Bare Knuckle Pickups Forum
At The Back => Time Out => Topic started by: choucas09 on March 10, 2010, 04:31:54 PM
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through the camp, check out this for one of the finest jams I've seen.
http://www.youtube.com/watch?v=JD4ktyEJw2I
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Wow ! Inspirational stuff. :D
I especially like how the 'event' emphasises the qualities and methods used to give such a tight yet spontanious collaboration ; and something very unique to glean from each of them as very different players. I will be putting that on 'Replay' a few times, both as audio backdrop - and then enjoy going back for the visual 'reveal'.
Having been recently enjoying the more '3D' experience of ( relatively mellow ) round wound strings on my own guitars ; that video also reminds me of the sheer elegance and '" I don't sweat when I play" tonal quality of flatwound strings. A great tutorial, and inspiring reminder that playing the music inside you is a pleasure that is potentially enhanced and not negated by the passing years.
Thanks for posting ! :)
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Well thanks for enjoying. Listen I suggest we keep this thread open for Jazz postings even if it's just me and thee. Here's some dez Wes.
http://www.youtube.com/watch?v=_MNNox5HeN4
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:D :D :D
If the first clip was 'Interesting' - then that Wes Montgomery was absolutley gorgeous !
It was just so consistently 'In the pocket' - from his cool kick off, through his smooth tone - and economic / tasteful phrasing. It was the first time I had ever heard him speak - and actually appear like a 'regular guy' - after all the iconic images and tunes that have represented him over the decades.
There were a few of other enjoyable things I wanted to mention too :
Firstly, that in the trio setting - and with his style of playing - it helps me demonstrate to others what I mean by saying the Jazz guitar is a great way of playing piano-esque , if you already love the feel , intimacy and tone of the guitar. To be as much focused on the melodic and harmonic potential of a small area of fretboard, as if hunched over just two octaves of piano keyboard.
Also, what puts the 'Family size' Archtop / Jazzbox close to my heart - is that sense that you have to get intimately involved - to physically / manage and embrace the thing - and play instead of pose , to play clean - and slowly learn to grab a listener's ears by 'teasing with tensions' - instead of baffling with bombast.
I certainly agree the thread should be an ongoing one ; although you certainly appear to have a firmer finger on the pulse of video selection than I ! :)
You have also done me a great favor ( via the brainstorming caused by those two excellent videos ) , by helping me realise in what way my two Archtops will be used tone / style wise. The Manhattan loaded ( and quite huge ! ) 'Vintage' to be flat wound , and mostly played through the Phil Jones Acoustic amp - whilst the AII Stormy Monday loaded Ibanez - to be the 'perky' round wound ready to be played through just about anything. The Manhattans are in no way limited to the smaller acoustic amp, but I figure that warm, smooth and intimate go together - whilst the Stormies have enough extra 'zing' / crossover ( and Humbucking ) to also drive a larger amp, and 'Be-Bop' harder, when I eventually start adding single note improvisation disciplines to the foundation of chord melody playing. Especially as I am finding that learning Jazz , is much more fun and manageble, when you take your time over it ; to think in years instead of weeks or months.
Cheers Choucas ! :)
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Hooray for wes. thanks for showing me this, i didn't even finish the video, went right for my guitar to dive back into my chord melody voicings then went into joe pass' old straigth 8th note melody exercise.
took the progression i had just learned to harmonize, played it back in my head (for lack of a tape recorder) fired up the metronome for a steady tempo and just played 8th notes according to the chords. very fun. the progression went Fma7 A7 (this is already a fun change to play with, minor third becomes a sharp nine... and i could go on and on with all the different possibilities...) then BbMa7, Gm7. Dm7 G7 Gm7 C7. it's quite a challenge to play something meaningful without any rythmic crutch :D
you should try that as a good single note improvisation routine Fourth Feline, plus it's Joe Pass approved!
All in all. this was a good half hour and it made me feel good. thanks for the video! (I'm sure my enthusiasm is pouring all over this message, haha)
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Good on yer Kev. I just tried that progression, I just love how jazzers can tease so much complexity and suggestion on their harmonic journeys and still remain cooler than a motherf*cker.
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Please may I join your Jazz Club?
Don't know if you've heard any Jimmy Bruno, but I highly recommend a listen. Clip is below:
http://www.youtube.com/watch?v=Pgxyb9E0YRw
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FB you're in with a bullet with that clip. Bloody wow!
