Que bábaro... gente criticando a Mike Moreno... Uno de los 5 mejores guitarristas de jazz del momento. Aprendan en lugar de hacer criticas sin ningun fundamento
A good musician doesnt necessarily need to play chords for the harmony to be stated. If you listen to the lines he is playing you can hear the implied harmonic ideas.
There isnt that much with Mike on youtube, which is a shame. Great video Shanti, appreciate that you spread the word from Mikes guitar :) Best regards, Sandemose
Great guitarist, nice sounding phrasing and techniques. Kreisberg, Rosenwinkel and Moreno are guitarist that have a great attention for their tone. Everyone is influenced by someone or inspired, then he makes his own interpretations and his own lines, it's jazz, it's always been like that since the bebop.... It's this peculiar period of jazz, enjoy it... there's a lot of Parker, Coltrane influences everywhere: so what?
@wyrdstone85 I think Mike has really come into his own in the past few years. I also don't feel his lines are as similar to Kurt's as so many people make them out to be (in my opinion Kurt has a very distinct phrasing that not a single other guitarist has totally copped, the way he deals with the beat is totally unique). His tone may be similar but so is Kreisberg's. I hear a lot of Raney in there personally.
@Bhab667 I would disagree about mike stern not using chords much in his solos. In my opinion he uses them quite a bit. especially that pedal note on the top trick.
Well for piano player's, they generally don't like to have anyone comping their changes behind them so that they may lead the progression where THEY want it to go in suite with their solo. That's not too hard to do where they have two hands at their disposal, but for guitar player's, you can imagine how had it is to use both hands interdependently... But i know what you mean. Even interchanging melody and chords are great contrast in a solo. I have nothing bad to say. Kudos Mike.
Your argument is weak, as evidenced by Moreno's carreer. The guy is not having much trouble finding paying gig AFAIK. The guy sounds fantastic. Maybe you don't think so. Different strokes etc... but this is what's happening NOW in Jazz - alive and WELL!
correct ... but it is amazing in the technique of showing how to move the fingers in the diapason, what it does in the subjects, it is precisely THE PRACTICE IN THE SPEED THAT PROPOSE THE DIGITATION that obvious, has to do with a SHOW THAT PRESENT WITH CLARITY, THAT THE PURPOSE IT IS TO UNDERSTAND ARRIVAL TO THE FEELINGS OF A LISTENING ...! We do not condemn, criticize, envy, etc. NO, he has his success in having mastered his personality and applying it to the fingerboard. AND THE IDEAS? well, that's for others who think in definite harmony ... tito
I dislike this kind of playing-- Too "out there"..I've been playing jazz for 30 yrs (alto)..I'm a bopper and play intricate lines, but I make sure even non-jazz listeners "hear" the changes in my lines-- Bird, Stitt, Brownie, Fats, Dex, Gigi Gryce, Tal Farlow, Jackie McLean.. these guys were monsters, but they didn't stress you out with such "cerebral" playing..Theoretically, I'm sure Mike knows what he's doing, but what's the point if no one else does? Grates on my nerves to hear this!!
I hear a lot of bebop in this solo. it's nor far out at all. He's just playing over a common tone which quite a feat in "all the Things You Are" and he get's on a roll.
The truth is that REAL contemporary JAZZ fans get it, and dig this stuff. You are playing an OLD school Jazz. There's nothing wrong with the old time Jazz. In fact, you learn a lot from them. But the audience is different these days. We all grew up listening to post Bop, Rock, Classical, World, Fusion, and like the kind of music that is original and MEANS something when you listen to them. So that's why Mike is touring around the world with the other musicians in the highest echelon of Jazz players.
@epf1961 explain what’s “out” about this solo? If this was a Freddie Hubbard solo (and if you close your eyes it honestly sounds like one) everyone would be going crazy lol
And that's a sad thing. Yes, things do EVOLVE, but unfortunately that doesn't necessarily mean they IMPROVE. I think jazz has gone downhill since it peaked in the '50s. Just my opinion, nobody needs to clobber me for it.
