Separate names with a comma.
Discussion in 'Bad Dog Cafe' started by Heathfinn, Jul 26, 2019.
Two players that immediately came to mind, Michael Hedges and John Petrucci.
Sounding like Keef is a pretty damned good place to be. There's a lot of nuance in getting that feel just right, and a lot of grease.
The one who continues to frustrate me is Richard Thompson.
and a whole bunch more, but I don't feel like typing that much!
Me too, everyone mentioned in this thread so far. Guthrie Govan is the latest, OMG he is so accomplished, I feel like an ant looking at a giraffe.
Yeah Shawn Lane is a phenomenon, sort of a freak of nature and not just a guy who plays guitar that I could learn stuff from.
I've read some interviews and his explanation of his learning process is not that far off from mine, where it seems much of his playing just came to him, as opposed to a teacher told him what to do with his fingers.
But what his fingers do is not merely mortal, so he doesn't make me want to give up guitar playing!
Maybe also I like more of what GG does, and one thing that really strikes me about his playing is the way his notes begin.
His attack is not slurred but it is also not hurried or frenetic.
I find much of shred to be fatiguing to listen to because the notes are attacked with a mechanical feel, which is kind of inevitable when picking that fast.
Maybe it's also the lack of rhythmic variation where shredders will play a few hundred notes equally spaced with no rhythmic variation, just to make sure we are awestruck.
Music is to me like sex, it needs variation, not formulaic mechanical endlessness.
WRT GG's attack, I want more of a saxophone attack where the notes are distinct yet flow with ease, and find that to be the harder thing to do than just the sheer speed of one note after another. Govan just has a beautiful attack.
(I wonder if part of that is in his gear?)
I'm moving away from topic, but if we look at what playing knocks us out, it seems inevitable to question why.
And guitar playing has advanced to a point where the most advanced players actually turn off listeners and drive them away from the music.
So it's a fair question to ask: Why are we so impressed by certain players?
Maybe half the examples so far are players who fit into music, and the other half are players who require special music to fit around their self indulgent playing.
And many of those self indulgent players really miss the mark of music as universal language.
That's OK too, much of my chosen music is for a fringe audience, like Coltrane and hie era of Jazz pushing boundaries.
But I've struggled for years to decide where to draw the line between self indulgence and serving the music/ listener.
Of course the listener is not the music, but when we lose the audience in pursuit of our own excellent adventure, we may become a parody of a musician.
Brad Paisley. He can't be human.
And many more who are a whole lot better than I know I ever will be - including those in Nashville who haven't been "discovered" yet! Why? Simply because I feel like I'm always playing the same stuff over & over & over & over....etc., etc., etc.,.......that's not saying that I'm not proud of my playing - I am definitely proud of what I can do guitar-wise but I know that I could be a whole lot better if I'd just take the necessary time to practice but....I really don't have an overwhelming desire to practice.
Danny Gatton inspired me to get my first Tele. After listening to him, then playing my Tele, I have to restrain myself from burning it in the back yard.
Richard Thompson has had that effect on me for many years.
Also Martin Taylor and Joe Pass.
I find that among the impossible things that Gatton did with a Tele, I can usually find a morsel that I can take and use.
Kinda like a sentence or two out of an encyclopedia.
I only listen to mediocre guitar players. Makes me feel better....somehow.
they are all better than me.however that in no way diminishes my enjoyment of my own sucky guitar antics.
Any person or person related to a person that frequents TDPRI forums and knows more than three chords and can play guitar with their feet.
Window clause: would be Tony Enamel on the six whiskered Maton. (lucky for me i live in a submarine)
The latest two for me are JD SIMO and Daniel Donato.
I'll send you some cassette tapes! (Yes, my last recordings are that old!)
Paco de Lucia!!
Where should I start? I’ll go with these guy since I’d like to sound like them all rolled up into one
John Scofield. His playing style is so 'vocal-like'. It's almost like someone just talking to you, with almost all of the little inflections, or imperfections of a conversation. There don't seem to be any 'licks'. He's not doing anything exceptionally dexterous, or difficult, it's just that he's so far from my mindset. Almost every note has some mood setting accent, or nuance. There's a lot going on in every phrase.
That’s funny! All of mine were on cassettes too, until I bought a tape-to-CD burner and transferred all the songs to CD.