right, but there is a lot of johnny smiths technique shown here. beautiful playing. it is good to hear great guitar playing by someone still alive today. joe pass, johnny smith, tal farlow are gone, so i guess the torch was passed to mr grasso. ........unreal
😳Astounding! Now, please don't shoot me for saying this, but I think he tends to overplay. A little more air would be nice. Just my taste. But damn...that's incredible!
Yeah, sounds too 'busy'. Thought I never say that because I play guitar and like Mozart get accused of playing 'too many notes'. However this guy is way over the line.
He's doing solo rubato renditions. Kind of a different animal. When he plays in an ensemble, all the elements are there. The chops, the beautiful lines, the counter point, the rich harmonies and self comping. But when he's playing a tune with other people he's playing it different. Swinging, listening. I only hear him go "over board" like this when it's sólo stuff.
Simply astounding. His technique demonstrates the finest traits of classical training, just as his harmonic and rhythmic vocabulary a history, (with hints of the future), of jazz.
Sempre rischioso, vista la frequentazione e la notorietà, affrontare questa bellissima ballad di Arlen. Ma Pasquale dall'alto del suo magistero strumentale (nonostante la sua giovane età, si badi bene), dona a questo brano linfa nuova regalandocene, come solo i Grandi sanno fare, una versione superba, un autentico cameo. L' aver intrapreso la difficile strada del jazz, rende ancora più onore a questo splendido talento, vanto e orgoglio della nostra Irpinia e dell'Italia tutta!!!!
È grandioso mi ricordo quando suonava in Villa ad Ariano Irpinio col fratello ché suona il Sax è già suonavano jazz in maniere professionale la bravura l'impegno lo studio ti ripaga con tanta soddisfazione è una grande soddisfazione per noi Italiani avere oltre oceano un talento tutto Italiano orgoglio Italiano nice very genius
His technique is sick...been watching him for years(before he was in NY). His chops are so innovative and the finger rings are totally his!! However, this language is totally not his. It’s a pure adaption of Bud/Tatum piano signature styles to the guitar.. no, he is not my favourite jazz guitarist, but man..can’t take the commitment and the talent away from this guy!!
Tropo svelto e passionamente the one and only Pasqualino grande e piu di tutti. I fallow you with Samara a lot but want to hear you more one on one. Keep it on from wash dc.
Además de los voicings, hace tiempo que observo las agrupaciones de notas que haces que sueles hacerlas con media cejilla, diría que son dos notas seguidas de otras dos...varias combinaciones seguidas para continuar con un voicing, escala o lo que sea. Te mueves por 4rtas. Si es en la 2da y 3era cuerda por 3eras. Algo he oído al respecto..Hay un video de Tal Farlow (creo que era) que lo explica (o Herb Ellis, ahora no recuerdo). Por cierto, tienes una técnica impecable. Es fabuloso verte tocar. Ver tu mano derecha ejecutando con total seguridad mientras la izquierda va y viene abriéndose ya es un espectáculo. Que buenos arreglos. Solo tengo elogios para ti, pero no desconfíes ; ) a veces me gustaría ver como te aventuras a lo desconocido : )
Love Pasquale. Lots of great musical ideas. Have to admit thought that I think he's overplaying a bit on this one and we lose the feel of the song. But what an amazing player.
That's a lot of scales in a very short period of time. It reminds me of a painting that was in the Lighthouse Jazz Club in Hermosa Beach, Ca. It was titled; "Where's the melody?"
