Jeeez, I think he plays so beautiful together with the vocalist. Never heard him in this context before.
Jeeez, I think he plays so beautiful together with the vocalist. Never heard him in this context before.
Are you talking about this Sandemose?
Sweet tune and yeah Gilad is fantastic!
Yeah, my bad, forgot to add the link. Got to excited I guess. Thanks jazzacast.
Sandemose, i suppose you might have already seen it; but this one is really cool:
Gilad's playing is really blossoming! :)
Wow never saw that one Nuno, great solo! He is sounding a lot like Kurt with the distortion sound and the legatto playing, on his records he usally plays clean and stacatto.
Yes his new guitar is deffinetely a part of his new sound. But he didnt used overdrive and so much legatto before. I hope he doesnt loose the sound he had on his first two records, you could hear Kurts influence but also a very orignal composer / improver. Gilad and Lage Lund are by far my two favorite players from the new generation.
I heard him use overdrive before he got his new guitar, and I thought he always played legtto, I thought it was kinda his thing.
In these 2 vids he's got his old guitar and using overdrive:
I don't think it fair to say just because he's using overdrive he sounds like kurt, I hear this comparison so much, it kinda cheapens what Kurts style is all about, that's like saying get a semi hollow, heavy strings and overdrive, boom! instant Kurt!
He tone is similar but his vocabulary is not.
Sorry for the little rant, I've heard so many people hear a new guy such as moreno, gilad, lund etc.. and another Mikkel Ploug I think who plays with Mark Turner a bunch, they always get shit for sounding like kurt but the only thing that comes close to kurt is probably their tone.
But I'm sure it will pass, if you compare how you sounded 5 years ago to how you sound now do you think your sound has changed?, nothing rarely stays the same for too long.
Kinda like Miles sounding like dizz until he heard a recording of a gig playing like dizz, he then moved on with his sound.
I just meant to say he sounds more like Kurt now than he did some years ago, IMO. Hope he keeps his sound as fresh as it was in the beginning. I was just talking about sound nothing more, I also think his vocabulary is very different from Kurts. And I wasnt even saying that was a bad thing, it was just something I noticed, I will keep hearing what he does even if I think his tone is closer to Kurts sound now.
if you like your guitar with a reverb unit and a lil dash of delay you run the risk of sounding like rosenwinkel and monder (... the guys who have been defining a post sco/metheny/frisell guitar sound ) , period. on that kreisberg vid ( live somewhere the tune 21 or something ) he sounds like him, moreno does too. the guys that don't use the tools run this risk less. it's not a bad sound. those guys also have other things to say ( in their defense ).
i meant to say that adding distortion only compounds this
My point is that Gilads clean sound (with reverb and delay) is very different from Kurts and the distorted one sounds much closer to Kurts. But its true that theres a new paradigm in the jazz guitar sound (clean with hall reverb and very short delay) nowadays and allmost all guitarists (myself included) tend to sound like Kurt because of that.
Didnt people in the early 90s and late 80s sound like Metheny as well. Each paradigm have its own portal figures, for me Kurt is the 2000 man.
For god's sake !!! Gilad is so impresive...man I really can't understand how certain people made it to achive such a level...I don't know if it happend to some of you guys but sometimes I can't even listen to the whole video 'cause it's so amazing that it becomes even painful!! It make's me think for what reason I play guitar!?!?!?!
Definetly Lage, Moreno and Hekselman are crazy motherfuckers!! not of this world!
Wow! Gilad's solo on Three tears to midnight, amazing! (p.s. note to all guitarists, the knee bend exercises while soloing do not actually constitute 'working out')
It's not impossible to be at the level of these guys, they just practiced and work on their shit for hours and hours, very achievable if you put as much time as they have, but it takes a lot of time, not impossible though
I don't think it's just a matter of time of practice...really...
by the way sorry if it's posted on any other place but what is his new guitar?
ok I got it ... Victor Bake...sorry guys...
yeah your right, maybe they just woke up one day and started playing like that, without spending time on it or practicing
No man, I didn't mean to say that...c'mon! What I said is that is not ONLY a matter of time of practicing...some people are naturally gifted to do some kind of thing and that's the case in my opinion. I won't enter in the eternal discussion of practice, work, and blah blah blah...everybody with at least two neurons in his brain knows that if you don't work hard you won't get nothing. But that's a reason of why we have Mozart and Salieri for example...there's a reason of why we have Gilad and Francis (who I don't f****g know who is it) the last one spending as much time of practicing as the first one and gettin' the half of da pie!!! That's life (in my opinion) and I'm not saying that is fair or not...
partially true. i've met pianists who had perfect pitch who could play lines like bill evans and swing so hard, and they practice less than half of what i do.
