The Jazz Guitar Chord Dictionary
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  1. #51

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    Yes, the voice!!

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    The Jazz Guitar Chord Dictionary
     
  3. #52

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    Quote Originally Posted by fep
    Yes, the voice!!
    https://www.oprahmag.com/entertainme...g-translation/

    That's just great. She's singing songs about gangsters..

    I knew that song sounded familiar.

  4. #53

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    Quote Originally Posted by wintermoon
    M, do you only enjoy people in what you consider 'that' class? does someone have to be a phenom/savant for you to enjoy listening to them?
    if so I'm guessing your music library is quite small and your taste very limited. you don't have to like her, but give her some time to mature and come back later w/your opinions.
    Hi, W,
    I have always believed that life is short and time limited. And, I have many interests outside of music so . . . yes, I want to listen to the best. However, contrary to what you might believe, my music collection is quite extensive ,as is my library, and if I'm going to spend some time with an artist, I want it to count. In fact, among my tastes in Philosophy, Music, and Literature, I could spend several lifetimes exploring, in depth, my interests. So, in the case of a musician, I'll give anyone a quick listen but if it's not there for me . . . what's the point? I'm not a teacher, I'm a consumer and devotee of Art.
    Thanks for your honest feedback. I hope you believe my reply was honest as well.

    Play live . . . Marinero

  5. #54

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    Quote Originally Posted by Marinero
    Hi, W,
    I have always believed that life is short and time limited.

    I'm going to spend some time with an artist, I want it to count.

    several lifetimes exploring, in depth, my interests.

    And yet ... Somehow you find time to be on this forum discussing politics and making posts about Pat Boone??
    Last edited by Lobomov; 12-21-2020 at 09:36 PM.

  6. #55

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    Quote Originally Posted by BickertRules
    She’s a lovely player, and considering the ways most attractive women are choosing (required?) to present themselves in the music and entertainment business these days, I can’t stand back and nitpick. I wish her all the success in the world; I’m always glad to see young people preserving and carrying on the music. I’d much rather listen to her pleasantly retro stylings than any of the overrated nerd/noise music that the artistic/literary/New Yorker-type/critical establishment is currently pushing forward as “jazz”.
    Is it the lipstick?

  7. #56

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    Quote Originally Posted by Lobomov
    And yet ... Somehow you find time to be on this forum discussing politics and making posts about Pat Boone??
    Hi, L,
    I can't spend my whole life reading Schopenhauer and listening to Wagner . . .well, almost. Man needs diversion and . . . politics and the absurdity of PB certainly fill that bill. However, thanks for your concern. It's nice to know someone cares.
    Play live . . . Marinero

  8. #57

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    Quote Originally Posted by sgcim
    That comparison makes no sense. Bulerias is a fantastic CLASSICAL guitarist, playing his written arrangements of composers' film music superlatively, but he's not improvising at all. He's rehearsed these pieces for years probably, and plays them as written.

    Eleanora is a JAZZ musician. She is not playing written out arrangements, and is improvising almost constantly. She is creating music spontaneously, so it's obviously not been rehearsed for years like Bulerias' arrangements have been.

