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Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Guitar
Stuart McCallum
Mike Outram
Sax
Iain Dixon
Trumpet
Neil Yates - Five Counties is a beautiful album
Yogi: I can't, but I will. 90% of all jazz is half improvisation. The other half is the part people play while others are playing something they never played with anyone who played that part. So if you play the wrong part, its right. If you play the right part, it might be right if you play it wrong enough. But if you play it too right, it's wrong.
Interviewer: I don't understand.
Yogi: Anyone who understands jazz knows that you can't understand it. It's too complicated. That's whats so simple about it.
Interviewer: Do you understand it?
Yogi: No. That's why I can explain it. If I understood it, I wouldn't know anything about it.
Interviewer: Are there any great jazz players alive today?
Yogi: No. All the great jazz players alive today are dead. Except for the ones that are still alive. But so many of them are dead, that the ones that are still alive are dying to be like the ones that are dead. Some would kill for it.
Interviewer: What is syncopation?
Yogi: That's when the note that you should hear now happens either before or after you hear it. In jazz, you don't hear notes when they happen because that would be some other type of music. Other types of music can be jazz, but only if they're the same as something different from those other kinds.
Interviewer: Now I really don't understand.
Yogi: I haven't taught you enough for you to not understand jazz that well.
I saw Ella Fitzgerald live in about 1984.I was 16 and into Quiet Riot & Motley Crue at the time, so I fully expected to hate it but she was bloody brilliant.
Guitar in this setting can reach great heights (Wes Montgomery most notably, some Kenny Burrel and Grant Green too). But traditional jazz guitar tone seems to lack something that is abundant with, for example, Wayne Shorter or Dexter Gordon. Trying to play the older stuff with a guitar sometimes feels like an inferior choice of instrument.
Electric guitar tone excels in the realm of overdrive with rich harmonics and sustain. Hence Guthrie and the bluesy jazz crowd (Ford, Carlton er al) come into their own.
I took Guthrie and Matteo as examples because they’ve absorbed so much from the more recent guitar vocabulary of Eric Johnson, Van Halen, Frank Gambale, Pat Metheny and many others, as well as the traditional bebop language.
They’re far from the only ones though
- there’s too many modern players I enjoy and admire to make them all justice, but these two popped to mind as it’s particularly obvious in their style.
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@jdgm Jim Mullen is fantastic! It’s funny, I always try and steer students away from that right hand approach he uses haha it just looks so wrong, but he makes it so right.
I like people such as Ray Charles, Nina Simone, Etta James, Ella Fitzgerald, etc. but, depending on where you look, they seem to be sometimes categorised as jazz, but just as often something else. I can appreciate the likes of Coltrane, Miles Davis, Charlie Parker, etc. but would very rarely choose to listen to them.
- Blues, Rhythm'n'blues etc: snare is on the 2 and 4
- Jazz: from the drummer's perspective, the beat is carried mainly by the ride cymbal
As usual with such definitions, there are gazillions of exceptions and half-way houses that "prove the rule".
I think chord substitution / extension / alteration comes into it. How the players navigate the changes. Lots of crossover..
Like you infer, very muddied waters...