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05-18-2023 03:46 PM
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Tal could burn, but it was always musical. He and Jimmy Raney were rather similar in their styles, but I prefer Tal by a small margin. Even his later playing, without the speed of the '50s, is something I really enjoy.
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Originally Posted by GuyBoden
Not too mention, we have to deal with inertia. Once you start a motion, you have to use effort to change the direction of that motion.
Granted their are a lot of guitarist who can play fast, and a modest amount that can even sound good while playing fast, it seems to me that a good number of others instrumentalist can kick it up a few notches above a typical guitar player.
(At least we are not suffering the fate of harmonica players).
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Originally Posted by GuyBoden
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Originally Posted by deacon Mark
Personally, I think Tom Quayle needs to play more live gigs in a band to get more credibility, I feel he has too many clinics, youtube videos selling stuff, selling on-line lessons etc, I feel he needs to get out and play.
Doing this sort of clinic (video below), is such a waste of his talent.
But, this seems to be a popular modern approach to make a living playing music.
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Originally Posted by GuyBoden
(I do hear that Guthrie Govan in contrast gets a bit tired of the clinic bubble… give the man gigs!)
I feel there are fusion players on the UK live scene who aren’t so well known on the internet who are up to his level. Check out Nick Linnick, for example.
OTOH Ant Law is an established professional who gigs a lot with his own groups and with Tom Garlands band and trio HLK. Aside from his highly complex contemporary music, I’ve jammed with the man a couple of times and he’s certainly an excellent ‘real jazz player’ as the Good Deacon would understand it.
Don’t know the other fella, I enjoyed his playing.Last edited by Christian Miller; 05-20-2023 at 05:51 AM.
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Originally Posted by Christian Miller
The young Tom Quayle was taught by Graham Young from Leeds, that's where he got into 4th tuning. I've played with a few of Graham Young's proteges and was impressed, so converted to 4th tuning, that was about 12-15 years ago.
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Originally Posted by GuyBoden
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Originally Posted by Christian Miller
Does he think no-one out there he wants to play with or does he have some sort of stage-fright or need to have total control of his environment?
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Originally Posted by deacon Mark
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Originally Posted by Irishmuso
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Originally Posted by GuyBoden
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Ron Afiff comes to mind as a player that can play fast and sound great at it. Rodney Jones also.
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Playing uptempo isn’t necessarily about playing fast.
I think lots of guitarists can play fast runs. There’s plenty of impressive shredders out there. But that’s not what gets me with fast bebop.
For instance, If you amalgamate the beat too much, and accent only downbeats, it can feel like you are floating in half or quarter time. A lot of guitarists - including me - have or have had this problem. That’s a valid starting point for getting comfortable with fast tempos but if you do this the feel of the tempo and its swing can get lost.
But to be able play in a way that truly expresses the tempo and swings once the metronome gets up there and to make music ! Well I think that’s a rarer skill. It requires rhythmic acuity and groove as much as technique to find a pocket at those crazy tempos. That’s actually more interesting to me than someone who runs eighth note lines, I think it’s harder in fact. Also finding the light and shade within a line rather than playing mechanically. It has the effect of making the tempo feel slower than it is (in a good way)
I kind of feel it you can’t express the tempo comfortably without a rhythm section - so that means the swing feel etc - why play it? It just seems like a technical display then.
it’s amazing to me the way very advanced jazz musicians will find the space on fast tempos while others will make the tempo but not find the same freedom.Last edited by Christian Miller; 05-21-2023 at 05:15 AM.
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Peter Bernstein is a perfect example of this. Check out his solo on Giant Steps below, how he plays so musically without resorting to speedy runs that much.
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Originally Posted by Christian Miller
Originally Posted by Alter
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Originally Posted by GuyBoden
Truth is, I don’t know. I think it makes more sense to me to talk about trade offs. Advantages include easier interval mapping, symmetry of fingerings etc. disadvantages are basically throwing out a lot of the traditional language of the instrument. Maybe that’s a feature, not a bug, for some.
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Originally Posted by Alter
(no it’s not the shadows tune haha)
if you listen some of his stuff is pretty fast - but it never sounds like that … he’s actually playing a lot of 8th note stuff on that Giant Steps, but it sounds like music. An apt student of Jim Hall (and a Grant Green fan)
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Hehe, watching Grassos fingers and playing is like gym motivation for me: I always run to a guitar and play!
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This came up to my mind....
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Originally Posted by Alter
The Mirabella “ Blue siren” Crossfire
Today, 07:00 AM in The Builder's Bench