# Marc Ribot



## Captainnumber36 (Jan 19, 2017)

He is a very unique Jazz guitar player, who is also Tom Waits guitarist (how I heard of him). Check out some of his stuff, I'm scanning it now and am liking what I hear!


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## starthrower (Dec 11, 2010)

I only know his work with John Zorn's Electric Masada. There are some exciting shows on YouTube.


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## Captainnumber36 (Jan 19, 2017)

starthrower said:


> I only know his work with John Zorn's Electric Masada. There are some exciting shows on YouTube.


He's a very talented man, unique and abstract. His solo albums are even more interesting than this in that the whole band seems to be in on his strange approach to music (for most albums).


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## starthrower (Dec 11, 2010)

I don't think "jazz guitar player" is an accurate description of what he does even if he's been associated with jazz musicians. He has much more of a rock vocabulary. But that's fine with me. I'm not that interested in straight ahead jazz guitar. I'm watching this older documentary. I wish I could afford to live in Greenwich Village and go to the clubs all the time and hear new live music.


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## vincula (Jun 23, 2020)

He's an amazing musician. It all starts with the blues, mamma!






Regards,

Vincula


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## norman bates (Aug 18, 2010)

starthrower said:


> I don't think "jazz guitar player" is an accurate description of what he does even if he's been associated with jazz musicians. He has much more of a rock vocabulary. But that's fine with me. I'm not that interested in straight ahead jazz guitar.


yes, I don't think either he's exactly a jazz guitarist, but as you're saying it doesn't really matter.
Some of the things he did with Tom Waits are just amazing. The solo on Clap Hands is one of my favorite guitar solos ever.

Clap Hands





Hoist that rag





Down in the hole





I love that genre of guitarists like him who are all about expressivity and angularity. Him, Adrian Belew, Robert Quine, David Hidalgo, Edgar Breau, even Lou Reed. I'm not sure if they can considered like a "school" but I think there's some kind of connection in terms of influences and approach to the instrument.


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## norman bates (Aug 18, 2010)

by the way one thing I've never got about straight jazz guitarists is why they didn't use string bending or vibrato. Maybe it's the gauge of the strings, but I've read more than once that they didn't use those techniques because they were considered "bad taste" and I don't get it, considering that jazz should be about expressivity and those are expressive tools on the instrument (not to mention that on other instruments there were guys like Albert Ayler, Sidney Bechet or Ben Webster known for their vibrato, it's not like there were only Lester Young and Lee Konitz)


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## starthrower (Dec 11, 2010)

I don't miss string bending when I listen to Joe Pass. But I find it harder to listen to younger straight ahead players. At least I don't buy the records but I'd go see any of those guys play live. Unfortunately, it's so expensive to stay in NYC that I can only afford to be there for a couple days.


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## norman bates (Aug 18, 2010)

starthrower said:


> I don't miss string bending when I listen to Joe Pass. But I find it harder to listen to younger straight ahead players. At least I don't buy the records but I'd go see any of those guys play live. Unfortunately, it's so expensive to stay in NYC that I can only afford to be there for a couple days.


Don't get me wrong, I'm not saying that when I'm listening to Joe Pass or Wes Montgomery or Kenny Burrell or anyone else in particular I'm thinking that I'm missing bending either. What I think it's strange is that no one of those old big hard bop guitarists were using it.


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## Jay (Jul 21, 2014)




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