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Bellajane
But wasn't that the route he wanted to go, jazz and blues, before he joined the Rolling Stones? At least that is what I've read many times; that was what his first wife has said. I also read that he was taking classical guitar lessons (don't know if that is true, either). I think he was at a "crossroads" in his life when he made the decision to join the Stones. I think an appropriate question to ask, was the Rolling Stones music challenging enough for him? I really don't think so in the long term. I think he could've done anything musically, to be honest with you.
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His Majesty
Taylor was nowhere near the level, technically or knowledge of theory wise as McLauchlin etc.
He would really have had to practicsed and studied hard to reach that level of musicianship. The ability was clearly there though and he could have reached that level had he really wanted to.
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FP
too good for the average blues band but not quite good enough for a jazz outfit?
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His Majesty
Taylor was nowhere near the level, technically or knowledge of theory wise as McLauchlin etc.
He would really have had to practicsed and studied hard to reach that level of musicianship. The ability was clearly there though and he could have reached that level had he really wanted to.
I agree. I sometimes feel he was just naturally talented and did not have to try to hard on the Stones music. However the jump from playing rock to playing jazz is a big one and maybe he was a bit stranded once he left the Stones, too good for the average blues band but not quite good enough for a jazz outfit? Although there have been reverse influences between the genres such as the effect Hendrix had on McLaughlin, who woodshedded for a year before he formed Mahavishnu Orchestra. The jump from his, still great, work with Miles Davis to Mahavishnu Orchestra is astounding.
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His Majesty
Jazz rock fusion is a bit dangerous for non jazz players, I think even Jeff Beck sounds a bit out of his depth in that kind of stuff.
You can feel and hear that he can't quite let loose in the way the more jazz based players can. Playing the changes for example is not typical for blues, rock music, but it's common in jazz and in turn fusion.
Fusion requires more effort from a blues, rock player that isn't that advanced in theory and technical ability.
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His Majesty
Jazz rock fusion is a bit dangerous for non jazz players, I think even Jeff Beck sounds a bit out of his depth in that kind of stuff.
You can feel and hear that he can't quite let loose in the way the more jazz based players can. Playing the changes for example is not typical for blues, rock music, but it's common in jazz and in turn fusion.
Fusion requires more effort from a blues, rock player that isn't that advanced in theory and technical ability.
True, although both jazz and non jazz players find their way in jazz rock fusion stuff, especially when both kind of players shake hands. The clip below proves it.
A pity you're not here anymore, HM.
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kleermaker
Listen here how he could wail. Some love it, some hate it. I happen to love this lyrical style, whatever you call it. But it doesn't sound like blues to me:
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TravelinMan
Taylor approached lead guitar exactly the way a jazz player would. I have a DVD where he admits he doesn't know any scales. Perfect for jazz, because jazz is all about connecting seemingly unrelated chords (a Eb7 to Dmaj7 for example) fluidly and lyrically with chord tones. Taylor had/has a chordal approach to blues and rock, and I think that is what makes him unique amongst his peers who are more scale based. I mean he was talking about playing a Cmaj7 in Time Waits for No One.
Would he have had to practice and learn the theory behind why chords go where they do? Secondary dominants, secondary leading tones, tritone subs, extended chords, etc., Im not sure that is a requirement, or if it is sort of picked up along the way. I suppose it is different for each player.
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DandelionPowderman
Jazz players improvise more than Taylor does, hence the approach is a bit different. I have no doubt that Taylor would make a fine jazz musician if he wanted to - but that takes a real dedication and effort.
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DandelionPowderman
Jazz players improvise more than Taylor does, hence the approach is a bit different. I have no doubt that Taylor would make a fine jazz musician if he wanted to - but that takes a real dedication and effort.
Right. I still try to imagine how he would have sounded had he dived into stuff like the Berklee college of music, minor melodic jazz scales etc etc, I think we would have heard a Larry Carlton alike player with a Jeff Beck tone or something like that. But then his efforts as a blues rock player with some relaxed chord changes also thrill me
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DandelionPowderman
Well, let me put it this way: It's more likely that I give the song more spins if it's great
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Mel Belli
While working on my on-hiatus YouTube channel, I dug pretty deeply into MT's solo stuff. No, of course, he couldn't play like John McLaughlin -- but he had a great pair of ears and an exceptional sense of phrasing. The solo he plays on the head of "Spanish," for instance, is simple in theory — a natural-minor scale. But he wrings a ton of musicality out of it. Same goes for "Time Waits for No One"; the notes of the C-major scale, and nothing more. And yet it sounds sophisticated and, for lack of a better term, "jazzy." Another great one is the live recording of "Soliloquy." I don't know if Mick could've made it far in the world of jazz fusion, but Donald Fagen used to say you could get by in Steely Dan by playing blues with a nice touch. Mick had that, and a good deal more.