You'll Hear It: Full Album Deep Dives with Jazz Musicians - Our Top 7 (10) Favorite Jazz Guitarists - #180

Episode Date: August 16, 2018

Today, Peter and Adam list their 7 favorite jazz guitarists. See acast.com/privacy for privacy and opt-out information.

I'm Adam Mennis. And I'm Peter Martin. And you're listening to the You'll Hear It podcast. Daily Jazz Advice coming at you. Brought to you by OpenStudio. That's right. OpenStuio.com. No, not OpenStudio.com.

Open Studio Network. You're the CEO of the company. Whatever. Google Open Studio, if you're interested. What's going on? Oh, nothing, man. We're deep into recording these You'll Hear It's for this week. And I wanted to add a list of our seven favorite jazz guitarists,

because I don't think we've ever covered this. We're on like episode, what is this, 1,552 or something by now? Yeah, well, we're pianists and we hate guitar, of course. Why would we cover it? It's interesting because I feel like guitar is an interesting jazz instrument, right? Yeah. Like, guitarists are the king of every other kind of popular music.

Right. But in guitar, but in the jazz world, they're kind of like, you know, under the radar. That's right. Well, and I think, you know, I'm just kidding. We don't hate guitarists. I think what it is is pianists, we're actually envious of guitarists in a lot of ways. Yeah. We occupy some of the same space, but really some of my happiest musical moments in reflecting and us looking at this list, I realized it was from listening to and playing with great guitarists.

Yeah, absolutely. They've really helped shape the music. And I mean, if you think about it, like piano and guitar are really in many ways the most similar instruments within the jazz world to each other in that they're probably the only instruments that can really do a solo gig, solo performance. And look, Sonny Rollins solo saxophone, I'm sure, was amazing at the museum in New York and everything. So, I mean, if you're at the top of the game, but I mean, if you're just an average pianist or guitarist, you can really do a nice gig on your own and kind of, of course, it's better with the rhythm section and horns or vocals. But, I mean, you can sort of do that. I think, is there anything else besides piano and guitar that can kind of hold it down?

Well, the bass. We learned that in yesterday's episode, yeah, the classy Christmas. But, you know, not as much. I mean, obviously, like, you know, the B3 organ, but that's kind of an offshoot of. any kind of keys instrument can do it. Yep. I love doing duo gigs with a guitarist too. Yes. You know? Absolutely. Yeah, when you get the right guitarist

and the right pianist, there's nothing like it. I think it gets a lot of bad rap because it's done badly a lot because there's so much potential to clash. There's so much coverage of the same area. But, I mean, the instruments are so different texturally, texturally, that

you just have to listen really well, which is number one, listen. And then you can have an incredible time with guitar and piano. Yeah, I enjoy that quite a bit. All right, so what are we got for number one here? Well, number one, we're going back to the source, back to the roots.

Charlie Christian. Yeah. You know, such a, I mean, obviously not the first jazz guitarist, but really, I mean, could we say he's the Louis Armstrong of the guitar? He is the original innovator of the electric guitar, for sure. I mean, not just for jazz guitar, but of the entire genre of electric guitar. Yeah, because I mean, I think one thing that's unique about guitar in the jazz world, I mean, certainly coming out of blues and then kind of running a parallel and also often criss-crossing path between jazz and blues.

The guitar became such an important instrument, as you said, you know, rock and roll, R&B, all these different, you know, folk and different things. It certainly had their own influences besides jazz and blues, but big influences from jazz and blues and big influences on those later music's popular forms of music coming out of, particularly the guitar as a front-line instrument. Yeah, I mean, innovative stuff with Benny Goodman, set back in the day. That was just an innovative group for the time. And I mean, politically groundbreaking. Totally.

Politically, I mean, he, like the Jackie Robinson of jazz in a lot of ways in terms of like, you know, being on network television and the things that Benny Goodman's group did as an integrated band. And he really was the star soloist of that, which was kind of the first time that had happened with the guitar. Right. You know, it was usually, you know,

reserved to the rhythm instrument. if it was in the band at all. Right. But this, you know, because he was able to get that sound, that electric sound and turn up, he was able to be the star soloist. Yeah, and he could do both the rhythm and the soloing. And then I think you even heard, you know, you know, you hear about a lot of, you know, rock and R&B guitar icons later on.

