-
Originally Posted by joelf
-
12-15-2023 09:14 PM
-
12-15-2023, 09:36 PM #77joelf GuestOriginally Posted by AllanAllen
-
Originally Posted by joelf
-
Originally Posted by AllanAllen
-
12-15-2023, 11:06 PM #80joelf GuestOriginally Posted by AllanAllen
-
Originally Posted by joelf
-
12-16-2023, 04:17 AM #82joelf GuestOriginally Posted by mr. beaumont
Self-criticism is cool, and can lead to growth (until it morphs into self-absorption, obsession, neurosis---or all 3). We ought to look in the mirror once in a while and check the image for what's happening and what ain't...
-
12-16-2023, 04:27 AM #83joelf GuestOriginally Posted by Tal_175
In a radio interview he said about this: 'I like to pause and have a look and listen to what I just played'. Would be nice if more players had that kind of courage and self-reflection, especially in front of audiences. It's therapeutic to slow everyone's nervous brains down. (It's trickier to do this with a band, unless you're the leader or leading the tune. You'll get pushback maybe, but if you hear it that strongly do it. But first make sure it's cool and you're not stepping on toes).
Maybe a trial run to gauge reactions?
-
12-16-2023, 04:36 AM #84joelf GuestOriginally Posted by Christian Miller
Lagrima? Isn't that a combination pasta and veggie dish? Linguini/legume.
Or the French pronunciation of dirt?
-
12-16-2023, 04:46 AM #85joelf GuestOriginally Posted by Jonathan0996
Charlie Parker did this. There are recordings of him playing along with Benny Goodman and others...
-
Originally Posted by pamosmusic
-
Originally Posted by joelf
Not when Rob plays it mind
-
Originally Posted by joelf
-
Originally Posted by joelf
-
Originally Posted by joelf
-
Originally Posted by Christian Miller
Lagrima is one of my solo gig staples. I had a whole intro and middle section worked out when I played it last year.
When busking it's actually one of the money tunes
As you were.......
-
Originally Posted by mr. beaumont
1) I fear the moment I'm in casual conversation with someone and guitar playing comes up and they say "play us something then". I'm fairly certain they'll be less than impressed with a few licks, ii-V-Is in multiple keys or whatever.
2) I play guitar to make music and there is something greatly fulfilling about playing a song, melody and harmony from start to end.
3) I figure one day I'll understand what the arranger is doing one day in the future when I'm ready to understand it.
-
Hot thread! I love what Joel's been saying about interplay. That's what jazz is to me. I also dig his advice to play with the records. Very good for the ear.
Reading some of the OP's posts I was reminded of the Branford Marsalis Quote that's in a member's sig:
"Everybody talks about finding your voice. Do your homework and your voice will find you."
So where does the voice come from? I think it's in our 'personality'. We all have our favourite colours for EG. We have proclivities and tendencies. So if you love the way Martino plays, then do a deep dive on that. You'll be strengthening your personality. At some point you might hear another guy that captures your imagination and go down a different avenue. It's all refining your tastes, abilities and your voice. It's a life-long kind of thing.
I also think you don't just do one thing in practice. Etudes for a while and some time spent doing what the OP's teacher said: try to invent something of your own. They're not mutually exclusive. The goal is to get to playing with other people. You have to be able to play well enough for them to want to play with you.
Here follows some old guy nostalgia: My first gigs were with a Buck Owens cover band called Ed Bouché & the Boucheroos. Get it? In 1970 a guitar buddy was gigging with them and was going away to college. He said I should take the gig. I said I don't know anything about country music and kinda hate it. He said "The money's good and the experience will be good. Just watch The Johnny Cash show and play along for a few weeks. You'll get it." That's what I did. At 16 I was having some fun and making some dough with my guitar. Beat the hell out of washing dishes.
My point: I learned to play some country. 2 years later I was gigging jazz. I don't think those licks I learned for the Boucheroos got much use or had much influence. The experience on stage certainly helped. And 50 years later if I wanted to play with some country guys I could bring some back and fit right in, but I don't think you'd hear it in my music today. No harm no foul.
For much of the 70's I was attracted to Martino, Coryell, DiMeola, and McLaughlin. I learned a lot. I got some chops. I don't think I sound anything like that now.
Follow your heart.
-
Originally Posted by ccroft
-
Originally Posted by Liarspoker
-
Your voice comes from two kinds of work.
One is mastering the instrument. Lots of paths to that - and it's a vague term to begin with. But, generally speaking it's the usual sort of homework that we discuss. All the technical details, all the vocabulary etc etc etc.
The other part, we don't discuss much because it's amorphous. But, at some point, IMO you have to sit down and figure out what you want to sound like. Or, maybe it's recognizing what you already sound like and trying to develop that further.
-
Originally Posted by rpjazzguitar
Maybe I was trying to say in my long-winded way that we already have a voice. We just need to find a way to let it out.
I was trying to speak to one of OP's concerns that working on Pat Martino too much might somehow hurt his own voice. I've played with lots of guys that think like that, and I don't think it's necessarily true.
-
Originally Posted by AllanAllen
Just goes to show what's been said here many times: learning to play is cumulative. Everything you learn helps everything you're trying to do.
-
Originally Posted by Christian Miller
Heading out now to shed some tunes (unfortunately no parimento). Building up the repertoire
-
12-17-2023, 02:16 AM #100joelf Guest
You have to listen analytically, and not critically, to yourself and work accordingly to shore up the good and weed out the bad. A guy once said 'I may play a cliche, and say to myself " I couldn't have meant to play that. What did I mean to play?"'. I call that 'studying with yourself'---and it really does work.
I've always hated that I'm not smooth. I have a sound and style, and for good or bad no one plays like me. But I'm not smooth enough, even after all these years, to be the best me possible. Listeners are not mind readers, you have to deliver in a concrete, non-amorphous way.
Jack Zucker posts lessons here a lot. He has tremendous control and an interesting vocab. He sails through 8th note etudes he invented. It's impressive as all get-out.
But I can't use it b/c it's not me. I'm better off listening to my recordings (which I invariably hate at 1st, then just as invariably end up liking---and I think that a healthy attitude, otherwise why bother?) So I sift through and build on what's good and try to do less of what isn't.
If you can't be yourself and like yourself you're artistic dead meat, and all the role models on this planet can't save your ass. You look outward, of course, for inspiration, but no one can do 'it' for or like you...
Gibson Les Paul '50s Tribute
Today, 12:39 AM in Guitar, Amps & Gizmos