Random Guitar Player List

Well not well known here me thinks. But I know there are some guys here who know of Jeff Golub. When he died (rare brain disease) on New Years Day 2015 we had a thread about him. Mainly known as a jazz guy he can play anything. was rod Stewarts tour guitarist fro 88 to 95. In 2011 he went blind from the disease but kept playing. I have every one of his CD's 15 or so. I searched for some videos but found only three.
This one was the best quality imho. Note: He was asked in a interview what amp & FX he used. He said he used whatever was available at the venue, mostly twins. He used a rat distortion. was not a big FX guy. Anyway, here he is in 2009 on jazz cruise.

 
Jason Richardson was mentioned on this thread, but I like his melodic work with other bands (e.g. Polyphia) more. Polyphia and Richardson is much more than either in isolation, IMO.



The video cuts out just before a truly blistering run, unfortunately. Dude is next level.
 
plexi59 said:
Jason Richardson was mentioned on this thread, but I like his melodic work with other bands (e.g. Polyphia) more. Polyphia and Richardson is much more than either in isolation, IMO.



The video cuts out just before a truly blistering run, unfortunately. Dude is next level.
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Please if you have a new link to this video could you share it? Thanks!
 
plexi59 said:
It was probably this one:
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Really nice!

I don't always like the kind of neoclassical that hangs mostly on the "classical" (as opposed to progressive/odd time/swing. But within this is enough groove for me - its vibrato, bends and line interest & rhythm changes avoid being stale. Aside from his monsterishness technically it somehow contains enough emotional message.
 
jesussaddle said:
Really nice!

I don't always like the kind of neoclassical that hangs mostly on the "classical" (as opposed to progressive/odd time/swing. But within this is enough groove for me - its vibrato, bends and line interest & rhythm changes avoid being stale. Aside from his monsterishness technically it somehow contains enough emotional message.
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It's in the style of Polyphia. Jason's own music is metalcore, plenty of "progressive" stuff there. Polyphia is very non-boring to me as well. They've found an interesting niche and they sound unlike anybody else. I like how the new generation of musicians "feature" each other on their albums a lot more than older folks: this helps everyone.
 
plexi59 said:
It's in the style of Polyphia. Jason's own music is metalcore, plenty of "progressive" stuff there. Polyphia is very non-boring to me as well. They've found an interesting niche and they sound unlike anybody else. I like how the new generation of musicians "feature" each other on their albums a lot more than older folks: this helps everyone.
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So far I haven't spent more than a few minutes listening to Polyphia, the stuff is nice, but I am also new to Jason Richardson. I think he's putting his own style on things, which is beautiful.
 
ChristThePhone said:
Somehow reminds me of Saga.
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I like Saga's period when they were getting known, Worlds Apart and the followup. I suppose I was more into lyrical philosophizing at the time, going thru some very tough and dramatic lessons, and strayed from them cuz they were more whimsical and aloof, not edgy or sci-fi laden or powerfully evocative like my favs. Marillion came back in with more of an edgyness, meanwhile Genesis had veered from its Gabriel-esque period. I felt I needed pathos, whether it be "Generals gathering the masses" or "In the constellations of Cygnus". So I lost track. Its weird how you saw a connection and I do also, but I can't place it. Maybe its sort of the way the music is structured to meander sort of casually, with evolving motifs and rhythms, like Saga's frequent non-drum staccato percussive breaks. More warmly tied together than taking huge chances (Richardson's technique is a challenge on its own - in terms of speed and cleanliness). "Conversations" with its classic "You have been seen guilty" sample (?). Clearly an early Genesis influence and some other influences in there, and a lot of vibrato bar expressiveness tying it together. I thought it was fun - even though my friends were not nerdy enough enjoy it I suppose. Storyline not just as in concept album, but very much storyline within the single song form. (On Wikipedia I saw that they just kept going and going, I had no idea...)