Like if there's one jazz guitarist, they'll reference. It's usually they're talking about the blues guitarists, which are great too, of course. But like Charlie Christian's name will come up, you know, like from the Stones guys and, and, you know, Eric Clapton and stuff. I mean, he was really known as an innovator and an originator on the instrument. So number two, we have the great Herbie Ellis. Yes. You know, most well-known from the Oscar Peterson trio.

Yep. The ability to replace, in some cases, a drummer. Yep. It's pretty awesome power that the guitar has. But Herb Ellis, also great soloists, like groovy solos. You know, really nice contrast to Oscars playing. Yeah. You know, like very melodic, but a lot of blues.

in there, a lot of groove happening, and just felt really good. When that trio kicked it into like some high swinging stuff, he could be as intense as almost any drummer for that kind of swinging, you know, four on the floor kind of stuff. Yep, yep. Yeah. Herbellis, long career. Long career. Yeah. Great. Number three, we have Grant Green, St. Louis's own Grant Green. Probably my favorite. Yeah, yeah, me too. I mean, I love, I mean, I love everybody on here. And I don't know if you notice as you were just talking added some more because I just we had some glaring omissions and this is going to make you think of other people I mean wow it's like it's like an endless well yeah there's a but I think Grant Green not just because of his St. Louis connection but such a groovy player such a

swinging player yep such a I mean there's no reason to even compare him to another instrument but it's always interesting if you I mean it's almost like you know Art Blakey or something of the guitar and that like can just you know feel so good and can play you know certain styles in a way that you think that he invented them, you know, like a shuffle, Bougaloo, the swing. I mean, just Grant Green, just a master. And, and what a melodic guitarist. I mean, we talk about rhythm and soloing and stuff, but just a

great melodist. Is that a word? That is a word. I'm going to throw some words out there. One of the more grooving musicians ever. I was actually listening on the way in this record, Feeling the Spirit. Oh, yeah, yeah. Herbie Hancock, Billy Higgins. They're doing a bunch of spirituals. And, man, is that feel great.

Check that out. Good for the soul and good for the afterlife. we got number four I mean this is how deep this list is number four is West Montgomery so it's like There's no slouch right there That's right now

Wes is kind of You know I think In terms of timeline I guess he's operative You know occupying the same kind of space As Grant Green Yeah A similar age maybe

But you know There's some overlap in their styles And certainly like the understanding Of the groove and stuff I always think of Wes as well I mean look West can play Any different groove as well But really just in terms of

straight ahead swing in that, you know, the recordings he did with like the, you know, Wyton Kelly trio and the live stuff live at the half note and stuff, you know, that, like, he almost has the perfect kind of feel and swing for Winton Kelly and Paul Chambers, you know, Jimmy Cobb, Philly Joe Jones, like that kind of a feel of which so much, you know, later playing for guitarists and rhythm section emanated afterwards. And he really integrated with the rhythm section in a way that was like really, I think, set the tone for a lot of post. I hate using that term, but I'm using it because I don't know what else to say. Can we call it?

P.B. Let's call P.B. That's even worse to me. But you know, I mean, in terms of he was a guitarist that really slid into that space with just ease and grace and style. That's great. Yeah. So for number one, two, three, four, five, we're going to go a little more modern here with a western Missouri kid named Pat Mathini. That's right. Certainly.

Yeah, out of the Kansas City area. Certainly one of the more original not just guitarist but jazz musicians ever. Yes. Really developed his own sound from an early, from young age. And talk about melodic, one of the most melodic jazz players ever. Great composer. Yeah. Extraordinary musician.

Yeah. In all regards. Well, and I'm glad that you, because the list I was looking, you had a gentleman named Pat Mathney listed. Oh. And so I didn't know, but I'm glad you decided to go with Pat Mathie. Is Pat Mathie a good guitarist as well? Well, he plays on the corner here at Olive and Grand.

Nice guy, though. Nice guy. Yeah, yeah. Yeah, no, Mathini is somebody that I, you know, I heard when I was real young, some great recordings. Actually, him and his brother, Mike Mathini, he was trumpet player. But, you know, when I was listening to San Luis Cardinals ex-manager, Mike Mathini? Yeah, yeah, maybe. Isn't that it, Mike Mathini?

