Hey all! I'm new to the network. My name's Tim, I'm a guitarist from Gardnerville, NV. I've been playing guitar for around 8 or 9 years, mostly metal-ish stuff, as that's what was readily available to me at the time of my learning. I've been dabbling in smooth jazz guitar for maybe a year, and been listening to smooth jazz for a year and a half or so. It started as a kind of therapy for me, because i was so stressed out all the time. It helped me change my life in a very positive way, and so I decided to learn smooth jazz guitar in addition to the rest of my knowledge. Many of you on here are seasoned veterans and successful professionals, so I'd like to know how to further my knowledge of smooth jazz guitar. Any help at all would be greatly appreciated. Thank you very much.
Hello tim like yourself i played a lot of funk and gospel. and i just started to learn smooth jazz guitar.but i have always listened to paul jackson jr , earl klugh ,john scofield , and george benson and its a little more harder to learn.so any pointers from any one will be appreciated ...thanks
Pat Metheny Group would be a good choice for you. It would also expand your vocabulary harmonically and perhaps encourage you re-trace the steps of jazz and enjoy some of the greats. i.e. Wes, Burrell, Kessel etc.
Yeah, I've been doing just that. I've gotten into a lot of Flamenco styled stuff like Jesse Cook, Paco De Lucia, Ottmar Liebert Oscar Lopez, Liona Boyd, that kind of stuff. While also listening to some classical guitar stuff like Michael Hedges, Alex DeGrassi, and others like that. I actually have the opportunity to see both the Pat Metheny Group AND Ottmar Liebert this year... but I'm sure my wife will only let us spring for one... I"m torn as hell about it. Also, when playing this stuff, is acoustic or electric simply a matter of preference? Or is there a better choice?
The Jazz Network is exactly what the title suggests, a place where you get to mix and mingle with those who have not only an appreciation for Jazz but a forum to hear new up and coming artists as well. I've hooked up with so many of my old friends that I've lost contact with over the years here and it's been a great place to meet folk, appreciate good music and Musicianship. What an incredible idea!!
Pianist and singer Barbara Carroll was host Marian McPartland's second guest during the first season of Piano Jazz. Thirty years later, Carroll makes a return appearance to reminisce with her friend about their experiences at the Hickory House and the Oak Room. Carroll gives a charming performance of "Very Early" and McPartland improvises a musical portrait of her guest.
The great composer and bandleader was distraught over the 1967 death of Billy Strayhorn, his songwriting and arranging partner of 28 years. But Ellington took Strayhorn's passing as an impetus, born of necessity, to increase his own productivity. Here are five examples.
At the Village Vanguard, one flight down from the hubbub of New York City, in a tight space packed with people, we're about to embark on a musical odyssey by sea. Our captain is saxophonist Chris Potter, who's launching his Odyssey-inspired album The Sirens.
Divine: The Jazz Albums, 1954-1958 packs four CDs with Vaughan's music, recorded live or in the studio with bands big and small. Two live albums from Chicago nightclubs are standouts, partly when a performance threatens to slide off the rails.