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Originally Posted by BigDaddyLoveHandles
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10-07-2016 10:00 AM
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Originally Posted by Boston Joe
Energy !
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Originally Posted by MarkRhodes
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Originally Posted by pants
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Originally Posted by mr. beaumont
I'm always surprised how often my mention of Pavement or Malkmus is met with a blank stare. I mean I don't expect as much familiarity in a jazz forum, but even among people who are in similar rock circles.
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Pavement is great! Built to Spill is another band that can jam out without boring me. I think Doug Martsch is criminally underrated.
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Originally Posted by pants
I agree that they were better in the earlier days. There's a very simple reason: somewhere along the line, they stopped rehearsing as a group. They got involved in side projects, had families, etc, and just didn't have time for it. (Trey's drug habit was a factor as well, but, I think a smaller one than the simple time crunch.) In the very early days of the group, they'd rehearse constantly when they weren't gigging. Mainly because they didn't have anything else to do. Once they stopped rehearsing together, the group improv thing went to hell.
The repetitive bass line thing is somewhat of a side issue, and was, to some extent, deliberate. They got interested in things like EDM. Trey, especially. The bass figure in "First Tube" never changes, and it sounded better with the TAB because the bassist was happy to be a time keeper (unlike Mike Gordon, who, don't get me wrong, has great time, but also wants to explore the harmonic spaces).
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Originally Posted by Boston Joe
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Originally Posted by pants
Their "ambient" phase wasn't really my bag, either. I started seeing them very early in Boston clubs, when they were young, hungry and AMAZING. Nothing they've done since has lived up to that, although I've seen some fairly solid shows in recent years (after Trey cleaned up). Those early "White Tape" and Junta era shows were transcendent, though.
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I love Phish. New and Old.
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I practice solos that go on way too long. I am a guitarist. I like long guitar solos as long as they groove, swing, etc. If they break down then I like to hear what happens next and figure out the technicalities in my head. It has been said before, but the correct note is only a half step away. If a guitarist taking a long solo breaks down and doesn't resolve it cleanly it just affirms their humanness to me, and I know that they weren't dominated by some producer or engineer. If it is a recording then I know what to expect when I hear it. If it is a live performance then they are just wearing their hearts on their sleeves and I like seeing the dynamics of getting back in he groove. All that said, there are some virtuoso guitarists that I just don't dig altogether and it doesn't matter to me how long their solos are, but that is a different subject.
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Originally Posted by lammie200
It's not guitar, but if you check out the Sonny Rollins album Road Shows Vol. 1, there's a tune called "Best Wishes". It's all Sonny. It's basically one long tenor solo from start to finish, but it's positively riveting. Sonny is on fire, and the band is keeping up with him every step of the way. The other great thing about it is it's not just stream-of-consciousness. There are themes that he keeps bringing back and working variations on. To extend the conversation metaphor, it's like they're discussing an idea - talking about different aspects, approaching from different perspectives, etc.
It's a very different animal from your basic Coltrane wannabe at a jam session taking 20 choruses and not saying anything.
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Originally Posted by Boston Joe
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Yep. If you're not listening, you shouldn't be playing.
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