The Jazz Guitar Chord Dictionary
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  1. #526

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    Quote Originally Posted by djg View Post
    it's another incarnation of fumblefingers.
    Tbf you think everyone is fumblefingers

    Im detecting a different vibe here

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    The Jazz Guitar Chord Dictionary
     
  3. #527

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    Wow! "There's some real gabbin' goin' on here," as the farmer down the road from me used to say. I've read the lion's share of comments and I fall into the Jimmy Smith Camp after a lifetime devoted to this madness. I think some prospective musicians want to disregard/minimize the hard work it takes to become first--technically proficient and later, artistically interesting players and want to believe it is sent in a bolt from the gods through divine intervention and their life is forever changed. But, the reality is that the gods are not that generous and there's the real gamble that after you've finished your journey . . . you really won't say anything interesting, musically. There IS an added element of "talent" to this madness that cannot be bought for any price. And, the tragedy of this realization can be both profound and devastating to the player who has experienced this epiphany. There are some people that are born to be artists. We see it in the early bloomers who grace the Jazz and Classical world and those fortunate FEW that have the gift sometime later in life. But, it begins with a seed that is genetic and not everyone has the seed. I've known serious musicians that have dedicated their entire lives to music. They are great technicians/craftsmen and you could call them for a "cold" gig without reservation. But, despite their mechanical talents, they've never said an interesting thing musically in their life. Music is Non-Verbal Communication of the highest order. And, unless you're a savant . . . you must turn back the sheets, look under the wheelbarrow, dig in the back of your cupboard, and check out your basement and attic . . . or you might never find grandma's diamond ring that no one else could find. Life is that way sometimes . . .
    Marinero

  4. #528

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    Quote Originally Posted by John A. View Post
    Joe Pass definitely read music very well. There are a bunch of interviews where he talks about how he learned from etude books and how his father would give him Piano scores to read and make him practice 7-8 hours a day. Later on and he was a very prolific session player in LA for years. There are varying accounts of how well Wes could read (some say he couldn't read at all, some say he could read a little but not sight read).
    amen. video is built on a ridiculous false premise.

  5. #529

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    Quote Originally Posted by Jimmy Smith View Post
    Take that clip I posted. The 2 pianists at open studio. Adam the guy playing on the left is kind of mad at theory. He says stuff like you can't information your way to playing better. He always emphasizes hearing and transcribing kind of to the exclusion of technical stuff. Peter, the guy on the right thinks both are important. To my ear, Peter absolutely smokes because he takes advantage of both sides of things - ear and tech stuff. I like how his ideas sound like they're little cells of theoretical ideas whether it's a tonality, a rhythm, or some other device. Adam kind of just blows through things, and does sound good, but he doesn't seem like he has as good of a command to really excite with the music like Peter does.
    I actually preferred Adam's playing; his comping chords maintain a natural harmonic sound despite being complex, and I think his rhythmic sense is superior. Peter has tremendous facility and to my ear I also, like you, hear his "study" in his playing.
    I can usually hear in a guitarist's playing of a popular solo whether their primary constructive source was predominantly visual/verbal (standard notation) , mechanical (TAB), or auditory (by ear). It is different for various styles of music and tastes vary, but to me for Jazz the ideal is that none of those paths really show themselves, just all resolving into a highly confident extraordinary competence.

  6. #530

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    They both sound good. There's no way Adam's rhythmic sense is superior because they both hold it down but Peter busts faster and more technical stuff. Peter is one of my favorite players right now because I like how he uses interesting devices to make his lines exciting. He builds and sequences motifs really well and creates interesting phrases using some sort of idea like a rhythm or a tonality which I really like. To me that sounds really good rather than only focusing on making a flowing congruent line.