These seem to be pretty new uploadings. Don't know where they're from but 
even if you don't like the style there's some nice lines to use, especially 
in the second clip.

http://www.youtube.com/watch?v=qXHEyx1zYSI

http://www.youtube.com/watch?v=-5zWq2etKA8

icarusi
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icarusi wrote:

> These seem to be pretty new uploadings. Don't know where they're from but 
> even if you don't like the style there's some nice lines to use, especially 
> in the second clip.
> http://www.youtube.com/watch?v=qXHEyx1zYSI
> http://www.youtube.com/watch?v=-5zWq2etKA8
> icarusi

I guessed it would be Jack Wilkins - one of those players you read about in 
books about jazz guitar but never hear on record.

I could immediately tell that the video was a couple of decades old (at 
least) because he looks so young!

Thanks for posting the link.

"JNugent"  wrote in message 
news:Z66dnbUjo-W7eiLXnZ2dnUVZ8u2dnZ2d@pipex.net...

> I guessed it would be Jack Wilkins - one of those players you read about 
> in books about jazz guitar but never hear on record.

My cordless keyboard is sometimes not connecting properly ATM, so the 'k' 
went missing somewhere. I managed to find a JW cd in Borders a few years ago 
but didn't like the *very* dull tone he used. This clip and some of his own 
recent clips have a much brighter tone.

icarusi
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icarusi wrote:

> "JNugent"  wrote:

>> I guessed it would be Jack Wilkins - one of those players you read about 
>> in books about jazz guitar but never hear on record.

> My cordless keyboard is sometimes not connecting properly ATM, so the 'k' 
> went missing somewhere. I managed to find a JW cd in Borders a few years ago 
> but didn't like the *very* dull tone he used. This clip and some of his own 
> recent clips have a much brighter tone.

I know what you mean about tone. I heard American jazz guitarist Al Casey 
(not to be confused with the Duane Eddy alumnus of the same name) playing in 
a Liverpool pub about 30 years ago. He was playing an Ibanez 175-alike, and 
back then, Ibanez was just a so-so copy brand, nothing special*. He was 
compensating for the less than perfect sound (very lacking in that classic 
Gibson middle) by turning down the guitar's tone control. Result: lifelessness.

That was a cheap guitar of course, but I've heard people get a similar sound 
from even a carved-top dual-humbucker Gibson (Byrdland or L5CES). It might be 
something to do with the acoustics of the venue. The amplifier is also very 
crucial to the production of the archetypal "jazz tone". It requires no weak 
links in the chain.



[*That changed with the introduction of the George Benson model, and then 
again with the superstrats for which the marque became more famous.]

"JNugent"  wrote in message 
news:35udnalXxPmtRF3XnZ2dnUVZ8g6dnZ2d@pipex.net...

> The amplifier is also very crucial to the production of the archetypal 
> "jazz tone". It requires no weak links in the chain.

I came to the conclusion the 'velvet hammer; jazz tone was a result of 
trying to get a compressed sound which would sit well in volume with horns 
and pianos etc. Now with actual compressors you can get that sound without 
needing to use that very dull tone, but the tradition has continued, 
although more players are using varied tones, depending on the tune/setting 
or just an allround brighter tone like Martin Taylor. It's a bit of a 
mystery why they didn't follow Charlie Christian more, who had quite a 
bright tone and bent strings too. Maybe the following era had a more mellow 
sound and the guitarists just followed suit.

icarusi
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