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10-15-2024 01:41 PM
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what can you say about this guy..
in his other vids he does the same with classical blues rock fusion and "jazz"
I hope producers dont add strings on his albums..
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Saw him perform in a small club earlier this year. Absolutely amazing!
Last edited by AKA; 10-22-2024 at 12:10 AM.
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Fantastic, what a talent. He's fast yes, but also very musical.
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I recently bought his album The Journey. It's very nice, though it would be even nicer to hear him stretch out a bit more and perhaps take some risks or get looser... monster player though. Virtuoso.
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He’s amazing. Not just unbelievable technique but great musicianship too (even though his music isn’t really my thing).
The bar is being raised continually. Like Clapton on the Beano album, or Hendrix, or EvH’s tapping, or Malmsteen’s hyperspeed neoclassical, or doing percussion on a flat-top, etc, this will quickly become the new normal.
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Originally Posted by James W
The guys like me in our 60s, that I know, tend to say they wish he was more grounded and played more lyrical (and that as he ages, we are sure he will get there). But we are not asking that he play 50s style swing like Raney\Farlow, etc. or in the mode of Green\Wes\Burrell.
I love his individuality!
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Originally Posted by jameslovestal
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Originally Posted by pamosmusic
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Originally Posted by pamosmusic
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Originally Posted by Mick-7
Last edited by Bobby Timmons; 10-17-2024 at 05:39 PM.
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Originally Posted by Mick-7
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Lets put his age in the mix..he is still learning..!
I think in time he will tame down the speed in favor of taste..think Carlton.
While his speed is his strength .. I was waiting for more in his backing of the bass player when he took solos.
I would have done more of a "Bill Evans" fills more melodic partial chord backing..but I have a few years on the kid.
and who knows where music/jazz/rock/electric/computer aided and even newer tech will help music in general evolve
I may not be around to see Mancuso mellow out so to speak..but I enjoy watching him now
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Originally Posted by James W
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Well... he must be getting better. When somebody posted his tube playing Donna Lee it took about 20mins for people to start jumping all over him. Seven years later it took 2 days! And not nearly as harsh.
Mick: listen to the clip Bobby posted with Hellborg around 10:20 or something. There's restraint and sensitivity. I mean, yeah, maybe he could show more, but I've heard a lot of players cream Caravan with tempo and shredding. Like everyone does with Cherokee or DLee on almost every instrument. And why not? If you can do it it's fun.
I think he's growing. He's only 27 years old. Not a usually a time of life for restraint :)
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Some of us also learned it’s not cool to put extraterrestrial talent down due to personal taste.
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Originally Posted by Mick-7
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Jonathan Kreisberg is someone who is incredibly dynamic and expressive but I get an Every-Note-In-Its-Right-Place vibe from. It's almost not worth saying. I only said it because it's just an aesthetic thing I notice sometimes and it seems James does too.
Now ask me how many times I've seen Jonathan Kreisberg live.
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Originally Posted by Mick-7
If you had bothered to check Mancuso's stuff out before judging him, you might have come across this piece, which as I stated on the What Are You Listening To thread, is one of my favourites on the album.
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Originally Posted by James W
Originally Posted by James W
Like I said, I like to hear melodic development, pacing and space in the phrasing, and I haven't heard that in his solos, just non-stop playing. Could you hum any phrase from one of his solos after hearing the recording once or twice? That's a good test for lyricism, I have not heard him pass it.
Originally Posted by Bobby TimmonsLast edited by Mick-7; 10-18-2024 at 02:58 AM.
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Originally Posted by pamosmusic
I've seen him live in a small club and attended one of his masterclasses. Both were great experiences, musically and educationally. The club was REALLY small, maybe seats 50, so I got there an hour before the doors opened (about 3 hrs before showtime) to get a good seat (it was first-come-first-served.) I was surprised that there wasn't a line out the door... the band was doing a soundcheck and they let me in to listen. I got a front row seat :-) and loved every minute of the show.
JK was slightly apprehensive about letting a member of the public into soundcheck... he joked to me that he didn't want me taking video and posting it to YT with snarky comments like "Here's Kreisberg hitting clams!" :-)
My own take on his approach is that it is highly improvisational and that he takes risks, but that he also has super strong technical abilities, musicianship, ears, and a deep baked-in vocabulary on which to base said improv.
Back on topic, I'm a rabid Matteo fan. Never seen him live. I think I have to get to NAMM next year just for that.
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Originally Posted by Mick-7
Originally Posted by Mick-7
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Originally Posted by James W
Originally Posted by James W
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Originally Posted by Mick-7
The "test" I mentioned was for lyricism, which Coltrane often achieved in his solos, as on Lush Life. Of course he could "shred" too but that's not all he did. Please share a lyrical solo by Mancuso, like I said, I haven't heard one.
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Originally Posted by sgcim
it's one thing to speak freely on a difficult topic and quite another to read something you composed previously (with no um's and consistent pace) etc.
the first sort of talking tends to come across very differently than the second.
the whole art of acting is to do with learning how to make learned lines come out sounding 'real' and spontaneous
I think the tendency of guitarists to be super-impressed with this sort of thing has to do with their habit of according the highest value to 'chops' or speed etc.
coltrane doubling up at 300 is a kind of crazy circus-trick - but my deep love of jazz doesn't lead me to listen to it twice. holdsworth makes me want to scream and make reactionary-sounding claims about real music. (I've hardly listened to him at all)
this guy's time feels is impressive - but only because it is unerring and the tempo is super bright.
bird plays very fast on ballads - but oh boy, that is not an end in itself but a means to generate e.g rhythmical variety and bite - which get lost very very quickly if you play banks of 8ths/16ths.
so it's all about what people do with the chops they've developed - not just with how choppy the chops are
Video-conferencing alternatives?
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