Favourite Player Poll

[aniss1001]

You need to check out more of Abercrombie's work. There are plenty of recordings where he does not use chorus.

That is possible. But still I have heard quite a bit and ALWAYS with that nasty chorus sound.

Can you recommend anything in particular? Would appreciate it I really do love his playing style.

[Jazzpunk]

That is possible. But still I have heard quite a bit and ALWAYS with that nasty chorus sound.

Can you recommend anything in particular? Would appreciate it I really do love his playing style.

Here's a few that I dig without the tone that you dislike:

John Abercrombie- The Third Quartet
John Abercrombie Quartet- Wait Till You See her
John Abercrombie Quartet- Arcade
Marc Copland & John Abercrombie- Speak To Me
Joseph Tawadros- The Hour of Separation
John Abercrombie & Frank Haunschild- Alone Together

[griphon ii]

We, as guitar players, have gotten way too gadget oriented. I am guilty, too.
Trust me, the money curbs the angst to want to and, you have to move all of this garbage (that I don't want or use anymore). I play as gadget free as possible. At the moment, no gadgets but amp. Chorus is a great effect/affect, but, it's overused in many respects. If you can't play it raw, you simply can't play it. No effects will help. Do fifty (50) gigs without any and, especially, with an amp that just doesn't cover. It's very humbling. It will improve your playing a hundred fold. You're forced to LISTEN. Guitars, gadgets, guitars with gadgets are a business. It, still, boils down to playing and getting lucky enough to get heard.
I so agree with over chorus!...

[3shiftgtr]

We, as guitar players, have gotten way too gadget oriented. I am guilty, too.
Trust me, the money curbs the angst to want to and, you have to move all of this garbage (that I don't want or use anymore). I play as gadget free as possible. At the moment, no gadgets but amp. Chorus is a great effect/affect, but, it's overused in many respects. If you can't play it raw, you simply can't play it. No effects will help. Do fifty (50) gigs without any and, especially, with an amp that just doesn't cover. It's very humbling. It will improve your playing a hundred fold. You're forced to LISTEN. Guitars, gadgets, guitars with gadgets are a business. It, still, boils down to playing and getting lucky enough to get heard.
I so agree with over chorus!...

I disagree. I think that you PLAY the sound. Each tone should have it's own approach. Tones are merely a utility. Legato playing on an Ibanez thru a Marshall with gobs of distortion should be totally different in approach by the player than legato on an L5 thru a Ploytone. You play the tone.

Therefore you don't RELY on any thing, you PLAY everything. Do I get sick of the constant use of chorus by say....Mike Stern....yep, I do.....but that doesn't mean he doesn't play that tone well. And I am not prejudiced to artistry due to tone.

[griphon ii]

3shiftgtr, Quite interestingly put. It is what IT is... I may never see an L5 again, a gorgeous machination. Your a man after my heart. But a Ploytone, sorry this is very funny... Polytone... It was a great amp in it's time. I had an original. You must be an old fart. I've never met a good or even a great guitar player, I've met a few, that did not dabble in ALL guitar. I thank you, your point well taken, but quite difficult to explain. Notes, MATTER. They are where they are...

[MarcVelez]

Went with Django for two reasons. His playing (along with all the gypsy jazz that followed) really helped push my interest in learning jazz.

But there were also no Pizzarelli's on the list, and the younger John is really my favorite guitarist (and one of my favorite musicians) without a doubt. Dunno if anyone else shared similar feelings, didn't go through all twelve pages..

[ecj]

I love that Wes is on top. My all-time favorite. Hands down.

[griphon ii]

I'm going to try to answer the various views. The various views are really needed. But, to me, if you can't play it on a classical guitar, you can't play it. Unfortunately, to yourself, it hurts when you can't play for real. I work everything from classical, country, rock, headbanger to jazz; always on classical guitar, first. Effects or affects only improve your errors. Get it right the first time. Play everything, raw, you'll know who or whom you are! It's a great revelation. Most music is just simply, playing. There's 200 years and more of proof. Just take a notion...