Metheny says that he has to warm up for 4 hours before his children's birthday party...he was making a point that the physical aspect does not come naturally to him. And technical ability alone won't make you a "household" name, you need to be creative and have your own thing
Yeah that's true Matt!... I think that you got people that they,
1. can't play anything
2. can play something well
3. can play something really well
4. can do anything they want
more or less...for for all of them, there are people who needs to,
1. work hard to get something
2. work no so hard to get the same or even more
That's why when I read books like Effortesly Mastery or the Inner Game of Music it's like...ok...ok....mmmm...yes work, work, focus, let your inner voice connect with the universe...mmm...really???? c'mon...! not everybody can actually do everything, that's how life works! you may say that nature is unfair "by nature"...
well i'm goin'nut...sorry guys not very good gigs lately...hahaha!
they play as motherfuckers that's what I say!
On a technical level i do take issue with that book too for a few reasons : as mr. Werner is ( or at least was at the time of writing effortless mastery ) a practioner of siddha yoga and a devotee of guru maya... This is a practice related to hinduism which claims to be mysticism and not religion ... Anyways the meta outlook from what i have gleaned of it ( ... I have many family members who had waves of converting to this practice in the late 90's - adults. Aswell as younger people) seemed to be that we are on the oerfect path- everything is perfect, period. What i found problematic is that if we just follow it from a logical standpoint , i am making the heaviest shit when i play nothing - as this is the least effort, right? Technically, where is the really hard hitting stuff ( literally) with no effort. And finally, if i remember correctly, somewhere in the book he is substantiatipng and ultimately subscribing to what sandemose lays out in one word... In an anecdote of being at a party with several folks he fondly recalls the intimate priviledge of hearing bill evans; who happened to be sitting and sharing the piano with ( correct me if i'm wrong ) an ' inferior' pianist and marvelled at how it sounded as if they were two seperate instruments from the sheer and sole difference and mastery of evans' touch.
I just took issue with someone spending almost the entirety of the book attempting to sell us on the idea that we are all full of this infinite font of blissed out genius if we were to only get the fuck out of our own way... Only to shiw he doesn't buy it himself with this one example. You might find this to be me missing the point or too reductionist a conclusion to dismiss his whole deal. I am not dismissing it entirely. Contextually, i think it was a breath of fresh air to an commercial/artistic/acedemia complex to give attention to these ideas in a rather uncomfortable taxedermized and stifling climate up to that point. It invited people to enjoy music again. I didnt even go to music school and just from private lessons clinics and talking to people , you could feel the tension anxiety and lack of honoring one's self . To this day, i'll infrequently take lessons and i feel like i am always going in with my worst foot forward , straddling constipation and dhiarrea , going to the jazz doctor to look at my guitar genital warts to see what we could do about them. So, it is not a bad or entirely jive direction. I do think it is wise to demystify some of the stuff and after being totally rivetted, inspired or floored by someone's playing, this can prople one to deconstruct and objectively look into components that made that a wonderful ,oment or artifact and perhaps further elaborate this urge by actually transcribing ... If the magic eating at you alone is far too much and you want to see the tricks... This metaphor may not be apt and might crudely be the crux of my misunderstanding . I don't mean to reduce it all and say that nothing is ineffable or an extremely spirited moment that can just merely be rproduced... Some things are special or should just maybe remain special. I am just saying that you csn learn thing; it takes some work... And this is effort.
Also, i have had some preliminary conversations with a player who is very much of the culture and music of this forum ...( it's hard to tell if he is just being nice in humoring a chat and sussing out if i would be a complete waste of his time to work with after realizing i suck and am oldish ) - there are some very effortless mastery auras floating around in the chat we had. There are also some very cut and dry stripped to the bone principles in what i have heard from people who have talked to or studied with him and in some suggestions. Again, it could also just be " follow your heart , jam in e minor and do that bendy thing ... Cause you a old and suck and are just hurting yourself with this jazz farse and work a lot and have a kid " or if it is some straight up : what do you hear? What do you want to play? Type stuff.
My current little crisis involves spending time with the instrument and hating my self and not getting shit off the ground , not practicing or not doing what i kNOW i need to do ... Which turns into escaping through taking lessons with people from disparately different vibes and aspects of the discipline who kind of all tell me different shit that contradicts things and is tough to discern and develop "a" method for myself.anyways...
It is also tough to broach the subject with someone you really look up to that they're telling you to do these big basic things and disregard all this coltranematrixtritonesubaltereddominantbebopscale shit ( yet they have come out of the best schools for this, or were bred for this, or are heavy on the scene ) and to reconcile that against your nonschool books/private lessons vibe ...that you don't hate
Sorry for the length but in retrospect this doesnt seem off topic and strikes a nerve. Thanks
Correction: not sandemose but ideas in escobar's previous post.
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