The Jazz Guitar Chord Dictionary
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  1. #26

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    The was some of the least musical speed playing I've ever heard. I didn't even make it to :43.

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  3. #27

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    Alter, I loved those Bouzouki pieces you posted above. He is a singular talent for sure.

    I also liked his playing with Di Meola. I recall seeing that piece played live in the early 80's, but for the life of me I can't remember if it was with the Guitar Trio, Di Meola solo or McLaughlin solo--probably the latter, because I remember that one very well. I was sitting about 10 feet from McLaughlin and the lovely Katia Lebeque. I might have also seen De Lucia playing solo. My memory is a little hazy of that time (for many reasons). I probably went to 40-50 shows that year--not exaggerating--and might have forgotten about a few. (I used to keep the ticket stubs in a little box...probably somewhere in a bigger box in the basement.)

    The OP's original video was maybe a joke or one-off or something--shouldn't have been posted, because it's not on par with his bouzouki stuff, and allows guitarists to take potshots at him. His bouzouki playing though is fast, lyrical and musical, IMHO.
    Last edited by Doctor Jeff; 05-20-2018 at 08:23 AM.

  4. #28

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    Most bouzouki players tend to fall in two categories, the technical one and the lyrical/traditional one. Not unlike gypsy guitar or flamenco players. I think he 's one of the better ones in the first style. It is interesting how similar the bouzouki picking technique is to the gypsy picking one.

    For me the biggest enigma with this instrument has been .. how to hold it in one place, with the round back. Can't do it for the life of me..

  5. #29

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    This is one of my favorite "sleeper" records ... Phil woods combining jazz with Greek Music. The Bouzouki player, Iordanis Tsomidis,
    is more in the lyrical mold.


  6. #30

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    Quote Originally Posted by Doctor Jeff
    Alter, I loved those Bouzouki pieces you posted above. He is a singular talent for sure.

    I also liked his playing with Di Meola. I recall seeing that piece played live in the early 80's, but for the life of me I can't remember if it was with the Guitar Trio, Di Meola solo or McLaughlin solo--probably the latter, because I remember that one very well. I was sitting about 10 feet from McLaughlin and the lovely Katia Lebeque. I might have also seen De Lucia playing solo. My memory is a little hazy of that time (for many reasons). I probably went to 40-50 shows that year--not exaggerating--and might have forgotten about a few. (I used to keep the ticket stubs in a little box...probably somewhere in a bigger box in the basement.)

    The OP's original video was maybe a joke or one-off or something--shouldn't have been posted, because it's not on par with his bouzouki stuff, and allows guitarists to take potshots at him. His bouzouki playing though is fast, lyrical and musical, IMHO.
    The tune is "Mediterranean Sundance/Rio Ancho." It starts with Di Meola's "Mediterranean Sundance" and goes into Paco De Lucia's "Rio Ancho".

  7. #31

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    That is ear shattering and I could not stand the sound at all. I would take up playing to show folks that the guitar sounds wonderful and rich, just do not think this what a good guitar should sound like.

  8. #32

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    Love me the odd burst of speed, it can add excitement or exuberance. Bird, Cannon, Trane, Clifford, Shorter, Becker etc, but also our Wes or GB...

    However, like most here, I deeply detest continuous diatonic simple scale running, including the De Lucia / Dimeola / phrygian / Flamenco type grandstanding (with all due respect to it's tradition). It's all so cheap sounding isn't it? To our Jazz ears at least.

    And I struggle to imagine who could possibly be entertained by this style of playing- all I can come up with is 14 year old male guitar students who always seem to be impressed by anyone who can play scales faster than they can... or something?....

  9. #33

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    Sounds like the musical equivalent of an MG-42.

    He's very, very good, there's no denying that.

    As far as giving up after hearing him or any other good player? Nah. All that does is make me want to practice more and become a better player than I am.

  10. #34

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    Quote Originally Posted by princeplanet
    Love me the odd burst of speed, it can add excitement or exuberance. Bird, Cannon, Trane, Clifford, Shorter, Becker etc, but also our Wes or GB...

    However, like most here, I deeply detest continuous diatonic simple scale running, including the De Lucia / Dimeola / phrygian / Flamenco type grandstanding (with all due respect to it's tradition). It's all so cheap sounding isn't it? To our Jazz ears at least.

