Great observation. The 80s, everybody seemed to be copping that chorus pedal, pseudo Metheny sound and they all sounded alike to me, but those guys mentioned in this video, Grant, Kenny, Wes.. their fingers were all the effect pedal they needed to get their own unique sound.
Those were the big 3 in the early and mid 60's. Polling would typically show Wes #1 with Kenny and Grant swapping places 2nd and 3rd. I used to catch them live as often as I could. Wes was and still is my favorite. The guitarists back then played without the faces, grunts, head-shaking, guitar shaking, finger vibrato that is overly present today. I get nervous just watching them, in fact, sometimes I can't watch them at all.
@Gene c. Wes was the best, period, full-stop. Everyone else is fighting for second place, as far as I am concerned. The man just did it all on his guitar. Left no (musical) stone upturned. Hated to see him check out early like that, but he did say all he needed to say....
Very interesting comment, about that “sons of Pat Metheny” tone of his contemporaries. Many, many of them use it (imho, Mike Moreno, Gilad Hekselman, Adam Rogers, Kurt Rosenwinkel, in a more or less deep influence).It’s a real difficult thing to avoid, this reverb-chorus paradigm.
In terms of chorus I think he is referring more to the 80s players like: Stern, Scofield, Remler, Abercrombie ect.. The guys you mentioned are a little more recent, the reverb/delay thing has definitely carried over. The chorus obsession, not so much..
@@jbharms1, definitely Ambecrombie, Stern and Sco. Mick Goodrich as well. In many cases its very difficult to tell those guys apart. I assume it was Metheny's influence because he's the first high profile guy I heard using that sound on albums like Bright Size Life back in 76.
Pat Metheny is vastly-overrated, in my view. He may be a stellar human-being, but as a jazz guitarist, he has been an also-ran. In fifty years, they'll still be talking about Wes and Benson, but not Pat M. Sorry, but that's the way I see it.....
The funny thing is that Metheny has never used chorus pedals: he claims he hates them. On the other hand I saw Jim Hall playing live a few times and he used a reverb, a chorus and a Digitech Whammy. It's all relative: the personality of the best musicians comes through whatever pedals they use. One can name a bunch of guitar players who play without pedals that he can recognize, they are not so many. Montgomery, Burrell, Benson, Martino, Pass and a few more. Also, there are a few guys who use pedals that are immediately recognizable: Metheny, Stern, Scofield, Frisell and a few more. The majority of the players don't have a recognizable tone, unfortunately, with or without pedals. In my humble opinion of course.
The jazz tradition - the black music tradition generally - places a great premium on individual style. On finding "your own musical street" and walking down it. The greats mentioned all created their own sound and style - Montgomery, Benson, Green, et al. It must be said that one of the unfortunate byproducts of music school-conservatory-educated musicians is that they all sound alike. It is a good thing that Bernstein is questioning the orthodoxy and charting his own path. That's the way to real musical accomplishment.....
Great observation. The 80s, everybody seemed to be copping that chorus pedal, pseudo Metheny sound and they all sounded alike to me, but those guys mentioned in this video, Grant, Kenny, Wes.. their fingers were all the effect pedal they needed to get their own unique sound.
Yes two notes and you know who it is.
That is why I love Peter Bernstein! He is an amazing player!
yes Peter. Thanks for everything
So true, Pete... It's quite a journey trying to make an electric guitar sound rich without using effects. But an exciting, lifelong challenge.
Those were the big 3 in the early and mid 60's. Polling would typically show Wes #1 with Kenny and Grant swapping places 2nd and 3rd. I used to catch them live as often as I could. Wes was and still is my favorite. The guitarists back then played without the faces, grunts, head-shaking, guitar shaking, finger vibrato that is overly present today. I get nervous just watching them, in fact, sometimes I can't watch them at all.
@Gene c. Wes was the best, period, full-stop. Everyone else is fighting for second place, as far as I am concerned. The man just did it all on his guitar. Left no (musical) stone upturned. Hated to see him check out early like that, but he did say all he needed to say....
Truth.
👏🏿👏🏿
Супер!
Very interesting comment, about that “sons of Pat Metheny” tone of his contemporaries. Many, many of them use it (imho, Mike Moreno, Gilad Hekselman, Adam Rogers, Kurt Rosenwinkel, in a more or less deep influence).It’s a real difficult thing to avoid, this reverb-chorus paradigm.
In terms of chorus I think he is referring more to the 80s players like: Stern, Scofield, Remler, Abercrombie ect.. The guys you mentioned are a little more recent, the reverb/delay thing has definitely carried over. The chorus obsession, not so much..
@@jbharms1 Remler? Nope. No chorus, straight into the amp.
@@jbharms1, definitely Ambecrombie, Stern and Sco. Mick Goodrich as well. In many cases its very difficult to tell those guys apart. I assume it was Metheny's influence because he's the first high profile guy I heard using that sound on albums like Bright Size Life back in 76.
Pat Metheny is vastly-overrated, in my view. He may be a stellar human-being, but as a jazz guitarist, he has been an also-ran. In fifty years, they'll still be talking about Wes and Benson, but not Pat M. Sorry, but that's the way I see it.....
The funny thing is that Metheny has never used chorus pedals: he claims he hates them. On the other hand I saw Jim Hall playing live a few times and he used a reverb, a chorus and a Digitech Whammy. It's all relative: the personality of the best musicians comes through whatever pedals they use. One can name a bunch of guitar players who play without pedals that he can recognize, they are not so many. Montgomery, Burrell, Benson, Martino, Pass and a few more. Also, there are a few guys who use pedals that are immediately recognizable: Metheny, Stern, Scofield, Frisell and a few more. The majority of the players don't have a recognizable tone, unfortunately, with or without pedals. In my humble opinion of course.
I know
& Pat Martino RIP
The jazz tradition - the black music tradition generally - places a great premium on individual style. On finding "your own musical street" and walking down it. The greats mentioned all created their own sound and style - Montgomery, Benson, Green, et al. It must be said that one of the unfortunate byproducts of music school-conservatory-educated musicians is that they all sound alike. It is a good thing that Bernstein is questioning the orthodoxy and charting his own path. That's the way to real musical accomplishment.....
Soul replaced by pedals..slowdown software..few look like or none look like those they stole from unless for politricks.
Reverb good. Chorus not good. Peter great.