--- In FairfieldLife@yahoogroups.com, "curtisdeltablues" <[EMAIL PROTECTED]> wrote: > > This is an even better example of what I mean: > > http://youtube.com/watch?v=NtljYur4_T8&feature=related > > His chops never exceed what he is communicating for me about > being human for me.
Yeah, this helps to present your POV, Curtis, thanks. In answer to your first question, there was a kind of magic to that type of music back when Django Reinhart and Stephane Grapelli were playing it live in dimly-lit bistros in Paris. There was FUN in the air, and they had something to say. Django was using the guitar the way it had never been used in a jazz band, as a lead instrument, and he was playing the same kinda fast runs that Charlie Parker played. He was making it up on the fly. The original clip was of some fellow saying, on YouTube, "Hey look! I can finally play this piece I've been practicing for so long." He *wasn't* making it up on the fly; he was "reading charts." As you suggested, where's the fun in that? It must be the same kinda thing you face in being a student of the blues. Yes, you want to learn the "old masters'" songs perfectly. But do you want to play them on the street the way *they* played them? I think not. Their songs had something to say for *them*, when *they* played them that way. You need to find your *own* things to say, and your way of saying them, all within the same song. The fellow doing all that diddling about on the fretboard and showing how well he's "mastered" someone else's song will probably be able to do a nice version of it in about ten years, when he's gotten over finally being able to play it. > --- In FairfieldLife@yahoogroups.com, "curtisdeltablues" > <curtisdeltablues@> wrote: > > > > --- In FairfieldLife@yahoogroups.com, "authfriend" <jstein@> wrote: > > > > > > --- In FairfieldLife@yahoogroups.com, "curtisdeltablues" > > > <curtisdeltablues@> wrote: > > > > > > > > --- In FairfieldLife@yahoogroups.com, Bhairitu <noozguru@> wrote: > > > > > > > > > > More my speed: > > > > > http://youtube.com/watch?v=1RUFBGDvsy0 > > > > > > > > I never understand what people feel from that kind of music. > > > > What do you feel? > > > > > > > > I get that he practiced the finger patterns a lot. I can feel, "you > > > > really made those motions many times didn't you?" But I don't > > > > understand what this music is trying to communicate to me beyond > > > > technical proficiency. > > > > > > > > If you can please help me understand what I am missing here. > > > > > > Would you like the music if it were being played > > > on a piano instead of a guitar? Or by an > > > ensemble? > > > > > > I love that kind of jazz. I couldn't care less > > > about his technical proficiency (I mean, I suppose > > > I'd care if his playing wasn't nice and crisp), but > > > I just dig bebop. More aesthetic than emotional; it > > > exercises my ear. > > > > No probably not. I dig piano but the artist has to have something to > > say for me to really like it. I am open to understanding what people > > get out of this kind of music. It obviously isn't the emotional based > > music I listen to. I just didn't understand why he was doing that > > pattern. I am immersed in meaning and communication in music. But I > > am not anti jazz. It just has to have an emotional center for me to > > relate to. Check out these two. I love this guitarist and he goes > > way beyond my own personal syle preference, but he is always connected > > in a way that I relate to: http://youtube.com/watch?v=0bnVWwq7oNc > > > > This isn't mu favorite piece by these two and that kind of makes my > > point. His guitar is always so meaningful for me even when it isn't > > what I prefer. > > > > > > > > > > > > > > > >
