Sorry, what is FWTAW? I searched it but came up with zip. Everyone is using these anacronyms these days and it’s a chore to find out what they are saying.My wife and I are going to see Mr. Lage on Thursday at the MIM (Musical Instrument Museum) in Phoenix. We will be sitting about 20 feet from the stage. I will let you know my impressions after the show, FWTAW...
I would disagree a lot with that statement. Lage plays jazz and really anything he wants. To me he's like Jim Hall/Bill Frisell with some more chops (a lot more).
His harmonic knowledge is far superior to Garcia (and I love the Dead). Jerry was great but (and let's be honest here) Lage is on a different level from him (as his Trey). Plus AFAIK, he doesn't have nor has he has had a problem with drugs (and that factor played into how both Garcia and Anastasio's playing took a turn for the worst at various points).
It's really apples to oranges.
Lage and Trey may have some similarities as far as how much theory they know but again, I would say that Lage is a little bit more versed in harmonic knowledge and how it applies to playing changes. And, if you haven't seen his solo guitar arrangements of some of the jazz standards that he has done (and they are on YouTube) then you owe it to yourself to do so. Neither Jerry nor Trey (and I am pretty confident when I make this comment) would think to A: do something like that and B: do it as well as Lage does.
I mean, listen to this (and on a Les Paul!):
because you have insomnia?Lately I've really gotten into Julian Lage, and I'm trying to figure out why. Obviously, he's a talented player, but im trying to decipher what it is about his playing that has connected with me when, for me, Jazz has been a largely peripheral interest. I just find his playing much more melodic and I guess accessible compared to a lot of jazz I've explored.
Don't get me wrong, as a blues guy I like Jazz, but there are few artists for whom I have had the desire to repeatedly revisit with consistent regularity; Charlie Christian, Wes Montgomery, John Coltrane, and now, Julian Lage. I am not well enough versed in the genre to trace back influences the way I can with Blues artists so I was hoping some of you more learned Jazz cats can help me dig back into where Lage draws his inspirations so I can do some further listening and hopefully incorporate some simplified aspects of his playing into my own. Thanks in advance!
The sooner people understand this... to hell with the genres... the better off they, and music in general, will be.I can understand some of the stuff that people say about him. Some of his stuff is decidedly not "jazz"...it's music.
Again... if more people.... but then, that would remove people's most favorite hobby/pastime of all: COMPLAINING!!!For me, with Julian, I take the stuff I like and leave the rest.
100%I think the comparison to Eric Dolphy is fitting. Julian is doing something very important in music (and especially in jazz) right now. For one, he's playing it with real instruments (including this forum's favorite) and real skill. He's also pushing boundaries, not only of his own skill set, but also of music itself and what defines it. Which means, by definition, he's not always doing what we think he should. Jazz should be played on an archtop on the neck pickup? Here's a tele through a Champ on the bridge pickup. Jazz should be inscrutibly complex, self-consciously intellectual and dissonant? Here's a beautiful classical etude or pop ballad over a simple chord progression. Jazz should NEVER be played on a flat-top acoustic? Well...
The coolest thing. Not many players actually do this, or you can't see it. Even many of my favorites. His OBVIOUS emotional connection with the music and the instrument are something to see.Julian clearly enjoys what he's doing. He has attained what most of us strive for...the ability to completely express himself musically without making it into a calculus problem or being overly reliant on effects, gear or image. He gets lost in the music. If you watch enough of him, you'll see him laugh with it, grieve with it, fight with it, cuss it out, seduce it and roll on the floor wrestling with it.
I'm impressed by Julian's command of the instrument. He uses actual dynamics, and not just the volume knob...he plays the tele (and the Collings) like an Esquire...picking closer to or farther from the bridge, using his fingers, adjusting his touch, with/without vibrato and with or without effects.
Finally, unlike some who simply guard their talent, skills and little corner of their scene with pettiness and jealousy...Julian shares his. He is a teacher. Some may say he is or isn't great at teaching, but he is making an attempt to share his knowledge, perspectives, approach and mindset with others for their betterment...and for the betterment of music generally. And I find that highly commendable.