triangle if Jorge rolled up but not enough time.
(alarm beeps) (spectator applauds) Thank you, gentleman. (spectators chattering) – You okay? – [Jorge] Yeah. (body thunks) (alarm beeps)
– Time. – Thank you.
(spectator applauds) (gentle music) – [Roy] Roy and Alan. So teacher and student dynamic. We have an Imanari roll
immediately from Alan. Fun technique. Beautiful technique actually. Doesn't get any more circular than that when it comes to Jiu Jitsu. I'm bearing my weight down. I'm really putting a lot of weight through my right palm. And I'm going to look to pass. Passing to my right side. And then for head control, Alan
blocks me very nicely there but I weave my arm back in. Secure head control,
then get my back step. I hit my back step here but then I block his
knee from dropping down.
And so I secure it. It's one thing to pass, it's another thing to block them from
reestablishing the guard. That really is the final
element of a guard pass. The back step is a key element for advanced movement in Jiu Jitsu. Oh, see that hand change there? From thumb in to thumb out, fingers in. Let's see what's goin' on here. Oh, oh beautiful, beautiful. I pass the guard but he got that foot in and inside heel hook. And very nice.
(hands slapping) I certainly do not mind tapping. And I don't mind tapping to heel hooks and I don't mind tapping to my students. So if you get uptight about that, take it from a more advanced player. It's not a big deal. Here I lift Alan's ankle, I use that to set up the
triangle or omoplata. It's all blocked on that side so then I go underneath. Use a little scissor guard. Legs are crossed. Sweep Alan over and
immediately tack that wrist.
I'm very much a fan of standing passing. As I get older I do a lot
more passing from the knees. But I certainly don't mind. So I hug that heel and slide in as he tips up I pull up on the heel. So I'm indexing constantly exactly where his knee is going to be. As I head in, slide my knee under.
I know he's gonna rotate. Hold onto the heel, that
is such a good grip. That is such a good grip. And I pull down with my thigh. (hands slapping)
For the knee bar. Hitting those cross-angle
knee bars is money. Alan spins out, kicks with the leg, pulls with the hand, breaks free. He's not gonna get the
arm bar at this point. So dropping the knee he
wants to hit the knee bar but not possible, blocked it. If he drops and tries spinning
back up for the knee bar I drive my knee into his chest. And then I have enough surface area to block him from being able to invert. So stayin' heavy. It's all about sliding down and surfing the body. The area that he provides. So I angle my body, he's on his side. And I'm driving him back up. That's so important. Brandon Mullins would
say correct the position so I grab that bottom leg, lift up and get him from off his
side to square on his back. Even if only for a second. And I do it a little bit more.
He insists on turning up on his side which allows me access to that top arm. I am all about hitting
the kiumura from there. If you can't get Kimura
'cause it's blocked then you use it to sweep 'em. And if he comes up then you head into
another control position. So I lift him. Slide my left knee under the back. Right leg goes over the shoulder. And I'm right here. He's got his arms all
crossed up but that's okay. As long as I take the top position.
Okay, a little more pressure there. I'll admit it. A little more pressure. I wanna keep him flat on his back. Knee-on-belly position. I'm a big believer in chokes. I love collar chokes. I love the precision. I love clean chokes. I'm definitely not a guy
who goes across the face. I would never choke Alan in the past because his jaw… He had a number of jaw
surgeries in his youth. And it wasn't sturdy. But they rebuilt his jaw. It's a titanium jaw. So for the first time I was actually considering
choking him there, but still. We have a lot of options
so I don't need to do that. Had it been really clean. It wasn't quite clean enough. Hunkering down. Burying yourself into their
chest is really useful. And again a little back step. He wants to hook my foot. He pushes on that, I
do a little back step.
And pass the guard. He's doin' a great job of blocking. Blocking my arms. I'm coming over. I would love to isolate that. That far arm. So I attack for the Americana
and I put a little bit of pressure out near his elbow. Really pressuring that. And it does lead into the Americana. Bent to straight. Straight to bent. 'Kay. Belt comes off. Nice shot by Alan. I like to just counter
by sprawling, honestly. It's a lot easier than shooting. Just time the sprawl. Get the under hook. Try to sweep my back step. I still stay up on top but I wasn't able to back step and then scoot around as guard. Now look how low my arm
is around his waist. I really enjoy getting, like burying my shoulder
and head into his torso. That's the beginning of the
old man game right there. Pressure, pressure. Now Alan goes for a lift here. And I use that opportunity to step around. So again, I'm back steppin'. I'm back stepping, step around. Sweep past his knee. Driving my shoulder
right into his sternum.
And there we have it. So I can be light or
I can be really heavy. And Alan talked about that afterwards. So knee-on-belly position. I go for my typical step over choke. I love that choke. If you watch my third-degree
black belt test, I use it quite often. When guys are really tight with their arms I love to do a step over choke and get them to react to it. He off balances me, high's no escape but I squeak my knee in front. It's a battle of knees. I get my knee in front of his knee and then drop my weight. I'm pinning his wrist at this moment. Pinning it hard. He's got me entangled so
I just go for the roll. Being able to assemble a submission even though everything isn't perfect, even though he still had my legs. That's really a hallmark of a black belt. Rolling over into that Kimura,
take it to the far side. Boom, beautiful. Beautiful X-pass. That jumping variation where
there's very little contact is one of the best. Excellent movement Allan there. Coming over, getting seatbelt position.
Defending a little bit here. He's pulling me back. This is not lookin' good for me. (alarm beeps)
Ooh. Saved in the nick of time. (hand slapping) (hand slapping) (alarm beeping) (spectators applauding) Very nice. – [Alan] Thanks. (gentle music) – [Roy] Aaron and Anthony. Anthony is the head instructor at CVBJJ along with Daniel McAllan. Just an amazing guy in general. Great instructor. And he's the man. He hurt his knee but still
made it in for this filming. And I really appreciate him doing that. He definitely has enough skill that even in a less than ideal condition he can still roll with the boys.