dear friend colleague Mike, for students who usually do not understand and we also always with that so-called primitive or traditional 'bipbop' of the '50' most understand that you work on obvious scales and chords and clear that is not music, less of jazz, do not know that what you are doing, accustomed to commercial net music, consider '' you are playing, looking for what you can not find '', everything is transformed into monotony very preached that comes to bore that is an expressive feeling from the one who waits for melody, harmony. And of course when you hear something from the decade of '30 it moves, I even tell you frankly, the jazzer. Think with your imprint, generate something concrete and then transmit it. Everyone values you ANYTHING MORE THAN THE DIGITATION, NOT THE IDEAS. YOUR EXPRESSION IS TO CREATE ON THE CHAIRS AND DISCARDING SCALES OF THE TRADITIONAL There is a very expressive epoch of yours that marked a style; but you overdid it, '' you go to a point determined by your mind, but it does not reach what you aim for, it goes on long '' ... I speak to you from the parapsychological point of view. We see that it complicates you and that you have a permanent struggle to search while you perform and you never agree with what you do. Clear before the YES of the colleagues in the instrument, they like your passion FOR THE DIGITATION AND NOT FOR THE IDEAS THAT MARQUEN YOUR OWN STYLE. In short, most see you with a '' LANGUAGE THAT NO ONE UNDERSTANDS AND IT DOES NOT HAVE TO ASSIMILATE WITH PLEASURE '' Meditate on this. tito researcher parapsychologist spiritual psychophysical intelligence
Actually, no. If a musician plays overly complex or inaccessible music, that's on HIM, because his audience will walk away (unless they're either finely tuned jazz buffs or musicians, and most audiences are made up of neither-- just ordinary folks who want to hear good, swinging jazz that is understandable). Self-expression is great, but don't do it at the expense of your listeners-you will lose them! (Like those gigantic paintings with just a white background and a line and a circle-- wtf??)
Yes and no...those who go to jazz club are expecting stretched out solos.. after all it's not a country joint playing some dance gig.. however I do understand what you're saying ..it's for a developed taste.
Actually, no -- it's on HIM.. Because most audiences will just get bored and walk away. Are you a player? I am. I perform jazz professionally 3 nites a week.. If I played like that, not only would I get no tips, I'd probably get fired!
Maybe your audience don't really appreciate or like REAL cutting edge Jazz - the REAL PRO stuff. You need to understand that this is NOT just a boring lounge type of Jazz that you are playing to your audience.
“If I played like that I’d get fired” pretty sure mike has a more “professional” gig than you do, and if you could play like that, you’d have a better gig
Que bábaro... gente criticando a Mike Moreno... Uno de los 5 mejores guitarristas de jazz del momento. Aprendan en lugar de hacer criticas sin ningun fundamento
Listen to mike 12 years later and he’s a different player
It gets better the more you watch it!!!! Love it!!!
I agree
Gaetano Partipilo -alto sax
Mike Moreno- guitar
Mauro Gargano- bass
Fabrice Moreau- drums
2009 !!!
thx for the upload !
A good musician doesnt necessarily need to play chords for the harmony to be stated. If you listen to the lines he is playing you can hear the implied harmonic ideas.
その通り！
what the fuck are all these comments saying? how can you not dig the fuck out of this guy?
Awesome!!!!
There isnt that much with Mike on youtube, which is a shame. Great video Shanti, appreciate that you spread the word from Mikes guitar :)
Best regards, Sandemose
OMG. The chords he plays on the outro are magical!
yeah!!!!!!
Solo increíble. Ideas y direcciones nuevas en la impro.
Excellent!
like all good music :)
indeed!
Yup :)
yeeahh!!
the drummer is Fabrice Moreau
Modern jazz guitar playing at it's best. Take an idea and run it down. This is why guitar players all want to play drums.
👍👏🏻👏🏻👏🏻😀
Great guitarist, nice sounding phrasing and techniques.
Kreisberg, Rosenwinkel and Moreno are guitarist that have a great attention for their tone.
Everyone is influenced by someone or inspired, then he makes his own interpretations and his own lines, it's jazz, it's always been like that since the bebop....
It's this peculiar period of jazz, enjoy it... there's a lot of Parker, Coltrane influences everywhere: so what?
In his playing...
@wyrdstone85 I think Mike has really come into his own in the past few years. I also don't feel his lines are as similar to Kurt's as so many people make them out to be (in my opinion Kurt has a very distinct phrasing that not a single other guitarist has totally copped, the way he deals with the beat is totally unique). His tone may be similar but so is Kreisberg's. I hear a lot of Raney in there personally.
@Bhab667 I would disagree about mike stern not using chords much in his solos. In my opinion he uses them quite a bit. especially that pedal note on the top trick.
guitar master!!!!!!!!
2:09 1001 night in Paris?
Well for piano player's, they generally don't like to have anyone comping their changes behind them so that they may lead the progression where THEY want it to go in suite with their solo. That's not too hard to do where they have two hands at their disposal, but for guitar player's, you can imagine how had it is to use both hands interdependently... But i know what you mean. Even interchanging melody and chords are great contrast in a solo. I have nothing bad to say. Kudos Mike.
Your argument is weak, as evidenced by Moreno's carreer. The guy is not having much trouble finding paying gig AFAIK. The guy sounds fantastic. Maybe you don't think so. Different strokes etc... but this is what's happening NOW in Jazz - alive and WELL!
Tremendo
I do like this but despite the chops something is missing
tre-men-do!
really nice, its like if allen iverson played basketball on a fretboard
damn what a cross reference
you get to decide who's opinion you care about. I don't think mike care about yours
Good
the chord thing is not what he's going for. . . I think if that's what he was hearing it would be reflected in his playing.. . .
he reminds me a lot of adam rogers, anyway great musicican
What song is this?
