Not the "best"...just my favorites.
Favorite jazz guitarists....that's a tough one. What specific styles do I cover? Who gets left out? Just straight ahead play or does the F-word (fusion) enter into it? After much deliberation and hand-wringing, I've decided to cover the guitarists that have been the most important to me. By "important" I mean that they've had a big influence not only on how my interests as a jazz fan have expanded but also on what happens when I pick up my own guitar. A player's ear develops slowly over the years but the process can be boiled down to assimilation...or maybe osmosis. Listen to this stuff over time and it kinda seeps in. So here's the list. There's no pecking order here. Like many other musical topics, I don't see this as a competition. Instead, I'll list them in 'order of discovery'...similar to Rob Fleming's (High Fidelity) biographical method. The one exception to this will be the 'top' entry. James Blood Ulmer Jazz is the teacher (funk is the preacher). No kiddin'. That song title just about sums up Ulmer's style. It's a nasty, funky, hardscrabble thing. Check out Tales Of Captain Black. It's a side project for Ornette Coleman & son Denardo, plus Jamaladeen Tacuma on bass. Prime Time-lite this is not. The tangled, knotty guitar lines are like nothing else out there. Add in some of Ornette's squawkin' horn and you've got a recipe for a good time (the listening area may clear out during the session but hey, at least you'll be happy). John Scofield Still Warm was my first Scofield record. Not his best, really...but it's the one where his distinctive sound came into its own. With the killer rhythm section of Daryl Jones (bass) and Omar Hakim (drums), Scofield's twisted solos began to sparkle and show evidence of their future: one in which the tunes, "jazz" tunes, have hooks every bit as catchy as a great pop song. Don't believe it? Listen to "Call 911" from What We Do or, better still, "I Break 4 Monster Booty" from last year's Uberjam. Not serious...but seriously fun. Wes Montgomery Normally, I don't give much weight to monster chops..but Montgomery knew what to do with his. His solos were soulful, melodic, and full of the blues....all the while swinging like mad. It's best to check out his early work...before the string sections show up. Best Wes Montgomery anecdote: somebody asked him about his practicing routine, and his reply was that , every so often, he would open up his guitar case and toss in a chunk of raw meat. Django Reinhardt The 'Gypsy Guitarist' played stuff that seemed impossible for somebody with a full complement of fingers...never mind just two. When I found out that he had only two working digits on his fretting hand I was more than amazed. That fact is not what drew me to Django. It was the spirit of his play. When it's sad, it's downright depressing. And when it's happy, it's the sunniest musical vision you've ever heard. Check out just about anything he did with violinist Stephane Grappelli...you won't be disappointed. Bern Nix The only Bern Nix recording I own is Alarms and Excursions. It's an odd (and great) little record. Nix, a former member of Ornette Coleman's Prime Time, takes the ideas of Coleman's "harmolodics" (where melody, harmony and rhythm are all equal players) and spins up some pretty brilliant sounds. To hear his clean-toned guitar slip out what at first sounds like an off-key retort to the bass is to hear not a mistake, but a revolution. If you can 'get' this then your ears will hunger for the rest of the harmolodic universe. You won't leave the rest of your musical world behind, but you will hear it in a different way. Barney Kessel Back in around 1990, I started taking my guitar playing more seriously. The cover band I was in was fun, but there was something missing. What drove me to start studying jazz guitar was the solo during "Blues Walk" from Lyle Lovett and his Large Band. I wanted to play like that...but I couldn't. My guitar teacher turned me on to a lot of cool players, one of them being Barney Kessel. We were trying to develop my ability to come up with chord solos (to construct a chord solo you take a given melody and then improvise chord changes over it...keeping in the proper key (or keys) as you move through the changes). I don't remember exactly what record he loaned me but the chord soloing on it was pure magic. The guy had what seemed like an unlimited pool of material to lift ideas from...and it always sounded natural. My favorite Kessel record (and there are lots of 'em) is Straight Ahead, a "reunion" album with his early trio "The Poll Winners" (with Ray Brown & Shelly Manne). It's definitely straight ahead jazz guitar, but there's nothing 'ordinary' about it. Jim Hall Another recommendation from my guitar teacher, Jim Hall is a great composer of "modern" jazz, a spinner of fantastic melodies, and a beyond-great improvisor. His use of 'odd' harmonies during solos puts him in a class of his own. He also has a pretty danged unique style of comping. I saw him once at a small club called the