So what he's doing here
is he's playing possum. He allows Aaron to get one hook in but then peels that out so you can see Aaron wants
to start taking it back. He peels it out with his hand. And he is not interested
in facing Aaron's guard. Because Aaron's guard is
really really difficult. To approach it you approach
a lotta fire power. So he plays possum, sits
back to his own guard.
Circles with that leg. It was shielded so then
he goes back to the shin. So probing, we like to get
that foot on the bicep. And that's all shielded. Elbow, knee, tight together,
so he looks for that shin. Moves out a little bit. Foot underneath the shin, starts to lift. He's workin' it. Foot on bicep. Anthony grabs behind the calf there. There's a lot of
counterbalancing going on here. Weight forward by Aaron,
pushing with those knees. Wants to get past the knee again. Flips to a reverse knee-on-belly position. And it's a little reminiscent
of where Jorge was with the deep half.
Aaron realizes he could
get tipped backwards so he is leaning forward heavily. Leaning forward heavily. Look at how Anthony whips
his legs simultaneously to change his position. Great use of momentum. Two arms underneath the legs. You can escape, not
great for a street fight. But for this occasion, pretty good. Although in a street
fight, a lot of things can be good for a second. They used say deep half is not good in MMA but it can be. Aaron senses that he might be vulnerable to being swept over to the right side. So he does something really cool, he uses his head to base, he grabs that knee, holds on so Anthony can't pull it backwards and come to his knees and tip Aaron over. So that was a very effective
block on Aaron's part. He lets go, now Anthony
starts moving his legs back. Legs back, Anthony's
right hand is holding, Anthony's right hand is going to be holding Aaron's pant cuff. So gets Aaron's hip past that
knee and we have the sweep.
He circles around. Immediately keeps that leg extended. He does not want that foot on his bicep or being able to get some
of that fire power going. So it's all about smashing. It's all about putting
his chest on those femurs. Pressure, pressure, pressure. Pressure's the way to go with Aaron. I've tried many time to be
able to match Aaron's speed and precision and it's just not, tactically it's not the right approach. Anthony has the right approach here. Pressure, surf his body. Block the hip. Don't allow him to come to his knees. Course Aaron's trying to turn over desperately at this point. And as a black belt, against
most people he can turn in and be able to recover guard. For example if they step over to the mount or if they try to take the back he would just fall to his back. And be able to get guard. And he's trying to do that, but Anthony's too savvy. Anthony's too aware.
Now that's a beautiful
little check for the balance. Anthony switches his weight,
drops the right knee, pulls. Aaron's resisting too much so he didn't over commit to it. It's just a probe, it's
just a check, okay? Now Aaron would like to probably
roll over to his left side. Anthony feels that and
he's gonna be preemptive. Aaron might also be
lookin' for a knee bar. Anthony's incredibly
dextrous with his legs. So he went from binding Aaron's arm. He feels him tipping,
he preemptively rolls, and gets position that I
like to call death from above with Kimura grip and he is set. So first order of business. Get that leg in, and it goes over the hip. Circle, get that heel in, over the hip. Next go to the collar. You threaten the choke but it's more about just establishing the position. The temptation would
be to go fully to mount but, you know, or try to take the back. But why not exist in between? No, he's good enough to have
this in between positioning where he's gonna attack for the choke.
Watch this, open, open,
until the moment's right. Then feed the collar. And beautiful. So he's patient in that
in between position. Grabs the collar. Beautiful strangle. Well done.
(spectator applauds) Really nice. (hands slap) All right. Anthony and I went in an earlier round but I'm not showing it, it was more of just a warm up. Gotta warm up the king. Now you can see Aaron's guard in play. Break that grip, foot on the hip. And he is really attacking. He really wants that arm invert for Kimura, invert for a triangle. So what's the answer? Well it's definitely not
matching him speed for speed. Anthony is, again, going
to use pressure instead of, he grabs that collar
and then look at this. He pulls him. He pulls him in. That's actually controlling the distance. It's not just far away.
It's sometimes you can
control the distance by pulling them in close and
keeping you out of danger. Just lift up, thrust the hips forward. He needs to get his hips past that knee. Now… Very difficult for Aaron, very difficult. Course there's a little bit of exposure with that arm there, not
yet because he was holding on to the gi, but… Now look at how he
thrusts his hips forward. Forward. Pressure, not allowing him
to reestablish his guard. – [Aaron] (laughs) Oh no. – [Roy] Beautiful waki gatame. When someone's really pushing on you like that, that's possible. Not everyone can get it.
There's a subtle spiral in there as well. – Oh, my leg.
(spectator applauds) – [Roy] Fantastic. Beautiful technique.
– Okay. – Oh shit.
(spectators chuckle) (laughing) Oh, nice. Oh man.
(spectator applauds) My leg. – [Anthony] That hurt, that was good. – [Spectator] Good work gentleman. (spectators applaud) (gentle music) – [Roy] Alan and Jorge. This should be good. Jorge goes to his favorite position. Alan, look at how he's using that elbow to block his leg. Elbow blocking knee is hugely
important in guard passing in preventing them from being
able to close their guard. So Alan uses his front knee to push back. But Jorge responds to that empty corner. He can't establish that position. He might've been able to secure a little bit
deeper head control. But didn't work out that time. Alan checks for baseball bat choke but Jorge blocks it early. And that elbow is on
the inside of the knee.