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Thanks! Bruno's a monster, not as swinging as Wes but for full-blooded passion and chops he's one of the best still alive. If I can recommend some of the lesser known jazz players and my favourite recordings of theirs the list would be as follows:
Jimmy Bruno - Live at Birdland Vol1, Burnin'
Rudy Linka - Always Double Czech (I think this is the best lesser-known jazz guitar album in existence, one tasteful player)
Ron Affif - Ringside (another monster but with a great delicacy about his playing too)
Bruno's already big news Stateside, but I'm on a personal mission to promote Rudy Linka - he's a great player, has the most stunning tone and is a lovely bloke - I tracked him down when I went to New York back in 2001 and had a lesson with him. Mind-boggling. Bearing in mind he had personal lessons with (and is friends with) Jim Hall, John Scofield and John Abercrombie, I think I got about as close to the source as I could. And guess what? The message is the same I've heard from every pro - keep it simple, stay in the pocket, nothing wrong with pentatonics, think chord tones more than you think scales, if it's hard just don't play it!
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"An embarrassment of riches " there chaps . :)
Thanks for the heads up on the Joe Pass inspired idea / chord progression / ideas Keven ; I must grab 'the furniture' when I'm more awake tomorrow - and re-read your post. I did so enjoy your enthusiasm - and indeed, that is what I love about a lot of folk involved in this beguiling genre : it's the sheer love for the music , the possibilities at the very core- and much less 'The smell of the greasepaint and the roar of the crowd'.
As for Jimmy Bruno Fbloke , spot on indeed ; :D especially as I had recently bought ( and partially started ) on his excellent tutorial DVD " No Nonsense Jazz Guitar". I really like how he approaches the melodic improvisation side of playing and teaching, with that same street savvy way that Joe Pass did his own thinking . Even the early demonstrations of II-V-I coverage, just drip with a lovely melodic sensibility - and not just technical acumen. Also, what a character eh? Sounds like you've hit the main artery in your own personal / musical experiences too ! I will investigate Rudy as well. :)
The Jimmy Bruno 'You Tube' clip you attached, being a perfect example that even 'at speed' - the spontanious melodies he generates pull you in wonderfully. Having seen that , I am overwhelmingly tempted to allocate a large part of my 'wood shedding' time to the Jimmy Bruno tuition. His online guitar academy comes well recommended too, but at my novice stage, I would take a very pleasurable year or so to even do justice to the first DVD I own. The chap I wanted to name check and thank here ( Matt Otten ) is probably 'old hat' on You Tube , but remains one of the people who's tone and relaxed feel appealed to my sense of the delicate and relaxed - and thus helped fuel the beginning of my own journey into Jazz. He also responded to an e:mail of mine with great courtesy - and love for the music . I have his Smooth Jazz backing tracks package ; but more often than not - just ended up listening and chilling instead of jamming. The jamming part can wait until I can do it more justice . :lol:
http://www.youtube.com/watch?v=419azIans2o
Choucas, I think you have started something remarkable here ... 8)
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One more thing : I love the feeling of this one, I found whilst researching the song ; especially after the 2:04 mark:
http://www.youtube.com/watch?v=JgUgCAt0pZE&feature=related
Some of Chet's later phrasing , reminds me of the haunting saxophone intro / fills on the title track of the Tom Wait's album 'Small Change' .
I actually wanted to find an attachable version of the Chet Baker Trio : 'Estate' album's rendition of M.F.V. I heard on 'Spotify' - because the guitarist ( Philip Catherine ) takes his work on this track somewhere lovely - and of course the Bassist ( Jean-Louis Rassinfosse ) is stunning too. However, I am just going to hope that you get to hear that rendition somehow.
I know the Legendary Miles Davies has covered this sort of ground more famously, but Chet Baker has been one of those recent findings for me, who seems to better cover the feel of where I would like to go with my own development.
Smoother than a silk worm's tie... 8)
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I couldn't find Live At Birdland vol 1 on Spotify though they've got vol 2. Anyway they had Burnin' from the album of that name. Exciting stuff, Jazz with a toe in the Rock n Roll camp. Loved it. Loved the quote too. " And guess what? The message is the same I've heard from every pro - keep it simple, stay in the pocket, nothing wrong with pentatonics, think chord tones more than you think scales, if it's hard just don't play it!"
I'd never heard Matt Olsen before, but that clip was divine. An object lesson in how to be restrained and totally free at the same time.
And ah Chet baker, that's tone. I liked the bit at 1.58 where he put a bit of growl in it. Also checked the Spotify trio version. He was a talented bugger wasn't he.
