The Jazz Guitar Chord Dictionary
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  1. #26

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    Here's a nice photo of Doc Watson with Earl and Lester btw--It's Earl's birthday today.

    Country Music-12507507_10153189613806651_8227600817598827975_n-jpg

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  3. #27

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    As one of the world's biggest country music fans I wouldn't be doing my people justice if I didn't say that a lot of what's being talked about on this thread is the country equivalent of fusion. Sure, the Nashville Sound has always been Pop. Chet Atkins when asked 'what is the Nashville Sound?' put his hand in his pants pocket and jiggled his change. Like it or not that's always been a big part of real country music, at least for many decades. I'll still take Little Jimmy Dickens or Mel Street over Tex Nobody and his Austin Hipcats. Anyday.

    If it was good enough for Parker it's good enough for me.

    here's one of George Jones' favorite songs. Maybe one of Bird's to. He was alive in 1949.


  4. #28

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    Also from 1949, the original recording of "Foggy Mountain Breakdown"





    Speaking of Nashville and its sound---Willie Nelson talks about that in his autobiography. He liked and admired Chet Atkins but didn't care for the way Chet produced his (Willie's records). It's a big part of the reason Willie went back to Texas, where he did mighty fine....

  5. #29

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    Here's Willie from "Willie and the Family Live", a great live shot of Willie sounded then. He talks about this song in his autobiography.


  6. #30

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    Quote Originally Posted by MarkRhodes
    Also from 1949, the original recording of "Foggy Mountain Breakdown"





    Speaking of Nashville and its sound---Willie Nelson talks about that in his autobiography. He liked and admired Chet Atkins but didn't care for the way Chet produced his (Willie's records). It's a big part of the reason Willie went back to Texas, where he did mighty fine....
    I don't think Nashville was a good fit for Willie as a recording artist. As a writer, you bet.

    Great version of FMB. Thanks. 1949 was a good year for music.

  7. #31

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    Quote Originally Posted by mrcee
    I don't think Nashville was a good fit for Willie as a recording artist. As a writer, you bet.
    O yeah, he wrote a lot of great songs there.

  8. #32

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    Quote Originally Posted by mrcee
    As one of the world's biggest country music fans I wouldn't be doing my people justice if I didn't say that a lot of what's being talked about on this thread is the country equivalent of fusion. Sure, the Nashville Sound has always been Pop. Chet Atkins when asked 'what is the Nashville Sound?' put his hand in his pants pocket and jiggled his change. Like it or not that's always been a big part of real country music, at least for many decades. I'll still take Little Jimmy Dickens or Mel Street over Tex Nobody and his Austin Hipcats. Anyday. If it was good enough for Parker it's good enough for me. here's one of George Jones' favorite songs. Maybe one of Bird's to. He was alive in 1949.
    Nashville has been about selling product: Jukebox plays, singles, albums, CD's, downloads, and now streams. I would argue Nashville is more like 'fusion' as they take elements (writer, singer, player, image, etc.) and package them as a product designed for mass appeal and sales. The elements come from, or imitate, the vastly diverse country artists struggling to get heard.

    Whether they be: Honkytonk, cowboy, Americana, Alt Country, cow punk, country punk, outlaw, Bakersfield, roadhouse, etc., my favorite country music comes from artists with a passion for writing and playing their own music and making their own sound.

  9. #33

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    Quote Originally Posted by MarkRhodes
    Here's Willie from "Willie and the Family Live", a great live shot of Willie sounded then. He talks about this song in his autobiography.

    Great song. The studio version was cut in Muscle Shoals with the swampers rhythm section and Jerry Wexler producing.
    The album on Atlantic was one of his first of his post Nashville releases.

  10. #34

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    The live version of "El Paso" featured Jack Pruitt playing lead, but Grady Martin was used on all Marty's western songs.
    Grady used that similar Tex-Mex style very effectively and on all the tracks I have he never used the same phrase twice !
    Grady was very versatile, too, and played rock-a-billy style on many records in the mid '50's .

  11. #35

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    There is a lot of great guitar work in country, always has been, but...too often guitars are just used to create a wall of twang that is something that can be marketed to a certain segment, or they are just showoffy. Nowadays I actually prefer alt country, that owes as much to the Stones as to Hank Williams.

    Not to digress too far, but not too long ago I did a little research on Tic Tac bass--played on just about every Nashville recording of the 60's and early 80's--rather interesting. Definitely a cool sound.