And then it goes to the top of the knee. And then his hip goes, so. Use the elbow to slide over to the hip. And now you're using a
little bit more body weight before Alan heads into that 4-11 position. So big back step again, back step. That could be the theme of
"Pure Rolling 2", back step. Roll back. Incredible heel exposure
here for the heel hook. If Alan really wanted to crank it that is a beautiful position. Basing on his head. Jorge does a relatively decent job of making Alan post with that hand. He shifts his weight so
Alan has to have that hand and he's also driving
weight into that heel which means a difficult approach it's connected to the earth. Alan can't quite rotate his body enough. Especially with those legs
intertwined the way they are. He's being prevented from doing an upper body shoulder rotation. And so he broke the grip and
then Jorge just regripped. That's one of the issues
with breaking grips 'cause people could regrip. That's a much tighter
grip than the other lapel. Sometimes submissions
can get a little stale if you get frozen out for too long so Alan mixes it up.
Beautiful sequence here. He rolls to the other side, kicks his leg through. Jorge immediately yanks
his right leg back. And Alan is shooting for
clover leaf position. Pulling on that from that leg saddle. Now his levers are very small. Not only does Jorge
have really thick legs, he pulls that into position. And I'm rather susceptible
to the clover leaf myself. With my legs, but Alan has a pretty low, if it was crossed at more the calves instead of the ankles he
would have better leverage. And then again we have the
toe hold, which can work. Which can work from there,
but toe hold is so much better if it's compressed back into their hip. Yup, yup. And Alan is, see he's doin' a, look at this fist, that's
a modified position to make it quite a bit tighter. And he realizes, okay,
Jorge is not really tapping. Oh, inside heel hook.
Look at how Alan swims his
upper body around the heel before it hits the ground. – Nice.
(spectator applauds) – [Roy] That was good. (hands slap)
Outside heel hook, You have a little bit more wiggle room. Inside heel hook. It's not worth it, man. Mm-hmm. Again with that lapel. Jorge's trying to get a hook sweep with the back of his knee. And he didn't have the angle quite right. David Camarillo's a master of that sweep. He makes it very very powerful. Alan can't really get away with that lapel going around his leg. Which leads to a nice double by Jorge. Alan does something really sharp here. Immediately he gets that knee
in front of the shoulder.
Trying to manipulate for a triangle. That's one of my go-to positions. You can attack for a triangle, you can attack for omoplata. Some people call it
side guard, very useful. Great sequence. He breaks the grip and then
pulls it across Jorge's body, gets him all crossed up. Fingers looking for the lat, that armpit. Trying to switch.
But obviously has a
black but Jorge's aware and counterbalances, he's
not gonna get tipped to that, to the left there 'cause
he has his leg up. And a little push pull and back to square. Gathering lapels. Let's go back to it, oh. Attempted wrist lock from Jorge. Always worth checkin' those out. They don't take that long
and they can end the fight. Comb your hair, just block. That's a great way to just block a choke. Comb your hair, insert your
hand or forearm in there. Now that kind of attack
from within the guard, I use that all the time
to open up the guard. And Alan did open up the guard. Jorge's trying to dive
his arms underneath. And sensing that, Alan opens
up his guard and backs out. Incredible use of momentum there.
Standing up, that is a
practiced combination. Sweep the guy over, you
use the momentum to come up and then we have an arm bar. Jorge keeps his arms
together the entire time. – Second best thing I do there. I saw it once already. – [Roy] See, and that
right there with Jorge, a black belt can see it once
and now they're on guard. They're aware. They know what's happening,
what's a favored technique, what's a favored position. Jorge goes for heel hook.
(hand slaps) Nice leg position by Jorge. Tips him back. And turn about's fair play. It was actually a very nice heel hook. (spectator applauds)
– 140, 140. – [Roy] Jorge has really
good pressure when passing. He can pass very quickly
and then drop his weight as you'll see later. But Alan comes up on top. And it's generally a good thing to do. Come up on top. Now there's not that much time left. So your tactics change depending
on what you need to do.
Jorge goes for deep half and Alan rides that. He goes the full circle. (spectators chatter) Watch this. Jorge spins the opposite direction. Alan just goes all the way around to his favorite position,
the 4-11, the saddle. He pulls that leg up. Single leg X right there. Heel hook. A lotta control from Alan here. A lotta control. He doesn't quite have
Jorge's body immobilized but he's, this looks better. He's got his body weight on that as well. Very conscientious on how
he applies that heel hook. It's highly injurious.
Modified, modified. I love those modifications. I mean it shows you that Jiu Jitsu, you can create adequate leverage. Sufficient leverage for the submission with a variety of, so
there's no one way to do it. It's all about can your modified mechanics get the submission? And boy, that looks pretty close. There we go. Nice modification by Alan. And look at the beautiful
shoulder slide back. Goes wrist over wrist
instead of hand over hand for that modified mechanic. (spectator applauds)
That was very nice. Excellent job guys. – [Anthony] Excuse me
guys, he was lookin' out for my leg too the whole time. – No.
– Yeah, he was. (spectators chattering) – [Spectator] Okay. – [Spectator] Nice. – [Spectator] Ooh. – [Spectator] Back to his position. Back to the position. Four left. Ooh, that's good. (spectator applauds) (spectators laugh) (gentle music) – [Roy] Jay and Roy. Little brother versus big brother. We have similar body types and very very similar games. Just looking at him you can tell he's good at triangle so he gets that right knee in front of my shoulder.
And I want to pass and
avoid that foot on the bicep so I do a quick step around pass dropping weight through my arms. But he's able to circle
and he off balances me to the front, tries extending me. I put a little pressure with my elbow. Then transfer with my
left hand to the palm. Then transfer to mid calf because I want to distribute
my weight through that and not let him get that foot on my bicep.
I can't let that happen, that's not good. He breaks that and immediately
I try to pass in that moment. But he's a clamshell. He's difficult to open up. And he got that lasso guard. So I skip back into a
more square position. I'm considering going for
a foot lock right here. He knows that, he pulls
my arm and kicks through and then sweeps me. I got a little too
aggressive with my left shin across his body, it was not quite right. I put too much weight on him
so he ends up sweeping me. Now I have thumb in for my collar grip and normally I would be
grabbing his other lapel but he's got me all crossed up. Look at that, who taught him that? I switch my hand.
