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Well, that's my point... while the AMP might have been set bright to offset his thumb-style, the tone that resulted wasn't what I would define as bright. And, actually, none of the "pure jazz" players I listen to have what I would describe as a bright tone... when you start heading in the direction of western swing, then things can start to get brighter... "cowboy jazz"..... Campilongo is bright, but then I don't see him as a "pure" jazz player- altho he totally plays with a jazz mindset and approach- but he's got alot of other stuff going on.... ditto with Frissell. But when people say "jazz", they aren't talking about western swing, Campilongo, or Frissell... they are talking about guys like Wes and and Benson, people they have actually likely heard over the years.
Originally Posted by mr. beaumont
And there's no arguing! Just discussion! I love this stuff!
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06-09-2017 12:58 PM
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Bright "jazz":
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I listened to the entire album today. It is a very solid offering by Ms. Krall and her players. I find the guitar work to be exceptional and tasteful, and the sounds a little varied, but all within the spectrum of good tone.
I would suggest listening to a reasonable quality feed, as YouTube is not a good way to judge sound.
I am pleased that Ms. Krall continues to have such a successful career. She looks and sounds better now than she did when she was starting out, IMHO.
And, I admit, the sexy aspect isn't the be-all and end-all, but it doesn't hurt CD or concert sales, either.
Sent from my iPhone using TapatalkLast edited by Doctor Jeff; 06-09-2017 at 04:18 PM.
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When someone describes a guitar tone as thin, I automatically think Blackface Fender amp. Originally Posted by Ray175
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That's just another stereotype that is true SOMETIMES. Originally Posted by whiskey02
Fender BF amps have produced some of the greatest tones in modern music- MANY of which could not be described as "thin".
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to get back to the question at the start of this thread :
Mr. Wilson has a sizeable collection of vintage Fender combo amps at his disposal, at least at his home on the west coast.
He's been recording with blackface Princeton, Pro Reverb, Twin models, a custom made Clark combo and on his recent solo outing he employs a rather unique
rig consisting of a re-built movie-projector amp , a custom-built reverb unit (all old-school tube stuff), driving a 60's Jensen 15"
speaker. HOWEVER , you'd have to ask him what he used on the recording dates with Mrs. Krall - depending where these dates were he might not have been able to use his own gear.
I agree with some in the observation that the tone he got with his late 50's Byrdland had a lot more warmth, punch and was a nod to the past , of course much more electric in nature than the sound of his Radio Flyer (which is an acoustic guitar with a floating pickup). I never heard a nicer sounding Byrdland , having owned two nice ones myself... the small neck was the deal breaker for me and I gave up on them, twice. (my gigging archtop is a Victor Baker plywood "Byrdland" with a 25" scale - I much prefer the thinner body). So it's the hands, ears and heart of the player, once again.
read up here :
Anthony Wilson: A Conversation in Two Parts (Part I) | Fretboard Journal
and here :
Anthony Wilson: A Conversation in Two Parts (Part II) | Fretboard Journal
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Here he sounds terrific! And that on a Eastman Pisano (available for 1600E in the for sale section). Perfect sound for a trio situation without drums. But this is because the guitar has been miked - otherwise it wouldn't have sounded so acoustic
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That's likely Russell Malone your hearing, he's on several tracks and while a good jazz guitarist practitioner he's nowhere close to Anthony when it comes to taste and tone. Look at the track listings and who's on them. You'll hear Anthony's playing immediately.
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JGO, a tough crowd
Sent from my iPhone using Tapatalk
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I am not certain if that's the one he's playing in the recording of his Seasons composition, but that is about the most beautiful sounding recording of acoustic steel strings I can imagine. Originally Posted by gitman
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In the RTL video? Clearly not (and Krall confirms that at the end). Originally Posted by Jazzmandude
(and yes, there's clearly a mic pointed at the guitar, but there's also a cable coming out of it...)
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That's one of the 4 seasons guitars (they passed them around at the concert, I think) Originally Posted by RJVB
John M. doesn't make any duds...
As for Russell not being not close to Anthony in terms of taste, well that's just the goofiest armchair quarterback comment I've ever heard (and the reason pros join here but rarely stick around)
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Originally Posted by Longways to Go
Not surprising that she gets the sexy marketing treatment. I mean, she's hot right?
Heck, they even give the sexy marketing treatment to classical violinists these days . . .
And lets not forget Miley Cyrus! LOL
Diana Krall is pretty amazing IMO
They give the sexy marketing treatment to Julian Lage.
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These are two different players on the videos, Russell Malone on the first one, and Anthony Wilson on the second one. I have this album, Mark Ribot also plays guitar on some tracks. Check out his tone, a lot more electric than the sound of the previous two. No idea what he used on the recording, probably not an archtop? With players and engineers of this caliber, they were probably going after the artists sound at the particular session.
To me they all sound stellar, although I'm not a fan of non archtop guitars in classic jazz, I miss the big guitar thump! But the idea besides hiring say Mark Ribot is getting his sound as well as his playing. It's different categories of classic sounds, and pretty typical of how the first two usually sound on records. Ribot usually plays different stuff.
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Russel Malone usually has a def. ELECTRIC archtop sound, wether he plays fingerstyle (as so often with Dianne Reeves) or with a pick. The guitar on this track sounds like it has very low action and the strings slap on the frets so there is only little fundamental in the sound and I don't like it - nice bluesy lines, no overplay so I guess it's an experienced older player. When Anthony Wilson played his Byrdland with Krall his sound was much rounder than later on with his Monteleone - personal preference once again. The Monteleone would probably be the "bomb" in an acoustic solo/duo/trio setting without drums but outside this playing situation I absolutely prefer an electrified archtop where the pickup sound dominates the acoustic sound.
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Anthony Wilson was playing a blue guitar when I saw him play live. It wasn't the classic 50-60's Jazz guitar tone, but a nice carved solid top archtop sound.
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Originally Posted by mr. beaumont
The still in Guy's post seems to be from the YT video of the Seasons performance, and yes, they passed the guitars around in that video. I'm not certain Wilson's personal guitar is part of the 4 instruments the piece was written for, or an earlier one, but that doesn't really matter. Originally Posted by GuyBoden
John M's instruments are certainly no duds (or else he'd be the king of scam artists...) but I too have been disappointed already by how they sounded under the hands of certain players and/or on certain recordings. (Disappointed as in "that costs how much again?".)
Oh, that's what it is then, I guess I must not be wired correctly that I didn't realise? Originally Posted by Litterick
Somehow a recollection of the artist known as Divine just weaseled itself up from my toes
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