Whats the deal with Pat Metheny?
SUNDBERG THOMAS
live recording of fusion or rather electrified contemporary jazz came on. It
was a ballad and it featured a soloist playing an instrument with a fat
humming synthesized sound, I thougth it was a 70's synthesizer, maybe even a
Moog. The soloist played really ugly, mechanical and unsensitive - I thougth
it was somebody in the rock business making The Serious Jazz Album, I even
speculated in an Emerson, Lake & Palmer or Wendy Carlos comeback, or perhaps
something involving Sting.
But I was all wrong - it was...Pat Metheny...the beepy whining came from a
guitar...
and from a guy that I thought was hailed as one of the great jazz musicans
of today - I havent heard much of him, the name gives me a vauge idea of
pretty but boring plonkin scale playing...but that music was so ugly...
Whats the deal with Pat Metheny - was this just a really bad recording of
his or is he one of the great overrated players of our time?
Thomas S
Heath Watts
his overly "wet" sound on Joe Henderson's tribute to Miles: So Near So
Far. I prefer the sound of Wes Montgomery, Charlie Christian, and Grant
Green.
Heath
Matt Snyder
<thomas.b...@telia.com> wrote:
>I was listening to the radio when washing up the dishes this morning when a
>live recording of fusion or rather electrified contemporary jazz came on. It
>was a ballad and it featured a soloist playing an instrument with a fat
>humming synthesized sound, I thougth it was a 70's synthesizer, maybe even a
>Moog. The soloist played really ugly, mechanical and unsensitive - I thougth
>it was somebody in the rock business making The Serious Jazz Album, I even
>speculated in an Emerson, Lake & Palmer or Wendy Carlos comeback, or perhaps
>something involving Sting.
>
>But I was all wrong - it was...Pat Metheny...the beepy whining came from a
>guitar...
>and from a guy that I thought was hailed as one of the great jazz musicans
>of today - I havent heard much of him, the name gives me a vauge idea of
>pretty but boring plonkin scale playing...but that music was so ugly...
>
>Whats the deal with Pat Metheny - was this just a really bad recording of
>his or is he one of the great overrated players of our time?
Well, Pat's done a LOT of stuff, some projects more generally
accessible than others. If you want to know what the deal is, listen
to some of it. Don't base your entire opinion of the man's vast
discography from one exposure. Yes, he is a major musician. But
don't take my or anyone else's word: listen. Some of his more
important works for me are:
Bright Size Life (ECM)
As Falls Wichita, So Falls Wichita Falls (ECM)
80/81 (ECM)
Offramp (ECM)
Travels (ECM)
Rejoicing (ECM)
First Circle (ECM)
Song X (Geffen)
Letter From Home (Geffen)
Quartet (Geffen)
Imaginary Day (Warner Bros.)
He's also done great work with Gary Thomas (Til We Have Faces).
Matt Snyder
http://msnyder.dragonfire.net
To email me, remove NOSPAM from my address.
Doc
that PM is definitely not the superficial mushy "smooth"
kind of player that people attempt to pass off as jazz these
days. I find a lot of genius in his work, pushing the
envelope of what was once considered guitar music without
smacking you over the head with a 2x4.
Give him another chance; try earlier releases like "Offramp"
or "American Garage".
--
Rgds,
Doc
SUNDBERG THOMAS wrote in message
<36ec4...@d2o41.telia.com>...
>Whats the deal with Pat Metheny - was this just a really
bad recording of
>his or is he one of the great overrated players of our
time?
>
>Thomas S
XJ32
>his or is he one of the great overrated players of our time?
>
>Thomas S
Like you Thomas I am a fanatic of Grant Green, Wes, Kenny Burrell, and lots of
"Trad Jazz" guitarists.
Metheney is musician who is truly capable of doing just that style, See the
second Joshua Redman cd and you will see what I mean.
Metheny is somewhat cutting edge in his "Modernism" though.
He may appear at first listen to be "Smooth Jazz" however he has the uncanny
abilaty to straddle the fine edge between "Candy jazz" with out really crossing
it. Unlike most "Smooth GRP style jazz albums, Pat has an amzing band of
improvisers and song writters who many times trancend any or all genre's of
music. His last CD "Imaginary Day" is easily IMHO one of the best and reaching
CDs of the 90's. His music is usully bright and cheerful which also is out of
vogue in this Marylin Manson society.