Trump and Pat's brother? I don't know. Yeah, I think so. But, you know, Pat, I mean, the Pat Metheny group with Lyle Mays, you know, going back to that, like that really, you know, not only his playing, I mean, obviously guitarist just geeked out on his playing, but what he did with that group and leading that group. And I know, I know Lyle was obviously, I mean, everybody, the whole band was a big part of it. But, I mean, Mathini was always so forward-thinking, you know, with his orchestra,

orchestran project where he was triggering all these acoustic instruments. Incredible. And even some of the recent stuff, you know, the stuff he did with Brad Meldow trio, amazing, like really great stuff. Yep. Okay. So now we're going to get into an area where we would be. be at number six and I'm starting to get nervous and this is when I started adding some people.

Yeah, we have 10 on here now. Okay. So I'm going to go with one of my favorite players and favorite people and good friend Mark Whitfield. That's a good call. Mark Whitfield, young guitarist. Well, young, if we're young, he's young. So are we young? No. No. Young in spirit. So Mark is somebody I met, you know, in the early 90s in New York. He was really on the young lions, young cubs scene, you know. and not the Chicago Cubs hate them but you know

he Mark is just like one of the most astute technicians definitely coming out of the oh man now I'm going to mention people we got to add on George Benson how do we not have him on this list does he count

oh my gosh so oh boy yeah okay so let's no we should do more of a we should do a whole like groove guitarist smooth smooth guitarist but George was and his great jazz guitarist he just isn't documented

doing that a whole lot yeah there's a Lou Donaldson record with some incredible George Benson playing a couple of them. But anyway, Mark Whitfield really was very influenced by actually that era of George Benson playing. And then, you know,

certainly West Montgomery, Charlie Cruz, I mean, all these, he really come out of that, the jazz stuff, but Mark really knew a lot of different styles, a lot of the funk stuff, and you know, he's actually, I don't know if you know this little fun fact about Mark Whitfield, he appears on several tracks on the original DeAngelo

Brown Sugar album. Oh, really? Yeah, absolutely. Mark Whitford. Well, so that our number seven here appears on several tracks on the DeAngelo Voodoo album. That's right. Charlie Hunter. Yeah. Apparently, DeAngelo is a connoisseur of great young New York jazz guitarist. Charlie Hunter, if you haven't heard his music, it's amazing.

And I'll put a caveat on it. Like a lot of people think it's amazing because he plays bass and guitar at the same time. He has a specially designed guitar that has the two bottom strings are bass strings and the four top strings or guitar strings. Yeah. And he can do them both, and it's so funky and grooving, and he can solo and sound great. But even if that wasn't the case, even if it was just a guitarist, he's really just one of the crazy, the crazy smartest musicians you'll ever meet. Incredible musician, super groove. Smart guy. Smart guy. Smart guy. Genius kind of level of intellect. Weird, but weird, no, I'm kidding.

No, but his whole concept, he's got two amps on either side of the stage. One is where the bass comes out. One is where the guitar comes out. And he's playing both. And it's an amazing experience, especially live. He tours a lot. And if you ever get a chance to see the Charlie Hunter group, no matter what he's doing. Yeah, solo, the group, duo, man, he's bad cat, bad cat. Okay, great. Now we're going to get into the uncharted add-ons.

I don't even want to say add-ons. We should do, this is 10 now. We're going to save this. Okay, this is 10. Good. So next is our dear friend, the great Romero Lubombo. Amazing. Yeah.

Really, you know, top of the charts for Brazilian. Well, we're always talking about how are we going to categorize. him because he is not a Boston Nova guitarist. He's not a Samba guitarist. He's a Brazilian guitarist in that he's from Brazil, but his, you know, his understanding and abilities to play a

wide variety of styles, it kind of typecasts him in a weird way to say he's only a Brazilian. So I like to call him a Brazilian jazz guitarist. I think that's what he is. He's a Brazilian comma jazz guitarist. Yeah. But, you know, it's interesting about Romero, like his whole thing, like he wanted to come to the States

to play rock and roll guitar and blues. And he was like, man, that's American music and jazz, all three of those. I mean, jazz kind of started to sort of take off as he got deeper into it. But he talks about being really young and like hearing that American sound. And it's so interesting to me because we always think about the American musicians and guitarists wanting that Brazilian sound and going down there. We always forget what we create, especially for the guitar. It's such a unique thing that attracted all these great guitarists to come to New York, to come to L.A.,

to come to the States, to be a part of the sound and to be influenced by our great tradition. That's a good point. Yeah, and I mean, you know, he's an incredible blues player. Really just shows you you don't have to be from Mississippi, Louisiana, Alabama, let's play blues. Doesn't hurt, though. What's really amazing about Hamero is his, the finger style. I mean, he's probably one of the best jazz guitars in the world at the finger style, you know, nylon string. It is unbelievable what he can do and the sound he gets.