Regattabar, in Cambridge, MA. During a bass solo he at first dropped in an occasional ringing chord, piano-like, to imply the changes. Then he turned his volume to zero and began to strum chords furiously...as loudly as an 'unplugged' archtop guitar will go (which ain't too loud!) It was pretty cool and made for an inspired moment. Jim Hall has played in a number of groups in many different styles: from his early work with Jimmy Giuffre and Art Framer to his sides with Ron Carter (give Alone Together a listen) to his own group and solo material. To pick a single recording is to do a disservice to both Hall and you. Pat Metheny Metheny's one of those love 'em or hate 'em players. I'm not really sure why that is as he's a genuinely nice guy who just happens to be able to play his ass off! More important than that, he's a player who has distilled his own influences (Miles, Jim Hall, Ornette) and his midwestern sensibility (born in Lee's Summit, Missouri) down to a unique style of play. The more that I think about it though, the closer I get to understanding why Metheny can draw such venomous criticism. He does have a tendency to lean toward the sentimental in his compositions...which can result in a level of sweetness that's too much to stomach for some folks. The antidote for that 'problem' would be to see the Pat Metheny Group in a live setting. To see these guys pour their soul into the material is to truly understand the "story" they're trying to tell. I've been a fan since way back in the late 1970's. Pat's biggest influence on my own playing comes from two areas. The first is what I'll call Metheny's "Midwestern Thing". It's a big, open sound..with lots of ringing tones and arpeggiated chords that to me signify reverence for the possibilities of life (I guess I haven't been called a "musical romantic for nothin'). The second is Pat's snarling noise-fest alter-ego. People are rightly surprised to hear the composer of tender ballads like "Farmer's Trust" coming out with things like "Offramp", "Scrap-Metal" and "Faith Healer"...and let me tell you, in the right setting, with a sympathetic group of fellow musicians, it is pure fun to play stuff like that! ... So, that's it. One last thought to maybe draw all of these players together. As I've said before, I've never been all that impressed by pure technique. There are lots of guitarists out there to fill all available slots in the 'fretboard olympics'. Big deal. It's what you do with it that counts. Early on in Pat Metheny's career he took a fair amout of flak for not making the guitar the centerpiece of his music. His comments on that idea:"Most people who like us don't know anything about the guitar. They like the spirit of the music. We don't draw that many musicians; they're more into players who are expanding the vocabulary on a technical level. I think there are a lot of guitar fanatics who can't understand what all the fuss is about. People have come up and told me that they can't believe I'm getting all this attention because I don't play as fast as so-and-so. Our stuff is very human music; we're dealing with more of a 'life' approach, as opposed to just more notes, another chorus or whatever..."
The spirit of the music. For me, that is exactly the point. (First posted on Mark Is Cranky)…
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Article comments
26 - Douglas Mays
www.scotthenderson.net/
Give the guy some credit.
peaceloveguidance
27 - Brady
Hey Douglas my man from Portland,
It's me, Felch, the guy who told you about Satyricon closing. Scott Henderson is one of my old fellow guitar playing buddy's faves; he's great. Where are you living now Douglas? I'm in Texas, maybe we can talk music and the NW sometime. Peace, Brady.
28 - Douglas Mays
Felch (aka: Brady)! Cool man. Actually I'm a Seattle guy, but during the 'day' Portland, Seatttle, Vancouver B.C. were all one scene.
I have been back in Seattle (a long story) for a while. But I am currently constructing an article for Blogcritics music section about the Northwest scene as we know it (late'70s-early 80s).
The reason I concentrate on all that is that it is the scene that got the music industry look towards our neck of the woods. As you know, the whole grunge explosion was really just a by-product (buy-product?) of the above mentioned era.
As I know you are wondering also, how did the industry neglect some of the outstanding bands, musicianship, songwriting from this era? Not to downplay anything, but An X-15/Napalm Beach gig would blow trees over on a Nirvana/Alice In Chains gig.
Anyway, give me a week or two to submit writings to Blogcritics. Got to research facts, organize available product to coincide with the article, etc.
Scott Henderson? I was just turned on to him a few years ago by a jazz follower. Wow, he is a breath of fresh air in the guitar would.
peaceloveguidance man!
29 - Douglas Mays
Oh shoot, I kinda got off the jazz subject matter with comment #28 above. But I will add that the scene talked about above also was the breeding grounds for Robert Cray and Kenny G.
