Agreed. I love AH as much as anyone, but to make such an empirical statement is over the top. Better to say "my favorite guitarist of all time." Which is what the OP really meant, whether he knew it or not.
In music there are ni "greatest anyythings. There can be "amongs the greatest," but that's as far as it goes.
Here we go again, Rufus. Your great jazz generalizations. I'll address your comments with just a few examples each, for brevity.
Let's look at some jazz musicians who are intrinsically melodic - and who all deeply respect the heart of any song they play, even if at lightning speed in some cases:
Pat Metheny
John McLaughin (yup...intensely melodic, just at a high rate of speed)
Kurt Rosenwinkel
John Scofield
Bill Frisell
John Abercrombie
Arve Henriksen
Nils Petter Molvaer
Kenny Wheeler
Jon Balke
Paul McCandless
Steve Khan
As for constraint, not all jazz is about 19-20 minute soloing. Often it's restricted to shorter spaces and/or is very patiently thought out and executed, most often in a very compositional way even if it's being pulled out of the ether:
Maria Schneider (as writer)
Trygve Seim
Arve Henriksen
Nils Petter Molvaer
Jakob Bro
Kenny Wheeler
Per Jørgensen
Christine Jensen
Lyle Mays
Steve Khan (the veritable epitome)
Structure:
Pat Metheny
Darcy James Argue
Trygve Seim
Eberhard Weber
Kenny Wheeler
Partisans
Jon Balke
Terje Rypdal
Chris Potter
Hermeti Pascoal
Gary Burton
Rufus, everytime you open your mouth about jazz you demonstrate how little you know about it. You may not like it, and that's fine. But your broad-stroke generalizations are, to stick with the the of this thread, misinformed, uneducated...and annoying. Why not just keep out of these discussions? You never have anything to add other than the same old same old generalizations.
Last edited by jkelman; 03-14-2015 at 09:26 AM.
Steve F.
www.waysidemusic.com
www.cuneiformrecords.com
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“Remember, if it doesn't say "Cuneiform," it's not prog!” - THE Jed Levin
Any time any one speaks to me about any musical project, the one absolute given is "it will not make big money". [tip of the hat to HK]
"Death to false 'support the scene' prog!"
please add 'imo' wherever you like, to avoid offending those easily offended.
Or, perhaps, this video by Larry Goldiings' alter-ego Hans Groiner, who takes all the 'wrong notes' out of Thelonious Monk. Rufus might actually prefer this as it meets all his, um, criteria:
Like Mr. Logical said, the chord progression of the song is the foundation of a jazz solo, unless there isn't one, like in "free jazz" or in a modal jam, which has a tonal center but no chords. Playing around with the melody is a concept used in jazz, but far from the most prominent one. Paul Desmond was one of the most restrained soloists in jazz. Holdsworth's soloing is much more closely related to how John Coltrane played circa '58 to '62; the opposite end of the spectrum.
Don't feed the trolls.
WANTED: Sig-worthy quote.
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