I'm a bit of a loop choker. He feels it and he immediately backs out. He's like, no, I don't want that. Now watch his feet, he windshield wipes. Windshield wiper on the leg. And then again, right into a guard pass. That was really nice on his part. And is very reminiscent of Anthony. He's such a master at windshield wiping not just in guard passing
but in multiple positions.
So little brother in top position. L portion of my hand went
into the crook of his elbow. I try hookin' that foot just for a second see if I can get that. That's not my normal side mount escape. I try hookin' his foot. I know I'm gonna give up my back. But that's okay. That's okay. I've been working on back escapes more over the last year. He steps up. Pulls me off balance, hooks my arm. Steps up, pulls me off balance. I try to grab his head and scoot out but he already threw that hook over and that's, now I'm in it. Okay, now I have to go
pure defensive mode. I hide my arm, use my
right elbow on the heel. This is a great sequence. And now two hands on the head
to complete the back escape. So I hide my arm, use my
right elbow on that heel, use that to push my hip back, substitute my knee for my elbow, break it.
Palm on the knee, head up,
then I use my right foot to actually extend his leg,
slide my inside knee over. Grab his head with both hands. Keep my hip low, keep my hip low. I know I'm gonna beat
him around the corner. And then take top position. Okay, now will revenge be mine? We will see. So I'm putting a little
bit more pressure on. Trying to put a little more
pressure with that choke. But it's not quite enough. And I, he got his knee in. I come up to clear. And I throw his leg to get the guard pass. I throw his leg past
to get the guard pass. And look at this inversion on his part. See how he sneaks that leg in there? Very difficult.
I should be learning a lesson here. I've tried to pass his guard
from standing several times. Which is normally a money pass for me. But each time he inverts
and inserts a foot. Go for a little bear below there. Not my forte. But when I Rome, I happen to find myself in that neighborhood so I go for it and end up on top. Now. I should do a little
internal contemplation. Should I continue? Or should I modify? I really should modify,
but I'm gonna continue with these standing passes. So I use my shin to put pressure on that
knee and free my arm.
Right shin in, circle that hand. And I'm gonna go for a foot lock. Enough of this guard passing,
if I can't pass a guard… I can pass most people's guard but this is particularly difficult. And I want to go for
a foot lock, but look. I can't do it 'cause his
foot is too deep in my gi. You'll get a better angle. I would really like to be able to dig into a straight foot lock or a toe press. Or, you know, I'm not much
of a heel hook guy on Jay. I wanna get it straight. And he's trying to
actually free that foot. I think, okay, well if
we're bound in this position we'll look for a little bit of an omoplata we're in a compromised position, so. But that foot is still
in the back of my gi. And that's from his lapel entanglement. Okay, so I figure lemme
spin here for the knee bar.
But again, the foot was caught,
the foot was compromised. In my gi. Now he is goin' for a foot lock. But… That's not his normal, normal thing. I'm not gonna let that happen. So we're both extending. And I come up on top. I need to keep that foot off my bicep. I pass. And again, look at that. Inverts and gets that foot in. Why am I not learning my lesson? I think, okay. I scramble up on top. Try to do a… Try to pass into a back step. And I think okay. I'm gonna get the knee bar. Quite adept at the knee bar. So, I'm trying to get it. But he gets his left
foot underneath my knee. And dumps me over. Ippon, ippon, Jay. And now he's gettin' my
back, this is not good. This is not the way I want it to go. Tries to get my arm but I escape it.
So he hooks over with his leg perfect. I bring it in, escape it. I would turn into him but
he's keepin' me at bay with that grip on my pant cuff. But I'm pretty low at the moment and to escape the back
hook, look how I hook over my leg there. I actually will can scoot
down, down, down, down, down and negate his ankle. So here he's still holding
onto that pant cuff. But I get my under hook ready. And then when he releases I go for a single but he sprawls.
All right, revenge is mine. (alarm beeps)
No. Well done little brother.
(spectators applaud) (alarm beeps)
– Ooh. (spectators applaud)
– Good. (spectators chatter) (gentle music) – [Roy] Anthony and Alan. Anthony also has a really
great wrestling background. So he just wants to see what
Alan's going to do here. Alan goes for an omoplata, but then look at how Anthony feels that and shoots that arm across. He's not gonna let that happen. Then his right hand grabs the belt so he can stay ahead of
those legs no matter what.
Alan, feeling a little
old school pressure. Oh, love that. Watch Alan goes and
then Anthony back steps trying to off balance him. Just a little check. Just a little probe for the balance. If you tipped him and
got in a back exposure that would've been a very easy and momentum oriented approach to it. Again the back step into a guard pass. Alan is able to anchor with his foot and stop it, but… Watch this, so simple. Grab that hand, then center line. Center line control. Back step.
Looking to get around. Alan places his leg on the hip
and effectively blocks that but then Anthony just switches to puttin' his weight through the legs. So leg weave pass. Arm weaves through Alan's legs. He does a little windshield wiper there. Gets his knee in front. And then moves it at a 45 degree angle. So just a little windshield
wiper with his leg, which he's brilliant at. Slides the knee in front. Alan gets his top knee in and then when the times right Anthony seizes control and
moves that shin across. Anthony doesn't hang out in the mount he gets off with knee-on-belly and then takes just a strong side control. Feeling what to do. I love holding the belt from
side control right there. It helps trap that arm. Gives you a predictable area where that arm can roam around and roam right into a Kimura. Now why did Alan move his hand down there? Because he felt there was space. In no hurry to assemble the
Kimura, it's there, it's there. 'Kay.
Alan hides his hand. Effective, some guys can, it's actually very very
difficult to dislodge that. Anthony is just checkin' on
it, just checkin', checkin'. Look at that sequence. The rest of it's over the arm. Anthony puts his weight on Alan's head as he sits into the arm lock. Even though Alan clears that, that's okay. Again, goes for that collar grip. Goes over the top of Alan's right arm. And now Alan knows he hooked so all it takes is one
additional hip movement to be in perfect position
for the arm length. (spectator applauds) He knows the jigs up. That's a black belt tap. You know, you were just out of position. Yeah, just reset the game. Anthony hangin' back.
