bluemonk

If you've said the same thing yourself, then why the hell are you telling me what I should say and should not say? Sounds like you need to follow your own advise.

WHATEVER....you're opinion and that's all it is.

As I said before, I don't like him and I'm just going to leave it at that.

Well now. Tell us how you really feel. Being a sellout would imply that he's doing it only for the money. History says otherwise. So he's not doing it for the money? I think you're way off base here, Jim. Everything he does is motivated by money. It has to be. Listen to his music. It sucks! I do things that are motivated by money, too. Does that mean I'm a sellout? You do what you can do to make a living; he found something he was good at and could make money at and he stuck with it and made a whole bunch of bread. Good for him. It's obvious from bootlegs that I've heard and from the stories of people in this thread that he can still burn on guitar in a jazz setting. Does that mean he is required to do so by some strange obligation to jazz / guitar nerds? And if he doesn't he sucks? The music business is extremely tough. I applaud anyone who actually has talent and musicianship for making it, however they can. Is Larry Goldings selling out because he's touring and recording with James Taylor? You know you're right, Jim. Benson has no obligation to anybody. People like his music and hey if you're cool with him singing "On Broadway," then who cares what others think, right? Enjoy his crappy music. I told people on here what I thought about him, so take it or leave it. I'm just expressing my opinion, and that's all it is, an opinion.

Being a sellout would imply that he's doing it only for the money. History says otherwise. So he's not doing it for the money? I think you're way off base here, Jim. Everything he does is motivated by money. It has to be. Listen to his music. It sucks!

George Benson can kiss my ass! I hate him and his music.

Sorry, but his music is like Top 40 Radio minus the vocals. He might have been able to swing at one time, but he gets my vote for biggest sellout in jazz history.

For me, Angel Song was the recording that made me appreciate Wheeler's music much more. I think it is his best recording. You have such a wonderful cast of musicians each being completely empathic with each other and the music. The interplay between them all is really astounding. I also find It Takes Two! to be quite good too. Gotta love the two guitar lineup of John Abercrombie and John Parricelli and the bass playing of Anders Jormin.

Stanley Crouch has caused more destruction in jazz than Kenny G. Crouch, as far as I'm concerned, has always been an enemy of this music. He is the epitome of the words "jazz purist." Everyone who listens to jazz knows it has progressed. I don't need a damn pinhead like Crouch, or any other jazz critic for that matter, telling me otherwise.

Don't worry about it, Jim! I like yours and Dave's playing a lot. I went on your website and am very impressed with what you had to say...musically.

Another album that doesn't get mentioned much is McCoy Tyner's "4 X 4." It has Arthur Blythe on it, Freddie Hubbard, John Abercrombie, Bobby Hutcherson, Al Foster, and Cecil McBee. Very good session.

I liked Arthur Blythe's work on the two Joey Baron recordings "Down Home" and "We'll Soon Find Out." Great, great albums! Bill Frisell - guitar Arthur Blythe - saxophone Ron Carter - bass Joey Baron - drums

Don't forget Henry Threadgill. Those guys like David Murray, Arthur Blythe, Julius Hemphill, and Threadgill definitely moved the music forward into unchartered territories.

If I can bring a box set it would be "The Complete Verve Master Takes," but if had to choose one it would be "Bird & Diz."

Well, I certainly am not afraid to explore the electric guitar's potential. I've been playing for 18 years and I've always been fascinated by the electric guitar. Whether it be effects, amplifiers, guitar synthesizers, I'm pretty adventurous, but that all changed many years ago when I heard Jim Hall for the first time and my mind was blown. Hall has such a simple sound, but is beautiful in its sparity of effects. He might have a little reverb, but that's it. Hall has finally through the years picked up a few pedals like a Digitech Whammy pedal and a few others. It's interesting that he refused effects for so long, but now I think they can help you create your own sound. When you hear guys like Hall stomp on an effects pedal, it's refreshing, because people don't usually associate him with anything but a guitar and amplifier. I think effects are crucial to my own sound, but I don't go overboard with them. Reverb, delay, and sometimes distortion is all I really need.

That's really cool, Dave. Again, you should've been on the new Blade album and that's all there is to it. That Fellowship sound isn't the same without you. I will also say your solo on "Evinrude-Fifty (Trembling)" from the album "Perpetual" is amazing! I never heard a pedal steel player play jazz licks and the overall feeling you had was emotional. I really dig your playing Dave. In my opinion, you, John Cowherd, and Brian Blade were the "Fellowship" sound. Brian Blade could have easily used Steve Cardenas instead of Rosenwinkel or the two saxophone players could have been replaced by Joshua Redman and Mark Turner. I mean there are a lot of people to think about, but Blade couldn't replace you or John Cowherd and now you're not on the new album and that really pisses me off. Keep up the good work, Dave!

What scares you about Monder? A.) What he does as a composer and guitarist is usually pretty far beyond my immediate comprehension. B.) He's a little bit twisted, from what I've been able to gather. I have two autographed cds by him and he's always been so nice to me. He's a really good guy. I talk with him through email quite a bit and he's certainly a fascinating person. What amazes me about him is his huge chordal vocabulary. I mean it's just unreal what he knows.