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How bout some Ella. Some purists used to say she was too joyful for Jazz. Yeah...., kiss my swingbag.
http://www.youtube.com/watch?v=X1DKFGwX1s8
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How bout some Ella. Some purists used to say she was too joyful for Jazz. Yeah...., kiss my swingbag.
http://www.youtube.com/watch?v=X1DKFGwX1s8
Oh Yes ; :) there was a woman with both a brake and an accelerator !
Jazz is indeed a ' broad church' - and as you said Choucas ; it's 'high kickin' aspects can get a bad rap from some purists. Sadly ( and one of the reason I'm not a Jazz forum man ) - the purists, intellectual snobs and cork sniffers can tend to kill it for a lot of people. I prefer smooth / reflective , because I'm not really built for speed :lol: - but as with all styles of music , I appreciate those growlin' and snortin' Ferraris amongst us.
I remember once reading that if you wanted to hear the definitive structure / version of any Jazz standard - you were told to check out the eight Ella Fitgerald "Songbook" albums. A great talent - and a great heart. :)
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I Myself am quite fond of Mike Stern, while being not too traditional jazz, he's got unmistakable tone and the songs have quite the groove. especially live with extended jams
Jimmy Bruno is a good example of speed and taste. that guy can go in the background for all a tune and at the turn of a tone knob he's a blazing soloist.
I'm happily enjoying my recently restrung jazzbox with 13-56 roundwounds. this guitar was -meant- to have this gauge. I'm more of a rock player and i felt i was bending too much, so i'm practicing all my improvisation on this guitar nowadays... it's a good way to focus on the notes and tying it all togheter. plus i'm also working up my inversions and starting to get into substitutions. i discovered the bV7 sub for a dominant chord that resolves to I. i always heard that trick but i understood it this morning.
the best thing about this, i was getting tired of practicing scales and arps all the time. i was barely practicing, but with all this chord melody stuff and voicings and substitutions, i've clocked in 2 hours yesterday -evening- and one this morning. it's been a while!
thank you jazz :D
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I felt I was bending too much, so I'm practicing all my improvisation on this guitar nowadays... It's a good way to focus on the notes and tying it all together. plus I'm also working up my inversions and starting to get into substitutions. I discovered the bV7 sub for a dominant chord that resolves to I. I always heard that trick but I understood it this morning.
the best thing about this, I was getting tired of practicing scales and arps all the time. I was barely practicing, but with all this chord melody stuff and voicings and substitutions, I've clocked in 2 hours yesterday evening- and one this morning. it's been a while!
thank you jazz :D
:D
Sorry to distill your full post to that last bit Keven ; but you certainly hit the nail right on the head in those last two paragraphs WHY this 'project' is so rewarding and helpful.
The fact that we end up doing all the stuff we really should have done years ago , NOW - and willingly ! The 'Magic' being revealed in the recent studies - generates it's own sense of wonder and enthusiasm, in a way that also pumps fresh blood into any other style(s) you enjoy . The more you understand, the more you want to do ; and the more you surprise yourself at being now able to do - the more you want to find out how much the next insight could carry you forward. :D
I am really chuffed your Archtop re-string and 'sanctification' turned out nice too. I was wondering how that was going.
Like I mentioned in another thread , it's the dreaded "K.A.S" - ( Knowledge aquisition syndrome ). :lol:
Thanks again to Choucas for kicking this one off ; as it's really nice to get a chance to chew the Jazz / general musical development cud on my favourite forum - as we seem to go about things differently on here ; sociable and exploratory - It's never a Pi**ing contest. :)
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Great vids especially wes, all out of a thumb.I love his tone and his hit song bumpin'. You can here him in george benson. I'm not a jazzer, find it a bit highbrow but when it bleeds into the country styles of brent mason, danny and
chet i love it.
what a wonderous instrument.
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the only bad thing about the archtop restring is that now the missus loves that guitar even more, she says it's less zingy, and is easier to play.
This is why i love this forum, everyone's quite the gentelman in every subject. I'm sure we're not alone to be loving jazz,it's a style that can appeal to all ages too (I'm still just in my early 20's...) and be truly appreciated.
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Gold dust muchachos. Tell me if you've ever seen a better live performance than this.
http://www.youtube.com/watch?v=9xc7r12tfOc
Oh and yes Keven, absolutely on your last statement. I mean Jazz is varied, like classical music. There's something for everyone.
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Yep, jazz certainly is varied. Benson is a genius, great clip. Now then, have you been practicing your arpeggios and de-tuning tricks...?
http://www.youtube.com/watch?v=UXDDQNeSlHI
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Jesus H Christ! That's one of the greatest guitar solo's I've seen. Nice one FB.
