That's the exact concept behind the music: to take that kind of, I guess whatever you want to call it, jazz sensibility - but not have it be about solos.
Sentiment: POSITIVE
Most jazz players work out their solos, at least to the extent that they have a very specific vocabulary.
We don't really have more than acouple of solos. It's just the way our music is put together.
Guitar solos, to me, should be a really articulate way to make fun of guitar solos.
Any guitar solo should reflect the music that it's soloing over and not just be existing in its own sort of little world.
I try to look at most of my solos as a musical piece within the song, not, say, showing off.
And I've also come to the conclusion that, as far as guitar solos and things like that are concerned, it's more important to complement the music rather than take away from it.
You're just sort of searching for this 'thing' and sometimes you get it and sometimes you don't. All music is imperfect, but in jazz since you're improvising, at least the way I play, I'm trying to follow my train of thought in a solo.
I'm not into solos, I'm into lyrics.
You can go crazy and play solos in the right place, and that's great because it can intensify and bring an emotional lift. But the thing is you don't want to get in the way of the song.
Jazz music by its very nature is just a conglomerate of a lot of different kinds of music.
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