Bill and Nate. I don’t really want to argue the question of “too much” or not too much. I played it. I posted it. Obviously I don’t think it’s “too much” but I want to say that I’m not responsible for the camera work. The poor guitar player, Jim Stahlhut, obtained the videos from whoever took them and sent them to me with his blessings to post them if I wished to do so. Of course I told him I was disappointed I didn’t get to see him but what could I do about that? The video was taken at a steel guitar convention and, apparently, the cameraman set up on a tripod, focused on where the steel players sit and left the camera in place the whole time. I’m grateful for the use of his work and do not feel inclined to complain about the particulars of it. As far as the stereotyping of pedal steels is concerned, I think that that situation historically has not been helped at all by people other than those playing the instrument deciding what’s “too much”. Incidentally, the owner of the arm that you noticed reaching for a drink clearly didn’t share your opinion. Everyone’s entitled to have one’s own, and hers was quite positive. She stood out in my mind amongst the very encouraging people I met there. If it weren’t for nice people like that I’d want to find a good place to jump off of the world when I see people dis what I’ve really put a lot of heart into in two words. Dave Easley Dave, I respect your work with Brian Blade Fellowship and what you put onto record with that group, but what I do not like is someone who can't take a little criticism. You're in the business to take criticism whether you like it or not, right? I mean lighten up a little. There are always going to be people who aren't going to dig what you do. Be grateful that somebody here at least acknowledged you. You shouldn't take what everyone says so literal. Hi, Grover. As I said, everyone's entitled to have their own opinion, which they can express in places like this but can't I express mine as well? By the way, Nate said this, "Though I think he's, as they say, "too much" (in a literal sense)." ANd then you said this, "You shouldn't take what everyone says so literal." I'm in the business to play music which I'm going to do now. I didn't mean to make anybody mad. I just think that honesty deserves honesty. Thanks for the acknowledgement, and kind words, Bill. You can express your opinions here all day long, Dave. I'm happy to hear them, because again, I liked your work with Blade. All I was saying is that it just sounded like you're making a big deal over someone else's comment. Fluff it off...move on, that's the professional thing to do. I know a lot of people where I've played who personally said they don't like my guitar playing, which is okay, because all I know is as long as I'm honest with myself and I enjoy doing what I do, then it really doesn't matter what anyone thinks. Since I brought up Brian Blade, why aren't you on the new album? I mean you were on the last two, why aren't you on this one? They could have used you.

Bill and Nate. I don’t really want to argue the question of “too much” or not too much. I played it. I posted it. Obviously I don’t think it’s “too much” but I want to say that I’m not responsible for the camera work. The poor guitar player, Jim Stahlhut, obtained the videos from whoever took them and sent them to me with his blessings to post them if I wished to do so. Of course I told him I was disappointed I didn’t get to see him but what could I do about that? The video was taken at a steel guitar convention and, apparently, the cameraman set up on a tripod, focused on where the steel players sit and left the camera in place the whole time. I’m grateful for the use of his work and do not feel inclined to complain about the particulars of it. As far as the stereotyping of pedal steels is concerned, I think that that situation historically has not been helped at all by people other than those playing the instrument deciding what’s “too much”. Incidentally, the owner of the arm that you noticed reaching for a drink clearly didn’t share your opinion. Everyone’s entitled to have one’s own, and hers was quite positive. She stood out in my mind amongst the very encouraging people I met there. If it weren’t for nice people like that I’d want to find a good place to jump off of the world when I see people dis what I’ve really put a lot of heart into in two words. Dave Easley Dave, I respect your work with Brian Blade Fellowship and what you put onto record with that group, but what I do not like is someone who can't take a little criticism. You're in the business to take criticism whether you like it or not, right? I mean lighten up a little. There are always going to be people who aren't going to dig what you do. Be grateful that somebody here at least acknowledged you. You shouldn't take what everyone says so literal.

Pete McCann (whom I already mentioned) is great: I own all of his solo recordings and several he has sessioned on. One recording in particular I dig was Charles Pillow's "In This World," which also had Ben Monder on it.

What scares you about Monder?

Ben Monder, although he certainly has been on the scene for a long time now, but he's finally starting to get recognition. He's an amazing player. His harmonic concept is as vast as the ocean. Other relatively unknown jazz guitarists to check out: Brad Shepik, Kurt Rosenwinkel, Pete McCann, Jeff Parker, Adam Rogers, Liberty Ellman, Mike Moreno, and Nguyen Le. All of these players are amazing are blazing new trails in jazz guitar.

I love Art Farmer! In particular, his work with Gigi Gryce on "When Farmer Met Gryce" and "The Art Farmer Quintet." I also really dig all his Jazz-tet work. Great trumpeter with a gorgeous, pure tone.

I bought "3 Cohens - Braid" last night. I'm really forward to hearing it. Very gifted musical family. From the sound samples I've heard, her brother really can tear a trumpet up which is evident on the song "Freedom" from this album.

He'a a very good trumpeter. He can tear one up!