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I loved the ensemble magnificence of the George Benson / Robben Ford video ; two guitarists that on certain 'other' forums, seem to either get criticised ( Robben ) or in George's case - his genius on the instrument overlooked because of the less enlightened listeners focusing on his relentless assault on the top 20 charts during the 70s and 80's with the purely vocal / pop stuff. The first and most effecting encounter I had of his playing , being the way he opened up one of the tracks on the 'Weekend in L.A.' album ; with some lovely scalar runs, which settled into a lovely slow instrumental groove. Forgive me not knowing the title, it was 30 years ago. :lol: He was on (UK) daytime chat show 'Loose Women' the other week, but his genius was ( yet again ) reduced to an upbeat pop song - and him generally being a Laaadeeez man ... 8)
Incidentally , do any of you other older chaps remember that ultra Suave French Crooner Sacha Distel - was an accomplished Jazz guitarist- before something ( accident ? ) made him have to put the guitar down.
The Gypsy Jazz guy that Fbloke posted, seemed to have confirmed that the exponents of that genre have stockpiled massive amounts of amphetamine compounds. Gypsy Jazz not being my usual cup of tea, but a stunning perfomance.
My own perennial favourite for ensemble playing and good Jazz vibe - is 'Night Sweats' by Larry and his boys. Forgive me if this is a 'repeat' on the forum. All the contributors are great, but that drummer must be the the most infectiously gleeful dude I have seen in a long time. The same guy also being the 'looky-likey' - and enthusiastic equal of a Funk Bass player I used to know - before he found Evangelism and Emigration ; both of which sadly precluded many of us from his 'permitted' social circle. Well, less nostalgia - and more 'Toons' . " Here's Larry ! " :D
http://www.youtube.com/watch?v=jNIXVw_kni4
(A Blooozy set of hounds that will not let the Jazz out of their teeth ).
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Larry fan here too. That was a blinder, it killed me at about 7.05 when he gave it so much welly he knocked the 1st string out of its saddle.
Saw him twice a few years back. 1st time with fourplay, second time with Robben Ford, both times brilliant.
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That was the best Larry Carlton I've heard by a country mile. He spends a lot of time with repeating figures, wringing so much soul out of relatively few notes. Gorgeous.
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If my last offering was gold dust then this is the Koh-I-Noor. An obviously minted student rocked up to Minton's one night in the 30's with his direct to disc recorder. The tradition of Jazzers doing their gigs and then jamming after hours was already well established and Minton's was THE after hours club for NY (Harlem). Anyway luckily for moneybags and more importantly for us a young jazzer with the newly emerging electric guitar rocked up there too. Charlie effing Christian jammin!
http://www.youtube.com/watch?v=oXV7AvS_DzU
This is the only one folks, the only recording of CC after-hours.
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If my last offering was gold dust then this is the Koh-I-Noor. An obviously minted student rocked up to Minton's one night in the 30's with his direct to disc recorder. The tradition of Jazzers doing their gigs and then jamming after hours was already well established and Minton's was THE after hours club for NY (Harlem). Anyway luckily for moneybags and more importantly for us a young jazzer with the newly emerging electric guitar rocked up there too. Charlie effing Christian jammin!
http://www.youtube.com/watch?v=oXV7AvS_DzU
This is the only one folks, the only recording of CC after-hours.
I must admit to being naively, but pleasantly surprised with that Choucas ( so thanks ! ) -as I rather foolishly assumed he had not 'cut his swathe' during the commercial recording era. I really must pay more attention to the real world. :lol:
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I've been following this thread with a bit of interest and I've got a question...
...where's the best place to start with playing Jazz? I've always been dead impressed by the more chordal playing rather than the lead stuff (I've bluffed it before, pentatonics with a few 'wrong' notes). I can't explain what I can hear in my head. I learnt to play by listening to Punk and playing at a million miles an hour so any pointers would be really nice :)
Paddy
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When I first started playing around with jazz it was really by being flung in at the deep end by a lecturer that taught me guitar at uni, when he asked me to play with his band at a gig when I was in the audience.
I got up, the clarinetist said "there's a chord chart, it's blues with more notes, you'll be fine" and we were off. Since then, that's pretty much how I approached jazz, chord wise, which obviously isn't something that many purists would dig, but I found it an easy way in to the general vibe of things, note choice and voicing wise. Started playing 12 bars with walking bass lines and forcing myself to play a new chord (or inversion) on every beat with extra melody notes amongst them. After a while playing around with those ideas I started actually learning playing around with the more common jazz progression which was easier than I think it would have been, since I already had a few bits and bobs I could use that I'd adapted from what I was already familiar with.