Let's see what, Alan tips him over with
one of my favorite ways to get the back. Let's take him not to the side but actually to the top corner. Alan takes, so it's going with it, right? Alan tried to tip him to the back but Anthony added a little bit of momentum to over rotate and get out of the position that they intended you to be. Shoulders are on the ground. Alan's trying to hold on to what he has. He has one leg. It'd be a lot better
if he had head control but he doesn't, he using the same grip that Anthony did for the arm lock. Across the collar. So as soon as Allan opens, Anthony feels it. Shifts his hips up. And then actually rotates in to Allan where he's forced to square up with him. Alan immediately goes into
a beautiful guard pass. Tries to take the back. Anthony spins and Alan's
all about the Kimura. But Anthony is hip to
that and the next step. It's about the next step at black belt. Guard pass to the back.
Anthony spins. Now Anthony would have been
able to finish that double leg. But his knee's a little tweaked so as Alan goes for the Kimura, Anthony thanks about stepping
around for the arm bar, Alan knows that as well and gives it up. Anthony steps into a,
what I call a low mount where you try and get the
legs around their knees. This is really effective and people have found that it's also extremely effective in MMA. Great way to immobilize
'em and punish 'em top. Anthony takes the position. Alan's feelin' the old school Jiu Jitsu. And pressure. Anthony pops up to a high mount. Pins the wrist. Lookin'. You would think he would
go for a mounted triangle, but he's not really looking
for a mounted triangle.
He'll attack one arm and
then go for the other arm. Just feeling it out, seeing
what Alan's going to do. Where the opening's gonna come. Anthony's a master of that elbow control. Cupping the elbow. Nice. So he goes over the top,
Alan blocks it with his hand. But it's at such a poor leverage point on the wrist for Alan
that it's actually better if he pulls it out. And anything sits over for that arm lock. (spectator applauds) He gets that from a variety of positions.
Including the guard. So you never want Anthony cupping
your elbow from the guard. He can maneuver into a variety
of arm locks from there. It's really powerful. And when you use that, size
doesn't matter that much. That was really nice by Alan. Look at that, he breaks the grip, while it's unattached he jumps
into position over the arm. Going for a little bit of a
low altitude flying triangle. It didn't work, but how else
are you gonna get better if you don't try it, right? We're amongst friends here. Now Alan is goin' back to
a familiar attack here. Arm under, back that grip.
Which he did for a second. He did break the grip momentarily. Again, problem with grip breaking is that it doesn't always last. 'Kay. Alan lookin' to tip. That was a nice wind up. Going over to his right to sweep into the left. And Alan back to the well. So he breaks grip on one of those lapels, but look at Anthony's elbow. He keeps it high so it's hard to break. Then he comes back down with the elbow Drives into the hip. Elbow in the hip is, I don't know if it's talked about enough. Elbow in hip can stop
the hip from rotating into an arm lock.
You can monitor their movements. You can really freeze 'em out
by driving that elbow in hard. Anthony has top half guard with a back step to pass. Let's see how he got in. So he scoops under with his arm. Takes top half guard. Triangles his legs, that's very important. You can get half guard tight
on the bottom and the top. A lotta people don't realize the power of triangling your legs
from the top of half guard. 'Cause you immobilize them. They wanna immobilize
you, you immobilize them.
Nice back step, Alan turns in. And he could step over to mount. If he wanted to but, will have him expose his
back instead, rolls out. Nice work. Anthony's not gettin' too aggressive. Falls with that Kimura grip. Again, leg over, same
sequence, same sequence. He falls over, first priority,
get that leg across the hip, get the heel in, nice circle with the leg. Goes for his collar grip. Slight adjustment at the hip and we have it. Masterful stuff. I'm stealing that collar control when you're goin' for the arm bar.
(spectator claps)
Stealin' that. (fighters chattering) (spectators chattering)
(spectators laughing) (hands slapping) – Dude, that's good.
– That's good Alan, thank you. (spectators applaud) (gentle music) – [Roy] Roy and Jorge. We roll together all the time and it's always a pleasure. He is a marine. And a very tough guy. And he is not doin'
his normal positioning. He is just passing my guard at the moment. So I'm not too worried. I would like to tip him. Mm, okay, so I try to use my
legs for momentum to tip him but he's based on his head, so. It gets me a little bit of space. But it was not what I really wanted. I triangle my legs and push
his foot back into his hip. That is the ideal toe hold position. And I'm thinkin', I mean
there's not that many options you have when you're
opponent turns away from you. I move my hip, I switch
the direction of my legs, I'm trying to come up on top but Jorge dove both arms underneath and gave me a triangle option. He gets to his, up to his feet first so, he had that femur control.
And when it comes to guard
passing, begin able to cup and anchor into that
femur, connects to the hip and it's a great way to control them. Now check this out, I
sweep him to the left and then go for my loop choke. That said, he's hard to choke. But it's nice to probe and check in for that whenever possible. Classic elevator sweep. Locking his right arm. So I'll have my left leg go high. He lifts his leg and I
sweep him to the other side.
Jorge immediately dives
that arm underneath. Which negates my attempt for a triangle. And he's so familiar with this, this is like his preferred
position to be deep half. So and now we're in kind
of a compromised position. I do have my wrist underneath his neck and I'm thinking about going for a choke. Or would like to if I brought my leg back. He's got his arm connected
it's hard to bring my leg back. Here I'm trying to modify
my hands for a choke. So I take top position. As second choice with the choke. He's playing with my lapel and I'm lookin', maybe I should go to 4-11 with the saddle position but
his leg is blocking that.
