Jazz for aficionados

Here is one of 109 comments from the Roy Buchanan "Sweet Dreams" song I posted.

"This song by Roy Buchanan is the most soulful thing I’ve ever heard. It sends chills up my Spine! Roy played guitar like he came from a higher plain."

Roy showing off his chops at Carnegie Hall:

https://www.youtube.com/watch?v=6aXW7-HjrUU

As far as finger speed in both hands, IMHO, Roy is as good as any of the greatest there ever was in jazz and blues although Roy mainly stuck to blues.

acman3 Pat Martino is one of my favorites and I have seen him live numerous times. I know he is still recording and touring. However, since he got his start in the early 60's, exclusively with one of my favorite tenor sax men, Willis "Gator tail" Jackson, I don't think we could count him as a "new" jazz guitarist. 


BTW, I have Willis Jackson and Pat Martino's complete output - every recording session they did - terrific music!

https://www.youtube.com/watch?v=ZuJaxQ9SCq4

https://www.youtube.com/watch?v=wTWS_4Pq3gg

https://www.youtube.com/watch?v=mI9u3G1bPc0

I also figured out what your 4 musicians had in common. They shopped at Woolsworth. :)

They may have shopped at the piggly wiggly as well but all 4 predominately played the one and only original sounding Fender Telecaster.

https://en.wikipedia.org/wiki/Fender_Telecaster

As a matter of fact Albert Collins was dubbed the "Master of the Telecaster" but Buchanan was in a league of his own. If you had been listening to Roy Buchanan since the 70’s, like I have and still do, until he took his own life in 1988, you would hear chords and notes coming from his guitar that are simply unbelievable. He would sometimes sound like 2 guitarists were playing instead of one. He was the master of "pitch bending." And yes, I will admit it, Roy did like his polyester clothing, including bell bottoms and corduroy pants that look like he bought them at Woolworths.


Al Kooper talking about Michael Bloomfield, another great Telecaster player:
"Why not do an entire jam album together?" Kooper remembered in 1998, writing the booklet notes for the Bloomfield anthology Don’t Say That I Ain’t Your Man: Essential Blues, 1964–1969. "At the time, most jazz albums were made using this modus operandi: pick a leader or two co-leaders, hire appropriate sidemen, pick some tunes, make some up and record an entire album on the fly in one or two days. Why not try and legitimize rock by adhering to these standards? In addition, as a fan, I was dissatisfied with Bloomfield’s recorded studio output up until then. It seemed that his studio work was inhibited and reined in, compared to his incendiary live performances. Could I put him in a studio setting where he could feel free to just burn like he did in live performances?"