Alternatively, learn some standards and play around with voicings. Generally, knowing lots of voicings and inversions gives you plenty of room to spice up chord progressions and give them a jazzy vibe, to the less discerning ear, anyway :lol:
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I've been following this thread with a bit of interest and I've got a question...
...where's the best place to start with playing Jazz? I've always been dead impressed by the more chordal playing rather than the lead stuff (I've bluffed it before, pentatonics with a few 'wrong' notes). I can't explain what I can hear in my head. I learnt to play by listening to Punk and playing at a million miles an hour so any pointers would be really nice :)
Paddy
We had a chat about this in the ' Alnico IV Stormy Mondays in a full hollow archtop' thread, ( currently on page 2 of the 'Players' section. I was mentioning in what gleefully amateurish way, I approached it. I hope that holds some of the ideas you might be interested in expanding upon . It certainly 'dovetails' in with what nfe just mentioned :)
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Wow who'd a thought that NFE would turn up in this neck of the woods! Big welcome aboard mate. I'm sure with your as of now evidently diverse musical taste background you'll come up some interesting posts for this section. Rack em up you Pict.
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Started playing 12 bars with walking bass lines and forcing myself to play a new chord (or inversion) on every beat with extra melody notes amongst them.
that's quite the tip there man. i hadn't thought of it like that. this is a good way to get my students to use the different inversions i teach them instead of just blowing through standards :D
''okey, let's go over a 12 bar in C with I IV V but we'll twist it like this.....''
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Started playing 12 bars with walking bass lines and forcing myself to play a new chord (or inversion) on every beat with extra melody notes amongst them.
that's quite the tip there man. i hadn't thought of it like that. this is a good way to get my students to use the different inversions i teach them instead of just blowing through standards :D
''okey, let's go over a 12 bar in C with I IV V but we'll twist it like this.....''
Yes ; now I am more awake to better re-read your posts ( nfe and Keven ) - that would indeed be a great idea if I ever got asked to 'Back up' a in Blues / early R&B band again. One of those great ideas that initially reads so obvious , yet the reader ( me ) had not thought about it in that way ; to keep changing voicings constantly and throughout - instead of a two or three on the change of I IV V. Nice one ! :)
And Keven, I didn't realise you were also an educator . Another great angle / source of ideas. :)
As Choucas remarked, it's great for the ;Geezers' on this thread get diverse input from those with a fresh perspective and eclectic tastes / styles . It enriches and expands this particular 'musical soup' quite delightfully . :)
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http://www.youtube.com/watch?v=c5VzbQQEQo0
Dont ask me, I only post here!
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http://www.youtube.com/watch?v=c5VzbQQEQo0
Dont ask me, I only post here!
Yes, I certainly see what you mean with that one . :)
It would have been interesting to see the principal player expanding on his ( Allan Holdsworth flavoured ) ideas more , in 'extreme close up' . As well as the noted Jazz orientated approach to his lead playing, If one concentrated on things like his choice of guitar , physical relationship to / with the guitar , chosen tone - and his choice of chord voicings, ( notably those 'piano' type , long finger stretches to keep the chord tones aurally compact and more subtle ) - it really was as I could imagine the potential band line up of :
" Alan Holdsworth and (angry) friends - Live ! " . :)
Whilst I am not suggesting the gentleman in the video was knowingly plagiarising anybody else's ideas - that was a great example of how much music can evolve and entertain in new and exciting ways, when there is 'bleed through' between the less obvious camps. He had certainly absorbed something other than the 'usual' by Osmosis . A tradition of 'unlikely secret Jazz smugglers' , exemplified by old guard Metal players like Tony Iommi - amongst others.
Jazz to scare Granny with . :lol:
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Funny you should say that, I was listening to "Planet Caravan" earlier and I'm always so impressed with how he handles that guitar solo with the grace and consideration of a "real" jazz player. I've always loved jazz, and have never really dabbled myself but always having been a blues/funk guitarist at heart, it's definitly an area I'd like to explore.
Some absolutely sublime playing in some of those vids.