Where most modern jazz sounds like smooth R & B with no vocals, Pat takes it
clearly to another level. In some ways he has for better or worse, defined and
originated much of the modern jazz idium while staying true to his vision and
staying one step beyond it.
You should also realize that it is perfectly ok to like and or atleast respect
different traditions in the musical and jazz world.
Other wise you are no better than the sceptics who felt that Be-bop would be
the undoing of jazz in the 40's, hard bop in the 50's, free jazz in the 60's
and fusion in the 70's. It is all streams of the same river and it is all good
and bad depending on you own tastes, but essential to jazz' survival, How's
that for a run-on sentance. Whooo I feel better now.
- paul
nils
>
> I am also equally unimpressed with John Scofield. I really did not like
> his overly "wet" sound on Joe Henderson's tribute to Miles: So Near So
> Far. I prefer the sound of Wes Montgomery, Charlie Christian, and Grant
> Green.
I think Sco's greatest records were his early
records with Gramavision. Not exactly along the
lines of the tradition jazz guitar greats, but
really nice clear pure ideas flowing, with enough
harmonic complexity to propel the music above the
(somewhat repetitive) grooves.
-Nils
Boerge Soleng
>> Whats the deal with Pat Metheny - was this just a really bad recording of
>> his or is he one of the great overrated players of our time?
>I am also equally unimpressed with John Scofield. I really did not like
>his overly "wet" sound on Joe Henderson's tribute to Miles: So Near So
>Far.
Pat Metheny and John Scofield are definitely two of the most important figures
in jazz in general and jazz guitar particularly for the last 15-20 years.
Period!
Boerge Soleng, boe...@vinn.no
__________________________________________________________________
"Nice touch!" (Miles Davis about Herbie Hancock)
JC Martin
>Heath Watts wrote:
>>
>> I am also equally unimpressed with John Scofield. I really did not like
>> his overly "wet" sound on Joe Henderson's tribute to Miles: So Near So
>> Green.
>
>I think Sco's greatest records were his early
>records with Gramavision. Not exactly along the
>lines of the tradition jazz guitar greats, but
>really nice clear pure ideas flowing, with enough
>harmonic complexity to propel the music above the
>(somewhat repetitive) grooves.
It's too "fusiony" though. I find his work on the Blue Note label (w/Joe
Lovono and Bill Stewart) to be his best work.
-JC
SwingDoug
>figures
>in jazz in general and jazz guitar particularly for the last 15-20 years.
>Period!
True.
SwingDoug
>As Falls Wichita, So Falls Wichita Falls (ECM)
>80/81 (ECM)
>Offramp (ECM)
>Travels (ECM)
>Rejoicing (ECM)
>First Circle (ECM)
>Song X (Geffen)
>Letter From Home (Geffen)
I would add Watercolors(ECM). I just love that record. The vibe of it is so
great, and "Lakes" is my all time fav Metheny tune.
Heath Watts
>
> In article <36EDD7...@in-tch.com> Heath Watts <hea...@in-tch.com> writes:
>
> >> Whats the deal with Pat Metheny - was this just a really bad recording of
> >> his or is he one of the great overrated players of our time?
>
> >his overly "wet" sound on Joe Henderson's tribute to Miles: So Near So
> >Far.
>
> in jazz in general and jazz guitar particularly for the last 15-20 years.
> Period!
>
> __________________________________________________________________
> "Nice touch!" (Miles Davis about Herbie Hancock)
important figure in Jazz for the 90s and I also dislike his playing.
Heath
Heath Watts
>
> nils wrote in message <36EDB534...@frodo.mgh.harvard.edu>...
> >Heath Watts wrote:
> >>
> >> his overly "wet" sound on Joe Henderson's tribute to Miles: So Near So
> >> Green.
> >
> >I think Sco's greatest records were his early
> >records with Gramavision. Not exactly along the
> >lines of the tradition jazz guitar greats, but
> >really nice clear pure ideas flowing, with enough
> >harmonic complexity to propel the music above the
> >(somewhat repetitive) grooves.
>
> It's too "fusiony" though. I find his work on the Blue Note label (w/Joe
> Lovono and Bill Stewart) to be his best work.
>
> -JC
Scofield another chance.
Heath
Chris Wicks
hea...@in-tch.com wrote:
> Well, I would have to ask--based on what? Kenny G is probably the most
> important figure in Jazz for the 90s and I also dislike his playing.
> Heath
You seem to be having some trouble distinguishing importance from popularity.
