The Jazz Guitar Chord Dictionary
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  1. #51

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    Quote Originally Posted by Hep To The Jive
    Who Reg? His technique is superb, he got jazz chops like very few on this forum. So his tone is superb too. Timing and everything... I prefer 'weak linear playing on changes' if thats what its called.
    I disagree utterly and completely as far as his single line playing is concerned. Sorry if that offends you. Maybe we should leave it at that.

    DB

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  3. #52

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    Quote Originally Posted by mr. beaumont
    Country and jazz? You betcha.

    I didn't know an Ovation could be made to sound so jazzy. And mr Strong is of course a remarkable player

    Country and jazz are next door neighbours musically, or at least they can be. If country tunes were good enough for Sonny Rollins, there's no reason the rest of us should look down our noses

  4. #53

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    Quote Originally Posted by Average Joe
    Country and jazz are next door neighbours musically, or at least they can be.
    I suppose that it depends on where you're coming from. My first memories of the jazz thing would be recordings of people like Gillespie, Miles, Sinatra, Ellington. I don't think I even heard of country swing until much later on so, no, the connection is not obvious to me. I'm European, btw.

  5. #54

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    Quote Originally Posted by DB's Jazz Guitar Blog
    His linear playing on changes is actually very weak. I do like his compositions though.

    DB
    Man, that is such a dumb and insulting thing to say about a pro jazzer. I think you have an over-inflated sense of your own playing if you're throwing out assessments like that.

    It does seem like Reg doesn't take a very "horizontal" approach to improv, but I'm sure he could if he wanted to based on what I've heard. Most of Reg's videos have been comping or analysis, but here's some of his improv:

  6. #55

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    Quote Originally Posted by DB's Jazz Guitar Blog
    I disagree utterly and completely as far as his single line playing is concerned. Sorry if that offends you. Maybe we should leave it at that.

    DB
    Still doesn't change the fact that it's an absurdly insulting and stupid thing to say. Wow, just wow.

  7. #56

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    Quote Originally Posted by coolvinny
    Man, that is such a dumb and insulting thing to say about a pro jazzer. I think you have an over-inflated sense of your own playing if you're throwing out assessments like that.
    Nah. Just a hobby player. Total amateur. Everybody knows that. Just have nothing to lose so I post my amateur offerings and rants probably way too often.

    Sorry to have upset you all. I should have known better.

    Sniff.

    DB

  8. #57

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    When you find yourself in a hole, stop digging.

  9. #58

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    Yea... I'm OK with any comments. I'm sure I've pushed many and made lots of stupid comments. Who cares... Like I said when I joined this form... I wanted to help guitarist get better. I'm not pushing or selling anything, I'm comfortable.

    But thanks for positive comments and I'll work on the negative ones.... Personally... I've loved not playing gigs for the last few months. But... I'll start posting again... try and post some helpful and fun materials. (and DB I'll try and work on my linear skills).

    Reg

  10. #59

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    Quote Originally Posted by Reg
    Yea... I'm OK with any comments. I'm sure I've pushed many and made lots of stupid comments. Who cares... Like I said when I joined this form... I wanted to help guitarist get better. I'm not pushing or selling anything, I'm comfortable.

    But thanks for positive comments and I'll work on the negative ones.... Personally... I've loved not playing gigs for the last few months. But... I'll start posting again... try and post some helpful and fun materials. (and DB I'll try and work on my linear skills).

    Reg
    A few months ago I initiated the Cherokee challenge. At that time I wanted you to participate explicitly (that's why I said no chords and no octaves, only linear playing). You did not participate unfortunately.

    I'm by no means God's own gift to jazz guitar but do you understand what I am missing in your playing? That you know your theory is obvious. That you know chords and comping too. But I have never heard you play a single line solo that really spells out the changes. It's all groove vamps, chords and octaves. No real linear development.

    Simply prove me wrong. Maybe do post a take on Cherokee. The link is in blue.

