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Originally Posted by christianm77
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03-25-2017 11:05 AM
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Originally Posted by BigDaddyLoveHandles
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Vinyl. Grasso on vinyl. Gimme.
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Originally Posted by christianm77
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Originally Posted by fasstrack
Last edited by mrcee; 03-25-2017 at 12:24 PM.
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Originally Posted by BigDaddyLoveHandles
Pat cut his hair?
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Originally Posted by A. Kingstone
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Originally Posted by NSJ
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03-25-2017, 07:01 PM #184joaopaz Guest
The lenght and contribuitons for this thread speaks volumes about the megalithic importance of Pat Metheny to jazz guitar today... whether you like him/it/his playing or not...
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the only reason I would go to see someone like Grasso is for the virtuosity, not the music, I think that would be a pretty tokenistic thing that would wear off pretty quick. Seems like he doesn't want to move from his 1940s box, which is fine but seems very limiting. I wonder how much success he could have doing that.
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Originally Posted by nick1994
that 1940s box you look down upon as limiting was built by Charlie Parker. I could never get tired listening and being inspired by Bird. Let's be honest, people say jazz began with Pops (factually and chronilogically true).
But the music, as music, really came into its own with Bird. What an insatiable appetite he had to think and play on his feet, where endless ideas incessantly flowed ad infinitum.
Jimmy Raney once said all he wanted to was copy Charlie Parker on the guitar. That was his one lifetime aspiration.
I could never ever get tired of listening to Jimmy. Never.
The jury's still out, but I suspect it may be the same for our Italian Superhero, over here.
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Originally Posted by NSJ
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Originally Posted by destinytot
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Originally Posted by drbhrb
In light of some of the other posts I was trying to break out of the modern/tradition debate and get back to the importance of an individual voice.
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I wonder, who is the best guitar player Metheny has never heard?
Sent from VladanMovies @ YouTube
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Originally Posted by Vladan
At a private event last night, the sound engineer let me listen to some of his personal live recordings from international jazz festivals since the '80s. His recordings of Chet are amazing - and I think Philip Catherine's playing qualifies.
(Yes, I am after a copy.)
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Originally Posted by christianm77
But we do have Tritones- the Devil's Interval.
The most Devilish Chord of all is the Minor 666th Chord with the 6th tripled in two octaves and unisoned in one octave.
This Chord has never been used in Jazz because they are S-c-a-r-e-d or *could just be it sounds bad and not playable by itself on a Guitar or Piano.
*or maybe I made it up in lieu of actual Musical Knowledge.
One of the best things to do about an arrogant Musician...is to get so effing good that you can 'cut' him Musically.. but then you may become a little arrogant yourself...Last edited by Robertkoa; 04-13-2017 at 07:44 PM.
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Originally Posted by destinytot
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Originally Posted by christianm77
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No slight to Metheny or Grasso, but Catherine's a contemporary of Metheny. Pat probably would never comment on him.
Grasso's a saucy kid to Pat.
Catherine''s one of the best living. One of the most tasteful players on the planet.
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Also unlike Pat, Catherine can also actually properly swing.
*Raises handbag*
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Lol, Pat can swing...just...never does.
P.C., though...so underappreciated.
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Originally Posted by mr. beaumont
Or are you trollin' me bro?
P.C., though...so underappreciated.
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PM was on the Lenny Breau documentary put together by Breau's daughter, singng his high praises for being utterly unique in the jazz world. He asked Breau how he does his harmonics.
Never heard of this Catherine fellow, I'll check him out. Straight ahead, I presume. One does not use the words "properly swing" with the, ahem, avant-guarde types.
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Originally Posted by NSJ
Can anyone date this? goodwill epiphone
Today, 05:40 PM in For Sale