  12. #36

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    The full album isn't up on Youtube, but the first 20 minutes of Willie's 2004 Live at Billy Bob's is like a tour through guitar history-- bits of CC, Django, Mother Maybelle, --. Willie is maybe the last really important representative of that period in American music before corporate radio sliced and diced it into consumer brand niches. It was only after everything had been stuffed into tiny little, carefully regulated boxes, each associated with a particular demographic and even politics, that mixing them became a genre of its own.

    Much as I like good postwar honky tonk weepers, I think that the consolidation of the corporate recording and publishing industry in Nashville was one of the worst things that could've happened to country music. The region was so much more musically-- and racially segregated --than Texas. Not that Texas didn't have nasty Jim Crow practices, but the Bible Belt suspicion of dancing and even of drums meant that the corporate culture there took on a different flavor than it could've have done in, say, San Antonio or even Dallas.

    Of course, Willie really was a hipster. I like his beatnik outfit here, complete with expressionist backdrop painted by some poor refugee from art school.


  13. #37

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    A little more Jerry Reed is never a bad idea... ;o)


  14. #38

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    Cow Punk was a mix of country, rockabilly, rock and folk from the days before Alt. Country. Some of these artists were solid performers.

    Dwight Yoakam returning to his Cow Punk roots




    Cow Punk diva Maria McKee

    Last edited by MaxTwang; 01-07-2016 at 04:21 PM.

  15. #39

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    Although given a birthday greeting up stream, one of my long-time personal favorites and, IMO, far too seldom mentioned guitarists is Earl Scruggs, whose guitar playing was overshadowed by his considerable talents as a banjo player.

    Scruggs forged an amalgam of banjo rolls, Maybelle Carter style, single string, and bluesy alternating bass supported-melody into a very personal guitar style.

    Here are a few choice examples:







    Enjoy,
    Jerome

  16. #40

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    yeah, always liked earl's guitar picking. never heard him play banjo on any of the gospel tunes, at least not in the early days.



    take some water, wash it off. heh.

  17. #41

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    Quote Originally Posted by gtrplrfla
    The live version of "El Paso" featured Jack Pruitt playing lead, but Grady Martin was used on all Marty's western songs.
    Grady used that similar Tex-Mex style very effectively and on all the tracks I have he never used the same phrase twice !
    Grady was very versatile, too, and played rock-a-billy style on many records in the mid '50's .
    Grady Martin helped Willie Nelson a lot in developing his nylon string style.

    Here's Jack Pruett's wife Jeanne Pruitt doing her big hit.

    Last edited by mrcee; 01-07-2016 at 08:02 PM.

  18. #42

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    I've posted this before but it's always worth another listen. Leon Rhodes (-no relation) plays some pretty mean guitar here.


  19. #43

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    Hank Williams "I'm So Lonesome I Could Cry" is a worthy tune.

  20. #44

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    love me some leon.

    and some grady martin, especially his early stuff with red foley or sides like this one:


  21. #45

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    Yes, and we have Ms. Jones covering a Hank Williams tune from the best selling Blue Note album in history.



    To prove she was a real Texas girl, she, tele virtuoso Jim Campilongo, and company put together an act named after the red headed stranger, The Little Willies....just to prove they were the real deal.



    Who knew so many jazz forumites were closet shit kickers..?

  22. #46

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    Here's some more Grady Martin ! I marvel at his seemingly inexhaustible catalogue of double stops and runs used in Marty's western numbers.

  23. #47

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    Here's a more twangy Grady Martin from 1956, but re-issued in 1962.

  24. #48

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    Quote Originally Posted by MarkRhodes
    I've posted this before but it's always worth another listen. Leon Rhodes (-no relation) plays some pretty mean guitar here.

    Back in 1963 , I was in Nashville and on Saturday nights following the Opry close , many of the musicians would head over to Ernest Tubb's Record Store and play. It was all free and everyone was welcome. As the hour became late , a jam session would take place with all blowing off steam. Leon Rhodes was always there and would peel off dazzling runs at fast tempos that floored me ! Ernest Tubb insisted, I was told, his band members, "Keep it country" on tours and other live appearances , but allowed them absolute freedom afterwards. Great memories !

  25. #49

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    and another for the road. 1949 was indeed a good year. anyone know who plays guitar on this cut? i know he played with a number of folks over the years, not sure who this is. from before his years at King.




    and for contrast, eddy rockin out in his Dwight days on the same classic.


  26. #50

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    Quote Originally Posted by klk
    and another for the road. 1949 was indeed a good year. anyone know who plays guitar on this cut? i know he played with a number of folks over the years, not sure who this is. from before his years at King.




    and for contrast, eddy rockin out in his Dwight days on the same classic.

    Just a wild guess on the guitar player. Thumbs Carlille?