-wicks
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BuzzBuzz
wrote:
> Talking" and "Letter from Home" for example. But he has also recorded
> with Ornette Coleman, he released an album of solo guitar that is way
> out in left field (and is truly horrible IMHO), and he has recorded on
> the Knitting Factory Label.
Ahhhhh... I was *wondering* when someone would bring up _The Sign of
Four_, Metheny's three-disc set with Bailey, Bendian, and Wertico on
the Knitting Factory label, one of my alltime favorite discs.
Improvisational sonic exploration at its finest. Most people,
especially the guys on the Zorn list (read: VERY receptive to new and
different musical explorations), HATE this set. Not very indicative of
the bulk of Metheny's output, either. There's just something about it
that clicks with me...
Richard H
Heath Watts wrote in message
<36EEB0...@in-tch.com>...
>Boerge Soleng wrote:
>>
>> In article <36EDD7...@in-tch.com> Heath
Watts <hea...@in-tch.com> writes:
>>
>> >> Whats the deal with Pat Metheny - was this
just a really bad recording of
>> >> his or is he one of the great overrated
players of our time?
>>
>> >I am also equally unimpressed with John
Scofield. I really did not like
>> >his overly "wet" sound on Joe Henderson's
tribute to Miles: So Near So
>> >Far.
>>
>> Pat Metheny and John Scofield are definitely
two of the most important figures
>> in jazz in general and jazz guitar particularly
for the last 15-20 years.
>> Period!
>>
>> Boerge Soleng, boe...@vinn.no
>>
__________________________________________________
________________
>> "Nice touch!" (Miles Davis about Herbie
Hancock)
>Well, I would have to ask--based on what? Kenny G
is probably the most
>important figure in Jazz for the 90s and I also
dislike his playing.
>Heath
Kenny G is only "marketed" as jazz. Even he
wouldn't say what he plays is jazz. His music can
best be described as instrumental pop music.
But I have no problem with Metheny or Scofield
being called the most important guitarists in
"mainstream" jazz.
Heath Watts
Heath
nils
> Kenny G is only "marketed" as jazz. Even he
> wouldn't say what he plays is jazz. His music can
> best be described as instrumental pop music.
> But I have no problem with Metheny or Scofield
> being called the most important guitarists in
> "mainstream" jazz.
Perhaps you can suggest some important guitarists
from the last 10-20 years who would fall outside
this category.
-Nils
JC
<jaco...@frodo.mgh.harvard.edu> wrote:
>> But I have no problem with Metheny or Scofield
>> being called the most important guitarists in
>> "mainstream" jazz.
>
>Perhaps you can suggest some important guitarists
>from the last 10-20 years who would fall outside
>this category.
>
If the category is mainstream jazz, I can think of many important
guitarists who fall outside; Edward Van Halen, Steve Vai, Eric Johnson
etc. But that's not what you meant... ;)
JC
nils
Let's just put this little subthread to rest with
a quote from Yngwie Malmsteen:
"The guitar is not a typewriter."
-Nils
Greg Evans
nils wrote in message <36F10160...@frodo.mgh.harvard.edu>...
>Let's just put this little subthread to rest with
>a quote from Yngwie Malmsteen:
>
>"The guitar is not a typewriter."
Cute. What's it *mean*?
Greg
nils
What do you think? Sorry, I can't help you if you
can't figure this one out.
-Nils
Greg Evans
nils wrote in message <36F11537...@frodo.mgh.harvard.edu>...
I may have figured it out better than you think.
Mr. Malmsteen may have been making a very valid point, but once an aphorism
like that is taken out of context it's ambiguous enough to be taken any
number of ways.
When someone uses a quote like that, I'm tempted to assume they want to
sound important without really saying anything concrete. That isn't always
true, but sometimes it is, and experience has taught me to be cynical.
Sorry if it was unwarranted in this case.
Greg
nils
>
> >Perhaps you can suggest some important guitarists
> >from the last 10-20 years who would fall outside
> >this category.
>
> living colour) to name but a few.
Hip me to the Vernon Reid material. The Shannon
Jackson and Frisell stuff I know, and also Masque,
but what else would you recommend?
-Nils
Richard H
Heath Watts wrote in message
>> wouldn't say what he plays is jazz. His music
can
>> best be described as instrumental pop music.
>> being called the most important guitarists in
>> "mainstream" jazz.