I'm trying to lift. Then I say, oh forget it. And let me just take top instead. Again, he has never let go of my foot that's trapped in between his legs. But very difficult to choke. I have top position, but look, he's got two hands in the way. So gotta get that up. All right, I'm getting a little frustrated with my foot being trapped
so I base on my head trying to get a higher ground
to be able to extract it. And he goes into what he was looking for which is coming underneath
into a beautiful sweep. And where does he go
immediately after that? Once he comes to his knees he
immediately distributes weight through extended arms, and
while I'm messin' around with his lapel he passes. Look at that total commitment as he goes into his guard pass. And he would like head control.
Turn in, oh, ha, there we go. So let's take another look at that. He goes knee-on-belly,
I scoop under his femur, block his other foot, end up in a pretty good foot lock position and then I'm going to go into a toe press where my palm ends at the
top ridge of his toes. He's super familiar with that and I can't quite go back far enough. So I like to come up. Jorge assembles his legs in a triangle with his forearm
underneath, behind my knee. That's known as a calf slicer. Similar to a bicep slicer
except done on the leg. Therefore a calf, calf slicer. It's a compression technique. Very painful. Excellent. Nice work by Jorge. What do I want? I grab his lapel 'cause
I'm kinda playin' around with that stuff and he
immediately passes guard. And he's lookin' to hop to the other side to really complete that pass. I struggle to get my knee free just enough room to start to tip him. And when you start tipping someone, left leads to right, right leads to left.
So he passes with full commitment and he definitely put his weight into me so I go to the belt. As soon as I can move that leg back I try to shift my base. Tip up to the knee. He's still holding onto the pant leg. So I fall back and off balance him. And then tip him to the right. Switch my hands. Grab his hand. And assemble into a Kimura grip. This is not the deep half
position he would prefer. My leg is under him so
I have to lift, lift. And then extract my foot. So do I want Kimura? Or I'm actually looking
for a sankaku from the side so I step over that arm.
A lot of people think
I'm goin' for an arm bar. But you actually mislead them. You step over the arm, fall to the side, and now my knee is too
deeply underneath his back. It really should be under the neck. So then I shift my
weight over to the right. And try to make it into an arm bar. And that wasn't good either. So now I'm just takin' top position. Throw the other leg over. Pull him back. Reach for the collar. He does a great job hoppin' over that leg. But I still have his arm. Now he is burying his weight into me. And here I'm getting a little, I want that choke. Maybe a little too much. And by him pulling up on my knees he doesn't allow me to
shift my hip to tighten it. So I'm very close to a block choke here. Very very close. Almost too close. Because as I tighten that up I slide my right leg back and I push up. Now I might have tweaked
my knee right there.
It doesn't seem like much. I'm trying to counter balance
him with a big step up. And he rolls, but I'm too
committed with my arms. I'm too committed. And I'm forced. So I tweaked my knee and
it wasn't even worth it from that position. He goes reversing out
of belly into a toe hold but again, if it were brought up to my hip it would have more effective,
much more effective. So I'm just extending. And… He could transition into another technique but I do have both my legs over. Four fingers in the pant cuff. Check the time, adjust my
tactics based on the time. Sometimes I'll do something very risky. Oh he wants that heel but
I'm not gonna give it to him. I pull it back, I'm pulling myself up. Use that foot, extract. 'Kay. And the idea is to get
underneath that elbow. That's the priority. Underneath that elbow. Use my head a little bit.
The head on the elbow is
a little known detail. For the Americana. Sweat drippin' off me. I'm thinking about transitioning to the other side for the arm block. But I use my head to hold that in position and even though the arm was
in contact with the ground that's very tight Americana. Nice work Jorge, thank you. (fighters panting) That helps.
Thank you, Jorge. (gentle music) Jay and Anthony. So Anthony goes down to a traditional Newaza turtle position. In Judo if there's no
action for 10 seconds they'll stand you up. It's an incredibly
powerful defensive posture. Not impossible to defeat. And so Jay tips him over. This is very cunning on Anthony's part because he doesn't have
to deal with Jay's foot. And passing his guard and
getting around that stuff. If he pulls guard then it's not really that much of an issue.
Anthony's just kinda messing around here. Foot underneath the knee should always, the instep should always
be underneath the knee so you can check balance
and sweep if you need to. Instep should definitely
have a magnetic attraction to the back of the knee. So Jay's goin' for the slow and low. That is a tempo approach. Anthony's blocking him
and checking a little. Note, Jay has that top
half guard which is, then he opened, but
then oh, he's back to it and Anthony's back to his choke.
Just checkin' you decide. Trying to get a response. Now even though speed and
power go down over time as you age, sensitivity and
timing can always improve. Think about that. Jay really wants that head control. Anthony is okay. He has that hook underneath Jay's knee. Now he tips him out, see that sway? Just that little pull out to the right. Useful, you're checkin', you're checkin'. If Anthony can get a toe in it's very possible he could sweep you. He's so good with his legs. And he goes back to triangled legs. Lookin' for that lift,
lookin' for that lift. Jay gets a little room on that other side. And Anthony springs into action. So he slides his left knee
and then shoulders back. So important, shoulders back. Starts working on that Kimura/omoplata.
Mm, that is so money. Check this out. It's all about using the off balance to get where you want to go. Anthony pushes with his hand
and he's about at the extent of his reach, so then he
goes the opposite direction. He goes to seep Jay back and then the other direction,
the original direction. Left, right, right, left. So then he continues to push. Feed that overlapping
pressure from hand to foot. For the omoplata. – [Spectator] Nice! – [Roy] Beautiful, really nice. Hand extends. He gives himself a hand. Positions his leg. Overlapping pressures
from the hand to the foot. Shifts his hip a little
bit, comes up on that elbow. And he is well positioned
for that submission. Really, really nice, love it. – Everything feels fine to me. (laughs) – All right.
– Yeah.