    And I struggle to imagine who could possibly be entertained by this style of playing- all I can come up with is 14 year old male guitar students who always seem to be impressed by anyone who can play scales faster than they can... or something?....
    Which is why I mentioned that when I first got into jazz guitar I liked this 'the faster the better' playing, but that was 30 years ago when I was 20!

    I would purchase jazz guitar albums and make cassettes tapes (yea, it really as that long ago!), and I would only record the 2 fastest songs or songs with the fastest scale running riffs from each album. This went on for a few years until I started taking lessons and discovered that MUSIC is so much more than just being able to play fast, repetitive riffs. After my ears 'matured' I even was able to fall in love with the playing of Jim Hall.

  11. #35

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    Now, if you want to hear burnin' with a recognizable melody ...


  12. #36

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    I had this on VHS until it just wore out. Don't know how many times I watched/listened to it. Never get tired of players like Herb and Barney.

  13. #37

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    Speed can be technically impressive but dosn't carry my interest beyond the first 30-40 seconds in 95% of cases.
    When the speed is allied to musical messages, melody and harmonic/rythmic creativity then my attention can be retained for maybe 5 minutes - but I still often say to myself "when will he use silence and spaces.... this needs some punctuation". I have the same response whether it is in the field of jazz (Birelli Legrène rapidly bores me, Al di Meola in his earlier years kept my attention longer), rock (sorry, shredding ain't for me but Steve Howe, Alan Holdsworth and Terry Kath grab and retain my attention) or traditional folk (9/8 irish slipjigs played at 190 bore me unless the fiddler is Aly Bain or Dave Swarbrick who understand/understood space)

  14. #38

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    Quote Originally Posted by Ray175
    When the speed is allied to musical messages, melody and harmonic/rythmic creativity then my attention can be retained for maybe 5 minutes - but I still often say to myself "when will he use silence and spaces.... this needs some punctuation". I have the same response whether it is in the field of jazz (Birelli Legrène rapidly bores me,
    While I agree with you I don't view Legrene as a 'just fast' guitar player. I find him to be very melodic and lyrical. E.g. His Blue Eyes album and especially the song I Got You Under My Skin.

    Now his gypsy jazz stuff does often start to sound the same but I view that as the nature of that style of music and not because of any limitations on the part of Legrene.

  15. #39

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    Thought it sounded like a bouzouki played by an angry bee. I listened 1:45 into it. More of the same so I quit.

    I could never play like that if I tried. But thankfully, I have no wish to play like that.

    I hope he doesn't, uh, fook with the same angry intensity. Sorry, mates...

  16. #40

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    Quote Originally Posted by Doctor Jeff
    Alter, I loved those Bouzouki pieces you posted above. He is a singular talent for sure.


    The OP's original video was maybe a joke or one-off or something--shouldn't have been posted, because it's not on par with his bouzouki stuff, and allows guitarists to take potshots at him. His bouzouki playing though is fast, lyrical and musical, IMHO.
    I believe you might be misunderstanding who (or where) any 'potshots' are directed: I see that most are directed at the OP as related to the title of the thread: "you will give up playing after this".

    That the OP would be so impressed by this video to create a title that was so over-the-top. Of course the title wasn't meant literally but instead was saying "you will be really impressed by this", when the vast majority of us were NOT impressed (far from it).

    So yea, posting this video did a disservice to the talents of the guitarist, as well as showing that the OP had a total misunderstanding of what most guitar players here would find impressive.

  17. #41

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    I started to bail @00:26 but tried a little longer... but too much was the glaring mistake @00:41 (rouge C#; they are in D minor, so the harmonic minor would invoke C#, but that's not where it came from...)

  18. #42

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    And the only logical ending to speed for speed's sake is ....

  19. #43

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    Quote Originally Posted by AndyV
    This is one of my favorite "sleeper" records ... Phil woods combining jazz with Greek Music. The Bouzouki player, Iordanis Tsomidis,
    is more in the lyrical mold.

    I just read an interview on you tube with PW where he's asked which LP of his was the worst he made.
    His answer was, "Well, there's always 'Greek Cooking'".
    Then, he and the interviewer started laughing their heads off.

  20. #44

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    I saw that too. Well, we're not always the best judge of our own work. Buddy Emmons Steel considered his early 60s Steel Guitar Jazz LP a total failure yet it influenced several generations of players. Listen to Greek Cooking on YouTube and judge for yourself. That's what makes horse races, I guess.

  21. #45

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    Here is very modest fellow, with no real reason to be.







    Last edited by Jazzstdnt; 06-05-2018 at 12:08 AM.