    If this means I'll be crucified, so be it. Not taking anything back. Yet.

    DB

    P.S. I did like your compositions. I actually listened to all of them.
    Last edited by DB's Jazz Guitar Blog; 08-03-2020 at 07:14 PM.

  11. #60

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    Quote Originally Posted by rabbit
    When you find yourself in a hole, stop digging.
    Nah, you don't know the Dutch.

  12. #61

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    Well, this is why I don't post my stuff here. First, I don't care what anybody thinks, since I've made a living for 50 years playing with a bit of teaching, writing and producing here and there, and secondly, because in the 80's I took a few years off from performing to produce jazz concerts and records, and manage performers. When I returned to performing, I found that the competitive aspect had disappeared entirely from my psyche, a very freeing thing to happen, and ever since then, I play what I want how I want, don't really care at all about what other musicians think (they so rarely pay to get in) and I don't buy instruments or accessories that won't pay for themselves in short order. This attitude opened up my curiosity about other styles and the younger players of jazz, classical and flamenco guitar, and I have spent time with African groups, flamenco dance troupes, chamber ensembles, and all kinds of jazz, pop and classical singers, as well as some serious jazzers, from George Coleman to Ray Brown. I enjoy this site because of the amateurs (the root being amas, or love in Latin), the guitar stories in the gear section, the insights into various pedals and loopers, and the discoveries from members posting both are old and brand-new examples of the gigantic music called jazz.

    But, to get to the point, it's not a contest.

  13. #62

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    Quote Originally Posted by DB's Jazz Guitar Blog
    I disagree utterly and completely as far as his single line playing is concerned. Sorry if that offends you. Maybe we should leave it at that.

    DB
    You can't offend me. I just thought your statement was ridiculous. But disagreement is fine.

  14. #63

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    Quote Originally Posted by ronjazz
    Well, this is why I don't post my stuff here. First, I don't care what anybody thinks, since I've made a living for 50 years playing with a bit of teaching, writing and producing here and there, and secondly, because in the 80's I took a few years off from performing to produce jazz concerts and records, and manage performers. When I returned to performing, I found that the competitive aspect had disappeared entirely from my psyche, a very freeing thing to happen, and ever since then, I play what I want how I want, don't really care at all about what other musicians think (they so rarely pay to get in) and I don't buy instruments or accessories that won't pay for themselves in short order. This attitude opened up my curiosity about other styles and the younger players of jazz, classical and flamenco guitar, and I have spent time with African groups, flamenco dance troupes, chamber ensembles, and all kinds of jazz, pop and classical singers, as well as some serious jazzers, from George Coleman to Ray Brown. I enjoy this site because of the amateurs (the root being amas, or love in Latin), the guitar stories in the gear section, the insights into various pedals and loopers, and the discoveries from members posting both are old and brand-new examples of the gigantic music called jazz.

    But, to get to the point, it's not a contest.
    Impressive CV.

    Sorry, I might be mistaken, if I'm disregard this but... are you one of the guys who always need to reprimand us folks on rock music threads here?

  15. #64

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    Quote Originally Posted by ronjazz
    Well, this is why I don't post my stuff here. First, I don't care what anybody thinks, since I've made a living for 50 years playing with a bit of teaching, writing and producing here and there, and secondly, because in the 80's I took a few years off from performing to produce jazz concerts and records, and manage performers. When I returned to performing, I found that the competitive aspect had disappeared entirely from my psyche, a very freeing thing to happen, and ever since then, I play what I want how I want, don't really care at all about what other musicians think (they so rarely pay to get in) and I don't buy instruments or accessories that won't pay for themselves in short order. This attitude opened up my curiosity about other styles and the younger players of jazz, classical and flamenco guitar, and I have spent time with African groups, flamenco dance troupes, chamber ensembles, and all kinds of jazz, pop and classical singers, as well as some serious jazzers, from George Coleman to Ray Brown. I enjoy this site because of the amateurs (the root being amas, or love in Latin), the guitar stories in the gear section, the insights into various pedals and loopers, and the discoveries from members posting both are old and brand-new examples of the gigantic music called jazz.

