Jazz for aficionados
Frogman, that "stereotypical" was in reference to the "sax riffs" in so much of current jazz that is most certainly unoriginal, and I've heard it so many times before. Any time you say "Jazz", I can be certain of those same riffs; that's what I'm talking about. I always over generalize to make my point. |
Certainly is good for the soul; and one of the reasons I have been on this thread for so long ......just kidding (mostly 😊).  Loved the Flinstones!  In case anyone cares: The well known theme song for "The Flinstones" is a "contrafact".  A contrafact is a tune that uses the exact same chord progression of a pre-existing tune.  The Flinstones theme uses the chord progression of George Gershwin's "I Got Rhythm"; a chord progression often referred to in Jazz parlance as simply "Rhythm changes".  https://m.youtube.com/watch?v=hByFDVwiQq8 Now, try singing the Flinstones theme along with Sarah singing "I Got Rhythm"; it works! https://m.youtube.com/watch?v=5G7UIeYGq0k |
Hello again, Frogman... I’m afraid I don’t have anything too profound for you w/r to the Pat Metheny Quartet, Wes Montgomery, Jim Hall or Kenny Burrell links. I think what I have to admit is I’m not that big a fan of the traditional jazz guitar. Not sure I’d voluntarily spend time listening to any of the three album links you posted. I did/do prefer the Wes Montgomery and Kenny Burrell albums to the other performances. In fact, I had Burrell’s Blue saved in Spotify so, since the SQ is better streaming that, I put it on and have it playing now. As I finish typing this, the Wes Montogomery (track called, Four on Six) is playing. That really is a fine album. Might be something that grows on me. I’ll see if I’m drawn back to it. Why do I like these over the others? Probably a combination of factors and nothing that signifies an absolute preference for Burrell or Mongomery regardless of context or material. I don’t wish to offend but I don’t care for the "typical" jazz guitar sound...as shallow a reason as that may be! It’s kind of a soporific to me. Jazz guitarists seem to go for this sort of rounded off, muted, mellow sound. Like nylon strings except I’m pretty sure they aren’t all using nylon. No bite. I feel like the guitar is on novocaine...or I am. In the case of the Jim Hall performance...a general anaesthetic or a medically induced coma. Maybe that’s the tradition. Dunno. I do like the sweetness of a hollow body but got to moderate that with a little "attitude". Burrell and Montgomery seemed to have a little more edge in their tone (though not in your face rock guitar by any means). I listened to 15 minutes of the Baltica concert (2 songs). Compare Pat’s sound to Brecker’s. The sax was so much more expressive. Maybe that’s what you meant when you said Joey DeFrancesco’s sound was more dynamic than Pat Martino’s (I think that was the gist of your comment). Not much fire in that kind of guitar sound - in my O-pinion. Burrell and Montgomery have that similar sound but with a little bit more edge to their tone...well, sometimes. I happen to really enjoy the blues so the Burrell Blue album was already at an advantage over the others. Again if it were Wes or Pat Metheny playing the blues, might like them as much or more. BUT this is leading somewhere in that, I’m often thinking in listening to jazz guitar (as in quite a few of these recent links) "TOO MANY NOTES!". And why do all the tempos (tempi?) have to be "molto allegro"?...from scores that must be black with 16ths and 32nds!! I’m exaggerating, of course. The Burrell Blue and Wes Montgomery were a welcome change of pace and the compositions and songs were not all busy busy. By the way, who is the pianist on the Wes Montgomery? Great tasteful soloing; (e.g., on Mr. Walker)? I prefer a solid connection to melody. The connection of the Baltica playing with a melodic source seemed kind of tenuous to me (in the first 2 compositions, anyway). Same applies to that Martino/DeFrancesco Great Stream performance. I just don’t enjoy things that sound like abstract noodling. In this regard, the Wes Montgomery works for me being song-based, grounded, concise playing. Which is not to say I don’t enjoy more abstract song structure. In another post, some other time, I can give you some examples that I enjoy. Will also try to provide links to jazz(ish) guitar playing that I do like. Best I can do. Just not that big a fan of the traditional jazz guitar, I guess. Ciao. |
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Best I can do. Just not that big a fan of the traditional jazz guitar, I guess. ***** Montgomery and Burrell are examples of 'The Traditional Jazz Guitar'. You mentioned being put in a coma by certain music.  That's not the first time certain music on this thread has been described that way.  In fact quite a bit of it has been posted recently. Welcome to Jazz-Jazz.  As the good book tells us, No Blues, No Jazz.  Know Blues, Know Jazz. Check out "Smokin' At The Half Note" by Montgomery, with Wynton Kelly(piano), Paul Chambers(bass), and Jimmy Cobb(drums). Cheers |
