Vos morceaux préférés de guitare Jazz : Partageons nos préférences !

petite anecdote que je viens de lire sur Sacha Distel...

"je me suis rendu au Club Saint-Germain", raconte–t-il. "Django y jouait avec le saxophoniste Jean-Claude Forenbach. Je me suis installé au premier rang. Je n'ai pas particulièrement aimé ça, pour être franc, mais quand même, Django m'avait drôlement impressionné. A un moment de la soirée, il me tendit sa guitare pour interpréter un morceau. J'avais l'habitude de jouer sur une guitare avec les cordes assez basses sur le manche. Celles de Django étaient hautes. Ce n'est pas des doigts qu'il fallait pour appuyer mais des pinces en acier. Je n'ai pratiquement pas pu jouer sur cette guitare. Il faut bien dire que j'avais la trouille. J'ai joué très vite et à la fin, il me dit : Ah, tu sais, j'aime bien comme tu joues, on devrait faire un disque ensemble. Django Reinhardt me demandant de faire un disque avec lui, je me suis intéressé beaucoup plus à sa musique! Malheureusement, il a disparu l'année suivante."

Devenu célèbre, Sacha Distel se rappellera "le temps de sa première guitare" en compagnie de Stéphane Grappelli et rendra souvent hommage au génial manouche dont, au fond, il fût un inconditionnel.

j'aime bien  les interventions de McLaughlin sur ce morceau...

une de ces années où Miles révolutionnait une fois de plus le jazz.

l'histoire dit ceci de la première rencontre entre  miles et le jeune john:

impressionné par le maître , john a pris sa guitare et il a montré toute sa technique guitaristique- miles est resté silencieux et lui a dit : "essaie de faire comme si t'avais jamais appris".

tout ça paraît limpide dans cet extrait

Wayne Krantz est accompagné de l'excellent batteur Keith Carlock.

sympa Wayne KRANTZ, mais la section rythmique est très performante; c'est un vrai trio où le guitariste ne doit pas être mis en vedette plus que les deux autres.

Tu parles de ce morceau Ludwig ?

aller je mets aussi celle-ci mais ne la comparez pas à la version de Benson

Deux pages et ce thread est déja parti en couille 

et puisqu'on parle de Benson, je passe à Wes 

John Leslie "Wes" Montgomery (6 March 1923 - 15 June 1968) was an American jazz guitarist. He is generally considered one of the major jazz guitarists, emerging after such seminal figures as Django Reinhardt and Charlie Christian and influencing countless others, including Pat Martino, George Benson, and Pat Metheny.


According to Jazz guitar educator Wolf Marshall, Montgomery often approached solos in a three-tiered manner: He would begin a repeating progression with single note lines, derived from scales or modes; after a fitting number of sequences, he would play octaves for a few more sequences, finally culminating with block chords. 

The use of octaves (playing the same note on two strings one octave apart) for which he is widely known, became known as "the Naptown Sound". Montgomery was also an excellent "single-line" or "single-note" player, and was very influential in the use of block chords in his solos. His playing on the jazz standard Lover Man is an example of his single-note, octave- and block-chord soloing. ("Lover Man" appears on the Fantasy album The Montgomery Brothers.)

Instead of using a guitar pick, Montgomery plucked the strings with the fleshy part of his thumb, using downstrokes for single notes and a combination of upstrokes and downstrokes for chords and octaves. Montgomery developed this technique not for technical reasons but for his wife. He worked long hours as a machinist before his career began and practiced late at night while his wife was sleeping. He played with his thumb so that his playing would be softer and not wake her. This technique enabled him to get a mellow, expressive tone from his guitar. George Benson, in the liner notes of the Ultimate Wes Montgomery album, wrote, "Wes had a corn on his thumb, which gave his sound that point. He would get one sound for the soft parts, and then that point by using the corn. That's why no one will ever match Wes. And his thumb was double-jointed. He could bend it all the way back to touch his wrist, which he would do to shock people."

He generally played a Gibson L-5CES guitar. In his later years he played one of two guitars that Gibson custom made for him. In his early years, Montgomery had a tube amp, often a Fender. In his later years, he played a solid state Standel amp with a 15-inch (380 mm) speaker.