You be nicer. – [Roy] Number two. Okay. With this reset it might be better if Jay didn't allow Anthony
to get any grip at all. And did something more
reminiscent like that X-pass that Alan's been doing. Anthony's doin' a great job
of just holding him off. He's not trying to dictate
the position too much. He's got that reverse De La Riva. Then he crosses his legs. A bit reminiscent of Jorge in his half guard. So a little sleeve control. Jay goes into a back step. I love those, when you
have the hooks underneath. It's fantastic. It's fantastic, you can
keep somebody elevated and off balance with your butterfly hooks. See, Jay's trying to extract that leg. By pushing with his left
knee into Anthony's leg. Hmm. Bottom of that pant cuff, so powerful. Let's take another look at that.
So do I defend the collar, do I grab? That nice bridge. Yeah, he's caught with
the foot but he extracts. And immediately Jay turns
over, exposes his back. Anthony takes his back. And he's not in a rush. He's not in a rush. Slides the leg in. Transfers weight to his elbow so he can come up and adjust his position. And feedin' from the side,
feedin' from the side. Doesn't need to get pure back. Now that's a more
classic back positioning. 'Kay. Pulls that down. He's patient.
And get that hand in there. Take off the hand that's blocking. And then use that to feed more deeply. So you don't need to be in a rush when it comes to these kind of chokes. Mm, this is so great. Death from above. That 45 degree angle.
(spectator applauds) Where Anthony can really
thrust his hips in. So he almost has it here. Follows Jay up top, then hit's that 45. Death from above. The knee goes over Jay's forearm. Which was blocking. He thrusts his hips down.
(spectator applauds) Body weight plus hip pressure. Great choke, very powerful. – There was not much I
could do to stick my– – [Roy] Anthony was sensitive. Jay was having a little bit of difficulty with tapping there. Sometimes your arms
and legs are both bound and it's difficult to signal a submission. So blocking. Blocking again, he doesn't
have to deal with Jay's guard if he gives Jay superior
position and then reverses.
Anthony gets that armpit
grip but doesn't go gung ho. Not 100% energy into it. It's essentially a kesa
gatame from the bottom. Or, you know, a head and arm. He tries to roll him. Jay steps. Anthony goes back the other way. It doesn't mean it's over. He's still got that foot. Mm, beautiful, beautiful reversal. Distracts him with a
choke and bowls him over.
Mm. Back step. There it is again. Back step as he grabs
that outside pant leg. But Jay, crafty as he is, Look at that, look at that. Foot in the gi feeds to
the foot on the bicep. It's a very high and powerful obstruction. And Anthony, he knows how to deal with it. Shucks out to the side,
the other leg come in. And he tries to get to the other side. If the foots on the bicep, the answer is not going to the right side. Now Jay's gettin' creative. Foots gettin' all up in there. You wanna go to a leg drag position.
By hook or by crook we are gonna get to
that leg drag position. Jay is still adamant about
having that foot in there. And it's difficult. So he's finding that to be a salvation, but then Anthony uses it against him. So he's pulling down on that tail but he's actually, yeah,
he's compressing it. He should've left it
a little more extended because now he gives Anthony the ability to hook around his neck. Then to relieve that he's
gotta give up the grip. Not much time, short time. He needs to just slip around that elbow.
Mm. Slippin' around that elbow. Beautiful fist choke, Ezekiel choke. And then he leans for it. (alarm beeps)
Oh. (spectator applauds)
With just a second to spare. Beautiful. – [Spectator] Nice. Oh!
(alarm beeps) (spectator applauds)
– Thank you. (gentle music) – [Roy] Aaron and Alan. Little bit of stand up. Oh to the Imanari roll. Oh stand up to the Imanari roll. Alan wants to go to his A position. He's got a lot of good positions, but definitely heel
hook is an advantageous position and submission for him. Or a leg lock system to
use Danaher parlance. Said by by Danaher. Aaron's gonna go double
under here with his arms and whether Alan releases or
he actually pries it open, he's ready to spring into action and then get to his best
position which is his guard.
Alan, sensing danger, goes immediately back into leg lock position. So it comes up. Look at how those legs
assemble right into the bicep. Really so precise. And Alan tries to go there but isn't able to secure that heal hook. See how Aaron blocked him there. Rapid over, mm. Mm-mm, mm-mm, mm. Almost got hook sweeped there. Tripod sweep. A little hand malfunction. But he tries cool. Not that big of a deal. Goin for the X-pass, he's so sticky. Aaron is so sticky. You wanna do an X-pass? Guess again, buddy. And on the way back, even if he lets go, on the way back as you're bringin' it in he'll trace your leg.
So very difficult, very
difficult to pass that. Mm, Alan blocks that lasso
guard pretty efficiently with his shin, I need to… It's a tiny base thing to do. I need to use it a little bit more. You know? Trying to escape, okay, yeah. So he does get, oh that was, this is such a gorgeous sequence. Telling Anthony I couldn't be prouder. This is so technical. Okay, so he steps, knee-on-belly position. Aaron has a foot in. Inserts the leg and then step away. He steps out like a single leg escape. Then holds on to those
ankles until Aaron tips. Oh my God. Really fantastic. Very technical. Aaron has great sensitivity
with that right foot as well.
Whether it's cupping
the bicep with the toes or then it switches
over, Aaron switches over to that other bicep for a second. Yeah, so I really like,
okay, Alan's circling that and then Aaron going with it. It's very Jiu Jitsu. – [Spectator] 5%. And Jarret Overgang definitely
deserves a shout out for some excellent camera work. Very physical camera work. It's not easy to do this job. So the first cameraman for
"Pure Rolling" was pretty good. And I think that Jarret
performed admirably. Look at this, Alan, I
don't even fully understand this interplay, he's hooked
there and then he switches to the other leg with his right. And wants to get that heel hook. He wants to get that heel hook going. Aaron will gladly take that.