The music industry just missed alot of good rocknroll type things.
plg
30 - Brady
Yo Doug,
you are certainly right about overlooked NW bands. I lived in Portland and Seattle so I got to see a lot of good "little bands" that kicked ass. The Young Fresh Fellows never got huge but they were the shit. Of course we already mentioned the Wipers and Dead Moon and their huge unkown influence on the world. Just some trivia: I played at a club called the Twilight Zone in Salem where I grew up. We actually played and met with The Miracle Workers and The Rats - What a thrill! My old high school bandmates ended up in The Dharma Bums and I still see them once in a while. Let's talk some more bro', peace Brady
31 - Douglas Mays
Brady, right on! Ok, this change of subject on music styles on this thread may seem off, but it still deals with creative original music. Jazz? Etc.!
When you say "little bands" it made me think of the one show only "fuck bands" that would pop up. Collaberations of members of bigger bands. Loads of zen art!
I remember a cool fuck band show I saw at the Off Ramp during the beginning of the grunge era going big. A band called Temple of the Dog. The band consisted of Chris Cornell, Jeff Ament, Stone Gossard, Matt Cameron, Mike McK, Eddie Vedder. It was more of a tribute band that came together after Mother Love Bone's Landrew Wood died. Glad I went to the show, a comfortable evening in front of just a couple hundred folks.
True about Young Fresh Fellows. I once put on a New Years Eve ('84 to '85) show using them as the "midnight" band. The show was at the famed Gorilla Gardens (I built and ran the place). Scott McC (now with R.E.M.) and band was playing "Someone I Care For" (Jonathan Richmond). I set my Sieko watch to perfect time. I was able to to signal Scott when to go into the countdown during the song. They didn't miss a beat. Scott followed my hand signals from stage side, his "happy new years!" was within 1/2 a second of real time! That was the most accurate new years countdown I have ever seen. And they just took that song and tore it up. It rocked. The whole night was killer. Lots of good bands. It outsold Romeo Void at the Paramount the same night. Well, tickets were cheaper, RV sure had a bigger gross.
Anyway, lots of stories! We are in touch man!
best,
peaceloveguidance
32 - Georgio
Granted my comments come 2 years after the fact... I found the site on a search for Barny Kessel.
Great write up BTW.
It's a tough question. There are the greats, the groundbreakers after which come the follow on’s or the “inspired” then the copyists or the “inspired.” The genre has matured and many guitarists have come under the magic of the early influences.
Granted my comments come 2 years after the fact... I found the site on a search for Barny Kessel.
Here’s my short list " and it’s far from inclusive, just what I have listened to over the years by happenstance as well as affordability (i.e. I’m on a budget).
Charlie Christian (of course. Groundbreaker, limited by the scarcity of recordings)
Barney Kessel (Tried and true, outspoken, masterful)
Tal " Icon
Herb Ellis " Mr. Rhythm
Grant Green " Underrated
Wes Montgomery (Everyone needs a few, and yes the early recording are great)
George Benson (Early, early George… before he opened his mouth. But, hey! A guy has got to make a living, and he’s done very well)
Jim Hall " A Master.
Pat Metheny " I have always listened to Pat, and under-appreciated him, until I got the Speaking of Now Live DVD…. Awesome. He probably writes down every note he plays. Which is inspiring in itself. If you think about it, he’s broken new ground between the older generation and the new generation artistry.
Bruce Forman " I don’t care what anyone sez, Bruce Forman is the MOST UNDERRATED JAZZ GUITARIST IN EXITENSE PERIOD! Whew, this guy is pivotal and a Phenom in the truest sense of the word. A West Coaster from the Bay Area, I probably have every thing he’s put out. OUTSTANDING. ‘nuff said. Check out his website. He’s really into passing the torch.
Rick Whitehead " Retired Air Force Band member, educated, bright, friendly. A guitarist of note, not just an “Airman of note,” he swings hard. A Washington Metropolitan area treasure.
Dave Pike, Euro, old school, buried in the LP bins of Kmart years ago… but a wonderful inspiration (to me at least)
Joe Bruhl " Long gone Bay Area (San Leandro) teacher and territory band genius. Opted to teach rather than shine. Multi-instrumentalist " but I loved his guitar playing.
I sure there’s more… but I could listen to this short list output for years and NEVER tire of it.
33 - Bert Jackson
Having played guitar now for about 25 years, I love "rediscovering" someone. As I grow and learn my ears hear more clearly. I have always loved Wes, but right now I am infatuated. Definitely without strings, but my absolute favorite stuff is the '65 (?) set he did with the Wyn Kelly Trio live. Willow Weep, Four on Six, Impressions. Yea, he had chops. But sweet!