    But, to get to the point, it's not a contest.
    If you really like amateurs then you must be one of my fans! I'd rather play jazz guitar badly than anything else well.

  16. #65

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    Quote Originally Posted by Hep To The Jive
    Impressive CV.

    Sorry, I might be mistaken, if I'm disregard this but... are you one of the guys who always need to reprimand us folks on rock music threads here?

    Not always. But 20 Rolling Stones guitar moments? Please.

  17. #66

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    Quote Originally Posted by lawson-stone
    If you really like amateurs then you must be one of my fans! I'd rather play jazz guitar badly than anything else well.
    Definitely a fan, mainly of your attitude and love of the art. Nice guitars as well.

  18. #67

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    Quote Originally Posted by ronjazz
    Definitely a fan, mainly of your attitude and love of the art. Nice guitars as well.
    That's very kind and encouraging. Thank you.

  19. #68

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    Quote Originally Posted by Average Joe
    I didn't know an Ovation could be made to sound so jazzy. And mr Strong is of course a remarkable player

    Country and jazz are next door neighbours musically, or at least they can be. If country tunes were good enough for Sonny Rollins, there's no reason the rest of us should look down our noses
    I enjoy that Clint Strong clip. He's one helluva player. But I think it's worth pointing out that he was a jazz player first and a country player second. Howard Roberts was a huge influence on his playing and there's a clip on YouTube of Clint talking about learning something from a Howard Roberts records and how stoked he was about it. (Woke his dad up to show him.)

    Here it is:

  20. #69

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    The negative remarks in re: DB's comments are exactly WHY most people don't comment on other's performances. If you're only looking for praise, you'll never benefit from another player's critical remarks. And, the second recording of Reg's posted by CoolVinny sounds like a completely different player, to me, than in the first music video. So, if I were to listen to the two videos consecutively during a "blindfold test," I would never guess that player no. 1 is also player no. 2--they don't sound like the same guitarist.
    Further, I didn't feel DB's remarks were mean-spirited but rather an objective response based on his sensibilities as a talented musician. Isn't that what people should want if they post a video for criticism? And, after others read the negative remarks about DB's comments, how free will others feel to post critical comments about a performance that could potentially help the poster's playing in the future?
    Granted, we are all, in some degree, sensitive to negative criticism. However, in order to grow musically, we must take, seriously, the remarks of advanced players in regards to our own playing. Isn't this the process of a musical education and advanced study with a teacher. So, if our teachers only praised us, how could we ever grow musically? And, how many countless players like Coltrane, Miles, Monk, Mingus, Hancock, Correa, Coleman, and Shorter, for example, continued to experiment throughout their lives with different sounds and ideas as they continued to search for illusive perfection?
    So, if you are just looking for praise, don't post. However, I believe Reg took the criticism fairly and without animus as his previous remarks attest. Why else would one post a music video?
    Play live! . . . Marinero
    Last edited by Marinero; 08-04-2020 at 10:10 AM. Reason: spelling

