Jazz for aficionados

Hello Alex - I try to give credit where it’s due and always want to express my sincere appreciation for the suggestions provided - so my apologies to you!

I will be checking out those Kenny Burrell links. Thank you.

With respect to the earlier albums suggested by Frogman, as you might have read, I went back to the Wes Montgomvery "Incredible Jazz Guitar" album and listened again last night. That one is definitely growing on me...so maybe there is time.

I’ll let you know what I think once I get time to listen.

Ciao.
PS - Well I fired up that Joe Jones link. You are right on the money with that one, Alex. It’s jazz but very funky. If you have more background or info about this style please let me know. VERY enjoyable (though I didn’t think much of the organ solo) - enjoyed his guitar work a ton and liked the (bass?) solo on the outro. Fun stuff.

Great suggestions by Alex, the Kenny Burrell clips in his second to last post are all excellent and leave no doubt as to why he is considered one of the giants of jazz guitar.   Hardly "traditional" Jazz guitar, but I  loved his Ivan Joe Jones clips the first time around and even more this time. Excellent clip with a great feel and live that "Manteca" quote by Rusty Bryant with that amazing gritty tenor sound. I have to get that record.

Ghosthouse, glad you liked the Birelli Lagrene clips; lots more on YouTube. I don’t hear "sloppiness" in his playing. I don’t know if your comment is in reference to his more straight ahead playing (hollow body), his more Rock-oriented solid body playing, or both. I ask because he phrases differently in each style; appropriately so. In his playing on solid body I don’t hear anything that I would consider sloppiness (!). However, in his hollow body playing there is a quality that is perhaps what you refer to; although it is a musical choice in his phrasing style: In jazz phrasing (any instrument) there is a "technique" referred to as "ghosting" (😍) notes. This means that the note(s), within or at the end of the phrase, is implied and not actually sounded. If you look at transcriptions of solos you will see these notes in parentheses. Several times in his solos on hollow body he trails off dynamically at the end of phrases to the extent that you almost can’t hear the final notes. Perhaps that is what you refer to. As I have said previously, I commend your inquisitiveness and since you seem to be so open to suggestions I would, respectfully, suggest that you don’t let the analytical awareness get in the way of the emotional reaction. This relates to something that sometimes, and unfortunately, leads to silly arguments here: the idea that there has to be a devide between the analytical and the emotional (head/brain). Full emotional appreciation of any music does not have to mean absence of analysis; in fact, the two inform each other for a deeper appreciation of the music than is possible by staying in only one camp. Back to guitar and your question about Birelli’s hollow body tone:

There is no ONE "traditional jazz guitar tone". While it is true that compared to a tone that leans more to, or is fully in, the rock or pop camp there can be quite a bit of variety within the "traditional" approach to jazz guitar sound. You prefer a less "sleepy" tone with a little more bite and is why I thought you might like Birelli’s hollow body tone. Nothing wrong with preferring that kind of sound, but tone is the only thing that defines what "traditional" is; what and how the player plays it defines it much more. As I said before, and I hope you don’t mind my saying so (again), I predict that as you listen to more and more "traditional" Jazz the less incisive tone approach will be less of a deal breaker for you. Here is another little known living player who is a bit of a hero to many guitar players amd who plays with a brighter, less muted and more incisive tone:

https://m.youtube.com/watch?list=PLZClVvCqkpw3QeQGiBMnrpiP3tZpVENPQ&v=lMurkUZLHXY

Full emotional appreciation of any music does not have to mean absence of analysis; in fact, the two inform each other for a deeper appreciation of the music than is possible by staying in only one camp.

Well said, Frogman.  I completely agree.  I've had enough music training over the years to now know that I don't know...but that's another story.  I like getting the technical analysis from you.  

Thanks for addressing many of my questions and comments.

Your description of "ghosting" with respect to the Birelli Lagrene playing fits to a T what I thought was sloppiness  - but it was in the 2nd link where he plays solid body electric that I noticed it.  It was in a couple of his solo runs towards the end, and before he does a kind of duet with the (soprano sax?) player.  

Yup, did like his hollow body tone.   Anything unusual about the size of it?  Also, any comments about the soprano sax sound??

To Alex - I did just listen to the Tommy Flanagan/Burrell "Blues In My Heart".  But probably more to hear TF.  I had noticed the piano playing in that Wes Montgomery "Incredible Jazz Guitar" LP.  It's Flanagan.  Gosh there and in the Bluebird LP he displays such great taste and style.  "Less is more" always made a lot of sense to me.  He has that in spades.  I think that is what works so well in that Wes Montgomery recording.  They both seem to have this great restraint (balance, maybe) in their playing.  Nothing over done, nothing forced, no unnecessary notes.  Somebody else has a better way to describe it, I'll listen.  

O - did you guys already cover Flanagan?

I gotta get some chores done around here.  Thanks to all for your time and input.  Much appreciated.

Yup, soprano sax.  Beautiful soprano tone at that.  In the scheme of the saxophone world not particularly unusual although very different from what we hear from the likes of Kenny G: nasal, reedy and obnoxious.  While I shudder at the thought of including Coltrane in the same paragraph as Kenny G, even Coltrane's tone on soprano was an acquired taste: very aggressive and hard; still, in his case, perfect for his musical message.  I think you recently mentioned the tune "Safari" by Steps Ahead.  On that tune Michael Brecker plays soprano and sounds beautiful.  This is one of my favorite jazz soprano players:

https://m.youtube.com/watch?v=Kp1Ay0C36P0

And, of course, the classic soprano solo by Gerry Niewood on this jazz-lite "hit"; very pretty soprano sound:

https://m.youtube.com/watch?v=WtRxKRS0r8g

Ghosthouse, I have few albums of Boogalloo Joe Jones. To my ears he sound very capable, its pity that he played in years when ’jazz jazz’ already started to decline.
On ’All Music’ http://www.allmusic.com/artist/boogaloo-joe-jones-mn0000113250/biography

More on Wiki https://en.wikipedia.org/wiki/Boogaloo_Joe_Jones

Other than that I read that he was not full time musician (or could not afford to be, maybe) and has worked as croupier in Atlantic City.

As for music of simmilar style, maybe this will fit, album with Richard Holmes and Jimmy Mc Griff, also from ’later’ years.
https://youtu.be/MzosF36TOO8

Tommy Flanagan is one of the greats, no doubt. Like him very much. Recorded many great albums to recommend. Will follow with that. By the way, he played with Burrell on that Milt Jackson' album 'Bean Bags' too. In fact they played together not only on thieir own albums, but as sidemans, many times