[griphon ii]

Went with Django for two reasons. His playing (along with all the gypsy jazz that followed) really helped push my interest in learning jazz.

But there were also no Pizzarelli's on the list, and the younger John is really my favorite guitarist (and one of my favorite musicians) without a doubt. Dunno if anyone else shared similar feelings, didn't go through all twelve pages..

John learned from his father, Bucky. Heaven forbid, Bucky, would sing.
Watch John's guitars. He plays various, from 7 to 8 string guitars. It will muck with your ear if you're not familiar. "They can't take that away" is not a typical guitar. Watch and listen. Classical guitar and blues tricks.

[griphon ii]

Maria253...
Wes Montgomery...Get the Indiana tapes. I may buy it. The Echoes of Indiana... Not certain if this is true, but the Indiana tapes, now re-issued, was an audition tape. I don't remember the story, anymore... We really see how good he is... to this day... And actually, what I prefer. This tape is before his noted octave playing. I'm of the view of Metheny, Wes is the best at octaves. I don't find octaves very entertaining. I'll do something else, new.
Metheny, Ambercrombie, and Towner. The new players abound, but the music is stagnant. What does one do? Since I'm playing real BIG BAND, lately, I keeping running into Irving Ashby. No, shabby, player.
Folks, Just, Smile,
~TR

[jeffy]

I disagree. I think that you PLAY the sound. Each tone should have it's own approach. Tones are merely a utility. Legato playing on an Ibanez thru a Marshall with gobs of distortion should be totally different in approach by the player than legato on an L5 thru a Ploytone. You play the tone.

Therefore you don't RELY on any thing, you PLAY everything. Do I get sick of the constant use of chorus by say....Mike Stern....yep, I do.....but that doesn't mean he doesn't play that tone well. And I am not prejudiced to artistry due to tone.

Gadget's okay if playing to a large audience with crap equipment. He He.
But you guys gotta remember that Miles Davis gave Hendrix an approval stamp and now all those guitar players wanna play jazz and also wants Hendrix's persona. It's a cop-out, man. They just can't get it..lol

[2bornot2bop]

Maria253...
Wes Montgomery...Get the Indiana tapes. I may buy it. The Echoes of Indiana... Not certain if this is true, but the Indiana tapes, now re-issued, was an audition tape. I don't remember the story, anymore... We really see how good he is... to this day... And actually, what I prefer. This tape is before his noted octave playing. I'm of the view of Metheny, Wes is the best at octaves. I don't find octaves very entertaining. I'll do something else, new.
Metheny, Ambercrombie, and Towner. The new players abound, but the music is stagnant. What does one do? Since I'm playing real BIG BAND, lately, I keeping running into Irving Ashby. No, shabby, player.
Folks, Just, Smile,
~TR

Don't forget it was Cannoball Adderly on a random stop through Indy who was so blown away by Wes the next day called Orrin Keepnews and told him you have to sign this dude. Wes' was far more than an octave player. In reality he created ground breaking stuff that 45 years later haven't been equaled.

[Lambosoa]

Pat Metheny's great as a sideman but I don't think he's there yet with regards to compositions.

Say what ???
Along with Wayne Shorter, Metheny is probably the most awesome composer alive.
"Bright Size Life", "James", "Travels", "Farmer's Trust", "Are You Going With Me", "Last Train Home", "Better Days Ahead" are the kind of tunes that are eternal.
"Leaving Home" from his last opus is a strong candidate to join that list.

[Tom Karol]

Don't know if I ever replied to this - too lazy to go through all 12 pages!
But my favorite is Howard Roberts.
The 3 big early influences were Charlie Christian, Django Reinhardt, and Wes Montgomery.
Later on, Attila Zoller was a major life and music influence.
And for some reason I can't fathom, I seem to sound more like Herb Ellis than anyone else.

[russellm]

I come back after having voted a couple of years ago, and I realize that my vote today would be FAR different.