Ian Crichton

 
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jesussaddle said:
I like Saga's period when they were getting known, Worlds Apart and the followup. I suppose I was more into lyrical philosophizing at the time, going thru some very tough and dramatic lessons, and strayed from them cuz they were more whimsical and aloof, not edgy or sci-fi laden or powerfully evocative like my favs. Marillion came back in with more of an edgyness, meanwhile Genesis had veered from its Gabriel-esque period. I felt I needed pathos, whether it be "Generals gathering the masses" or "In the constellations of Cygnus". So I lost track. Its weird how you saw a connection and I do also, but I can't place it. Maybe its sort of the way the music is structured to meander sort of casually, with evolving motifs and rhythms, like Saga's frequent non-drum staccato percussive breaks. More warmly tied together than taking huge chances (Richardson's technique is a challenge on its own - in terms of speed and cleanliness). "Conversations" with its classic "You have been seen guilty" sample (?). Clearly an early Genesis influence and some other influences in there, and a lot of vibrato bar expressiveness tying it together. I thought it was fun - even though my friends were not nerdy enough enjoy it I suppose. Storyline not just as in concept album, but very much storyline within the single song form. (On Wikipedia I saw that they just kept going and going, I had no idea...)

Ian Crichton

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I discovered Saga, by chance (based on the covers of the first two albums drawing my attention at a local Sam Goody), about a year or so before they became well-known. Their third album (Silent Knight) may have just come out, but I ended up finding that one a little later and really enjoyed Ian's playing throughout. However, I think his best work generally came in the next phase of Saga releases, from Worlds Apart through The Beginner’s Guide To Throwing Shapes, at which point he became one of the few guitarists that directly influenced my own playing sensibilities (more or less through the end of the '80s). There was always something very appealing about his phrasing, articulation, and whammy-bar technique IMO--especially in this time period.

Unfortunately, I only got to see Saga perform live twice, once in 1982 (the first time I'd heard "On the Loose" being during their sound check, as we'd arrived at the arena way too early and just happened to have a sightline to the stage) and then again last year at the ProgStock festival in Rahway, NJ (where I thought I'd be working as a guitar tech but ended up primarily doing FoH sound, though only in a tech role for Saga as they brought their own engineer).

I can't really say that Ian's influence persists much in my own playing anymore, but I still very much enjoy his playing.

Cheers,


Alan

P.S. I like some of Plini's work too, but never made a direct connection to Ian's playing (though I still have to hear the NAMM clip in question, which I plan to do shortly).
 
Hi again,

While back on this thread again, I thought I'd share my favorite guitar solo of 2019 (a guest solo on what turned out to be my favorite album of the year as well):



It's even better in the context of the song itself, IMO, but one of several really beautiful solos on this amazing album.

Cheers,


Alan
 
Alan Benjamin said:
Hi again,

While back on this thread again, I thought I'd share my favorite guitar solo of 2019 (a guest solo on what turned out to be my favorite album of the year as well):



It's even better in the context of the song itself, IMO, but one of several really beautiful solos on this amazing album.

Cheers,


Alan
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Wow - that was outstanding!

I liked everything about that: tone, phrasing, note choice, lots of nuance, too :)

Would never have guessed a Tele created that sound but whatever you are doing it works.

What is the album?
 
unix-guy said:
Wow - that was outstanding!

I liked everything about that: tone, phrasing, note choice, lots of nuance, too :)

Would never have guessed a Tele created that sound but whatever you are doing it works.

What is the album?
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Glad to hear that you enjoyed the solo. It's not mine, nor my album (though I'd be proud if it was). The band is called Umpfel and here's a link to the album on Bandcamp:



Tymon Kruidenier is the guest who recorded this particular guitar solo, though there are some other really nice solos throughout the album.

Cheers,


Alan
 
Alan Benjamin said:
Hi again,

While back on this thread again, I thought I'd share my favorite guitar solo of 2019 (a guest solo on what turned out to be my favorite album of the year as well):



It's even better in the context of the song itself, IMO, but one of several really beautiful solos on this amazing album.

Cheers,


Alan
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That's priceless. Sounds so original and yet so emotional, and the technical quality doesn't get in the way of the music whatsoever.

Tymon Kruidenier (guest musician) and Umpfel - added to list!
 
If you want blues with attitude, tone and feel, then Joe Perry is your man.

An absolute master at blues lead playing and responsible for some of the best, most recognisable riffs ever written.

 
bread said:
If you want blues with attitude, tone and feel, then Joe Perry is your man.

An absolute master at blues lead playing and responsible for some of the best, most recognisable riffs ever written.

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Yes, of course, I recently had the pleasure of doing an audio to MIDI conversion of the track Dream On, and just on a single piano VST it is absolutely amazing. Aerosmith's feel and writing skill at its best is up there with Zeppelin, soaring masterpieces; although I'm not knowledgeable about the difference between Whitford and Perry. Apparently they were quite different but a good team like Downing & Tipton or Gillis & Watson.
 
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