>Heath
Richard
Richard H
nils wrote in message
<36F0E8A8...@frodo.mgh.harvard.edu>...
>Richard H wrote:
>
>> Kenny G is only "marketed" as jazz. Even he
>> wouldn't say what he plays is jazz. His music
can
>> best be described as instrumental pop music.
>> But I have no problem with Metheny or Scofield
>> being called the most important guitarists in
>> "mainstream" jazz.
>
>from the last 10-20 years who would fall outside
>this category.
>
Well, I'll give it a try. I'll assume you're
interested in a serious answer (Eddie Van Halen
will not be one I'll mention, and who the hell
thinks he's NOT mainstream?). The guitar is
actually way down the list of my favorite jazz
instruments. Still, the first who always comes to
mind is Sonny Sharrock, way, way underappreciated
in my opinion. Derek Bailey would be the next on
my list. The guitarist I currently follow most
closely is Joe Morris, who's currently very active
in NYC. Then maybe Eugene Chadbourne, Hans
Reichel, Fred Frith, Joe Sachse. etc. These guys
are all way out of the mainstream, but qualify for
sure as important guitarists of the past 10-20
years. Of course, you may already know this.
Richard
XJ32
>from the last 10-20 years who would fall outside
>this category.
>
>-Nils
David Torn, Jeff Pearce, Michael Brooke, Vernon Reid (His jazz stuff not
living colour)
to name but a few.
- Paul
Steve White
Hey BuzzBuzz,
Could you clue me in on how to listen to this CD - I'm a huge fan of
Pat but just can't get this stuff. There seems to be *nothing*
recognizable to latch onto.
Steve White
Mike Zimbouski
jaco...@frodo.mgh.harvard.edu wrote:
> Greg Evans wrote:
> >
> > nils wrote in message <36F10160...@frodo.mgh.harvard.edu>...
> > >Let's just put this little subthread to rest with
> > >a quote from Yngwie Malmsteen:
> > >
> > >"The guitar is not a typewriter."
> >
> > Cute. What's it *mean*?
>
> What do you think? Sorry, I can't help you if you
> can't figure this one out.
I don't get it either.
Mike Z
Chris Wicks
> >Richard H wrote:
> >
> >> Kenny G is only "marketed" as jazz. Even he
> >> wouldn't say what he plays is jazz. His music
> can
> >> best be described as instrumental pop music.
> >> But I have no problem with Metheny or Scofield
> >> being called the most important guitarists in
> >> "mainstream" jazz.
> >
> >from the last 10-20 years who would fall outside
> >this category.
> >
> >-Nils
> interested in a serious answer (Eddie Van Halen
> will not be one I'll mention, and who the hell
> thinks he's NOT mainstream?). The guitar is
> actually way down the list of my favorite jazz
> instruments. Still, the first who always comes to
> mind is Sonny Sharrock, way, way underappreciated
> in my opinion. Derek Bailey would be the next on
> my list. The guitarist I currently follow most
> closely is Joe Morris, who's currently very active
> in NYC. Then maybe Eugene Chadbourne, Hans
> Reichel, Fred Frith, Joe Sachse. etc. These guys
> are all way out of the mainstream, but qualify for
> sure as important guitarists of the past 10-20
> years. Of course, you may already know this.
> Richard
I'm not terribly familiar with Metheney's work, but the stuff I have heard
that he has done as a leader hasn't really impressed me. He is, however,
remarkable as a side man, most notably in my mind on Kenny Garrett's
"Pursuance" (the album where he does all Coltrane tunes). You'll have to
listen to this for yourself, but I think that Metheney's contribution really
adds to the music in a positive way, and I'd even go as far as saying that
the trio tracks on the album, although enjoyable, sound a bit dry in
comparison to the rest of the album because of his absence (and I normally
love drum/bass/sax trios).
Gary Milliken
>I'd avoid "Secret Story", "Zero Tolerance for Silence" and "Imaginary Day".
I think it's worth noting that if you avoid these three albums, you would
be doing so for three entirely different reasons... (1) Too schmaltzy,
(2) too noisy and tuneless, and (3) too pop-ish. Even in stuff you don't
like, you gotta admit that he covers the map.
FWIW, my opinions: I can't take "Zero Tolerance". I am lukewarm about
"Secret Story" but it was superb in live performance. "Imaginary Day"
is outstanding.