Can I offer "In a Silent Way" by Miles Davis as an example of really spacey, tonal guitar exploration? Best listened to whilst lying on the floor, IMO!
http://www.youtube.com/watch?v=MMINC9EOZME (http://www.youtube.com/watch?v=MMINC9EOZME)
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Funny you should say that, I was listening to "Planet Caravan" earlier and I'm always so impressed with how he handles that guitar solo with the grace and consideration of a "real" jazz player. I've always loved jazz, and have never really dabbled myself but always having been a blues/funk guitarist at heart, it's definitly an area I'd like to explore.
Some absolutely sublime playing in some of those vids.
Can I offer "In a Silent Way" by Miles Davis as an example of really spacey, tonal guitar exploration? Best listened to whilst lying on the floor, IMO!
http://www.youtube.com/watch?v=MMINC9EOZME (http://www.youtube.com/watch?v=MMINC9EOZME)
Thanks for that ;
I'm listening and enjoying it right now. :)
I love one of the appreciative comments left on 'You Tube' : " Lie on your bed and levitate " . :lol:
P.S.
Blues / Funk Cerpintaxt ? - now that's cool stuff ! 8)
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Cynic is the closest thing metal can be to jazz. well, if you forget to-mera (great british prog band with nice jazzy interludes followed by ridiculously heavy stuf...) but i think cynic tend to be more subtle about it, where in to-mera it's all very segmented.
if we go on that edge one may also count Death's ''Human'' and ''Individual Thought Patterns''
jazz is a theory. metal is a tone. mix both and you get alot of neat stuff :D
I really like listening to pat martino when doing solder work or anything tech related, i find all that swingy feel with alot of notes to be awfully relaxing when looking at a schematic or doing some PCB soldering :D
http://www.youtube.com/watch?v=1GcWqKWxg5Q
i just love ''CD skip'' tricks like he does at 1:08 ish. it's building tension, but with something else than just 'tense notes'... the actual lick becomes tense because it keeps going... going... going.... hellooo?...please! resolve?...pretty please?.... WHOO. there it goes.
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Aha.. page 3 and we're now onto Holdsworth and McLaughlin.
Here are some of my favourite clips of these guys.
Both from Yorkshire.
Must be something in the water.
Malt, hops & yeast would be my guess ;)
Holdsworth:
http://www.youtube.com/watch?v=Q6iXQUr6RZg (http://www.youtube.com/watch?v=Q6iXQUr6RZg)
http://www.youtube.com/watch?v=DWpAFvHduPE (http://www.youtube.com/watch?v=DWpAFvHduPE)
McLaughlin:
http://www.youtube.com/watch#!v=w4W9q0v5Gdc&feature=related (http://www.youtube.com/watch#!v=w4W9q0v5Gdc&feature=related) <- this clip has Matthew Garrison, son of Jimmy, on bass.
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Jazz is a theory. metal is a tone. mix both and you get a lot of neat stuff :D
I really like listening to pat martino when doing solder work or anything tech related, i find all that swingy feel with a lot of notes to be awfully relaxing when looking at a schematic or doing some PCB soldering :D
http://www.youtube.com/watch?v=1GcWqKWxg5Q
i just love ''CD skip'' tricks like he does at 1:08 ish. it's building tension, but with something else than just 'tense notes'... the actual lick becomes tense because it keeps going... going... going.... hellooo?...please! resolve?...pretty please?.... WHOO. there it goes.
I Liked your statement / as emphasised above ; nicely put . :)
The Pat Martino really appealed too ; and came in the wake of me reading a brief article on his way of seeing the fretboard, based on visualising /executing / altering everything he does around the 3 diminished chords by the single semi-tone required to make them Dominant, Major or Minor. I realise this basic idea may be 'old hat' when doing the same thing with any dominant 7 chord ( especially to you Keven ) but the beautiful diagrammatic form of the underlying relationships, revealed the philosophy wonderfully behind his ability to be scary fast , fluid - but essentially never run out of extended lines. As with your own appreciation of the tune presented there - and akin to Jimmy Bruno , he still manages to make it sound melodic and sweet. Not bad for a man who had an accident causing a degree of brain damage, and essentially had to start all over again. The 'cd skip' motif you pointed out at 1:08 made me grin too. Very clever Mr. Martino . :)
I had ( understandibly ) decided not to delve into his work / methods until I had first made amends for my lack of the basic scale and arppegio foundations . To re-learn to walk, before running.
I noticed that performance seemed to have ( as it's opening framework ) the evocation of Miles Davis's ' So what ' ; with that four chorus Dm, Dm , Ebm, Dm ( repeat ) modal pattern / riff. I did not check that on my guitar, but it certainly seemed at least similar. I look forward very much, to ( eventually ) having enough under my belt to study Pat's methods.
