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Regarding Meditation, Jim Ferguson wrote (in JazzTimes): "In Pass' hands, no tune seemed to elude performance, and he tackled everything--from bebop numbers to waltzes to standards to Latin pieces--with astonishing ease and effectiveness, something that is amply evident throughout this set...highlights include a pensive rubato treatment of "Shadow Waltz," a slowly grooving "Mood Indigo" and a ...
The term "guitar solo" often refers to electric guitar solos played in blues and in rock. The use of a guitar solo as an instrumental interlude was developed by blues musicians such as Lonnie Johnson, John Lee Hooker, Muddy Waters, and T-Bone Walker, and jazz like Charlie Christian.
According to jazz guitar educator Wolf Marshall, Montgomery often approached solos in a three-tiered manner: he would begin the 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.
While most of the drums were improvised and acoustic in nature, Mastelotto used some electronic drums and audio samples, Bozzio performed on a large drum kit with several gongs, Levin played the Chapman Stick and an NS electric upright bass, while Holdsworth improvised jazz guitar solos and droning chords over the top. [1]
"Charleston" rhythm, simple rhythm commonly used in comping. [1] Play example ⓘ. In jazz, comping (an abbreviation of accompaniment; [2] or possibly from the verb, to "complement") is the chords, rhythms, and countermelodies that keyboard players (piano or organ), guitar players, or drummers use to support a musician's improvised solo or melody lines.
Like That with Joey DeFrancesco (Concord Jazz, 1996) Live at Birdland (Concord Jazz, 1997) Full Circle with Howard Alden (Concord Jazz, 1998) Live at Birdland II (Concord Jazz, 1999) Polarity with Joe Beck (Concord Jazz, 2000) Two For the Road with Jennifer Leitham (CD Baby, 2000; re-release: Azica, 2005) Midnight Blue (Concord Jazz, 2001) Solo ...
In jazz, when one instrumentalist or singer is doing a solo, the other ensemble members play accompaniment parts. While fully written-out accompaniment parts are used in large jazz ensembles, such as big bands, in small groups (e.g., jazz quartet, piano trio, organ trio, etc.), the rhythm section members typically improvise their accompaniment parts, an activity called comping.
Montgomery—empathetically accompanied by pianist Tommy Flanagan, bassist Percy Heath (then riding high with the Modern Jazz Quartet), and drummer Albert Heath—makes the guitar sound like it never had before. It has sounded similar since, of course, thanks to the legion of Montgomery-influenced players, but rarely so close to perfection....