wesbed

Joe G: Thanks for the insights, in addition to what DrJ posted. I appreciate, understand, and can hear the circular sound of Kenny Burrell. The 'thumb in place of a pick' technique of Wes Montgomery. And, especially the staccato picking of Grant Green. I know what you mean, when Grant get's 'stuck' at certain moments, creates some tension, then just goes nuts and tears it up. He blows me away every time.

I believe that listing the personal characteristics of all known jazz guitarists could be a bit daunting. Which is why I chose the three listed jazz guitarists. What I'm looking for is a unique personal characteristic to listen for per each listed guitar player. For example, Red Garland had the very light touch on the piano. Philly Joe Jones had a 'popping' sound to his drum set. Coltrane had the 'sheets of sound.' Paul Desmond played the 'dry martini' saxophone. Lee Morgan played, if I remember correctly, a 'half valve' style on the trumpet. What are some of same kind of examples/characteristics when speaking of jazz guitar?

Is this the beginning of another one of 'those threads' that will provide us with the opportunity to get our post-count up for the day? I got mine.

I don't own many jazz guitar titles. However, I do enjoy jazz guitar very much. I enjoy the soft, yet swinging, and sometimes stretched/distorted sound. Most all of the jazz guitar titles I own are by Grant Green. I recently purchased Milt Jackson's 'Bag meets Wes!' This purchase got me to thinking, what makes a jazz guitar player different from other jazz guitar players? What makes the given player unique? What should I be listening for? My ear is more tuned to trumpet, saxophone, and piano. To me, there is a quite a difference between Freddie Hubbard's quick/high notes and Kenny Dorham's softer sound. It's obvious, when you hear Wayne Shorter's liquid sax, that it's different than Hank Mobley's buttered sax. Finally, Bill Evans' sophisticated piano is nothing like Monk's quirky, throw-back, old-fashioned/new-fangled piano. What about jazz guitar? To my ears, each player sounds different. But, how & why? To me, Grant Green plays more 'single notes.' Yes, I've read that his sound is modeled after Sonny Rollins' saxophone technique. Wes Montomery is different from Grant Green. What makes Montgomery different? Does he play more chords and fewer single notes? Finally, Kenny Burrell. What's Burrell's gig? What makes his sound unique from the others? What should I be listening for in each guitar player's style? What does one player do different from the other? What is each player known for? What makes him stand out from the crowd? What unique thing would let me determine if it's Grant Green, Wes Montgomery, or Kenny Burrell playing on a given track?

I did make to Border's this evening. I had the 20% coupon in my pocket, my ace in the hole. hehe... I didn't use the coupon but did take advantage of Border's 'Buy 3, Get 1 Free' May jazz sale. The in-store promotion resulted a lower price, per disk, than buying a single item with the coupon. Of course, I arrived home with 4 new jazz titles in hand. Ahhh... May is going to be an expensive month at Border's.

Another pic of me (and friends)... enjoying some food, beer, and conversation last Saturday. I'm at the other end of the table (with the striped shirt). And, no, that's not my kid. >picture link< Also, the keg of Heineken in fridge. >keg link1< --the fridge >keg link2< --the keg

.:.impossible: Man, thanks for posting the fantastic picture of you and Elvin. It's VERY cool to have a natural and quite recent photo of you and the man. I believe both of you look healthy and content. Yeah, Elvin looks old. But, what the hell... he is old. I hope I look as good as he when I'm his age. I hope I can keep smiling till I'm 77 years on the planet. If I'd not read the sad stories of Elvin's health in this thread, I'd think he looks good for a man his age. It shows his good character that he had time to meet and speak with you, especially if he's not feeling well. We, the general public, don't often get to see natural-looking pictures, such as yours, of famous people when they reach Elvin's age. Again, thanks much for posting this picture. Elvin Jones was the first drummer I really 'heard' when I first started listening to jazz. Such a distinctive, drums all over the place, drums right in your freaking face, yet controlled and precise kind of sound. The best.

JSngry is correct again (as usual). I've recently purchased my own copies of The Complete Jack Johnson and The Complete In A Silent Way boxes. Both packages are VERY nicely done. If the current Miles box packaging is the 'more expensive' packaging, I'd rather spend the extra money and get the goods before the new, 'less expensive' packaging is released by Columbia.

He's really not my friend. More like a friend of a friend. When I initially met Mr. Denver Symphony, he asked me, in regard to drums, who did I like? I believe he assumed I'd mention somebody like John Bonham or Neil Peart (you know, the standard answers about favorite drummers ). I believe he was a bit taken a-back when I answered, without hesitation, 'Elvin Jones.' I mean, who, outside of jazz fanatics and professional drummers has really ever heard of Elvin Jones? Yes, Elvin is a very common name on the jazz discussion boards. But, I'll guarantee, none of my real-world friends are familiar with Elvin. I almost got the feeling Mr. Denver Symphony had to one-up me by saying 'he' liked Tony Williams better. I've never considered Elvin Jones as having anything to do with an 'old fashioned' sound. I have wondered, however, what other informed minds think of labeling Elvin Jones as being 'old fashioned' and labeling Tony Williams as being 'modern?' My post, here, is not meant to pit Tony Williams against Elvin Jones. I enjoy & respect both drummers very much. I've never forgotten and always thought of Mr. Denver Symphony's comment as being odd.

