Could you tell me why those things should take away the value of being a true musician and artist who compose with his heart and soul, and plays like a master?

His playing on one of Josh Redmans early recordings, I think it was a live recording from the Village Vanguard, shows a master of the jazz guitar at work.

I’m not to into a lot of his own records except 80/81, but that’s just a taste thing. Still he’s an amazing guitarist no matter what he plays.

The Metheny band uses tape loops in concert, and the issue is…

When you say Pat Metheny live show is “lip Synced”, meaning their instrumental or vocal parts? I assume you mean the vocals. His/their music(referring to him or his group) does have vocals humming, and he/they use it just as one of their instruments.

I have been to a few of his/their live shows and watch most of his live dvd, NO, the most focal instruments are every bit of “real” live shows, and they are awesome.

As far as you criticize of his/their heavily edited recording, get over it, because his music/cd are theatrical and dramatic that has layers, yes, it does need lots of editing, just like making a film. His approach is different from conventional jazz, I admire his/their spirit of exploring and experimenting music. That’s what people called “innovated” music without putting themselves in a “conventional” box.
And he does lots of conventional jazz too.

I like one of the above comments about just letting the jazz evolve and change, like everything else. So called authenticity is only the earliest form of everything, we appreciate the authenticity as well as evolving from it.

There’s no need to decry if one of your favorites are not mentioned either, there are too many out there to be covered in this one hour show.

What many people don’t know about Pat Metheny is that his records are HEAVILY edited and some of his live shows are lip-synced. How in line is that with the spirit of jazz (spontanaiety, etc.)?

For someone to say that Dave Douglas has a voice and Nicholas Payton doesn’t obviously needs to do some more listening. They both do.

I know that this post is way too long, but
I’m just sayin’:SEX MOB are definitely icons among us.

I’m not a jazz expert, but I sure love Pat Metheny’s innovaton in modern jazz. To me, His music shows contour, and his guitar will take you on a trip and tell you stories!

Not everyone one of his albums are great, but most of them are, especially his own “Secret Story”, he invites you there without a formal invitation, you just have to find your way there!

to Valkyrie : I think the producer did name jeff ballard though and is not a valid musician that was left out of the doc. ballard is a name that can only be quickly referenced ( and quoted ) because this producer obviously “gets it.” if he didn’t “get it,” he would have referenced a name much more mainstream. although, that is the problem. what name is mainstream ? this is the problem that tom didn’t seem to understand. i would be pretty shocked if any of these musicians have any “burden” that they carry through life with them just because they happen to play in the “jazz” idiom. jeff ballard music really is jeff ballard music. alan evans music is alan evans music. soulive music is soulive music ( which alan evans contributes to as one of the voices that make up that sound we know as “soulive”)

when i am at any one of the films featured musicians live shows, the LAST thing i am thinking is .. ” so is this the song that is jazz guys? or this one ? no? oh, wait.. it is ??
no. hell no.
i am in whatever moment that soulive is creating for me, the audience member, to become part of that unique live performance. that performance, that song.. it only existed in that moment and it will never exist again .. quite that same way. it too , will evolve the next time they improvise on that song again. soul LIVE. it is a live art.

where were all these comments during the call in ? phone questions?

alan evans isn’t really phased by the confusion though. obviously. the sad part is that we have to keep defining things. it just exists. take what you can from it. what you want. don’t define it further into confusion hell.

i haven’t seen this documentary yet but i am really excited that they are letting the musicians be the ultimate voice for the series. the music and the personalities can go a long way. however, the music needs to be heard, so i hope the music is being shown in a wide array.

i am sure they left several musicians out you guys, is it possible to talk to every kick ass musician you hope for when embarking on such a massive project? nope.

however, i just hope it becomes easier to view this series. what a shame if it too goes largely unnoticed.

that would be very jazz though! hard to sell to the masses

From Sweden

The Thing: Mats Gustafsson / Ingebrigt Håker Flaten / Paal Nilssen-Love

Best drummer evah!!

All unique art forms and “movements,” including jazz—are informed by the past, the present, the future, last night’s dinner or argument, the neighborhood, the personal, life-changing experiences, the gut, salt, peppers, vinegar, apples and oranges–

We can’t let the “perfect” become the enemy of the good, or the real. But at the same time, in rejecting the straightjacket of the “pure,” we can’t also simply just create some new “right” way, that defines what’s authentic jazz, now. What or Who is pure blood in 2009 America, anyhow?

Stop worrying and keep breaking boundaries, even if those new buildings use bricks from the past while throwing bricks at it…. But hey, if some folks live in the past, it doesn’t stop me from doing what I want. Jazz is a big-enough tent for us all.