Thank you for posting that inspirational piece, it's combination of 'traditional' darker Jazz tone - and sublime , melodic flow, being right up my street. :)
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Aha.. page 3 and we're now onto Holdsworth and McLaughlin.
Here are some of my favourite clips of these guys.
Both from Yorkshire.
Must be something in the water.
Malt, hops & yeast would be my guess ;)
Holdsworth:
http://www.youtube.com/watch?v=Q6iXQUr6RZg (http://www.youtube.com/watch?v=Q6iXQUr6RZg)
http://www.youtube.com/watch?v=DWpAFvHduPE (http://www.youtube.com/watch?v=DWpAFvHduPE)
McLaughlin:
http://www.youtube.com/watch#!v=w4W9q0v5Gdc&feature=related (http://www.youtube.com/watch#!v=w4W9q0v5Gdc&feature=related) <- this clip has Matthew Garrison, son of Jimmy, on bass.
Stunning and innovative playing by those South Yorkshire chaps. Add Bill Nelson and his 'Adventures on a Yorkshire landscape' (Live) to that list too of course ; both geographicaly - and the approach to the ( gorgeous ) solo.
Bear with me on this one chaps; because I LOVE this flowing version of the( two part ) solo / track. Perhaps more Jazz influenced, than all out Jazz ; all musos involved being talented too. The keyboard solo sitting between Bill's own solo sections, working beautifully too .
The meat and potatoes cut in at 1:45. I melt to how he 'floats into view' on a gentle sustain, then brakes and accelerates thereafter.
http://www.youtube.com/watch?v=CjiArdooBi4
I liked J.M's relative restraint in the piece that Gingataff posted. Sadly, I can attest that the water in my part of Yorkshire does not have the same 'Elixir of couth' in it. I would like a bottle of what relatively local lad Adrian Ingram drinks as well. I tried adding the malt and hops, but it only made matters worse.
Yorkshire Jazz : " Reet nice " :lol:
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jazz is a theory. metal is a tone.
I couldnt disagree more. They're both both, or either.
They are each different vibes and attitudes.
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I liked J.M's relative restraint in the piece that Gingataff posted.
Is that a challenge? 8)
Here's J.M. showing a lot less restraint:
http://www.youtube.com/watch#!v=Om6HDUKBbzE&feature=related (http://www.youtube.com/watch#!v=Om6HDUKBbzE&feature=related)
And and interview
http://www.youtube.com/watch#!v=V28V-_9jBWQ&feature=related (http://www.youtube.com/watch#!v=V28V-_9jBWQ&feature=related)
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I liked J.M's relative restraint in the piece that Gingataff posted.
Is that a challenge? 8)
Here's J.M. showing a lot less restraint:
http://www.youtube.com/watch#!v=Om6HDUKBbzE&feature=related (http://www.youtube.com/watch#!v=Om6HDUKBbzE&feature=related)
And and interview
http://www.youtube.com/watch#!v=V28V-_9jBWQ&feature=related (http://www.youtube.com/watch#!v=V28V-_9jBWQ&feature=related)
I probably phrased that wrongly ; it was not a comment on his undoubtable passion, speed and dexterity, but the way he 'book ended' that with the maturity of being very very much the 'group' man ; the maturity of being an ensemble player , as opposed to certain other players / styles in which it is, the main man**, the main main, the main man, and if the band are lucky, they get a look in too. definitely meant as a compliment at the time. :)
He's from Yorkshire, he can do no wrong... :lol:
( ** or woman ).
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I'm enjoying all the clips. How's this for a tasty trio?
http://www.youtube.com/watch?v=lwhkPSEXs1Q&NR=1
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Enjoying this version of the next song I want to arrange for solo guitar.
http://www.youtube.com/watch?v=INEUHCbCWwM
I have had a longstanding appreciation of this Lady, ( Who 'our' Tim toured with in '95 and 97' :D )
The added bonus on this version, being that ( to keep it on topic ) - Martin Taylor guests on guitar . I tend to prefer emotive to overtly technical Jazz.
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I can well imagine one of your tasteful and rather beautiful arrangements of this. Lovely to see Elkie again and as for Martin Taylor, he's a bit frightening isn't he. I've heard him do some of the most ridiculously difficult stuff whilst making it look as if it was costing him no more effort than scratching his neck.
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I can well imagine one of your tasteful and rather beautiful arrangements of this. Lovely to see Elkie again and as for Martin Taylor, he's a bit frightening isn't he. I've heard him do some of the most ridiculously difficult stuff whilst making it look as if it was costing him no more effort than scratching his neck.