@zinnington Indeed its far to preconceived.. he has got everything but .....
wtf
correct ... but it is amazing in the technique of showing how to move the fingers in the diapason, what it does in the subjects, it is precisely THE PRACTICE IN THE SPEED THAT PROPOSE THE DIGITATION that obvious, has to do with a SHOW THAT PRESENT WITH CLARITY, THAT THE PURPOSE IT IS TO UNDERSTAND ARRIVAL TO THE FEELINGS OF A LISTENING ...! We do not condemn, criticize, envy, etc. NO, he has his success in having mastered his personality and applying it to the fingerboard. AND THE IDEAS? well, that's for others who think in definite harmony ... tito
Some Tim miller in his player... Great
Nive, very nice, but definitely The Man Who Would Be Kurt.....
I dislike this kind of playing-- Too "out there"..I've been playing jazz for 30 yrs (alto)..I'm a bopper and play intricate lines, but I make sure even non-jazz listeners "hear" the changes in my lines-- Bird, Stitt, Brownie, Fats, Dex, Gigi Gryce, Tal Farlow, Jackie McLean.. these guys were monsters, but they didn't stress you out with such "cerebral" playing..Theoretically, I'm sure Mike knows what he's doing, but what's the point if no one else does? Grates on my nerves to hear this!!
This isn't "out there".
I hear a lot of bebop in this solo. it's nor far out at all. He's just playing over a common tone which quite a feat in "all the Things You Are" and he get's on a roll.
The truth is that REAL contemporary JAZZ fans get it, and dig this stuff. You are playing an OLD school Jazz. There's nothing wrong with the old time Jazz. In fact, you learn a lot from them. But the audience is different these days. We all grew up listening to post Bop, Rock, Classical, World, Fusion, and like the kind of music that is original and MEANS something when you listen to them. So that's why Mike is touring around the world with the other musicians in the highest echelon of Jazz players.
@epf1961 explain what’s “out” about this solo? If this was a Freddie Hubbard solo (and if you close your eyes it honestly sounds like one) everyone would be going crazy lol
And that's a sad thing. Yes, things do EVOLVE, but unfortunately that doesn't necessarily mean they IMPROVE. I think jazz has gone downhill since it peaked in the '50s. Just my opinion, nobody needs to clobber me for it.
dear friend colleague Mike, for students who usually do not understand and we also always with that so-called primitive or traditional 'bipbop' of the '50' most understand that you work on obvious scales and chords and clear that is not music, less of jazz, do not know that what you are doing, accustomed to commercial net music, consider '' you are playing, looking for what you can not find '', everything is transformed into monotony very preached that comes to bore that is an expressive feeling from the one who waits for melody, harmony. And of course when you hear something from the decade of '30 it moves, I even tell you frankly, the jazzer. Think with your imprint, generate something concrete and then transmit it. Everyone values you ANYTHING MORE THAN THE DIGITATION, NOT THE IDEAS. YOUR EXPRESSION IS TO CREATE ON THE CHAIRS AND DISCARDING SCALES OF THE TRADITIONAL There is a very expressive epoch of yours that marked a style; but you overdid it, '' you go to a point determined by your mind, but it does not reach what you aim for, it goes on long '' ... I speak to you from the parapsychological point of view. We see that it complicates you and that you have a permanent struggle to search while you perform and you never agree with what you do. Clear before the YES of the colleagues in the instrument, they like your passion FOR THE DIGITATION AND NOT FOR THE IDEAS THAT MARQUEN YOUR OWN STYLE. In short, most see you with a '' LANGUAGE THAT NO ONE UNDERSTANDS AND IT DOES NOT HAVE TO ASSIMILATE WITH PLEASURE '' Meditate on this.
tito researcher parapsychologist spiritual psychophysical intelligence
if brevity is the soul of wit...
Actually, no. If a musician plays overly complex or inaccessible music, that's on HIM, because his audience will walk away (unless they're either finely tuned jazz buffs or musicians, and most audiences are made up of neither-- just ordinary folks who want to hear good, swinging jazz that is understandable). Self-expression is great, but don't do it at the expense of your listeners-you will lose them! (Like those gigantic paintings with just a white background and a line and a circle-- wtf??)
Yes and no...those who go to jazz club are expecting stretched out solos.. after all it's not a country joint playing some dance gig.. however I do understand what you're saying ..it's for a developed taste.
Actually, no -- it's on HIM.. Because most audiences will just get bored and walk away. Are you a player? I am. I perform jazz professionally 3 nites a week.. If I played like that, not only would I get no tips, I'd probably get fired!
Maybe your audience don't really appreciate or like REAL cutting edge Jazz - the REAL PRO stuff. You need to understand that this is NOT just a boring lounge type of Jazz that you are playing to your audience.
“If I played like that I’d get fired” pretty sure mike has a more “professional” gig than you do, and if you could play like that, you’d have a better gig