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Who and Y?
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10-16-2024 12:06 PM
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I like Johnny Smith, just for the sheer beauty of his arrangements and the precision of his improvised playing.
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When it comes to chord melody for me it's hard to beat Bucky Pizzarelli.
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joe pass for obvious reasons.
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A whole lot of players are really interesting for a tune or two as a break in an ensemble set, but Joe Pass is the only one I can think of who can sustain my interest for an entire album or performance solo.
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I like to watch Joe Pass concerts on YouTube, another guy who makes it look effortless.
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Peter Leitch
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andy brown
lee retenour
ted gtreene
they all know the tunes and use very tasty chords to highlight the melody
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Martin Taylor, anyone?
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ive spent a lot of time working out with this video...
Originally Posted by Rob MacKillop
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Ted Greene
Pasquale Grasso
Jonathan Kriesberg
Peter Bernstein
Pat Metheny
Tommy Emmanuel
Kurt Rosenwinkle
Kenny Poole
Martin Taylor
There's a whole host of youtube players that are really good too - too many to mention.
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Andres Segovia. Kind of a snarky answer, but as much as I love jazz guitar, I’m not that big on solo chord melody in other than short bursts. In other words, I have a hard time listening to whole albums of solo jazz guitar. It starts to run together, there just doesn’t seem to be enough variety in any one players vocabulary to keep my interest. To me, jazz guitar sounds better in a small group setting. Please don’t take offense, that’s just my taste.
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George Van Eps was amazing.
Warren Nunes never recorded chord melody, but he could sure play them! And if you asked him to slow down and play something again so you could cop it, he'd play a totally different version of the same tune, equally brilliant.
After that, it's the Brazilian guys, but this isn't American Jazz standards. Like Yamandu Costa, Alessandro Penezzi (sp?).
Guinga never recorded American jazz tune chord melodies, but he can play them and makes every tune sound like he wrote it. He has one of the most distinctive guitar styles I've ever heard - based on two astonishing-level abilities. Harmonic conception on guitar and the chops to play things that ought to be unplayable.
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I feel you on that, Johnny Smith is my favorite, but I'll put on Moonlight Vermont 100 times before I put on The Man With The Blue Guitar. Originally Posted by Soitainly
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Van Eps a master for sure but not always my first choice to listen to and I don't listen to him much. His playing is intricate, but I like the sense of swing, and he does not quite swing like some others I much prefer, Certainly Martin Taylor and frankly it all starts and ends with Joe Pass and the original Virtuoso recoding in 1973. That did for me and the rest. Originally Posted by rpjazzguitar
I will also say the as time passed and recordings of Pass in later years some are just not as good. He sometimes goes in a direction that gets a bit over kill. I like Pass the most when he keeps weaving the melody into the tune. His sound on different records sometime is great and other times not as good. In the end Virtuoso captured the essence of Art Tatum on the guitar and it swings. It was the complete opposite of a Chet Atkins school that many guitar players went to for solo playing. It is all good but when it swings it sure hits my button.
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This one's nice.
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For me it's Joe Pass, i've been introduced to jazz guitar with his Virtuoso albums.
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Originally Posted by nyc chaz
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I don’t think of Kreisberg as strictly a chord melody solo jazz guitarist, but man when he does it… it’s just stunning. Same goes for Julian Lage. Totally original and just stunning. But it’s just one aspect of what they do. It’s more Martin Taylor’s main thing, even though he can (and does) do pretty much everything. Then there’s Joe Pass. I love what they do.
My goal is to have about 10 chord melody solo pieces under my belt. Four down, six to go. Heck of a lot of work to memorise them, practice them and make it sound like a) music and b) me. Worth it. Love it.
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Joe Pass sound spur of the moment and as if he's taking chances. For all I know he might have worked everything out in advance, but there is a sense of impulsiveness to it that I like.
Johnny Smith was so elegant and smooth about it
A write in for Scofield. When he choose to play unaccompanied/without the looper, his broken-up way of playing chord fragments and melody can come off as wonderfully impressionistic. I wish he had done that solo tour either without the looper altogether or at least had used it less.
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For me it’s Bill Frisell. Nobody makes it more about the song than him. I’m not sure if you could even call what he does chord melody?
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I really don’t listen to a lot of solo guitar. But Peter Bernsteins is an approach I identify with a lot. I like that he’s not afraid of playing single notes and letting them hang in the air.
I definitely get a little bored of solo guitar that’s busy. Though technically I find it incredibly impressive.
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solo jazz and classical is my favorite personal setting to play in but...
...my all time favorite musician is keith jarrett. it's impossible to listen to him play solo and not think "maybe i chose the wrong instrument."
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Joe Pass for me, and it's the impulsive, improvisational energy I love. Not arrangements, but doing in chordal fashion what horn players can only do with single notes. He also blends single-note lines seamlessly into chord melody phrases. I have listened to him play the same tune on half a dozen different recordings and none of them are alike. He'll change key totally out of nowhere, shift the tempo, always making it look effortless and even fun.
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I get the impression a lot of the time he's improvising it. I don't know that he is, but it comes across that way. Originally Posted by pamosmusic
I like that - most other solo players sound like they've spend a lot of time working on arrangements. Nothing wrong with that, of course.
Some players improvise as well, but it's possible to detect a bit of a gear change once they finish the head and they move away from the more pre-arranged material. I don't get that feeling with Pete.
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Raney and Abersold, great interview.
Yesterday, 11:21 PM in Improvisation