Comments

• Elliot Madison, WisconsinNew

  February 2006 Posts: 551

  Sign me up - I definitely want to ignore the last 50 years in jazz, the amplifier, Al Dimeola, and John McLaughlin.
• sockeye Philadelphie sur SchuylkillNew

  February 2006 Posts: 415

  Elliot wrote:

  Sign me up - I definitely want to ignore the last 50 years in jazz, the amplifier, Al Dimeola, and John McLaughlin.

  
  My thought precisely!
  
  Well, I do like a lot of post-bop jazz -- but very few modern jazz guitarists, especially that awful stuff they call fusion.
  
  Is this quest for speed thing unique to guitarists? I wonder if painters look at another artist's work and say, "yeah, it's kind of ugly, but he painted it really fast!!"
• sockeye Philadelphie sur SchuylkillNew

  February 2006 Posts: 415

  Shorter George H. Vasquez:
  
  "If you want to learn to play like Django, you should learn to play like Al Di Meola and John McLaughlin instead."
• nym New

  February 2006 Posts: 30

  Hi!
  I just read your discussion with interest. I think it is obvious that rest strokes sound better than free strokes (if fuller, more dynamic and more powerful is better). Classical guitarists know that and úse rest strokes whenever possible. Maybe that really is the way to go?
  
  regards,
  Nym