PlayJazzGuitar.com Forum

[Sandemose]

Oki doki
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[steve]

Interesting and honest review. Appreciated.

It stirred up a strong sentiment within myself.

I love to listen to innovators in the jazz idiom, and often get very excited by where they take the music and what I can steal for my own playing.

I like, even love, to hear the progression of jazz music as it's boundaries widen and the colour palette becomes more expansive.

Artists who's music I crave would include Miles, Coltrane, Brecker, Metheny, Hancock, Branford Marsalis and now (thanks to this forum) Heckselman, Hoenig, and the list goes on.

All of these artists, to my ears, have built upon and personalised and furthered the jazz language. When they play you can hear the depth of their understanding of the jazz genres and it history, it's language.

And now I get to my point. I cannot understand the mentality that seems to be popular within some circles of trying to keep away from anything that has gone before.

What is with this, "I'm so damn hip that you won't hear a single reference in phrase or note choice to any of the great playing that has gone before. I'm so original I build only on my own ideas".

Quite frankly I find this type of music very emotionally cold, and even harder to relate to.

Anyway. I just wanted to share that and maybe get a repsonse.
My opinion is always right, and if it's not I'll change it to the right one.

luv
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Miles is the answer.

[Jens]

@Igiro

This is an interesting experiment, I am curious if you will feel the same if you keep listening for a few weeks. I think that hearing a climax in a solo or composition demands an understanding of the music.
I am not sure, but I guess the first time I heard Scofield I was more puzzled than amazed, something ala "blues with wrong notes and chorus??!?!" )
I've had this several times that I had to take a few times to listen, or that I would come back to something and suddenly get it.

Jens
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[Tung]

I wonder if he played an archtop through a Polytone instead of using distortion and a Klein guitar, would you have a different opinion?
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[Jeffrey_Burr]

Igiro - "I'm doing something different here" - doesn't this kind of angle go back at least to Ahmad Jamal? Seems like this, along with "the old rules are gone" pretty well sum up what jazz is. or does. or something. The need for solos to be structured after sexual acts is ...ahem, interesting. I personally don't hear this as being a general feature of great jazz, although it does mark the work a few particular players, most strikingly Wes Montgomery. Oscar Peterson somewhat but less so. Of course these guys have the sense not to do that in a ballad, and I love playing ballads. Nothing like dealing out a good cry for the old folks, with a song about love or vulnerability or death.

A great teacher of mine once said "Burr, you try to lift off on every song, don't you?". Thank you Rufus.

All I need is a good narrative. A story, a joke, some sweet talk, whatever. Have a great Thanksgiving, those of you who are celebrating.

[Tung]

I'm glad you gave it a chance. some people would just write off something foreign to theirs usual taste. I think your assessment is pretty fair.
The Holdsworth legato thing can get a little monotonous if the player is overdoing it, but it's such a powerful approach for the guitar to sound like fluid horn style blowing.
Tim can play over standards, but what he does over them is definitely his thing. There's a Youtube video of his trio blowing on "Solar", it's my favorite clip of his, you can hear a lot of his arpeggios and triadic concepts on there.
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[GambaleSweep]

i like very much his rhitmic way to stay inside a tempo, but melodically i don't know sometimes he seems too me too much extreme...