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Jazzers: Metheney is fairly innovative (I just don't
like his sound--get an archtop! please!--I will try
the trio cd though), although all that wide-interval
fourths and fifths stuff he gets from Joe Diorio. On
the value of innovation, I like the whole range from
retro stuff of Howard Alden and Frank Vignola to
straight ahead bop/standards of Bruno, Burrell, Randy
Johnston or Joe Pass to the 1st level of "stretch,"
Diorio, Jim Hall and Metheney to the wilder stuff of
someone like James Emery (anyone heard him? total
guitar god but music first and invention the most
important) or even McGlaughlin in his Shakti
incarnation (the Mahvishnu stuff went out there too).
How are we to think of this range of material when it
comes to music appreciation? I think it is a mark of
postmodernism that all this is coexisting in the
marketplace at the same time, and that the same people
can listen and enjoy all of it. Of course, postmodern
music will have to mix these in the same work of art,
but that is another topic.

Randy Groves

=====
J. Randall Groves, Ph.D. ("Rando")
Professor of Humanities
Ferris State University
groves@...
bebopguitar@...

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I believe Pat has played a Gibson 175 for 30 years.
Is that not an archtop? I have a 1954 Gibson 175 and
it appears to be an archtop.
Pat got more from Ornette intervalically than Diorio.
He got a lot from Goodrich too.
[SNIP]
Mark



--- Randy Groves <bebopguitar@...> wrote:

Jazzers: appreciating Bruno and Metheney both is easy.
I listened to _Bright Size Life_ a million times and
Metheney was my fave at the time. I was into the same
sorts of sounds. He has a significant body of work
that puts him in the "pantheon" of greats. No doubt.

Bruno is part of the bebop guitar resurgence. Part of
it is simply how fun it is, and how fun it can sound.
Listeners recognize the expression of freedom and go
along for the ride. Bebop also tends to ruin you for
non-bebop. It does seem as if one should at least "go
through" bebop to wherever you are going. It is the
best way to learn harmony, and harmony (changes, as
some have referrred to them--and not a bad way of
thinking of it) is the key to understanding music. The
downside is that it can get academic, where theory
counts more than the sound. But that is just bad
bebop.

To see the appeal of Bruno, check out _Burnin_. It
isn't just the chops; it is exciting music. Recently
Bruno is experimenting more, as with _Polarity_ with
Joe Beck. He will have a body of work at some point as
well.

Jazz guitar is going through an "historical" period in
which it doesn't matter what era one picks. Acordingly
the same goes for styles. Most guitarists play from
more than one period or style. What is even better is
that we now have so many good players that together
they pretty much cover the spectrum of what one can
think to do.

As I write this, I am listening to John Pizzarelli's
trio cd, _Kisses in the Rain_. He can cook with that
rhythm that he got from his dad. He can fly with the
single note stuff too. Now his stuff isn't ready to be
the sound track for the next Star Trek, it is
definetly "placed" in time and style. But that's cool,
He is further exploring an unexhausted style/era.

Randy Groves

=====
J. Randall Groves, Ph.D. ("Rando")
Professor of Humanities
Ferris State University
groves@...
bebopguitar@...

--- In jazz_guitar@y..., Randy Groves <
bebopguitar@y...> wrote:

Jazzers: Metheney is fairly innovative (I just don't
like his sound--get an archtop! please!

Randy,

Pat Metheny has been playing an archtop for his
whole career, except on the guitar synth stuff. He
started with a Gibson ES-175, and after 20 years
of attempts by Ibanez, was finally given a
prototype that he liked better -- an Ibanez
_archtop_. This is what he uses now. You may like
his tone on his latest album better because he is
finally letting some of the treble frequencies come
out of his guitar.

--I will try

the trio cd though), although all that wide-interval
fourths and fifths stuff he gets from Joe Diorio.

Do you have any evidence for that?

P.S. I just got another Jimmy Bruno CD -- the
1996 one with Joey DeFrancesco -- and it smokes!
_Very_ soulful playing.