A couple of years ago, it was Tal Farlow for me, but for the past year it has been all about Bill Frisell.

No real lesson to take away, but I found it interesting.

[JakeAcci]

I come back after having voted a couple of years ago, and I realize that my vote today would be FAR different.

A couple of years ago, it was Tal Farlow for me, but for the past year it has been all about Bill Frisell.

No real lesson to take away, but I found it interesting.

Yeah, sometimes newer players can grow on me. It took me a while to "get" what the big deal about Rosenwinkel was, now I really see it and I guess he's probably my "favorite" jazz guitarist that I've heard so far...some players just need to be listened to and appreciated in a different way.

For example, if someone puts on a Bill Frisell record expecting the same type of enjoyment he gets from listening to Tal Farlow, he's going to very disappointed!

[jazzman22]

i voted for django but my favorite is really bireli lagrene

[musicjunkie]

Lenny Breau definitely. No other player makes the guitar sound as beautiful as Lenny and man could he burn

[Mr JDG13]

i voted for django but my favorite is really bireli lagrene

Same thing here, he might get sloppy at times but the way he takes risks in his improvisation very often yields awesome moments.
I would have liked to see Sylvain Luc and even more Nelson Veras in the list though...

[J. Murrieta]

out of these guys:

Grant M.F. Green!

[patphilip]

i missed Philip Catherine here!

[GuilhermeAfonso]

The fact that Ted Greene is not on that list is almost as stupid as choosing a favorite jazz guitar player. There have been so many brilliant minds applied to the instrument in so many different unique ways.

I agree about choosing favorites. These are all greats and MANY are still out (Herb Ellis is for sure one of them). I couldn't say who's better than who for me... That's why I based my choice on the way they've inspired me throughout these years, and I couldn't decide between Pat Metheny and John Mclaughlin. So I voted for both!

[Jazz6string]

I listen to them all and I also listen to a lot of new up and coming artists. There all great and they have different styles. If I had to choose 3 of them it would be Wes, Joe Pass, and Pat Martino.

[RichieW]

For me

Django, then Wes, then Joe Pass, then the best of the rest

originals always over disciples

Why Django number1? here are my reasons:

1) The great guitarists' favourite guitarist...A list of his admirers include John Williams, Julian Bream, Chet Atkins, Les Paul, Jeff Beck, Jimi Hendrix, Mark Knopfler before we even get to jazz or gypsy jazz players

2) Very talented disciples. No Django..... no gypsy jazz and no Lagrene, lafertin, Rosenbergs, Tchavolo Schmitt etc

3) Original style..had to do this after the fire burnt his hand. but necessity was the mother of invention. he was bending notes, vibrato, octaves before Wes, artifiical harmonics before Breau. I really like Charlie Christian but Django was light years ahead of his contemporaries in the US.

4) Very emotional, passionate, melodic lead playing. The most imaginative and gifted improviser. Not so much blowing over changes as instant composition? Grapelli said he was incapable of playing a wrong note. Segovia once admired one of his pieces and asked for a transcription and was told it was improvised....etc

5) Brilliant composer.e.g. Nuages, manoir des mes reves etc. not all great players are great composers e.g. Joe Pass. Some maybe should follow Joe and not try to compose!

6) Brilliant rhthym and comping. Just listen to Django setting the groove on his own for Eddie South and Grapelli on Violin improvising on a theme by Bach. Inspired

7) Could play solo, could play with lots of different people effectively

8) Not a one trick pony. His later electric work is criminally underated because everyone focuses on the Hot Club stuff. But he was comfortable playing bebop aswell as swing and impressionistic works

9) Probably the most important composer in jazz history, Duke Ellington thought he was fantastic

10) Most people's choice as the most important non American jazz player of all time on ANY instrument



Who else comes close to that?

[ecj]

9) Probably the most important composer in jazz history, Duke Ellington thought he was fantastic

I love Django, but this is a little much.