LimpyLoo

Well, I guess I'm done with WATMM. Take my thoughts elsewhere.

Deer, I swear to god I will give you $20usd if you reply to this post.

join the army thanks! *joins the army and gets killed* *problem solved* zing! *floats over to Brian Tregaskin's house and makes creaking sounds during the night*

join the army thanks! *joins the army and gets killed*

I'm terrible at organization. Any tips?

Congrats on the new monitors, Mess. If you haven't already, make sure to throw up some dampening in your room to get the most out of those Genelecs.

Coming down off dentist anesthesia is the shit. I wish all my teeth were rotten and I got one pulled like once a month.

anti-cute

Currently reading Morrissey's Autobiography. Very well-written.

I remember making a post on Gearslutz about how much great freeware there was and how you don't really need to even buy plug-ins unless you need some sort-of specialized one. Needless to say my post was ferociously downvoted.

Well there's more that goes into the sound than just the 1's and 0's. For instance my (digital) sp-303 sampler is revered in some circles for the character of its converters. The data also gets compressed.

BTW I'm gonna start posting jazz guitar stuff here and there to my soundcloud...lemme know if anyone has any requests.

The generation after Wes, however, is where guitarists in general started to catch up a little bit. You had dudes like Pat Martino and Pat Metheny who could burn over changes like "Giant Steps," a feat that pretty much no guitarists before them could accomplish. And I'm not talking about speed so much as I'm talking about being able to play the changes.

I just mean generally speaking. Django had a rhythmic rigor and harmonic knowledge (aka an ability to "play the changes") that surpasses most guitar players, two qualities which are mostly found in horn players. I'm not criticizing specific players so much as I'm pointing out that jazz guitar as a discipline was late to bloom, and if you picked up a guitar in 1960 with the intention of playing jazz, there wasn't a clear, well-trodden path ahead of you and a body of guitar-related academia to study behind you. If you want to find precedent for a guitarist like Wes Montgomery you gotta look to tenor players, not guitar players. For instance, even a genius like Wes had a rather limited harmonic vocabulary as far as actual voicings go. If you look at his chord-melody transcriptions you see drop-2 voicings and variations thereof, and that's it.

i agree except for Watercolors dunno what i'd put there though 80/81 then? Watercolors is really a personnal record album for me. Its right when I began my journey into jazz. I would pick that Michael Brecker record with "Song for Bilboa"

i agree except for Watercolors dunno what i'd put there though yeah then he went pop and did shit like "California Dreaming" lol

I dont see and hear any problem with joe pass, his virtuosic lines are so virtuosic that I love it, but its for real maniacs I guess. pretty much all the guitarist? not my opinion, Wes, Green, Metheny, Burell all hold their own as much as horn players but I agree that guitar jazz has much less top/original players then horns or piano players. Metheny is where the guitarists start catching up in chops imo. I agree, BUT not all Metheny album are born equal. He has one of the most large discography of jazz guitarist, the biggest actually. you have to know what to listen from him, otherwise you are lost echh yeah he does a lot of smooth weather-channel shit i'm really just referring to his facility on the instrument not the quality of his music

I dont see and hear any problem with joe pass, his virtuosic lines are so virtuosic that I love it, but its for real maniacs I guess. pretty much all the guitarist? not my opinion, Wes, Green, Metheny, Burell all hold their own as much as horn players but I agree that guitar jazz has much less top/original players then horns or piano players. Metheny is where the guitarists start catching up in chops imo.

Joe Pass is indeed virtuosic but he's a bit of a lick machine the problem with the history of jazz guitar is that pretty much all the guitarists lagged behind the horn players and pianists in the chops department

Ludd doesn't' like me.

that tune is pretty straight-ahead not much syncopation in the rhythm section very "4/4" which would probably classify it as 'swing' which was the dominant strain of jazz in the 20's 30's and early 40's early 'bebop' was conservative in that way too though a bit more syncopated i'm not sure when that tune's actually from the sound quality seems more 50's than 30's

*denies it*

There's a jam band in my town called Nippin' The Nub

Ooh nice Eric Harland on the first tune I just emailed him yesterday to see if he'd give me Skype lessons lol

Just went to a coffee shop and accidentally threw a $100 bill (aka C-note, hundo) into the tip jar. Almost left without noticing it. So I guess it's not actually a problem but it could have caused me a lot of trouble and fucked my life up. Gave me a little mini panic attack thinking about what would have happen if...