    It's like comparing John Williams playing Walton's Bagatelles, and Barney Kessel playing Satin Doll.
    Williams has been playing the Walton piece the same way, note for note for years in his own special interpretation of the piece.
    Barney Kessel plays Satin Doll differently every time, and most of it is improvised.
    Is it as technically as polished and worked out as William's playing of the Walton? No, for obvious reasons.
    They're two different styles with two different performance aesthetics.
    Hi, SG,
    I'll try to be brief.
    Paragraph 1: No Classical musician of any talent plays any piece "as written." The notes are merely a framework/pathway for the Artist's vision where dynamics, rubato, accent, nuance, and personality stamp the music. And, no one performs a piece of music exactly the same each time it is played. This is why, for example, Kempff and Rubenstein perform Beethoven in clearly different ways. This "stamp" of ownership is similar but not exactly the same as spontaneous improvisation.
    Paragraph 2: Don't believe for a moment that when a Jazzer plays a set piece that he/she does not rely on his/her own musical cliches and plays everything as if it were fresh the first time. This is how we distinguish many players from the crowd and they ALL have them. Creating music spontaneously is the exception not the norm for most Jazzers. But, when it does happen, it is something special.
    Paragraph 3: The Kessel/Williams statement does not hold water. Williams does not exactly play a performance piece the same each time and Kessel certainly does rely on his bag of cliches and perhaps, on occasion, throws in a new twist. No one is 100% mechanical; no one is 100% spontaneous. It defies human nature and how the mind works.
    Finally, this whole concept of "total spontaneity" with Jazzers is overblown and, with reservation, largely mythological. A better way to visualize what we do on a professional level is that when we approach a piece of music we want to put OUR name on it. Period. And, contrary to Jazz mysticism, it relies heavily on cliches and ideas we've worked out in advance with hopefully a few lines thrown in from the gods.

    Play live . . . Marinero

  9. #58

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    Quote Originally Posted by Litterick
    Is it the lipstick?
    It doesn’t hurt.

  10. #59

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    Quote Originally Posted by Marinero
    I can't spend my whole life reading Schopenhauer and listening to Wagner . . .well, almost...
    Marinero
    uh-oh, now it’s making more sense...

  11. #60

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    Quote Originally Posted by Marinero
    Hi, SG,
    I'll try to be brief.
    Paragraph 1: No Classical musician of any talent plays any piece "as written." The notes are merely a framework/pathway for the Artist's vision where dynamics, rubato, accent, nuance, and personality stamp the music. And, no one performs a piece of music exactly the same each time it is played. This is why, for example, Kempff and Rubenstein perform Beethoven in clearly different ways. This "stamp" of ownership is similar but not exactly the same as spontaneous improvisation.
    Paragraph 2: Don't believe for a moment that when a Jazzer plays a set piece that he/she does not rely on his/her own musical cliches and plays everything as if it were fresh the first time. This is how we distinguish many players from the crowd and they ALL have them. Creating music spontaneously is the exception not the norm for most Jazzers. But, when it does happen, it is something special.
    Paragraph 3: The Kessel/Williams statement does not hold water. Williams does not exactly play a performance piece the same each time and Kessel certainly does rely on his bag of cliches and perhaps, on occasion, throws in a new twist. No one is 100% mechanical; no one is 100% spontaneous. It defies human nature and how the mind works.
    Finally, this whole concept of "total spontaneity" with Jazzers is overblown and, with reservation, largely mythological. A better way to visualize what we do on a professional level is that when we approach a piece of music we want to put OUR name on it. Period. And, contrary to Jazz mysticism, it relies heavily on cliches and ideas we've worked out in advance with hopefully a few lines thrown in from the gods.

    Play live . . . Marinero
    I was sitting around a table after a set one time with Al Tinney, my parents and some other people. Jerri the hairdresser was singing. Someone went into some jazz+classical jive and Al started getting worked up. He went into Jive Bomber mode. Slammed his fists on the table and said, they're the same!

  12. #61

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    Quote Originally Posted by Marinero
    Hi, SG,
    I'll try to be brief.
    Paragraph 1: No Classical musician of any talent plays any piece "as written." The notes are merely a framework/pathway for the Artist's vision where dynamics, rubato, accent, nuance, and personality stamp the music. And, no one performs a piece of music exactly the same each time it is played. This is why, for example, Kempff and Rubenstein perform Beethoven in clearly different ways. This "stamp" of ownership is similar but not exactly the same as spontaneous improvisation.
    Paragraph 2: Don't believe for a moment that when a Jazzer plays a set piece that he/she does not rely on his/her own musical cliches and plays everything as if it were fresh the first time. This is how we distinguish many players from the crowd and they ALL have them. Creating music spontaneously is the exception not the norm for most Jazzers. But, when it does happen, it is something special.
    Paragraph 3: The Kessel/Williams statement does not hold water. Williams does not exactly play a performance piece the same each time and Kessel certainly does rely on his bag of cliches and perhaps, on occasion, throws in a new twist. No one is 100% mechanical; no one is 100% spontaneous. It defies human nature and how the mind works.
    Finally, this whole concept of "total spontaneity" with Jazzers is overblown and, with reservation, largely mythological. A better way to visualize what we do on a professional level is that when we approach a piece of music we want to put OUR name on it. Period. And, contrary to Jazz mysticism, it relies heavily on cliches and ideas we've worked out in advance with hopefully a few lines thrown in from the gods.

