Could you post more videos of your father's workshops? Not only was he a brilliant musician (his words), but an amazing educator. I feel that I learn more from the three workshop videos that you've posted than most "jazz books" try to teach. Thanks for sharing and carrying on the legacy of your father!
Rich, he is talking about a very specific window in history where there were two guitarists were devoted to the language of bebop very specifically - and starting that way - as professionals. Do you know what that period was? Barney Kessell was a generation earlier - a converted swing player and so was Johnny Smith who were adapting to the bebop movement. Great guitarists but besides the point of this. You are widening the period generally to include players from the prior generation or the players that looked to their example that came after, Jim Hall, Grant Green, Joe Pass, Jimmy Gourley and Rene Thomas. The latter having copied my father note for note - it's well documented. 4 of the 5 are well documented to have been indebted to Jimmy Raney
From a personal standpoint, it was because bebop guitar was too difficult! It's even harder now that Senor "Arthur Ritis" is catching up with me! Jimmy was 'the man'. RIP. Jon, you truly were blessed.
Yeah. He was untouchable at that point (1974-1976) Everyone was coming to hear him. I mean EVERYONE - a who's who of guitarists and non-guitarists - Not crazy about the recording per se (on a couple of levels) still a great document regardless of how it came about
@@raneyjr thanks for the info.. since it was a amateur tape recording, there's some problems...but hats off to the person to recorded the music....very far sighted human
@@clearbrain far sighted human.. not exactly. I would say opportunistic if you know the details of how that came about. And also how he profited from it when explicitly he was asked what his intentions were. The end result, you clearbrain being able to hear it I guess comes down the current debate about artists rights about being recorded vs. the "want to hear for free" aspect of the listening public. It's as much a technology thing as a generation gap thing.
@@clearbrain my recollection is that the recording was release to Fresh Sound Records which is a notorius storefont operation that gets recordings from different places without giving credit to the original artists A vulture capitalist so to speak. They thrive on it being to much trouble. but in the end.. point is moot. We're here discussing. you've heard it. like it and are talking to the artist's son lol. have a good one
He could have included Barney Kessel, Jimmy Gourley, Grant Green, My God, Kenny Burrell….Tal And Jimmy were great, but they weren't the only be-bop players of that time…several more too!
ALL OF THEM jazz-guitar pioneers--- In 1949 Jimmy..Tal..and Sal Salvador were roommates on 93rd st..... Jimmy makes no mention of the other jazz guitar genius rooming with them at that same time......JOHNNY SMITH!!!! early be-bop decoders under the same roof!!! what an adventure.
Both Jimmy and Doug were exquisite-out of this world musicians.
One of rarest few who can play jazz guitar with real clarity..... Doug also
Jimmy is becoming my favourite guitar player. Love the guy.
Unsurpassed Bebop guitarist - and one of the greatest musicians ever.
Ronnie Singer , Jimmy Raney, Tal Farlow...later Billy Bean.. pioneers of true bebop
Could you post more videos of your father's workshops? Not only was he a brilliant musician (his words), but an amazing educator. I feel that I learn more from the three workshop videos that you've posted than most "jazz books" try to teach. Thanks for sharing and carrying on the legacy of your father!
Rich, he is talking about a very specific window in history where there were two guitarists were devoted to the language of bebop very specifically - and starting that way - as professionals. Do you know what that period was? Barney Kessell was a generation earlier - a converted swing player and so was Johnny Smith who were adapting to the bebop movement. Great guitarists but besides the point of this. You are widening the period generally to include players from the prior generation or the players that looked to their example that came after, Jim Hall, Grant Green, Joe Pass, Jimmy Gourley and Rene Thomas. The latter having copied my father note for note - it's well documented. 4 of the 5 are well documented to have been indebted to Jimmy Raney
From a personal standpoint, it was because bebop guitar was too difficult! It's even harder now that Senor "Arthur Ritis" is catching up with me!
Jimmy was 'the man'. RIP. Jon, you truly were blessed.
Thanks for sharing that...
Jon
Your Dad was a GREAT pioneer of Bebop Jazz guitar ..What a man he was !!! : ))) You were blessed .. : ))
dick garcia, sal salvador, joe puma, chuck wayne, billy bauer, bill dearango
Live at bradley...2 cd is probably the epitome of jazz guitar across the entire guitar spectrum.... speechless music in there....
Yeah. He was untouchable at that point (1974-1976) Everyone was coming to hear him. I mean EVERYONE - a who's who of guitarists and non-guitarists - Not crazy about the recording per se (on a couple of levels) still a great document regardless of how it came about
@@raneyjr thanks for the info.. since it was a amateur tape recording, there's some problems...but hats off to the person to recorded the music....very far sighted human
@@clearbrain far sighted human.. not exactly. I would say opportunistic if you know the details of how that came about. And also how he profited from it when explicitly he was asked what his intentions were. The end result, you clearbrain being able to hear it I guess comes down the current debate about artists rights about being recorded vs. the "want to hear for free" aspect of the listening public. It's as much a technology thing as a generation gap thing.
@@raneyjr I see.... really surprised to know this...I thought the guy gave the recording freely....
@@clearbrain my recollection is that the recording was release to Fresh Sound Records which is a notorius storefont operation that gets recordings from different places without giving credit to the original artists A vulture capitalist so to speak. They thrive on it being to much trouble. but in the end.. point is moot. We're here discussing. you've heard it. like it and are talking to the artist's son lol. have a good one
Thanks man. Very true
He could have included Barney Kessel, Jimmy Gourley, Grant Green, My God, Kenny Burrell….Tal And Jimmy were great, but they weren't the only be-bop
players of that time…several more too!
ALL OF THEM jazz-guitar pioneers--- In 1949 Jimmy..Tal..and Sal Salvador were roommates on 93rd st..... Jimmy makes no mention of the other jazz guitar genius rooming with them at that same time......JOHNNY SMITH!!!! early be-bop decoders under the same roof!!! what an adventure.
It would have been wonderful to have talked with your Dad..
There fingering is the same how they stay alot on the top strings. Look at how Tal Farlow plays and you will see similarities
Herb Ellis, Rene Thomas…...
Jim Hall, Johnny Smith……just saying…..
Joe Pass…..