  21. #70

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    Quote Originally Posted by Marinero
    The negative remarks in re: DB's comments are exactly WHY most people don't comment on other's performances. If you're only looking for praise, you'll never benefit from another player's critical remarks. And, the second recording of Reg's posted by CoolVinny sounds like a completely different player, to me, than in the first music video. So, if I were to listen to the two videos consecutively during a "blindfold test," I would never guess that player no. 1 is also player no. 2--they don't sound like the same guitarist.
    Further, I didn't feel DB's remarks were mean-spirited but rather an objective response based on his sensibilities as a talented musician. Isn't that what people should want if they post a video for criticism? And, after others read the negative remarks about DB's comments, how free will others feel to post critical comments about a performance that could potentially help the poster's playing in the future?
    Granted, we are all, in some degree, sensitive to negative criticism. However, in order to grow musically, we must take, seriously, the remarks of advanced players in regards to our own playing. Isn't this the process of a musical education and advanced study with a teacher. So, if our teachers only praised us, how could we ever grow musically? And, how many countless players like Coltrane, Miles, Monk, Mingus, Hancock, Correa, Coleman, and Shorter, for example, continued to experiment throughout their lives with different sounds and ideas as they continued to search for illusive perfection?
    So, if you are just looking for praise, don't post. However, I believe Reg took the criticism fairly and without animus as his previous remarks attest. Why else would one post a music video?
    Play live! . . . Marinero
    Ha, well, maybe to post to help you to play better, so you can learn from a master? Of course, feel free to criticize, but be careful you may look silly and out of your league.

  22. #71

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    Quote Originally Posted by ronjazz
    Not always. But 20 Rolling Stones guitar moments? Please.
    I see. Do you think just 10 would be better?

  23. #72

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    I just kind of think that once a person has been playing Jazz (or whatever) for many years, they will probably reach a point where they know want to sound, and may then may not be looking for comments. They may not even be looking for comments from anyone. They play what is in their hearts, and either the listener like it or not.

    So maybe a person is not looking for a critique, but rather to entertain? Words can look so cold on paper, and many say 85% of communication is non verbal. This can easily make leave things open to be misconstrued.

    Sorry for butting in, but I just hate to see unneccessary conflict.

  24. #73

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    Quote Originally Posted by Hep To The Jive
    I see. Do you think just 10 would be better?
    Yes, considering some of the 20.

  25. #74

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    Quote Originally Posted by AlsoRan
    I just kind of think that once a person has been playing Jazz (or whatever) for many years, they will probably reach a point where they know want to sound, and may then may not be looking for comments. They may not even be looking for comments from anyone. They play what is in their hearts, and either the listener like it or not.

    So maybe a person is not looking for a critique, but rather to entertain? Words can look so cold on paper, and many say 85% of communication is non verbal. This can easily make leave things open to be misconstrued.

    Sorry for butting in, but I just hate to see unneccessary conflict.
    True. Not all critique is the same. You can always feel the difference between friendly one and cold, jealous one.

    "The truth that told with bad intent
    Beats all the lies you can invent"

  26. #75

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    Quote Originally Posted by Marinero
    The negative remarks in re: DB's comments are exactly WHY most people don't comment on other's performances. If you're only looking for praise, you'll never benefit from another player's critical remarks.
    There are different reasons to post samples of one's playing.

    Perhaps the most common one is as part of a study group----these go on all the time and members post their progress on the current lesson and ask for feedback from others working on the same thing. Nearly everything in this context is heard as a work in progress.

    Another common way is to post something from one's work through a book by a guitarist / teacher. DB has made several of these over the years: Warren Nunes blues solos, Steve Crowell chord melodies, solos from Joe Pass Guitar Style. DB is the first person I think of when someone says something like "you can't learn from books."


    Another reason to post is to demonstrate something. (Christian and Reg have made a lot of "Instructional videos" like this.)

    Others are performance videos----sometimes captured by iPhone at a gig. It is given that the sound on these may be less than ideal and the camera angle may not be what one would prefer.

    Then are 'showcase' performances, often a chord melody (and solo) played by a guitarist alone or along with a backing track. These are most like 'this is me performing for you; what do you think?'

    Some videos are posted by novice players and it is, I think, generally understood that it is a big step to record one's playing and post it online at all. (If for no other reason than to be able to look back in six months or a year and see how much progress one has made.)

    Compostions are a bit different. The emphasis there is on the piece, not the improv. And what makes a piece good or appealing may sometimes reflect dazzling technique or the creation of a compelling mood or a simple, catchy tune that "lingers on" after "the song is ended."

    To paraphrase Flannery O'Connor, "you can only criticize a guitarist in light of what he's trying to do."