Alon Marcus

A very nice album on Enja from Attila is Common Cause.

I have a cd of Joe Pass called My Song and it has Tom Ranier who plays soprano, tenor and clarinet and in addition he is the pianist in the album. Wilton Felder plays both bass (Jimmy Smith "Roots Down Live") and tenor sax with the Jazz Crusaders. Marcus Miller is mainly an electric bassist but he is also a decent bass clarinet player.

Toots Thielemans is a decent guitar player. Victor Feldman played piano with Miles but he also plays drums and the vibes.

For example the "Funny Rat" thread is long and could be nice if there were a possibility to search in that thread only. Is it possible?

One more hint - the composition can be found on albums recorded live when Wayne was with the Jazz Messengers (the sextet).

And here is Wes' blindfold test, he speaks there about GG and George Benson and some more interesting stuff.

BTW - almost every guitarist I met or read an interview about said the cliche that he wants to sound like a horn player. I know that both Wes and Grant wanted to sound like horn players. Is it the right approach?

Well, I hope you won't think that I'm dumb and deaf. Maybe I should throw in a hint... It's a Wayne Shorter composition.

Google can help but not always. Please tell me how you find the last two yet unsolved quotes over there. EDIT: Also, I'm honored that the all mighty moderator chose this pointless thread of all the other pointless threads that have been constantly posted since the beggining of ages. If you are capable of programming I have a few tasks for you so you could spend your time on something useful.

No problem jazzbo. I simply disagree with you but then again there is a great quote I saw recently, though I can't recall exactly where I saw it:

Soul wins for me too! I think that Wes had a lot of soul. His technique is personal and original but it doesn't mean he is merely a technician. Different strokes I guess

1 minute and 53 seconds after the piece starts the piano enters with a rhytmic figure that resembles another rhytmic figure from a very very famous composition.

What this expression means? Is it a good thing to hit a nail on the head?

Before you make this blanket statement, how familiar are you with ALL of his work, and not just the later era that was mined for that Best of Volume 2 CD? Have you heard the sessions collected in the Grant Green/Sonny Clark Mosaic set? Yes indeed. Please read my previous post. I wrote that I like this session. I have the double cd not the mosaic box though. Now if you want to discuss this topic please try to listen to "Airegin" from this session. Do you like what he does to the theme? Sorry Dan, to me it seems he didn't study it well enough. Is there a single solo on that session from GG that is as sophisticated and delicate as those of Sonny Clarke? Important edit: Anyway it's just my opinion about Grant. There was a time when I totally disliked him and now I appreciate his works more. Maybe it's a matter of time. I just never understood the admiration of GG. I think there is a bunch of guitarists that are better than he is. I didn't hear ALL his stuff but listened to him a lot. I'll be happy to have recommendations and hear more of GG. Is there anybody who heard ALL Grant Green and ALL Wes Montgomery? Dan, as always it is probably just a matter of personal taste.

This one has great stride moments

Well, just to clarify my point of view. Grant is a good player but I like many other guitarists better than him. I listened this evening to his collection on Blue Note (vol. 2) which contains some of his funky playing. "Windjammer" from "Live at the Lighthouse" is a good example. It's too fast for Green. It's not a matter of using space. Claude Bartee has the sax solo after him, for me he is an unknown but I like his solo more than Green's. GG is locked into some blues licks, he is not articulate, I can't understand and hear clearly what he is trying to say. There is a place where he starts to play fast lines. I think that George Benson could do these things better. GG is a good player, an important contributor to Blue Note sessions and an influence on guitarists but he is totally overpraised.

Listening right now to Pharoah Sanders "Summun Bukmun Umyun". The first piece opens with a short rhythmic motive played by the piano. This motive is very familiar and appeared earlier in other pretty famous jazz composition by a very famous jazz group. Who can recognize?

Wes' career was short and I think he recorded less than Grant Green. It's seems natural to me that people know him better. Wes contribution to jazz guitar was immense. The way he produced his sound, the octave and chord solos. To me his lines sound more natural and singing than Green's. Grant sound is somehow "hollow". Grant was a good player but Wes was a genius. Grant too commercialized his music but he limited himself too much to blues licks. He sounds best with Lee Morgan ("Search for the new land"), Larry Young and Sonny Clarke but his solos even when good are weaker and less interesting than the others. It seems that Wes simply was better and much more communicative. Watch Wes' video with PC, Wynton Kelly and Jimmy Cobb. His face shines with a smile and so is his playing. Truly, I think he was a natural genius.

It's true! But his best solo on "Miles Smiles" is with both hands on "Circle".

Lester Young? David Bowie?

Be careful, "Prisoner" and later Miles containes el. piano. Hancock the composer is heard best on "Maiden Voyage" and "Speak like a child". Maybe two of the greatest albums ever on the same level (or close) to "Kind of Blue". To hear him play is best on Miles second great quintet, all the live shows they recorded. His recent Gershwin's world is great too. It's a shame you don't like el. piano. Herbie recorded wonderful "fusion" albums (not only "Headhunters").

Was it a big band leader? How about a clue Brownie?

First of all let's start from saying that anybody who listens to jazz automatically becomes a critic. I think that we need critics in every field but most of the profesional critics are just taken too seriously by themselves. I prefer the objective and informative critic. I don't like critics that are trying to sell the ultimate truth. ...and a little quote that was attributed to Einstein: Much of it applies to jazz criticism.

Carmen Mcrae?

It was Elvin Jones talking about John Coltrane!