George Benson Discography Torrent
Anastacia Iacono
Prior to Christian, it was Eddie Lang, a brilliant and sophisticated player, who helped to make jazz guitar more popular. Others, like Freddie Green, who played with Count Basie for decades, and Lonnie Johnson, who played with Louis Armstrong, helped to popularise the instrument. In Europe, Django Reinhardt played single-line melodies that gave the guitar more visibility, casting a huge influence on many jazz guitarists that followed.
Fender made the first solid-body electric guitar in 1948 and, a few years later, Gibson introduced their Les Paul. Many jazz guitarists in the 50s, as well as later, played hollow-body guitars; Tal Farlow was one such musician, and his fluid, single-note, bop-style guitar was a sensation. There was also Howard Roberts, Herb Ellis, Kenny Burrell, and Barney Kessel, all of whom combined bop and single-note picking, with Burrell, in particular, merging blues with jazz. Jim Hall, who was classically trained, took jazz guitar in another direction, while others, like Pat Martino, helped refine the style.
Then along came Wes Montgomery, whose debut Riverside album, The Wes Montgomery Trio, released in 1959, signaled a new dawn for jazz guitar. Every jazz guitarist who followed has been inspired and influenced by Montgomery, who died at just 45 years old, in 1968.
In the 60s, the rise of rock music led some jazz guitarists to follow more lucrative paths, recording music for a younger, larger audience. Nevertheless, rock-inspired jazz guitarists like Larry Coryell, while John McLaughlin created a fusion style that was a sensation. In their wake came musicians such as Mike Stern, John Scofield, and Pat Metheny. Yet at the same time, the acoustic guitar remained the instrument of choice for some, including Joe Pass, Al Di Meola, Earl Klugh, Ralph Towner, and, a little later still, the British group Acoustic Alchemy.
The influence of South American rhythms on jazz in the early 60s helped to broaden the appeal of the genre. The Stan Getz and Joo Gilberto collaboration Getz/Gilberto, was a groundbreaking jazz guitar album, as was the earlier Jazz Samba, a Getz collaboration with Charlie Byrd. Along with Gilberto, Brazilian guitarists Antnio Carlos Jobim and Luiz Bonf have all proved a lasting inspiration.
From Chicago, James Vincent Dondelinger was a versatile guitarist and singer who cut this, his third solo album, in 1976, helmed by Doors producer Bruce Bothnick. A heady fusion of jazz, rock and searing funk, Space Traveler featured a stellar supporting cast which included members of Earth, Wind And Fire, Chicago singer Peter Cetera, drummer Harvey Mason, ex-Rufus keyboardist Ron Stockert and arranger Jack Nitzsche.
The follow-up to their earlier and incredibly successful 1979 collaboration, One On One, Detroit finger-picker Klugh and keyboard genie Bob James reunited on this 1982 album to serve up a similarly tasteful platter of proto-smooth jazz. An exponent of the nylon-stringed classical guitar, Klugh patented an easy-on-the-ear approach whose lucid melodic style was deceptively simple and skilfully concealed a very sophisticated aesthetic approach.
An intrepid jazz-rock explorer from Boston, Stern had the distinction of playing with Miles Davis in the early 80s. He reaped much acclaim for this 1992 album, which, in the main, is devoted to guitar-led deconstructions of classic jazz numbers associated with Miles Davis, Thelonious Monk, Horace Silver, Chick Corea and John Coltrane. Stern also contributes three strong original tunes which serve to highlight his unparalleled approach to the electric guitar.
Born Pat Azzara in Philadelphia, Martino was only 22 when he debuted with this Grant Green-influenced soul-jazz album which immediately introduced him as a guitarist with a promising future. Organ (courtesy of Trudy Pitts) features prominently, imbuing the album with an archetypal mid-60s soul-jazz aesthetic. Martino, though, is not one to settle for clichs. Even though he was relatively young, he already had his own sound and style.
Though he was indebted to the horn-like phrasing of 40s jazz guitar pioneer Charlie Christian, Wes Montgomery patented a distinctive style, picking notes with just his calloused right-hand thumb. As this, his third album, released in 1960 when he was 37, illustrates, his solos tended to be three-part constructions that began with single-note melodies before progressing to block chords and concluding with unison octaves. One of the best jazz guitar albums of the era, The Incredible Jazz Guitar Of Wes Montgomery lives up to its hyperbolic title.
I watched an extended video featuring BB King talking about his development as a guitarist. He said that Charlie Christian and Django Reinhardt had a large influence on his style, and he went into detail as what he found in their music. BB said that he played jazz music for his own entertainment.
This list is definitely a very subjective and narrow view to the long list of jazz guitarist. How could you possibly leave out Peter Bernstein, Louis Stewart, Carl Kress, Billy Bean and so many others !?
where is caravanserai by Carlos Santana and Neal Schon,Layla by Eric Clapton and D.allman,caldera with Jorge strunz,chicago one with terry kath,pat martino live,etc,etc,etc. excuse me but too many errrors in your list,probably you need to go to jazz and rock guitar 101. with this records and wes Montgomery,pat martino,grant green,george benson,kenny burrell,and some of the blues cats you probably can complete the list.
Teddy Bunn in the Spirits of Rhythm was amazing. He also played with Duke Ellington and Lionel Hampton and a number of other well known jazz bands. He settled for many years with Louis Jordan. He played single notes with his thumb similar to how Wes did it.
Not mentioned at all is one the most creative jazz guitarist ever. Little known by the general jazz guitar public, but highly respected by all the great jazz guitar players. Truly innovative and one of the most musical guitar players ever. His name is Mick Goodrick. Give him a listen. He presently teaches at Breklee College of Music. Played with Gary Burton and many others.
Nej, nej och ter nej. Ulf har typ har ngra chops som han anvnder och dom gr snabbt men han kommer inte ens i nrheten av den hr listan. Du kan verkligen jmstlla Ulf Wakenius och Joe Pass. Helt rligt det enda bra jag har hrt med Ulf r nr han kr en tributeplatte fr Esbjrn och det r bra fr att Esbjrns ltar. Och ja, jag har lyssnat bde p pass och Uffe.
Bara fr att man anvnder pentan snabbt r man inte en bra jazzgitarrist.
Rune Gustafsson har mer att sga till om i s fall! =ej4P6m7L-4U
Jobim could play guitar, flute and a few other things, but his instrument was the piano. In addition, he died insisting that Bossa Nova was inspired, not by jazz, but by Afro-Brazilian rhythms and French Impressionism.
Everyone always overlooks the great Baden Powell. He is a far more versatile and accomplished player than gilberto (although i adore his work and his playing). Any number of his albums is more than worthy to be on this list.
Kurt Rosenwinkel should have more album on this list. Hes the new Pat. In the 80 Everybody wanted too play like pat. Kurt Rosenwinkel also. Now everybody wants too play like Kurt. And dont forget all that he has played with. Kurt Needs more love!
I feel George Barnes needs to be listed here. He was such an inventive guitarist and fabulous musician and he had one of the most recognizable sounds in jazz! He inspired everyone that ever heard him play!
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