The Jazz Guitar Chord Dictionary
Reply to Thread Bookmark Thread
Page 2 of 2 FirstFirst 12
Posts 26 to 41 of 41
  1. #26

    User Info Menu

    One more year of long practice on the guitar and everything will be perfect.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #27

    User Info Menu

    It is not jazz, but listen to Workingman's Dead by the Grateful Dead. The charm of the album is the imperfection of the vocal harmonies. If they had worked for perfection, it would not have the same charm.

    Of course, that's just my humble opinion.

  4. #28

    User Info Menu

    Janis Joplin started out with a band that could barely keep time, and couldn't tune their guitars at all, but it sounded good in a sour, dazed kind of way, at least enough to bring her fame and fortune. When she dropped the band and started using top-notch professional musicians it all turned into boring, high-production-quality crap. A lot of old recordings with less-than-perfect engineering and the occasional mistake have a lot more life and spirit than the recordings you hear today. Too many suits in the studio, and "audiophile" engineers perfecting the sound until it's just bland pap.

  5. #29

    User Info Menu

    Recordings are more or less a picture of the way someone plays. It's going to be maybe 10% + or - from that. So i see them as a moment in time, it's how one was playing at that time. And more or less, real life and schedules dictate how much time you can put in a project.

    Most of modern popular music sounds like a computer play along to me. It is too digital and too perfect, quantized and looped. I miss analog sound and the way a real human band grooves. Many times i love the bands, but can't listen to them cause of how the albums sound.

  6. #30

    User Info Menu

    Around 1990 I was one of the first guys to move entirely to hard disc based audio (early Protools technology, horrible). I became a bit popular in my area in mastering and remastering.

    One of my clients was a jazz guitarist, of the sort: It's jazz, it's all live, mistakes are part of it.... etc.

    One day we were sitting there again mastering a CD (or possibly vinyl, I don't remember) on the third or fourth song he had played some bad ones or left out notes in the melody or something like that. I asked him if I should correct that.

    "No, this is jazz, authentic, real, blah blah blah.... "

    I just did it quickly, copied out the respective parts from the end melody, a bit of crossfade and everything sounded just perfect.

    I'll never forget the look on his face.

    "Uh... could we try that on the other title too?"

    "Sure!"

    The mastering session had just turned into an edit session, I didn't mind, I charged by the hour. Since then, I've been a firm believer (that goes for myself, too):

    Perfectionism is simply an euphemism for vanity.

    just my 2c
    Last edited by DonEsteban; 12-17-2022 at 06:01 AM.

  7. #31

    User Info Menu

    Live rock albums, which once were commonplace, are now seldom seen. I suppose the bands don't want to be heard warts and all, and the fans want only the studio recordings. The glossier bands make films of their concerts, so the fans can see what it was like to be there.

  8. #32

    User Info Menu

    Joe Pass said all his recordings have got mistakes on them, so I try hard to match that.

  9. #33

    User Info Menu

    I deal with perfectionist but smiling and complementing to their face, but talking sh*t behind their back.

  10. #34

    User Info Menu

    There's an often referred to story about George Mraz at a recording session. After listening back to a take, he says "I'm going to need a bigger house....." When asked to clarify, he explained. "I can live with the take. But with all the shit I've had to live with, I'm going to need a bigger house soon...."


    Years later, I'm on a recording session with George and I ask him if that was a true story. He nods, and says "By now, I need a private island..."


    PK

  11. #35

    User Info Menu

    The musically uneducated audience cares whether or not what you're playing moves them. They don't care if you're playing the fourth mode of the harmonic minor scale; they care about how it feels. If you're making a shit ton of mistakes, it's probably not gonna feel very good.

    I have seen musicians come to the end of the gig angrily slamming their stuff back together to leave, furious that they mistakenly played a Bb against the A-7 in "Summertime" in the first set. Their perception of the entire gig ends up being colored by that; that's perfectionism and it's not helpful. It just leads to self-shaming.

  12. #36

    User Info Menu

    Quote Originally Posted by strumcat
    Janis Joplin started out with a band that could barely keep time, and couldn't tune their guitars at all, but it sounded good in a sour, dazed kind of way, at least enough to bring her fame and fortune. When she dropped the band and started using top-notch professional musicians it all turned into boring, high-production-quality crap. A lot of old recordings with less-than-perfect engineering and the occasional mistake have a lot more life and spirit than the recordings you hear today. Too many suits in the studio, and "audiophile" engineers perfecting the sound until it's just bland pap.
    She had John Simon producing "Cheap Thrills", so he could make anything sound good. I heard they were a live.
    He did a miracle with BS&T's first album, esp. AK' s. voice. Like an idiot, Colomby thought he could produce the second album.

  13. #37

    User Info Menu

    "An EVENT" is what Herbie called this moment with Miles.:



    S

  14. #38

    User Info Menu

    Quote Originally Posted by Yair Matayev
    We practice, practice and practice. And when the time to record comes, we realize how much more we have to practice to reach the desired result.

    I believe many other players here are trying to be less of a perfectionist regarding recording and performing. Still, they love their playing without getting upset later about the mistakes or imperfections.

    Coping methods are different and depend on each person's personality type.

    For example, as a person who analyzes things in depth, I can delve more and more into what can be improved, removed, or added. The answer is probably counterintuitive, which means thinking less and feeling more.

    What do you think?
    With me it's a very subjective thing- one day it's perfection, and the next day it's a POS. That's why I try not to be judgemental.
    Like a keyboard player said to me when I first met him, and we shared a joint- "You're a bitch, because everyone's a bitch till they eff up, and everyone effs up, so everyone's a bitch."

  15. #39

    User Info Menu

    I try to keep my perfectionism within a strictly bounded time and place; within the practice room during practice hours. I record myself a lot and am quite anal about the details. I think this is a good thing.

    I try to let things on gigs go and be in the moment

    easier said than done

  16. #40

    User Info Menu

    Absolutely. There's nothing wrong with attention to detail, even extreme attention to detail, in the practice room. But performance demands a certain freedom. And its quality is almost always dictated by what has gone before.

    Time in reconnaissance is seldom wasted!

  17. #41

    User Info Menu

    Quote Originally Posted by pauln
    I assume musically uneducated non-musicians absolutely
    do notice and care about errors, tone, and a lack of ability

    If I thought otherwise, why or how would I enjoy playing for
    them, or playing with others that think like you seem to do?
    Sorry, this is a daft response to my post. I'm talking about not worrying about being perfect, not deliberately playing shit on purpose or not being able to play well at all!