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Is this album nylon? Sometimes a very sweet acoustic archtop almost sounds like nylon.
-Lawson
"Behavior that's admired is the path to power among peoples everywhere."-Beowulf
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04-20-2016 09:53 PM
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Originally Posted by lawson-stone
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Originally Posted by MarkRhodes
On the other hand, I honestly can't see much of any connection between Wes Montgomery or Barney Kessel with Joe Pass' playing. The whole sensibility and approach is vastly different. The very architecture of their solos is poles apart. Joe also says he wasn't much influenced by Charlie Christian, and I can agree with that too. He simply isn't that guitaristic, but seems mainly pianistic and horn-like.
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04-21-2016, 05:22 AM #54dortmundjazzguitar GuestOriginally Posted by lawson-stone
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04-21-2016, 08:12 AM #55destinytot GuestOriginally Posted by lawson-stone
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Originally Posted by dortmundjazzguitar
as good as Joe plays on it I much prefer the tracks w/Gene Edwards, he sounds greasier and fits the organ tradition better.
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Originally Posted by destinytot
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04-21-2016, 09:27 AM #58dortmundjazzguitar Guest
nice rhodes-like solo:
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04-21-2016, 09:33 AM #59dortmundjazzguitar Guest
early pass:
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Originally Posted by dortmundjazzguitar
Help me here, but I just don't hear any Wes.
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Originally Posted by dortmundjazzguitar
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Originally Posted by dortmundjazzguitar
I see nothing here to link to Wes Montgomery. Joe sounds like an aspiring bop player-hard, clear articulation, not much slurring, hammering, almost no chord playing, no octaves, just saxophone-like bop lines.
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04-21-2016, 09:59 AM #63dortmundjazzguitar GuestOriginally Posted by lawson-stone
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Originally Posted by lawson-stone
Joe Pass Interview
It's hard to say what that influence is because we don't know what Pass sounded like before he heard Wes. But there are common elements in their playing that could speak to that -- I'd say time, the way both of their solos have such a strong sense of structure and composition, and the way they incorporate blues vocabulary into non-blues tunes. For people at this level, influence is not about copying technique. It's about the way encountering someone else's aesthetic opens new aesthetic doors.
John
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The accordion player (-who is fantastic) brought to mind this New Yorker cartoon:
Attachment 30611
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Originally Posted by dortmundjazzguitar
Seriously: Wes does things melodically that are utterly beautiful, but which I can find no real category or classification for except "Whoa, that's just Wes!"
Very few musicians get me thinking every 30 seconds or so, "WAIT-where did that come from?"
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I thought i heard Joe say when learning he wanted to sound like the horn players and so tried to learn their licks.they were his influences not other guitar players.
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04-22-2016, 06:00 AM #68dortmundjazzguitar GuestOriginally Posted by lawson-stone
imo that leaves wes and pass as the first generation of hard-bop guitarists. both were probably fully formed around 1953-1955, using very similar melodic content, less legato and a bouncier phrasing than e.g raney. to me it's not surprising that pass would fit in so well with those funky units in the later 60s. wasn't he also with the original jazz crusaders?
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John A.Thanks for posting the interview!Several important life principles to take from it.
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Originally Posted by dortmundjazzguitar
I think your second paragraph nails the point I've been trying to make. I see Wes and Joe as peers and not so much as linear.
Don't know about the jazz crusaders, Joe got around more than we generally realize. He just had a very erratic decade in the 50's.
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Lots going on in this thread. What a treat.
Everybody should realize that Joe Pass, Barney Kessel, Wes Montgomery, etc., ALL used simple, useful grips when playing lightning fast chordal lines. The Internet has been a godsend. You can see that these guys are using 6/9, min11, simple 3-string 7th and 9th chords to imply much more sophisticated sounds, while leaving fingers free for pedal tones and leading notes. Tal Farlow and Johnny Smith could find some close-interval stretch chords that perplex players with less than gorilla hands, but Pass, Kessel, and Montgomery were getting the job done with intense swing.
Pass v. Kessel? Fortunately, we have them both to treasure and celebrate. I must say, though, that I grew up on the Poll Winners albums. The trio is insane. You wouldn't want to have challenged _anybody_ on that stage. There was a reason that Kessel, Ray Brown, and Shelly Manne topped the jazz polls on their respective instruments for several years. To me, only the Oscar Peterson Trio ('53-'58) and the Bill Evans Trio (w/Scotty LaFaro) are in the same league for that style of jazz. Well...let me add the trios with Jimmy Giuffre, Jim Hall, and Bob Brookmeyer, and Giuffre, Hall, and Ralph Pena.
If you haven't checked out these trios, I strongly recommend them. Kessel, Herb Ellis (Peterson), and Hall are talents as worthy of consideration as the great Joe Pass.
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Originally Posted by Greentone
Has anyone played or had a Supro Amulet ?
Today, 04:44 AM in Guitar, Amps & Gizmos