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  1. #101

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    Quote Originally Posted by Jazzaluk
    Not too fond of the Buzzurro vid. A bit over embellished for my taste. Very technical but doesn't convey any mood. But some great playing no doubt. Sounds more classical influenced than jazz to me.
    Surprised by the over embellished comment. I would have expect that to go the other way.


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  3. #102

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    Quote Originally Posted by Aristotle
    I am not sure what you trying to tell me. I don't care for the song, the arrangement, and it is played with almost no jazz feel. And I never heard Pass play this. Are you trying to imply that if one has a full array of RH fingerstyle techniques, one cannot sound jazzy?

    I like this, warts and all. I think it shows the difference between what might be loosely termed "fingerstyle jazz" and "jazz" (that happens to be fingerstyle). It's ambitious, it takes chances and it's "jazzy."

    I enjoyed this very much but I'm left scratching my head as to why anyone would think it's "jazzy" - even a little bit.

  4. #103

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    Quote Originally Posted by Spirit59
    I enjoyed this very much but I'm left scratching my head as to why anyone would think it's "jazzy" - even a little bit.
    Now, that's more the kind of comment I expected. I dangled the word "jazzy" just to increase the chances. I felt the same type of comment could be made about Eubanks, but on that one, I was sure no one would make it.

  5. #104

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    here are 2 nice clips (where you can check out RH technique) by eubanks w/dave holland and smitty smith....

    Last edited by oneworld; 03-30-2011 at 10:10 AM.

  6. #105

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    Quote Originally Posted by fumblefingers
    yeah, i'm not saying that all the "blasphemies" that non-classical fingerstyle players commit are due to relatively narrow string spacing.

    i'll bet that Hatfield's book is informative. think i'll get it.

    i think that we can conclude that classical guitar is classical guitar. there may be similar playing styles (techniques). but similar is not the same.

    another problem solved.
    I posted the info regarding the Hatfield book because it addresses everything initiated by the OP--and then some. Hatfield deserves a lot of credit because his mission is to promote the use of the CG and (CG technique) in jazz. In addition, his take on improv is very interesting. He combines CST with functional methods to analzye tunes and exercises. (A great transcription of a Cannonball Adderley solo from Kind of Blue is included.) If you have any background in CG you will be very pleased. I like that he uses the conventions of CG notation too. Positions are properly labeled via Roman Numeral. If you rely on TAB, you will be disappointed.

  7. #106

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    btw 2 albums of jazz arrangements/covers by highly respected classical players you might be interested in are 'images of metheny' by jason vieaux and 'night and day' by roland dyens. both absolutely brilliant

  8. #107

  9. #108

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    Gee, there's a wide a variety of RH techniques. But all the strumming and banging, is that really "classical" or "flamenco?" And even though it is a brilliant arragement (IMO, some of the best I have heard since Carlos Barbosa-Lima), and is played with virtuousity (eg perfect phrasing and no squeaks), I am not sure it's really "jazzy."

    In any case, I liked the part where he used part of the Peter Gunn lick. I am going to steal that.

  10. #109

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    Paul Meyers w/Seventy Seven albatross Jazz.