He is a master of stepping
out of the X-guard. And oh, we got a nice cramp. Nice cramp there. We're back in action. With the second camera. So I'm not gonna be slowing
things down as much. Only 80% instead of 50%. Great guard pass by Aaron. He continues to drive down. Knee-on-belly position, but
he's a little bit light. Alan was able to ride that. – [Spectators] Aah! – [Roy] Remember that. Anytime someone goes
knee-on-belly and slides to mount bump 'em in the direction their heading. Doesn't have to be that explosive either. It's more about just
keeping that ball goin'. Keeping the momentum going. Aaron's on his back. Goes to shin on shin guard.
What do I want, the heel or the sleeve? Heel or the sleeve? The guard replacement
with the reversals are just so quick here. Blocks that heel, then a little tip, boop. And Aaron's up. Let's bring it back to the center. Gettin' a little close
to the bleachers there. Don't want any incidents. Alan with the cramp. Oh, beautiful. Boom, bum, bum, bum, boop. Right into, I mean it's
a classic flower sweep. I don't use that variation very often but it certainly is effective. Basics. Mount escape by Aaron. Aaron's left hand helped
and Alan's chasing it, which allowed him to create
space and he dismounts in search of Kimura, that didn't happen. Look at how aggressive his
legs are climbing all the time. And he's really workin' on that arm.
Hand in the collar. Just trying to get a basic angle. Just trying to get off center. And Alan does one of my favorite attacks stacking and choking. Which almost always compels him to open the guard and attack my arm. Oh my gosh. Searching for that arm bar. Weaving those legs around the head. Such a technical match. I think he wanted a foot lock there. And Aaron, beautiful,
beautiful guard pass. Look at how he gets his leg. He ensures, whoop, step around. Ooh, none of 'em can do that you know. And then he comes up on top. And in fighting for coming up on top he's able to secure the Japanese necktie. Kinda like a D'Arce
but a whole lot meaner. – Ooh!
(spectator applauds) Great work, guys. – [Spectators] Aah! – Ooh!
(spectators applaud) (gentle music) – [Roy] Aaron and Roy. Start standing. I pull him in. Do a little bit of a half-hearted shot but I actually want to pull guard. One reason is because
Aaron's guard is so good. I would actually prefer
to be on the bottom and then sweep to a top position where I don't have to mess
around with his guard.
So cross-grip, no I'll take
pretty low on his sleeve and then use my shin in
the crook of his elbow to get half sweep there. Sometimes you, it's okay
if it doesn't work out. It initiates action and opportunity. So I sweep. Pull that heel in. Go to single leg X. I would love to get a
toe press or foot lock but he straightened
his foot and rotated it so I could, oh but I fold
it up with the sweep. There we are, there we are, there we are. But the irony is I'm back in his guard. Trying to pass his guard. Very difficult. So he tips me over to that top corner. Beautiful off balancing there. Makes me catch my balance
with the hand then the knee. Now I'm thinkin', how am I gonna
get around this pesky foot. Maybe I should take the other foot. So left foot on the hip. And I just extend. I have a pretty good sensitivity with the straight foot lock. I keep my arm loose until
it's very, very low, and then I turn, turn, turn, turn, turn.
Arching the upper third of the spine is particularly important. It's particularly important when it comes to the straight foot lock. Most people throw the hips forward but they don't arch the
upper third of the spine. Straight from Mr. Harris. So now Aaron pulls guard immediately. And it's tricky, it's tricky. When he has that De la Riva hook I try back stepping. And we've rolled many many times. I tried back stepping into that knee bar. But I can't really isolate one leg. He's messin' with the other leg. His other leg is messing behind my knee. So I can't index his kneecap against either my inner thigh or my hip. I was really pulling there
trying to make that happen. So I go back to the well. I want that knee. I would rather not pass his guard.
To get the knee, he
circles that leg around. So I come up. I go back, I'm just trying to
get my hips below his knee. He's trying to keep
his knee above my hips. And then he circles
around with the right leg. So it's a little bit messy. And he's goin' for my legs. Drop weight into my knees. He's really good at off balancing. So, see how he pushes
into me with his leg. Oh, and I was able to squeak
into that heel hook position. Now I don't know, maybe I
should've tapped right there. It wasn't, it was close. It was close, I definitely felt the bite. As he spun under, that's
such a nice little corner to access the heel hook.
I separate the legs and free my knee but it was definitely, it
was definitely made me think. So that was good, now I just
need to get over that knee. I'm trying to bear down weight on him. A lotta pressure, a lotta pressure. Oh, all the way into north south. Look at this. I let go. Throw his legs by. He wasn't able to find
perch with his foot. I also find that collar from north south, which allows me to the bread cutter choke. And then use that choke with the transition to mount to finish.
North south is definitely
the place to get that, that initial grip by the shoulder before the thumb grip comes in. Little bit of grip fighting. It's gonna be difficult to get under Aaron's center of gravity so I have this idea to do a Kata Guruma. The only problem being
that it was pretty bad. Sets up for a reverse
triangle and then a Kimura.
It's pretty bad. I just thought, ah, maybe I
should go for a Kata Guruma. And… Against Aaron with his triangle and his, that was an experiment. And that's okay because
we're amongst friends but just know, if you wanna
be successful with something even as a black belt,
you need to practice it a whole lot more.
A whole lot more. So he gets a little bit of a lasso. I square up with him,
I use my knee to clear on the left hand side. He tips me up. Nice sweep actually. That was beautiful. Normally I can catch my
balance but not this time. I come up. I blend with his sweep with a back step. Push my weight down, pin his legs. – (laughs) No. – [Roy] Single point of pressure. Single point of pressure. And then I put my
shoulder into his sternum. Step over choke. Can't get it the first time
so then I go knee-on-belly. Kill that bottom arm, step over choke. It's so important to get
rid of that bottom arm. And then you can step over into it. Awesome, thank you Aaron. Whoo. (spectators laugh) (spectators chattering) – (laughing) No! (Aaron pants) – Thank you. (upbeat music).