    Play live . . . Marinero
    Jazz this, classical that. It's all a bunch of jive!

  13. #62

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    Play live . . . Marinero

  14. #63

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    ^^^
    That's about it. He didn't like to record jazz. He was a club musician.
    You're not really famous until your music in is the Fallout series;



    Of course Fallout: New Vegas was the best.

    Ever think you're just stuck in a video game in another dimension somewhere..

  15. #64

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    Back to Elenora, I say she gets a pass for singing a song about Pablo Escobar.

  16. #65

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    I have never heard of this musician so I'm glad this thread was created.

    She is also working on her first album as a songwriter, featuring her guitar and voice, and she will be touring North America with International Guitar Night in early 2022. The future is very bright for this multi-talented artist.


  17. #66

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    It's an interesting debate whether someone is more singer or player if they do both. It's not whether they're better at one or the other. I think she's a singer.
    Benson is a guitar player. BB King is a singer.

  18. #67

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    Dang. Can you imagine practicing hours a day for years and years just to hear some dude on the internet come along and say you're really a singer? LOL

  19. #68

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    Not to start an argument but that woman's a guitar player, no matter what else she can (or can't) do.

  20. #69

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    Quote Originally Posted by rrbasic
    Not to start an argument but that woman's a guitar player, no matter what else she can (or can't) do.
    There shouldn't be any argument because anyone that can't see that Strino is indeed a guitar player, must be deaf.

    Clearly she doesn't play guitar just to supply rhythm for her singing. But of course you know that since the last time I checked your hearing was fine!

  21. #70

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    Quote Originally Posted by srlank
    Dang. Can you imagine practicing hours a day for years and years just to hear some dude on the internet come along and say you're really a singer? LOL
    It's just me. I like the way she sings. Sorry if it came across like I was putting her in a box. She's good at both.

  22. #71

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    OK, she's a guitar player who sings. Got it.

  23. #72

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    Quote Originally Posted by Stevebol
    It's just me. I like the way she sings. Sorry if it came across like I was putting her in a box. She's good at both.
    For sure...a very charismatic voice. And I'm not usually a huge fan of vocals with jazz guitar.

  24. #73

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    Quote Originally Posted by srlank
    For sure...a very charismatic voice. And I'm not usually a huge fan of vocals with jazz guitar.
    I like her voice quite a bit. People that are good at two things have to work it out. I'm sure she knows all the variables.

  25. #74

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    I read this thread with some surprise, particularly the critical comments.
    She's great, exudes positive energy, is a very accomplished player and singer, and generally brings a smile.
    Who cares how modern or retro her style is, or whether she might play "too many" notes.
    She is thoroughly original, seems to enjoy what she does, and it communicates to any listener who has open ears.

  26. #75

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    Quote Originally Posted by Stevebol
    ^^^
    That's about it. He didn't like to record jazz. He was a club musician.
    You're not really famous until your music in is the Fallout series;



    Of course Fallout: New Vegas was the best.

    Ever think you're just stuck in a video game in another dimension somewhere..
    Hi, S,
    As a young boy growing up in Chicago in the 50's, I had the good fortune to hear quality live music every weekend with my father in the famous neighborhood bars throughout the city featuring the best musicians in the city-Jazz, R@B, R@R, and top 40. This brings me back to that wonderful time that is gone forever. Nice memories. Play live . . . MARINERO