Chefguy, I hope you don’t mind me responding to another post of yours. Not trying to best you or anything, it’s just that you’re mentioning some of my favorites, and there are other examples of their work that I think are more representative. This video, for example:
Most people probably don’t realize or maybe forget sometimes that this playing style (bulerias) is a heck of a lot harder without the backing of a couple of people clapping. It would make this sound better, but not much. It takes an awful lot of strength and stamina just to play this way for a few minutes, let alone to remain so precise and dynamic while a crowd stares at you in silence. Of course, it was no problem at all for Paco, as seen here. Throughout his career and since his death in 2014, other flamenco guitarists have routinely described him as superhuman, extraterrestrial, etc.
No worries, friend. I was having trouble picking one, as I think everything he did was jaw-dropping. The first time I ever heard Paco was on the Elegant Gypsy album with Al Di Meola, who is another master of the instrument. I sat there with my mouth hanging open, listening to these two geniuses riff off each other. It was truly revelatory (it was in 1978). Since then, I’ve been able to see both of them in concert and was really devastated when Paco died. There may never be another like him.
When I was in Spain a hotel I was at had a Spanish guitarist playing and people were having an afternoon drink and snack. He had some homemade CDs (back when you would burn CDs). My wife and I bought all he had (I think five copies…one for us and the rest for gifts).
What? No love for Lenny Breau, and his amazing right-hand playing on his seven-string, and adding harmonics (harp harmonics)? He approached the instrument almost like a piano.
And which in turn reminds me of Belew’s involvement with some internicine grumblings in the Talking Heads camp when they were touring in Japan and Tina and Chris pulled AB aside to ask if he can replace David. Belew had to politely demur due to some speculative sessioning planned with Mr. Fripp and Mr. Bruford. Good to see all the Belew mentions, here. It was cool seeing him in King Crimson’s Three of a Perfect Pair tour in '84 (especially playing drums on a second kit for “Indicipline”!)
Oh yes, one of my favorites. Thinking about buying one of her model guitars made by MM.
Birth in Reverse has several of my favorite riffs and solos of hers. So much good fuzz.
My all time favorite is probably Marc Ribot, though. There’s several takes of Telephone Call From Istanbul from the Big Time sessions, and he improvises a different solo on each of them. The one released on the record and not the movie is the one I think is the best (but really, just about everything he recorded with Waits is a gem):
Lenny Breau is a God. Listening to his recordings, and Tim Reynolds’ for that matter, make me realize just how little I know about making a guitar sing.
Another guitarist I admire greatly – Pierre Bensusan
Best known as the master of DADGAD tuning, and often thought of as a player of Celtic music. Which is true (despite the fact that he’s French/Algerian/Sephardic Jewish, born in Algeria, moved to France as a child, which contains a whole fascinating musical history right there, but he ain’t Irish). But he’s not only a player of Celtic music, not by a long shot.
Agree about Clapton. I’ve read his autobiography and he’s always been kind of a nerdy jerk. But it’s his relentless pursuit of being an accomplished bluesman that makes his work so brilliant, especially with Cream, where was finally paired with his equals, possibly arguably superiors because of their jazz backgrounds and ability to improvise.
Bruce Cockburn has always been high on my list , although I am not a musician. It always sounds to me like he is playing 3 different instruments and he is an excellent songwriter and generally touches on thoughtful issues.
YouTube link on him playing and talking about his style.
Joni is one of those players that everyone says is underrated (which she is). Which begs the question, how many people can say you are underrated before you aren’t underrated any more?
This came up last night and I thought of this thread. He covers most of the big names, although it’s a little light on fingerstylists, especially Brits like John Renbourn, Bert Jansch, Davy Graham, etc. Also, no mention of John Fahey, unless I missed something.
Good to see all the Belew mentions, here. It was cool seeing him in King Crimson’s Three of a Perfect Pair tour in '84 (especially playing drums on a second kit for “Indicipline”!)
