The Jazz Guitar Chord Dictionary
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  1. #26

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    The Master:


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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Does anyone talk about how Bill Evans sounds on Steinways versus Yamahas, Baldwins, etc.?

  4. #28

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    Quote Originally Posted by rictroll
    Does anyone talk about how Bill Evans sounds on Steinways versus Yamahas, Baldwins, etc.?
    LOL!!! I know, right?
    I bet there are some piano purists out there somewhere that babble about these things like we do.

    ........... oh wait ........... what's this I found? .............

    https://www.pianostreet.com/smf/index.php?topic=1405.0

  5. #29

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    Quote Originally Posted by Litterick
    but then I play a Gibson L6-S.
    LOL, I like the way you worked that in there mate.


    ........................ just don't think I forgive you and your All Blacks for whooping the USA in the last couple of Sevens tournament finals.

  6. #30

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    Bill Frisell's tone is always top shelf, and uniquely appropriate for whatever he's playing. For me, he epitomizes modern guitar more than anyone else, and really exploits the capabilities of the electric guitar with great tone and taste.

  7. #31

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    Peter Bernstein.

  8. #32

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    I almost forgot about this. I’m pretty sure Jeff used his late 40s ES 150 for most of this record (I’ll have to ask him). Listening to this track reminds me that there’s such a thing as a tone to the recording, not just the guitar. Jeff’s sound is so warm but Chad Taylor’s drumming really lays out the rug for him. To my ears there’s nothing like the sound of this album.



  9. #33

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    Quote Originally Posted by rictroll
    Does anyone talk about how Bill Evans sounds on Steinways versus Yamahas, Baldwins, etc.?
    You know, though, poor piano players...there's much less they can do to affect the overall tone of their instrument.

    Hell, most of 'em can't even tune their own instrument!

  10. #34

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    Quote Originally Posted by ronjazz
    For all the great tones out of jazz arch tops, from Burrel to Hall to Wes, Howard Roberts and Johnny Smith, I'm still floored by Ed Bickert and Ted Greene on their Telecasters. The younger set is really making good use of effects, like Gilad and Moreno. Martino and Metheny are instantly identifiable, although that may partially be ascribed to their musicality, but it generally becomes very clear in just a few notes when either of them is coming out of the speakers. To me, that identity is a really important aspect; as Les Paul said "can your mother recognize you on the radio?"
    Just not this Pat Martino


  11. #35

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    Quote Originally Posted by BigDaddyLoveHandles
    Just not this Pat Martino

    ew. fantastic playing though holy shit

  12. #36

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    Quote Originally Posted by joe2758
    ew. fantastic playing though holy shit
    For sure -- shredding on a 12 string!

  13. #37

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    Quote Originally Posted by Litterick
    Yes! They played Auckland in 2000 with a collection of vintage amps. I cornered him after the gig and we talked about tone; it matters to him.
    So nice to see someone else who didn't just think I broke into random Spanish there for a moment. Great band.

  14. #38

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    Anthony Wilson on his Birdland ...

  15. #39

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    This!

  16. #40

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    I really like how Peter Bernstein plays in the tone department

  17. #41

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    Jim Hall

  18. #42

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    For jazz stuff, it's hard to beat Kenny Burrell's tone. Outside of jazz, Derek Trucks has great tone.
    Nice to see a Yo La Tengo reference on the forum.

  19. #43

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    P Bernstein has a really cool sound. In my personal practice, I feel like I only got anywhere near that sound by experimenting with heavy treble strings. Does anyone know the exact gauges he uses? I know he goes from a 14 on top down to like a 52 on the bottom, which spans across what you'd get from a set of 14s and 12s.

  20. #44
    Peter Frampton (one of many):



    Gary Moore (one of many):



    Of course, "The Godfather of Cool" (one of many):



    Kenny Burrell (one of many):



    LC (one of many):



    Lee Ritenour (one of many):



    Alessio Menconi (one of many):


  21. #45

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    Passed away : Tal Farlow

    Living : Martijn Van Iterson
    Last edited by vinlander; 02-22-2019 at 05:20 PM. Reason: typo

  22. #46

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    For me somewhere between Grant Green and Ronnie Earl . . . beautiful tones!

  23. #47

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    Quote Originally Posted by rictroll
    Does anyone talk about how Bill Evans sounds on Steinways versus Yamahas, Baldwins, etc.?
    Your username is well chosen. Apples vs. Bourbon.

  24. #48

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    While my 'favorite' tone would be Raney from those Criss Cross years, I love the snap Cal gets while still retaining a nice overall (not too twang sounding) tone.


  25. #49

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    Quote Originally Posted by omphalopsychos
    P Bernstein has a really cool sound. In my personal practice, I feel like I only got anywhere near that sound by experimenting with heavy treble strings. Does anyone know the exact gauges he uses? I know he goes from a 14 on top down to like a 52 on the bottom, which spans across what you'd get from a set of 14s and 12s.
    From some correspondence with Peter: "13, 17, 26, 32, 42, 54 - used to do 14, 18, but some recent hand problems caused me to try 13, 17 and I like them too."

  26. #50

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    Hard to pick just one as tone and style/approach seem so intertwined . Burrell sits atop the tone mountain for me. Some lesser known names whose tone/style combos that I adore ...

    Big fan of Chris Flory's live sound - raw and unpretentious



    Bill Jennings was sooo!! smooth and laid back -



    the great Ed Cherry !!!



    and Bobby Broom so toneful!!!



    Will