McLaughlin has always been a favorite, though certainly not everything. And to be expected from someone who never stays in the same groove. Love anything he does acoustic, especially the first Shakti, the Royal Festival Hall gig and the studio albums with DiMeola and Delucia. And there is Extrapolation, one of my favorite albums of all time.
Barney Kessel-Poll Winners Three-amazing
Try to find John Basile. He did a Desmond tribute that is subtle, sweet without being saccharine, angular without being pointy. Love it.
I like Metheny, but oddly enjoy him best when he acts as a sideman for the likes of Joshua Redman, Gary Burton or Michael Brecker.
Larry Coryell has done work I really enjoy, although certainly far from everything. The late Emily Remler is worth a listen, especially the East to Wes recording. There is Howard Alden, Ron Affif, Jimmy Ponder.
I fall into the NoSco category. Amazing chops, but I find him too technical. Or, I just don't like what he plays. But what about John Abercrombie? He is someone I can usually enjoy, as long as there isn't to much guitar synth involved.
Bruno goes in and out of favor. Right now he's out. Too fast without the feeling.
And yea, old Benson. And BTW, he sang on his early records (Uptown), in between smokin' licks.
34 - Ironic Luddite
I recently acquired some stuff, all of it very sweet.
John Abercrombie - Class Trip
Kenny Burrell - Midnight Blue
DiMeola McLaughlin Delucia - Friday Night In san Francisco
Dixie Dregs - What If
Bela Fleck / Edgar Meyer - Music For Two
Bela Fleck & The Flecktones - s/t (first album)
Bill Frisell - The Intercontinentals, The Willies, Ghost Town
Grant Green - Matador
Jim Hall / Ron Carter - Alone Together
Barney Kessel - The Poll Winners
Pat Martino - Live At Yoshi's (smokin'!)
John McLaughlin - Shakti, Extrapolation
Pat Metheny - The Way Up
Wes Montgomery - Incredible Jazz Guitar
Scofield & Metheny - I can See Your House From Here
John Scofield - Hand Jive, Time On My Hands
Ralph Towner - Anthem
-Tim
35 - Mark Saleski
nice list mr. luddite....especially the Jim Hall/Ron Carter record. that pair was spectacular, in their own understated way.
36 - Ironic Luddite
Charlie Christian " 1939
Django Reinhardt " 1945
Johnny Smith - 1952
Tal Farlow " 1953
Barney Kessel " 1953
Jimmy Raney " 1953
Kenny Burrell - 1956
Jim Hall " 1957
Wes Montgomery " 1957
Rene Thomas - 1960
Hank Garland - 1961
Grant Green - 1961
Joe Pass " 1962
George Benson - 1964
Larry Coryell - 1967
Pat Martino " 1967
Lenny Breau - 1969
John McLaughlin " 1969
Derek Bailey " 1971
Ralph Towner " 1972
John Abercrombie " 1974
Pat Metheny - 1975
Al DiMeola " 1976
Allan Holdsworth " 1977
Steve Khan " 1977
John Scofield " 1977
James Blood Ulmer - 1977
Bruce Forman " 1978
Bill Frisell " 1984
Mike Stern - 1985
Scott Henderson " 1986
Mark Ribot - 1990
Jimmy Bruno " 1991
Kurt Rosenwinkel " 1996
37 - Raffy BG
How about:
Chuck Loeb
Jeff Golub
Dean Brown
John Scofield
Lee Ritenour
Joe Pass
Peter White
38 - Pam Cox
what about Martin Taylor - Surely the greatest
39 - Fernando
Al Di Meola
John McLaughlin
Larry Coryell
George Benson
Wes Montgomery
Allan Holdsworth
Bireli Lagrene
Jan Akkerman
Bill Connors
Scott Henderson
Frank Gambale
40 - Iain
How can these jazz lists always leave out Lenny Breau? His style may not be conventional but that worked for him.Listen to "the claw" or something equally amzing then tell me he doesnt deserve to grace the top 25
41 - Michael Kishel
I've seen the lists all around the internet and having known many of the people on the lists I think that if you took a poll from the people on those lists of who is the best of them all the real players would probably say the two best living Jazz guitarists are Pat Martino and Joe Diorio. Ironically one east coast one west coast. They have the closest ties to the old guys and the authenticity is there. Since they were both in education they are probably the most influential in reality too because thousands of players who don't even play Jazz have been their students and studied their videos and books. These two guys are always mentioned by everybody as being terribly underappreciated so the best of the best obviously think they are special and probably for good reason.