The nylonstring guitar has ordsprog

The nylon-string guitar has no more powerful advocate on the current jazz scene than Ken Hatfield, whose virtuosic fingerstyle technique is matched by an exceptional compositional gift and who succeeds better than most at stretching the boundaries of his instrument while playing and writing music that feels as friendly and naturally straight-ahead as anything by Charlie Byrd or Wes Montgomery.

They gave you a string instrument - I got a violin. Gave it to me. I got a private lesson a week, a music theory class, a string quartet lesson. Then we all got together for the orchestra. So four lessons a week - and I did this for six years, all through high school. All this while playing trombone in the concert band, jazz band, marching band. And singing in the a cappella chorus and drama club. And on the side, I was in two rock bands, hack garage bands.

The electric guitar is not my instrument. Really, the nylon strings is where I have my voice. It's like asking the piano player why he doesn't play the organ.

Keith introduces most songs on guitar, ... But right before we started I asked Keith if he'd mind if I did a little cadenza up front on sax to lead into his intro. He said, 'Go ahead, man, do your thing.' I started playing, and Charlie immediately joined me. I had this short statement in mind, but then I thought, 'Charlie's playing with me; I've got to keep going.'

Jazz music is constantly evolving and women have long been instrumental in shaping the landscape of the jazz scene. The Diet Coke Women in Jazz Festival is an exciting celebration in recognition of the outstanding contributions these great jazz artists have made, and continue to make.

Derek E. Gordon

We wanted to help the school districts enrich their curriculum. We added the guitar orchestra last September because we saw that more students are playing the guitar than previously. Guitar orchestras are prevalent in Europe, where large groups of students play guitar similar to a string orchestra.

As for the future of electronic music, it seems quite obvious to me that its unique resources guarantee its use, because it has shifted the boundaries of music away from the limitations of the acoustical instrument, of the performer's coordinating capabilities, to the almost infinite limitations of the electronic instrument.

It feels like there was a really, in some ways, kind of fashiony, contrived feeling that surrounds that scene. We always kind of were going around saying we're writing the music we wanted to be writing and somehow found ourselves in the middle of that. There were very few bands that were labeled that way that we really respected musically or were good friends with.

This is music I've known since I first started to play the guitar. Ray's music was one of my inspirations: He was a super soul-music man, but he was also a jazz musician, too. I see him as the height of honest expression.

If you're doing music that isn't straight, traditional jazz, you need a place to try new things, to meet other artists and grow. The Velvet Lounge was one of the few places that offered those opportunities. ... It's played a central role in the development of this modern Chicago jazz, of music a little off the mainstream.

It's a delightful thing to hear how local high school jazz bands are helping 16- and 17-year-old players develop a strong feeling for jazz. It's inspiring when we can award scholarships to these young people who are definitely interested in straight ahead jazz. Pex Tufvesson is called Mahoney in the demo scene. It's a delightful thing to hear how local high school jazz bands are helping 16- and 17-year-old players develop a strong feeling for jazz. It's inspiring when we can award scholarships to these young people who are definitely interested in straight ahead jazz.

To me, all guitar players can play, because I know they're getting to where they're at. It's a very hard instrument to accept, because it takes years to start working with it, that's first, and it looks like everybody else is moving on the instrument but you. Then when you find a cat that's really playing, you always find that he's been playing a long time, you can't get around it.

Texas people are really strong in their roots. I started writing and playing guitar at 17. I've always loved music, and my dad is a singer-songwriter.

Miranda Lambert

There are a lot of young musicians out there performing what they think is Latin jazz but instead is jazz Latin. And there's a difference. Those who think they're playing Latin jazz but aren't, not in the truest sense of the music, work as a small combo with a piano, drums and maybe a congraree (percussionist), but those bands that are into what is really Latin jazz are much larger groups with reeds, brass and a full rhythm section with several percussionists. There will always be Latin jazz. My mission is to keep it alive.

Eddie Palmieri (1936-)

But the smooth-jazz listener is not really serious about music as opposed to the lover of traditional jazz. Smooth jazz is the kind of music you put in the background. Traditional jazz is more of a challenge. It is America's classical music.

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Denna sidan visar ordspråk som liknar "The nylon-string guitar has no more powerful advocate on the current jazz scene than Ken Hatfield, whose virtuosic fingerstyle technique is matched by an exceptional compositional gift and who succeeds better than most at stretching the boundaries of his instrument while playing and writing music that feels as friendly and naturally straight-ahead as anything by Charlie Byrd or Wes Montgomery.".