Thank you for that encouraging description of my novice quest Choucas, much appreciated indeed. My need to learn and express , being borne of wanting to ( not surprisingly ) learn and express, as opposed to the "Look guys you really should be listening to me do this ... " :lol:
" Serve the music" as my current avatar caption reminds.
I originally chose it, as I am trying to build a narrative / thread through my rather humble arrangements, and I needed a female perspective on 'After the affair' . I eventually remembered having heard Elkie singing this. Just the ticket I thought.
I one day hope, that by slowly stretching and constantly refining my modest ' Repertoire' - the idea of a gentle and intimate type of public performance might not only become possible, but also be made more flowing with a little relaxed story telling about 'everyman'/ woman - as manifest in the progress and eventual dissolution of the (implied ) central characters / 'Star Crossed Lovers' As you know, it helps to work towards a hypothetical target or vision, to give the journey a 'Heart' through each of it's more challenging sections.
I will reprise at the end ( or encore if I ever got one ! ) with 'spanky' renditions of 'Makin' Whoopee' and such, to not only 'send 'em home smiling' - but also symbolise the rather cyclical yet potentially redemptive nature of human affairs.
So far, the 'narrative' placement of 'Travellin' light ' amongst the existing stuff, is going to be :
( After a growing intensity from the unconditionally romantic openers ) - Cry Me A River > I will Say Goodbye > Autumn Leaves ( For the chap concerned ) and finally a 'Grand finish ' with 'Travelin' light' for the Lady.
I was further inspired , to realise, that I would probably have to approach this one a bit differently too : more gentle single note runs / melodic emphasis - with much less reliance on purely chordal harmonies. I will enjoy ( as always ) taking time over this one ( the short term memory problems 'help' me on that one :lol: ) - and just have fun 'running at it ' from different directions, till I eventually catch it. The un-used shards and fragments seeding ideas for future endevours.
If Tim lets me have my recording interface back, I'll post the result. This time, Manhattans with T.I. Flatwounds - as I did right back at the beginning. I had thought of laying down separate rhythm and solo tracks, but quickly realised that would not only fail to fill my needs as a solo player ' in the flesh' - and would have diffused the many lessons I feel can be learned from going solo differently.
Meanwhile, I am glad you liked the video, and within it, enjoyed 'meeting old friends' again.
Thanks again Choucas. :D
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About 3 months after I got the El Rey I started using a rowing machine which kicked off my tendonitis big time, so I had to stop for a couple of months. Then on the come back played a more lightly strung guitar. Anyway my hand's much better now so last week I restrung the jazzer. It was like getting your wife, who's a babe from any angle, back again after she's been away working. I'm so glad I bought it.
(http://i217.photobucket.com/albums/cc119/jage7/DSC01471.jpg)
(http://i217.photobucket.com/albums/cc119/jage7/DSC01476.jpg)
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Wow !
It's always nice to see more of the El-Ray, :D
It really is an ' investment in beauty' that one. I was sorry to hear you had to take a lay off for a while, but at least the many levels of enjoyment we get from of our beloved guitars / music - always waits for us.
I like the sound of the rowing machine idea, very invigorating and uplifting ! This might sound like a daft idea, but depending where the tendonitis hits you, would ( one of a cheap pair of ) weightlifter's straps take the 'tug' off a bit on that hand / wrist ? very cheap indeed, and you can get them from those 'catalogue shops'.
(http://i167.photobucket.com/albums/u135/Fourth_Feline/a0a1cbf3.jpg)
( Goodness knows why he would use it on a dumbell though ! )
You can get a pair of these really cheap. There is a 'hook' version too, where you don't even have to 'strap yourself in' . If not, it's a great time for squats in whatever form ( body weight squats are free of charge ! ) . I once had a few weeks of rotator cuff problems due to not concentrating on a lift, and it was a great time/ excuse to work on the lower body and core a lot , being a great metabolic booster, and that being the part of the body that older chaps tend to lose development / go 'chicken legged' on.
I'm not saying you haven't thought this one out completely , or need me to say the flippin' obvious ; but I wanted to think of something that might help . :)
Meanwhile, it's great to have those lovely guitars, even if it's just for polishing and fine tuning the set up(s) e.t.c :)
All the very best in your dual quest . :)
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I did make a contraption out of a motor bike glove and a strap, but thats a better idea. To be honest I've doing without the rowing, but if I get back into it I'll give those a try. Thanks for the heads up.
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Quincy Jones and co for yers.
http://soundclick.com/share?songid=8946578