GM
JFR
>
> On Mon, 15 Mar 1999 00:09:24 +0100, "SUNDBERG THOMAS"
> <thomas.b...@telia.com> wrote:
>
> >I was listening to the radio when washing up the dishes this morning when a
> >live recording of fusion or rather electrified contemporary jazz came on. It
> >was a ballad and it featured a soloist playing an instrument with a fat
> >humming synthesized sound, I thougth it was a 70's synthesizer, maybe even a
> >Moog. The soloist played really ugly, mechanical and unsensitive - I thougth
> >it was somebody in the rock business making The Serious Jazz Album, I even
> >speculated in an Emerson, Lake & Palmer or Wendy Carlos comeback, or perhaps
> >something involving Sting.
> >
> >But I was all wrong - it was...Pat Metheny...the beepy whining came from a
> >guitar...
> >and from a guy that I thought was hailed as one of the great jazz musicans
> >of today - I havent heard much of him, the name gives me a vauge idea of
> >pretty but boring plonkin scale playing...but that music was so ugly...
> >
> >Whats the deal with Pat Metheny - was this just a really bad recording of
> >his or is he one of the great overrated players of our time?
>
> accessible than others. If you want to know what the deal is, listen
> to some of it. Don't base your entire opinion of the man's vast
> discography from one exposure. Yes, he is a major musician. But
> don't take my or anyone else's word: listen. Some of his more
> important works for me are:
>
> Bright Size Life (ECM)
> As Falls Wichita, So Falls Wichita Falls (ECM)
> 80/81 (ECM)
> Offramp (ECM)
> Travels (ECM)
> Rejoicing (ECM)
> First Circle (ECM)
> Song X (Geffen)
> Letter From Home (Geffen)
> Imaginary Day (Warner Bros.)
>
> He's also done great work with Gary Thomas (Til We Have Faces).
>
> Matt Snyder
> http://msnyder.dragonfire.net
> To email me, remove NOSPAM from my address.
Check out the new record with Dave Liebman - "The Elements: Water".
This should remove any doubt about his musicianship. They work through
a bunch of Liebman originals that cover the gamut of "jazz" music and
stretch the envelope far on a few. Pat's playing adapts extremely well
to any of these subsets, including a couple that should satisfy the most
neotrad enthusiasts. And I LOVE his guitar synth work on the second
cut. All of the anti-guitsynther's should listen to that one for the
expression he gets out of that instrumentation.
John R>
JC
wrote:
>
>nils wrote in message <36F10160...@frodo.mgh.harvard.edu>...
>>Let's just put this little subthread to rest with
>>a quote from Yngwie Malmsteen:
>>
>>"The guitar is not a typewriter."
>
>
>Cute. What's it *mean*?
>
Let me take a guess.
You're not allowed to experiment with the way you play the guitar,
since you might accidentally invent something that sounds new and
interesting.
JC
Devra Hall
Metheny" It's a duo recording, 1/2 recorded live at Manchester
Craftsmen's Guild (Pittsburgh) and 1/2 in-studio.
Doc wrote:
> Beauty is in the eye of the beholder, but I would tell you
> that PM is definitely not the superficial mushy "smooth"
> kind of player that people attempt to pass off as jazz these
> days. I find a lot of genius in his work, pushing the
> envelope of what was once considered guitar music without
> smacking you over the head with a 2x4.
>
> Give him another chance; try earlier releases like "Offramp"
> or "American Garage".
>
> --
> Rgds,
> Doc
>
> SUNDBERG THOMAS wrote in message
> <36ec4...@d2o41.telia.com>...
> >Whats the deal with Pat Metheny - was this just a really
> bad recording of
> >his or is he one of the great overrated players of our
> time?
> >
> >Thomas S
Root Boy G
G T
Michel Forest
>
> >I'd avoid "Secret Story", "Zero Tolerance for Silence" and "Imaginary Day".
>
> I think it's worth noting that if you avoid these three albums, you would
> be doing so for three entirely different reasons... (1) Too schmaltzy,
> (2) too noisy and tuneless, and (3) too pop-ish. Even in stuff you don't
> like, you gotta admit that he covers the map.
Yes, absolutely. And like anyone, he's allowed to fail even though his
intentions were good (re: Zero Tolerance).
> FWIW, my opinions: I can't take "Zero Tolerance". I am lukewarm about
> "Secret Story" but it was superb in live performance. "Imaginary Day"
> is outstanding.
