-
Anyone know what setup Mr. Wilson is playing? I love this guy and usually I also love his sound, but on this album he sounds thin and lifeless... seems like a blend of acoustic sound and amp sound, but... WHY?
Sometimes it sounds OK when he's comping but to me there is not enough meat while his soloing...
-
06-07-2017 08:14 AM
-
Don't know what he's playing now , sorry
His sound on the old sunburst Birdland is just incredible ...
probably the best jazz guitar sound I ever heard , (for me)
I'm not as keen on the blond Monteleone ? sound
he got , too acoustic for me ....
But obviously Anthony digs that sound
Love his music , from the tradition
but reaching out ...
-
We're going to see her next Tuesday evening at the Bushnell Auditorium here in Hartford. I'll bring my binoculars and see if I can determine what he's playing. The ticket purchase included a gratis copy of the new CD, which has been playing constantly in our house since it arrived a few weeks ago. It also features Russell Malone and Marc Ribot on guitar, in addition to A. Wilson.
-
Don't know about Anthony Wilson's actual setup, but generally love his playing.
To my ears these songs are good examples for so many sterile, somehow 'synthetical' sounding and overly processed studio recordings. Not only in jazz music, though the Verve Label (after 1961 the head producer Creed Taylor adopted a mere 'commercial' approach) has been known for including a lot of cross-over music, jazz-pop and show tunes.
Not my understanding of how jazz should be properly recorded. They probably reach a bigger target audience, the group of hard-core jazz fans is growing smaller and smaller and older...
-
FWIW - Marc Ribot and Russell Malone also play on that album and I'm not good enough to tell who is who. Having said that, I am a HUGE Anthony Wilson fan. The first time I saw Diana Krall in concert, I'm ashamed to say that I had no idea who he was. That night was a revelation!
-
+1.
Originally Posted by djelley
My understanding is that it is actually Russell Malone on the first track you posted, as well as on the other trio tracks (e.g. Blue Skies). Marc Ribot definitely plays (beautifully) on Moonglow. Anthony Wilson plays on the other tracks (mostly quintet I think. I did not pay too much attention).
-
Agree the sound is "thin", but it cuts through the mix with no problem and I guess AW likes it. I prefer a fuller, darker sound (from his byrdland for instance), but who am I to judge the sound he wants to produce for his ears?
-
Right, now that I listened on headphones... Previously I listened to it once in my car and they sounded similar, now I hear that the Anthony Wilson tracks sounds OK (still thin and not my sound, but OK), but the first posted link sounds really bad to me, like there was a bit of a piezo mixed in? The solo is great though and indeed sounds maybe more like Russell Malone (but if I didn't knew, I woundn't assume it to me someone else than Anthony Wilson) Originally Posted by ES125er
-
Sure about Marc Ribot? Originally Posted by ES125er
I found this info:
- A trio including Diana, Christian McBride and guitarist, Russell Malone.
- A quintet with Diana, Karriem Riggins on drums, Tony Garnier on bass and the fiddle of Stuart Duncan.
- A quintet of Diana, guitarist, Anthony Wilson, bassist, John Clayton Jr. and drummer, Jeff Hamilton.
But this doesn't make much sense, since both "quintets" listed have 4 members according to the above
-
Like Someone, while not my favorite tone, makes sense to me in this setting. Sounds more trad and less modern/thick, etc.
-
That's true. In a trio setup without drums the stummed chords sound brighter and better as background for the double bass solo. Maybe he should have swiched guitars just for his solo ;-) Originally Posted by guitarua
-
What exactly is "over processed" about this album? I hear just solid, clean recording of music that is well played and tastefully mixed. It isn't sterile or synthetic at all to me. Originally Posted by Ol' Fret
Can you clarify what you're talking about?
-
I don't have the CD yet, but I would say the sound on the videos isn't great kind of scooped. Youtube never great and they create multiple copies of video to keep size down.
The last concert I went to before moving out of L.A. was Anthony Wilson at Jazz Vespers at Mt Olive. He was used he Deluxe Reverb RI and archtop du jour. His playing and sound were amazing, talked to him for just a minute afterwards and real nice guy. Saw him a year or so before that with Diana Krall and Clayton Hamilton Big Band at Hollywood Bowl. Diana was great and everyone played great, but sound at the Bowl was only okay. Didn't notice Anthony's gear at the Bowl.
-
I've heard about Krall for years, never really paid much attention (no particular reason)...
Is she like a female Harry Connick Jr? 'Cause that's what she sounds like to me.
