That bit about the independant guitar maker is blatant self-promotion
Someone seems to have thought that Texas, home of Charlie Christian and Pat Metheny, is in the midwest. It is not, nor is Kansas City, Missouri. The cattle drives went from Texas to Kansas City and Kansas City was, and is, a southwestern city, as those of us who have lived in Missouri know. Wes Montgomery, now, was from the Midwest (Indianapolis). Ortolan88
Other notable guitarists
I broke up the long list by letter, and started filling in birth/death dates and summaries for musicians who didn't have them. I'd be grateful if others could help finish the job, because it's a long list. I also added some critical musicians who were missing, like Charlie Byrd and Lenny Breau. David 12:58, 21 October 2006 (UTC)
Turned alphabetical list into paragraphs
Hi, I have turned the alphabetical list into paragraphs, done chronologically by era. And I've eliminated people who aren't in the TRULY NOTABLE category...people that shaped the history of jazz guitar (Montgomery, Hall, Benson, McLaughlin, etc). I've found that when you have an alphabetical list of notable people, it tends to get populated by every up-and-coming local person who thinks that "I opened for George Benson when he played at our jazz festival, and I self-produced 2 CDs, which got good reviews from my local paper>>>>therefore I am notable". As well, the alphabetical list doesn't "tell the story" of the history of jazz guitar. The chronological approach allows you to tell the story of guitar's change from a rhythm instrument in the big bands to a soloing instrument. Nazamo 14:08, 22 June 2007 (UTC)
Robert Conti advertisements
Hi, Advertisements for Robert Conti jazz guitar instructional products keep getting posted here. Most recently, when they were re-added, the anonymous poster complained that "someone keeps deleting" the advertisements, which they claimed are "relevant". Take a minute, please, to read the Wikipedia External Links policy atWP:EL. It states that Links normally to be avoided include "Links to sites that primarily exist to sell products or services, or to sites with objectionable amounts of advertising." Just because you are selling a jazz guitar-related product, which makes it relevant in your eyes, it doesn't mean it is appropriate to put it on a WIkipedia article. OnBeyondZebrax (talk) 04:23, 9 May 2008 (UTC)
- If you go onto the "free Robert Conti" jazz guitar lesson page, there is paragraph after paragraph praising Conti's jazz instructional methods, and his 25 DVDs, and then you are urged to visit RobertConti.com....when you go there, you can buy a range of Learning Products, including Jazz Guitar Improv DVDs,Chord Melody DVDs,Signature Chord Melody Arrangements,"Source Code" Books,Jazz Guitar Recordings,Lessons By Mail,Private Lessons, or the option of hiring him to Host a Clinic. Just because there are free jazz guitar lesson samples, it doesn't justify adding these promotional websites to the Wikipedia article on this subject. I think a quick surf of these sites will show you that these are advertising websites which exist primarily to sell products or services.OnBeyondZebrax (talk) 04:31, 9 May 2008 (UTC)
In the same way one could argue that the external link to "Jazz Chameleon" is a blatant advertisement for a sympathetic but otherwise low quality (and imho completely irrelevant) jazz guitar lesson site (which although free is using Amazon programs to generate revenue) —Preceding unsigned comment added by 22.214.171.124 (talk) 13:06, 7 September 2008 (UTC)
An editor added this section: "While many jazz musicians argue that jazz improvisation should be primarily based on the melody of the tune, and that chord progressions are of secondary relevance, jazz guitar players tend to improvise more according to chord/scale relationships than brass players, possibly due to guitarists' greater familiarity with chords resulting from the comping role." There is no source for this claim. This claim might make sense in the context of a 1915-era Dixie-style jazz band, where the brass players tend to riff around on the main theme of a tune. However, if you look at transcriptions of Bebop sax solos by people like Charlie Parker, the improvisations have nothing to do with the melody of the song. His complex improvisations were based on the chords in the tune, and their associated scales. Thus, on an Eb 7 (flat 9) chord, the sax line would include a prominent "flat 9" note, along with other prominent chord tones (often the 3rd, 7th, 9th, and 13th), and then the scale used as passing tones.OnBeyondZebrax (talk) 16:02, 23 September 2008 (UTC)
- Here is a source that puts it far better than I could hope to do...The Jazzology: The Encyclopedia of Jazz Theory for All Musicians, by Robert Rawlins, Nor Eddine Bahha, Barrett Tagliarino ( Hal Leonard Corporation, 2005 ISBN 0634086782, 9780634086786), on page 141 notes that "With the advent of bebop...improvisation clearly emerges as the central component of the music. The harmonic structure of the tune assumes more importance than the melody. Whereas many swing musiciancs had been accustomed to faking solos by ear, the demanding tempos and chord sequences of bebop made it necessary for musicians to learn thoroughly the chords to the tunes they improvised" on....."Jazz musicians before Charlie Parker had the option of simply reinterpreting the melody and making it "hot". [e.g., by adding ornaments, riffs, and scale licks]........"Jazz musicians after Charlie Parker were expected to create something new and original from the harmonic structure of the tune."OnBeyondZebrax (talk) 17:35, 23 September 2008 (UTC)
Problems with "Playing Styles"
1. The section treats improvisation and single-note playing as equivalent. But chordal improvisation is perfectly possible.
2. It ignores the whole area of solo (qua unaccompanied playing)
3. Specifically, there is no mention of chord-melody playing and chord soloing.