I'll have to give "Imaginary Day" another chance. "Follow Me" was very
catchy but the rest didn't make an impression on me, for some reason. I
don't think that "Zero Tolerance" has many fans. I wonder what's
Metheny's opinion about it. As for "Secret Story", I just felt it was
too long and not always inspired. And the addition of the orchestra
didn't seem necessary. The tune he wrote for his parents is absolutely
beautiful, though, thanks to Toots Thielemans.
> GM
Chris Metzler
I also liked the opening track on _Secret Story_, the one built around
recordings of Cambodian chanting, quite a bit; I thought it was really
gorgeous. That said, while I like it a lot, I don't like it for "jazz
reasons," if that makes any sense.
-c
--
Chris Metzler Work Address: Loomis Laboratory of Physics
217-333-1065 (office) University of Illinois
met...@snip-me.uiuc.edu 1110 W. Green Street
(remove "snip-me." to email, of course) Champaign, IL 61801-3080 USA
Barney must be destroyed.
Steve White
I too find this track beautiful and very moving. The 10 or 15 seconds
of accoustic guitar "solo" in the middle is my favourite piece of
guitar work. But then I'm a big fan anyway.
Steve White
On 22 Mar 1999 15:54:46 -0600, met...@snip-me.uiuc.edu (Chris
Shahallel
diss to start things off) - I am reminded of the range of music that he has
produced (from Herbie to Steve Reich to Milton to Ornette to Derek Bailey to
David Bowie to Joni Mitchell to Kenny Garrett to Mike Brecker to Roy Haynes and
on and on) and how MUCH of it is truly excellent. And that is not even counting
his (to me) underappreciated PMG music - where he has created a body of work
compositionally of some of the most complex and detailed music of the past 20
years. (although I am guessing that some of this particular body is what the
original poster didn't like ). He would get my vote as one of the two or three
most important voices in jazz of the past 20 years and I have a feeling that as
time goes by more and more people will agree. Interesting also is how he has
"handled" his career - it seemed to start slow and has moved very deliberately
as opposed to the "overnight sensation " thing that seemed to be the norm
historically after his emergence. (starting with David Murray (sort of) , then
Wynton, then Joshua, then Jame Carter etc. etc.).
Jim Smitherman
Metheny and Charlie Haden, quite a bit here lately, seems outstanding to me.
I'm a fan of Haden's from way back, and the two make really great acoustic
music on this album.
Travis Harrell
Jim Smitherman wrote:
I would second those comments. I believe Metheny will be recognized as the
guitarist of the 80's and 90's.
--
Travis
Ft. Worth, TX
For email, neuter my return address.
Cesar Luongo
huge difference between what Metheny does with other musicians (mostly
good) versus what he does with his Group (which in my opinion has been
'tired' and spotty over the last few years). So, maybe that is how he does
it, he pays the rent with his Group records so he can then go and work with
others on worthwhile music.
Best regards,
Cesar
P.S.: Another great collaboration is the couple of tracks featuring Metheny
on the Joshua Redman CD "Wish", recorded live, great music.
Jim Smitherman <jt...@iamerica.net> wrote in article
<Gb8S2.2367$xD.272...@dca1-nnrp1.news.digex.net>...
Skip Elliott Bowman
>
> Yea...maybe... once he learns how to swing.
So you think he didn't swing on "Bright Size" Life", "80-81",
Rejoicing", "Question and Answer"?
Skip "El Fumador"
to reply, remove the Ys
SwingDoug
>Yea...maybe... once he learns how to swing.
>
Well, Pat may not swing out like Wynton Kelly or Sonny Rollins, but he
definitely swings in his own right. He's also one of the most musical cats
you'll ever hear. I saw him on Sessions at West 54th last week playing a duo
with Charlie Haden. It was exquisite.
Clay Moore
>
> Yea...maybe... once he learns how to swing.
When someone makes a comment like the above, it makes me real curious to
hear how HE or SHE swings. I guess you think Kenny Garrett and Mike
Brecker don't swing either.
--
Clay Moore
http://home.earthlink.net/~guitarbuddy/
Boerge Soleng
0
>JAZZYPHILE wrote:
>>
>> Yea...maybe... once he learns how to swing.
>When someone makes a comment like the above, it makes me real curious to
>hear how HE or SHE swings. I guess you think Kenny Garrett and Mike
>Brecker don't swing either.
I simply don't think he's got a clue at all.
Boerge Soleng, boe...@vinn.no
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