Nevermind... I read that she "idolized Harry Connick Jr"... you can certainly tell. She also wrote a letter to Oscar Peterson when she was a teenager. Kudos!Last edited by ruger9; 06-07-2017 at 01:52 PM.
-
Originally Posted by ruger9
I like her early album the most, since getting big with big budgets I find her over orchestrated and over produced. She an excellent piano player and played more on her early albums. She is how I discovered Anthony Wilson who is the son of Gerald Wilson songwriter/arranger and Jazz teacher in L.A.
-
The only thing "overprocessed" will be the inevitable 27 glamour shots of Diana on the CD booklet.
I wonder why she continues to go along with Verve's "sexy" marketing? She's more than a good enough player/singer to not have to stoop to that crap. Or perhaps there's a little vanity streak? I guess because her audience crosses over she has to deal with it. Ironically, probably just like Connick.
Who cares, really? I dig her music, particularly when she's keeping the Nat Cole piano/guitar/bass trio+vocals sound alive.
-
I couldn't agree more, and that goes for (well, WENT for, he hasn't been doing much music lately) Connick too. "Lofty's Roach Souffle" is a cool album, I own and enjoy several of his albums actually. And he's a monster musician. I actually saw him on one of those shows- American Idol maybe? Where he was a "coach" to the kids, and the one thing he stressed over and over is "stop with all the ridiculous vocal runs, just stick to the melody. Everybody sings too many notes- just take the melody, stick to it, and make it your own. But enough with all the vocal runs at the end of every phrase." Originally Posted by mr. beaumont
THANK YOU HARRY.
-
Being a huge fan of pretty women, I'm totally okay with them stressing her loveliness as part of the promotion. I mean, don't we think one's art is more than the mechanics of what one does with the instrument? It's the presentation of the whole person, and in Krall's case, a person who is attractive while also having a very distinctive appearance. She doesnt' "look like" anyone I've seen before. She's just herself, and I'm good with the albums presenting her as a compelling looking woman. Originally Posted by mr. beaumont
I don't think it's exploitative, but I do think it's capitalizing on it, which isn't all by itself a bad thing.
She has also given guitarists such high visibility in her music, anything she wants to do is fine with me.
-
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
-
+ 1 Originally Posted by docbop
She's a great piano player and singer - and no problem here at all with her "sexy" marketing treatment.
The problem for me are these overly predictable song arrangements (just lacking bite and true emotion outside the all too bold and simple), and the somehow "unnatural" sounding way of recording.
-
Originally Posted by lawson-stone
Well, maybe it's impossible to express in words because music is an extension of words.
Today I cited Eric Dolphy
"... more or less I guess what I hear is not your hearing"
and John Coltrane (Eric Dolphy on Guitar ).
I cannot hear a similar feeling and energy in Diana Krall's younger recordings.
The individual tracks of the instruments and her voice probably sound (perhaps too) smooth and perfect. It's the mixing that sounds too "put-on", off-set or nothing but entertaining. And most Europeans like to hear a real sexy feeling, not just an emphasized mixing of that sexy voice...
- Why are cats sexy? Because they're dangerous and unpredictable. And they are not bound by society's constraints.
- Art in the U.S. is entertainment, commerce, it must be marketable. The dark chapters of human existence, of life, from which art often emerges, must be completely hidden here in America. - Ute Lemper, New Yorker by choice chanson and jazz singer since 20 years ("NYC was the only city she could imagine to be happy there.")Last edited by Ol' Fret; 06-07-2017 at 05:30 PM.
-
How can you know they lack "true emotion?" I like her handling of the songs and like her emotional vibe. And what is "unnatural" about the recording? Originally Posted by Ol' Fret
-
This sounds more like some baggage you are bringing to the recording and not a feature of the recordings themselves. I like the sound, and being in my 60's, I remember well older recording styles. I like the mix and timbre of this recording. I think it's very important to distinguish between what we feel about a recording and what are actually it's features. "Over processed" has to mean more than track separation and mix. That's related to more pervasive manipulation of the sound. Nobody I know would call that album "over processed." I think the features of a recording are things that can be put into words and it's worthwhile to try. Originally Posted by Ol' Fret
-
I would love to see her husband take a more forward role in her music, both writing and playing live. If her label would allow it, I think it would elevate her above the 'cheesecake' and over-processed.
-
Whenever I hear or see Diana Krall, I can't help remembering the schlumpy guy in the overcoat I met skulking around Rose Records on Wabash Ave, Chicago, in 1977. I shake my head in disbelief that that guy ended up with that woman... two musicians who found each other. Bizarre and wonderful.
Reply With Quote
What strings does Martin Taylor use?
Today, 08:12 PM in Guitar, Amps & Gizmos