Yeah, check him out. Number nine, we have the great Peter Bernstein. Oh, yeah. I love him. I mean, this guy is as good as. a jazz position as you can get. Well, he's like the ninth best jazz guitar ever. Apparently the way we've-

No, this list isn't based on best. No, of course not. But when I think of Peter Bernstein, I think of the trio with Bill Stewart and Larry Golding. Larry Golding's, a.k. A.k.a. Hans Groiner. Big shout out to Hans from Austria.

Larry Goldings is an amazing pianist and keyboardist. But Peter Bernstein, Larry Goldings, Bill Stewart, That trio is incredible. Yeah. Yeah, great. Yeah, Bernstein is just like, you know, I mean, he has a cult-like following among a particular style of, well, people that want to play like Peter Bernstein, basically. Yeah, yeah.

And, you know, he's certainly, I would say Herb Ellis is probably his biggest influence, I guess. But, you know, West Montgomery, Benson, you know, he knows all that Benson jazz stuff really well. He's like a real kind of guitar historian, jazz historian, too. and just one of the nicest, smartest guys from a really interesting family. He grew up in a teeny little village. I don't know if you knew about this in New York called the Upper West Side. Yeah.

But he grew up like in the 80s and he would talk about like he rarely went up to the 90s or the 70s. Well, he both. Yeah, he grew up in the 80s. But I mean, he's such a new year. I remember the first time we were on the road or we were on the road for a while, but we were in Bermuda doing a gig and we were going to like a big thing to go around on the island. The best way to get around is on a scooter. You know, so we're going to all rent scooters, and we're in there.

There's like Brian Blade and Josh Redmond, Chris Thomas, Paul Booth. Big shout out to Booth. And Bernstein was like, cool. He's like, I've never ridden one of these. And we were all like, I think I had and maybe Blade had, but not everyone, but they're like, oh, you can kind of figure it out. And then we're like about to rent them. And he almost wasn't able to because he didn't have a driver's license. Yeah.

And we're like, dude, you don't know how to drive. He's like, no, not really. I never thought I'd leave Manhattan. He's like, can't really drive in New York. You've got to be 30 to get your license. Man, that is the best. best part about visiting New Yorker or living in New York is the native, like, fourth, fifth, sixth generation New Yorkers that, like, there's nothing west of the Hudson River.

That's right. And there's nothing east of Queens. That's right. That's right. No, he talked about, remember, I think he said he moved from like the 80s. I don't know if his parents were in the 80s or the 90s, you know, on the west side. And he moved to like the 70s. And he was like, whoa.

You kind of like laughed. He was like, love you guys. See you. Thanksgiving. Yeah. Yeah, he moved to the next time. downover. The 70s. That's right. Surrounding our list number 10 is a great guitarist based in San Diego California named Peter Sprague. That's right. Open studio artists. We got a little self-serving with

the open studio arts. But, but you know what? These are great players. No, man, Sprague is slept on. Sprague can play. This is kind of a nice little sleeper edition that we throw in for folks that because he's one, like if you're a guitar, you know fairly in a guitar, you're going to know him. But I mean, you could easily know all the other nine we listed and never even heard of Peter Sprague. But he's awesome. He's awesome. And on the West Coast,

what's so cool about him and still about the West Coast scene, it's still kind of separate out there. You know, they're three hours behind with the time. You know, they're about 30 years behind on the start. So they're surfing at the beach. Yeah. Oh, yeah. Peter Sprague is an incredible surfer.

He lives two blocks from the beach in Southern California. So he's a jazz musician in Southern California that also surf. So he has my dream life. Exactly. Exactly. All right. Well, good. Yeah.

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