I'm not a drummer. I speak out of ignorance regarding drumming technique. I know only what I hear and how it makes me feel. That said, I know a guy who used to play drums, part time, with the Denver Symphony. He claims that Elvin Jones is an 'archaic' drummer with a very old-fashioned & out-dated style. Mr. Denver Symphony says he likes Tony Williams, that Tony Williams is a very 'modern' drummer. I've recently acquired a new appreciation for Tony Williams' style. From a listener's perspective, however, I still place Elvin Jones higher on my list of favorite drummers.

I have only a single copy of Blue Train. And, it ain't the RVG.

Elvin Jones has been at the top of my list of favorite drummers for a long time. I've always been amazed how Elvin can create such a firestorm of drums in support of a featured player. While, at the same time, providing the firestorm in a calm and refined manner.

I gotta get my ass to Border's this evening, coupon in hand. I found a copy of the In A Silent Way box at my local store.

I voted 'Other.' I like CD Universe for it's pricing, service, and in-stock items. I like Cheap-CDs for it's pricing. I've never had a problem with Cheap-CDs. I've read other posts of people complaining about a lack of customer service from Cheap-CDs. Also, Cheap-CDs doesn't always have items in stock.

Thanks for the coupon link. I might have to use this coupon this evening. I assume I can print it, cut it out, hand it to my friendly Border's clerk, and take my 20%?

I agree with Lon. Unless the store offered significantly lower prices, I'd not shop there either. I believe we DO need division of genres in the stores. I don't want to have to dig past Brooks & Dunn and Garth Brooks to, hopefully, find something by Tina Brooks.

I stopped and listened to some samples of the new Krall on my way home from work this evening. It seems less jazzy than her previous releases. My impression, while listening, was that the new record sounds too much like any given generic/modern attempt at making a quality record, which, unfortunately, falls flat. This 'modern' recording is different in that it's supported by the familiar voice of Diana Krall. I'll agree with Tjazz. The new Diana does sound, to me, more raw and softer, more like Norah Jones. Although what I heard from the new Krall CD sounded quite good, it's a 'modern flat.' Good, yet flat. Nice, yet nothing special. I'd not say it was jazz. Jazz based? Yes. Jazz roots? Yes. Jazz? No. It's good, in a way, to see Ms. Krall (is her name still Ms. Krall?) attempt to stretch herself. At the same time, I believe she'd do better to keep a few jazz standards on each new release. I believe she's good a good jazz singer. Unfortunately, not much jazz, to my ears, on the new release.

Here's a live weather camera in Tucson. >camera link< Interesting. At 6:00PM, it looks to be warm and mostly sunny. B)

Maybe she has become Verve's Norah Jones?

No - it's the other way round: Norah Jones is Blue Note's Diana Krall - as Diana was there first. Beyond all envy for her success, compared to Norah, she sings and plays better. And swings more. I don't rush out to get this, but I will get it someday, and I have to say I like her music. Krall is a jazz singer, to me. She can sing the jazz with the best of 'em. I'm not saying Krall is 'the best.' I believe Ella is the best that ever was. But, Krall is good just the same. Krall has done very well at mixing old jazz with new styles and creating quite a good end result. Depending on a person's perspective, Norah may make nice music and may not. Nice or not, though, I just don't hear Norah Jones as being a jazz singer. There's some very cool tunes on this earlier release. Such as Hit That Jive, Jack!, I'm an Errand Girl for Rhythm, The Boulevard of Broken Dreams, and Frim Fram Sauce. If these songs aren't jazz, what are they?

I wouldn't call this crazy but I like it.

I was never impressed with Tony Williams' drumming, from a listener's perspective, not a player's perspective. I've always liked Philly Joe, Elvin Jones, Art Blakey, or Max Roach much better. Upon listening to the Miles mid-1960s releases on Columbia... I'm totally impressed with Williams' drumming style. I mean, Williams is ALL OVER THE PLACE. Inside, outside, upside down... a cymbal here, a snare there, add a little of the pedal when needed (I suppose he uses the pedal? Jeez, I'm no drummer). All kinds of sounds flowing from Williams' drums, high frequency, low frequency, fast, slow, just everything imaginable from his drum set. I can't explain it but Tony Williams has proven himself to me.

Man, get it! Didn't I already tell ya?

Hey. I never wanted the Charlie Parker box. Never. Never. Never. This thread, which 'I' started, had better not make me want the Charlie Parker box. Not for a while, at least.

Maybe you could skip the electric bill again?