Git-tar

conversing around 6 stringers

I suppose the above pronunciation - git-tar - is better related to the blues, such as, Johnny “Git-tar” Watson, but from this perspective, it’s more about how I view the instrument; as in, more from a rock and blues point of view first and foremost. Where we fall in love seems to sometimes have as much relevance as when and with whom/what! The guitar came blasting into my cosmos more from the electrified, screaming/crying mode than the finessed methods of classical or jazz. Stevie Ray Vaughn could scream and moan, tease, flirt, propose and file for divorce all within one long six string solo. Jimi was the most fluid player I have ever heard; to this day no one moves so seamlessly from rhythm to flying fury of a solo, back to blues-based rhythm to melody to expression as carelessly easy as he could. John McLaughlin was in my ear at an early age from the Mahavishnu Orchestra side of his career. Of course I’d never heard anything like this before, but it was enough rock’n that it certainly caught the attention; it was masterful and EX-plo-sif (as said in KONA parlance). Of course there was the other Jimmy, Santana with his sustained notes of emotion, Brian May similar, but very different elongation and tone, Riccardo Thompson, Knofler, D. Boon, Verlaine…. All that rocks and all that rolls, at one point.

And then we’re off to the races. McLaughlin leads to Paco DeLucia and Al Dimeola, which ultimately leads to Sonny Sharrock and Eva Mendoza. But first things first, which, to my mind, are some maybe slightly lesser-known, but equally impressive players in the long rich tradition of the jazz guitar. Wes Montgomery, Kenny Burrell and Grant Green are fabulous players, for sure. But most will know of them, or at least have heard of them, having had prolific recording careers as both side-men and leaders. Charlie Christian - known as the man who made the electric guitar a viable jazz instrument, and also the first to utilize single notes in his solos - and “The Wizard of Waukesha,” Les Paul - the inventor of multi-track recording and overdubbing, who also happens to have a very famous guitar named after himself! - were amazing, their contributions to the playing of their instrument are indelible, though at this point, sound a tad old-timey to my ear. Django Reinhardt also had a massive impact with only a couple digits working the frets, his “la pompe” rhythmic style fueled a very different exotic musical direction which can still be heard quite often throughout the year at various Django Fests. In other words, the instrument runs with a deep history and has helped shape many different modes and styles in jazz.

Gábor Szabó - Hungarian (goodbye Orbán, and good riddance!) six stringer who clearly comes from a different place, physically and musically. I find his sound to be intriguing in a slightly exotic way. Not all his records are great (especially latter period), but the stuff with Chico Hamilton’s band, and subsequent work with Charles Lloyd (who was the music director in Chico’s band) is all special. Here’s a piece from one of his better-known solo albums:

Johnny Smith - When I want a piece of the classic jazz guitar stylings I’ll put on a record I’ve had for ages… and I may need another copy. He was an incredibly versatile musician, as well as a very busy one. Self taught player from working in pawn shops as a child, he was teaching the instrument by the age of 13. He moved mellifluously from Birdland to the big stage with the New York Philharmonic, from staff guitarist and arranger at NBC to his own trio, The Playboys. Here’s his revered version of Moonlight In Vermont, with the great Stan Getz.

It’s very cool stuff, in the cool jazz feel of the West Coast scene (though, he was an East Coaster). It’s a tune that begs for a little lagging behind the beat, which both these guys are masters of, for sure. I think Mr. Smith plays with beauty and elegance.

George Benson - Okay, one that’s definitely not lesser known, but whenever I get into a guitar mood I’ll usually throw this one on the platter. Everyone knows it, but that does not make it less awesome. It was a hit, but that does not diminish the cut either. It’s just plain catchy and great. He is the real deal, and will soon (May 7th) be given a Lifetime Achievement Award by SFJazz. Nuff said.

Julian Lage - Child prodigy and endless pursuer of mastery, Julian has been one of my very favorite players since I first saw him several years back, as a kid, playing with Master Charles Lloyd. Wow, I mean he had a ways to go, but you could tell that the young dude had everything he needed to be a full-blown, full-on musician; which, indeed he now is. Here he is on the stage of the beautiful Tennessee Theatre in Knoxville, at this year’s Big Ears Festival. I was not prepared for the impact this beautiful tune had on me….

…and this is where jazz hits me; we all have a different, unique reaction to the music, if we really listen. Different responses, differing emotions… it’s a beautiful thing this music. How did this tune make you feel? Leave a comment.

Also, here’s an almost anthemic acoustic tune with a band, okay, to be specific, a drummer - Dave King - whose playing I absolutely love (and he’s so fun to watch playing his instrument); you can absolutely watch their musical conversing in this one:

Of course I’ve already written about Pat Metheny, but 2 songs always come to mind when I talk guitars, (Cross the) Heartland (my personal gateway) and from one of my solid Top 10 records on the all-time list, 80/81, we have the Ornette Coleman tune, Turnaround, with an absolute stunner of a band alongside.

Nels Cline - I had the very great opportunity to see this guy in very small, intimate spaces - Hotel Utah anyone?!! - when he was fairly unknown; as in, before he joined Wilco. A fascination ran deep for his technique, which was the first impact I remember, especially the driving of his looper box with his pick hand instead of the normal touch with the sole of a shoe. It made for a dramatic visual effect, and it made one pay attention, or note, all that was being layered atop itself as he constructed sonic stories of slashes, angles, concrete and city streets. It was usually not easy-listening music, but it was on-the-edge, full-on intensity of texture, power, aggresion and sometimes volume. He could also tear your heart apart with gentleness and beauty in the midst of the sonic assaults. Fascinating player. This will give a little hint of all that Nels is; from his most recent record:

Sonny Sharrock never wanted to play the guitar, but circumstances dictated that his love of the saxophone did not translate to being able to play the dang thing. Instead, he channeled the sound of John Coltrane’s horn playing into his manic six string style. As evidenced on this tune (with Elvin Jones, from Coltrane’s classic quartet on drums no less): warning - this one gets out there!

And let’s end with a thing of beauty from Joe Pass:

Mr. Pass was a name I saw on A LOT of Norman Granz produced records on his own Pablo Records, a label that wasn’t overly desirable, at least from my perspective. Don’t get me wrong, the label did have some heavyweights and a few very notable recordings, but for the most part the outings seemed like artists from the past who were maybe a little past their prime (but needing to make some money). This release from Joe Pass on Pacific Jazz (almost always good stuff) was a true delight when I first heard it, and often hits me as just the right feel and mood.

A very short list. Leave a comment on any of these. What did I miss?

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what I’m eating: the last of the winter season’s pickled herring

what I’m reading: The Sound of Surprise: 46 Pieces on Jazz by Whitney Balliett

what I’m listening to: Immanuel Wilkins Quartet - Live At The Village Vanguard, Vol. 1

Stormzy - various cuts

Joe Pass - Django

enjoy the strummin’ and pickin’….