Rationality is a small subset of human experience and so is romanticism. But while it can be hard to explore the vast spaces of being and magick without proceeding from and returning to reason, I see no need to visit romanticism on those excursions.
Marquee Moon topped the Spinitron chart a couple of weeks ago.
I'd rather not ask anything of rhcp but I like Vini Reilly's playing. C'mon, who wouldn't like it?
Yeah, but how was there guitar acumen. I mean, could they play.
Dunno about those guys specifically but the Pythagoreans could really shred.
To John Frusciante's credit, he did say that Anthony Kiedis is devoid of musicality.
There was substance there. SRV simply died too young.
I will repeat my three criteria from above:It almost seems like there are dueling definitions in play... and both are appropriate in their own ways. There is technical skill or virtuoso talent. Then there is musicality.
There are of course musicians who excel in both categories. However, being technically excellent does not always equate to great musicality... or having the best sense of musicality does not guarantee technical proficiency to any great extent.
I know I will almost always favor a listening session with the more musical sensibility on display as opposed to the note-jockey who can play Flight Of The Bumblebee on the Tuba.
Certainly, it pretty cool to do that; have that ability. But not to the extent that it, in and of itself, transports me to another level. (This is why I really hated music school and the Legit repertoire that we were all expected to learn and be able to perform! While the Creston Sonata for Alto is a great piece of music, I've never found myself moved by it. On the other hand, I pulled out the Hindemeth Sonata, also a great piece of music and much more musical rather than just being a display of technical proficiency.)
In many instances, as a Jazzer in part of my Saxophone upbringing, this has been one of my bones with BeBop. Those musicians were, without a doubt, amazing. Yet in many instances I find myself listening to notes (well executed to be certain) without a great sense of story being told from a musicality standpoint. As BeBop transitioned into other forms/styles of Jazz you started to get more musicality mixed in with the technique. Improv was a story or a conversation and the best performers move you.
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LMAO...To John Frusciante's credit, he did say that Anthony Kiedis is devoid of musicality.
If you're responding to me then I can provide examples of where I think McLaughlin is wonderful and where I think it's little more than extraordinary athleticism. As I said, I love McLaughlin. I just think some of the stuff he's done is evidence of the powerful incentives that take some players, even good ones like McLaughlin, into the competitive domain of shredding-for-its-own-sake.
Wait a minute. Pat Metheny is a good example of the kind of post-Charlie Christian jazz guitarist that doesn't play the guitar really like a guitar. Or at least not when he's soloing. He plays like horn player. And that's what counts in jazz: playing like Bird. The guitar is a chordal instrument with 6 or more strings, frets and open strings. Playing jazz solos like Jim Hall is impressive, and sometimes I'm into it, but not very guitar-ish. Interesting corollary I've noticed with players of this kind, they disdain the use of a capo. Who would want to disdain this?
Metheny also plays straight ahead midwestern acoustic, chord solos, and a variety of acoustic preparations. Perhaps you haven’t listened to his entire oeuvre.
All those you list are wonderful.
I have only one criterion: Do they make music I want to listen to ...?
Good that you introduce some African guitarists. Mdou Moctar are one of my favourites.
Ray Phiri some of that stuff on Paul Simon's Graceleand was so cool, melodic, unexpected.
