-
You nailed that...
Originally Posted by joaopaz
-
03-28-2017 05:18 PM
-
[QUOTE=wolflen;754421
what kind of a chance do you have with "judges" like that..so yeah..perhaps PM was "enjoying" his day when asked to play a guitar without asking direct permission of the guitarist..[/QUOTE]Yeah, mebbe I got a little carried away and over-reacted. Like, I was in my '20s then.
And still remembering and still being drug ain't cool. My bad...
-
Thanks, that's what I meant re him and Zawinul. Talking mess about others (and this goes beyond music, across the board) is unnecessary, unhelpful to the race, perhaps reflect's insecurities/anger/self-righteousness---and just makes the person LOOK BAD. I've been (rightfully) accused of it myself, and now that I'm officially a 'country boy' have decided to get with Olivia Newton-John's sung advice and 'Get mellow'.. Originally Posted by West LA Jazz
CONSTRUCTIVE criticism, at the right time/place, is another thing altogether:
I played a jam session in NY recently with some less experienced players who needed guidance. I verbally gave them 'tough love' to help them and help 'right the ship'. This was the way I learned, and as a tradition is WAY older than jazz. Anyway, some were cool with it, and some offended. That's fine---I was up there to play and was the 'elder' there' with helpful advice, take it or leave it.
When the bass player in the house group came back he got down on me for 'running my mouth' and 'let the music speak'. Yes and no: ideally, yes, music speaks loudest--and, yes, best to teach by example. But sometimes people need verbal guidance, too---especially young people. It's all in how you say it and where you're coming from.
At any rate, the problem IMO is more basic, and goes to the center of human expression/interaction:
Speech itself is all of what most have to express thought. Most (many?) people don't have a creative outlet for self-expression, so talking is pretty much it.
But if you listen critically to much of conversation, it ALMOST seems like every few sentences something either dumb or in other ways off-putting comes out. I'd be willing to bet that studies have been made of this.
Finally, think of how spoiled we are in Western society to even THINK ABOUT, let alone discuss this type of thing electronically. There are still 3rd world peoples whose main concern is survival of themselves and their families. Think they have time or CARE about this sort of stuff?Last edited by fasstrack; 03-28-2017 at 06:21 PM.
-
'Question and Answer' is one of Pat's most straight ahead recordings. Originally Posted by Robertkoa
-
I've talked about Chuck Wayne's approach to chords numerous times on this forum. Originally Posted by NSJ
Here's just one thread. Funny enough, you were the first to respond:
One Way to Practice Chords
-
When I get time, I have a lot (mostly good) to say about Chuck (I studied and hung hard with him in the '70s/early '80s. Originally Posted by dasein
Stay tuned, you won't be disappointed...
-
Well, they ARE all the greatest guitarist I have ever heard. Originally Posted by BeanSinger
I don't see the contradiction :-)
-
I saw pasquale and his brother luigi play at a barry harris clinic at the hague in 2002 maybe? both of them were super young and sounded absolutely incredible. I don't think pasquale was as far along as luigi then, but they both sounded GREAT. so I'm not sure if I would say his background is in classical really, they both seem to have been jazz musicians from an extremely young age.
one other observation: In interviews, Pat obviously gets excited about people and tends to, in my opinion, exaggerate praise. I think this is a natural thing, but I've heard him say similar things about other guitarists and musicians over the years (an example here is Jake Blanton).
-
Lol.Nice to know we all Originally Posted by christianm77
have a chance...
Maybe he should use the 'S' letter.
Eric Gales is kind of like Eric Johnson except Gales swings sometimes when he Solos .
What about Michael Hedges - was he ever the 'Best'?
ALSO - if you listen carefully to the Guitarists above - you* WILL notice a Musical similarity, a commonality they share with Pasquale Grasso and with each other.
*OK....not really .But give Metheny credit for liking a lot of Players far different from Himself.
Metheny will be really shocked when he hears **'Kenny G does Coltrane A to Z '.
**OK- this has not happened yet...but it might, possibly, maybe.Last edited by Robertkoa; 03-29-2017 at 02:13 PM.
-
Hahha! Originally Posted by dasein
Incidentally, since that time, I've added drop 2 and 4 chords big time in my playing.
Of course, I blame Pasquale. Err, Barry. Or maybe Pasquele. Who got it from Barry.
-
Where's, um, my name? Originally Posted by BeanSinger
Where's MY name??!
'I DEMAND a retraction'...
---The matador rival to the Bogart character for Ava Gardner's affections in The Barefoot Contessa*
* He really meant he demanded an APOLOGY, tripping malapropismically over his English...
