Players who "Smear" rather than dig into their lines

[christianm77]

I like when Jim does it, because Jim can do no wrong... No, I like it because it still fits with the musical idea he did right before it and the musical context that the band gave him. Most importantly, to me, those rakes that Jim does are more rhythmically precise than Kessel's or Tal's. I think that's what bothered me the most about Kessel's and Tal's smear thing. It don't mean a thing (if it ain't got that pocket) dah dah da dah dah da dah dah dot dahhhhh

Grant Green never compromised his rhythmic pocket for any music idea (if he did, post it, I'm curious) and neither did Wes (post an example if you disagree, I'm curious, not combative). No matter what they played, it always drove the music rhythmically (and melodically, for the most part as well). That's why you can dance and tap your feet to the music. That's why I keep going back to GG and Wes.

On the other hand, I am not crazy about players who play lines so fast that the guitar becomes percussive and you can't hear the notes. However, I love Lionel Loueke's playing because the percusion has a specific musical context to his playing. Loueke's got to get more love here on the forum...

I think you can add Charlie Christian to that esteemed number. To my taste the swing guys, the pocket guys are always the best. And it's more than mere accuracy - it's creativity with rhythm, often breathing magic into the simplest of notes. When I hear that, I couldn't give a shit about technique, chord voicings or 'hip' note choices. Problem is how do you do that? Simplicity in music is the hardest thing. That's why concert pianists are terrified of Mozart.

Loueke is one of my favourites, of the contemporary guys, and for me he has some very hip notes and the pocket thing too, which is great. His playing never sounds cluttered and has a real elegance to it - reflected by the part because he fingerpicks and the endless torrents of notes thing is hard to do. You need to have the rhythmic intelligence to be able to do that though...

I think he is probably the best in a groove sense... Which by any sensible yardstick makes him the best non George Benson jazz guitarist. (Lights blue touch paper and retires.)

Well OK he can duke it out with Peter Bernstein....

I agree that it is the rhythm thing that bothers me about these 'smeared' notes. Jim always has the pocket, it's just that I don't really like the way in the case of My Funny Valentine, say, the way the sweeping sounds like a set piece, which it always sounds this way to me. Aesthetic choice. But it is certainly in time when he does it, and accurately executed and Jim is still one of my favourites (along with GG, Wes etc.)

Speaking of dancing, I know a guy who DJ's Tal Farlow's version of Cherokee for competition swing dancers.

[Greentone]

Barney did this a LOT, beginning in the 60s. It was one way that I could instantly know that I was listening to Kessel. It seems almost certain to me that BK had big ears. Although he got into jazz because of Charlie Christian, with whom he actually played as a young man, he kept on listening and moving on. As some of the other posters have noted, this burst of energy that Kessel gushes forth with seems to be a hard bop/free influence. I think he was probably knocked back by Coltrane--who wasn't? It altered his playing.

We've all been there, right?

[christianm77]

Barney did this a LOT, beginning in the 60s. It was one way that I could instantly know that I was listening to Kessel. It seems almost certain to me that BK had big ears. Although he got into jazz because of Charlie Christian, with whom he actually played as a young man, he kept on listening and moving on. As some of the other posters have noted, this burst of energy that Kessel gushes forth with seems to be a hard bop/free influence. I think he was probably knocked back by Coltrane--who wasn't? It altered his playing.

We've all been there, right?

That's a very good point. Coltrane's stuff from the late 50s on does have that element of 'note cramming', odd note groupings and so on. I hadn't thought of that.

For me, BK is the only guy I've heard who could copy CC and not sound like he was putting it on.

[MarkRhodes]

Jazz is a wonderful place where a grandkid or three doesn't mean your cache is empty.

I agree that one can be on in years and still vital on the guitar---look at Bucky Pizzarelli---but age takes a toll on human bodies (not to mention energy levels and focus), which include the hands, and we all have to face that. I think Bucky would be the first to admit he can't do everything he used to do.

Raney was only 67 when he died, which is not THAT old. Whether he was still the equal of himself at his prime, I don't want to debate the point but in general, this is unlikely to be true of anyone doing something physical (which playing the guitar surely is.) One need only think of Les Paul, who was gigging to the end, but with only a couple fingers working on his left hand! Age has its advantages but they're rarely physical....

Benson's 72 now and you're right, he's still at it, though I think the way he has "kept up" has been to make much more commercial music and much less jazz. (Do people who still dig his "Cookbook" sound even buy his more recent recordings? Maybe they do... )
One thing I admire about Kessel is that he took chances--he didn't always get what he was going for but he was "all in" and I respect him for that.

[mr. beaumont]

Well, that's it exactly Mark...we have to be adaptable...and if we've lost a few mph, there's ways around...or we push through at our own risk.

I bring up Raney in particular though, and I know you said you didn't want to discuss it, but I think it's important...67's not old...but by 67 the Rolling Stones were a $300 a seat nostalgia act. I truly believe Raney was playing his BEST in the last decade of his life. Hall sounded brilliant, really taking chances and doing NEW stuff, right up to the end of his life...

I think it's cool that jazz isn't just music for young guns. Bucky may have lost a step or two, but he can still pull off stuff most of us can only dream of. How cool is that?

[Irez87]

Bucky is a gangsta on the guitar and a saint as a human being. Glad to hear his name mentioned here.

[Irez87]

I know this was up before, but just an example of my respect for Kessel. He was a true musician, even if I didn't dig all the raking and smearing stuff.

[christianm77]

But could he do the Kessel run in less than 12 parsecs?

[Irez87]

beam me up, scotty!

Cue the model Enterprise floating into space

[AlsoRan]

I like these quick rakes. Check out Grant Green at 2:06 - 2:15 or so with little rakes, some combined with a slur. He does this at other points in this song (see 6:40 and a series of slower sweeps at 7:09).

For me, it breaks you out of the pocket and rhythm for a second and I like that. I am kind of surprised to hear that some of you don't care of it, but to each his or her own of course.