-
Da da DAH da---da da DAH da (read: Twighlight Zone theme). This is getting weirder by the second. Maybe it's 'thread death time'? I'll get the priest---or a shaman for youse Pagans... Originally Posted by Robertkoa
-
A few more I remembered seeing or hearing him rave about that I forgot...
Joe Pass
Lenny Breau
Carlos Santana
Noel Ackchote
Joao Gilberto
James Taylor
Michael Landau
Ronnie Singer (he was all he could talk about when I saw him after his recent Ron Carter duet tour)
Jason Vieaux
Larry Coryell
Lionel Loueke
John McLauglin
Eugene Pao
Jerry Hahn
and I will probably remember more tomorrow. The guy is a serious fan. Who definitely exaggerates! But I always get turned onto something new with him.
-
And yes, Michael Hedges. Jim Hall was also a big fan of his.
-
I think Hedges used to open for him in the 80's, as did Leo Kottke, another one where I saw Metheny write a whole article about how great he is. Wish I had seen that double bill.
-
Originally Posted by dasein
All right (I type this at work on the sly, working on hour 11 of 12 today, hope that no one knows I'm on the internet
).
Looks like there is a CW Chord book that looks like the arpeggio and scale books I had when I was taking lessons.
Perusing though it (it's available as an ebook from iBooks), CW seems to classify it in 4 ways:
(1) Close to Open Voicing (take the 2nd note from the bottom of a close chord and place it up an octave): 1357 to 1573 (this is the drop 2 we all know)
(2) Open to Split Voicing (take the 3rd note from the bottom of the open voicing adn place it up an octave): 1573 to 1537 (I think is is what I learned as the Drop 2 and 4)
(3) Open to Spread Voicing (take the 2nd note form the bottom of the open voicing and place it up an octave): 1573 to 1735 (this must be the drop 3)
(4) Spread to Octave voicing-- (replace the top note from the spread voicing with the octave of the 2nd note from the bottom, "resulting in a three part chord influenced by four part harmony"): 1735 to 1737
So, 3 of the 4 points are not new, but point 4 definitely is.
Lots of other interesting stuff in there, looks like the stuff on p.26 is great shorthand on chord subs !
And looks like someone's coming from down the hall, gotta go....
-
Kottke was terrific, as was John Renbourne and Pentangle. I dabbled in that approach many years ago, guess my heart and ears took me elsewhere. But I have great admiration for those folk-infused styles and players. They're at the heart of things... Originally Posted by BeanSinger
-
Ha ha. Priceless. Originally Posted by NSJ
That's what this thread needs: silliness...
-
I guess he was really young on this? It's great for what it is, but leaves me unmoved somehow. A lot of interesting concepts and a self-assured delivery, but I find it over-constructed, with little breathing room or time for the listener to digest. Reminds me of Bill Evans's comment about the first time he heard Scott Lafaro (paraphrasing) 'great ideas, but it was like a bucking horse'. Originally Posted by christianm77
But I'm sure he was real young on this, and he had balls and confidence in his playing, like a lot of talented young players. The wisdom comes later (to SOME). I really like him better years later, especially getting down to brass tacks on an acoustic. Then he sounds individual and truly gifted to me, playing Cherish, etc. This had a million notes and not as much direction as I would have liked...Last edited by fasstrack; 03-30-2017 at 12:08 AM.
-
Enjoyed the release at 2:40 - but was amused at the image that one of the (YouTube) comments conjures: "feels like "dead girl from Ipanema'"?:
<span style="color: rgb(0, 0, 0); font-family: Roboto, arial, sans-serif; font-size: 13px; white-space: pre-wrap;">
-
Pentangle! Crikey. Originally Posted by fasstrack
-
I guess his reharmonization is clever and creative, but what's the point, other than self-indulgence? It didn't improve or build on the original to me, or take my ears anywhere they wanted to go. The tune was simply submerged in a sea of 'cleverness'... Originally Posted by destinytot
-
Originally Posted by fasstrack
Reminded me of this quote of a jazz musician playing a Beatles tune:
Jazz Musician: "Yeah, John and Paul, thanks for holding down the fort, but I'm here now. Let me re-harm that tune for you".
Civilian: "re-harm? Please no violence, remember: do no harm!"
-
Yeah, and when jazzers play Beatles, that's exactly what they do, harm the songs. They stand on their own, and to me are killed by 'hipness'. Usually, these (recorded) projects (Beatle Jazz, etc.) are some producer's idea to reel a few bucks in. I guess it's good that some good players get a paying gig, but I wish they'd just let that one ride... Originally Posted by NSJ
-
I think meldhau does it well but he tends to stick to the changes by and large
Reply With Quote
Recommandations for Hollowbodies for $600 and under?
Today, 05:20 AM in Guitar, Amps & Gizmos