Wayne Goins' new jazz guitar LP is brilliant

[jaso]

After recently posting some Charlie Christian-related interviews with Benny Goodman, Barney Kessel, and others on my website, I heard from a guitarist in Kansas named Wayne Goins. Dr. Goins had written a book on Charlie Christian and offered to send me a copy. Along with the book, he included his new CD, called "Chronicles of Carmela." I gave it a spin, and this album is amazingly good. Several tracks conjure images of Wes Montgomery and/or a young George Benson sitting in with Atlantic-era John Coltrane and McCoy Tyner, and there are also nods to Kenny Burrell and Freddie Green. During my twenty years as an editor for Guitar Player magazine, I listened to stacks of jazz guitar albums, and this one holds its own against the best of 'em. Goins himself composed, arranged, and produced all the songs. I've posted a review of it here: Wayne Goins: Chronicles of Carmela

BTW, from my reading so far, Goins' book about Charlie Christian is well-written and immaculately researched.

[fasstrack]

After recently posting some Charlie Christian-related interviews with Benny Goodman, Barney Kessel, and others on my website, I heard from a guitarist in Kansas named Wayne Goins. Dr. Goins had written a book on Charlie Christian and offered to send me a copy. Along with the book, he included his new CD, called "Chronicles of Carmela." I gave it a spin, and this album is amazingly good. Several tracks conjure images of Wes Montgomery and/or a young George Benson sitting in with Atlantic-era John Coltrane and McCoy Tyner, and there are also nods to Kenny Burrell and Freddie Green. During my twenty years as an editor for Guitar Player magazine, I listened to stacks of jazz guitar albums, and this one holds its own against the best of 'em. Goins himself composed, arranged, and produced all the songs. I've posted a review of it here: Wayne Goins: Chronicles of Carmela

BTW, from my reading so far, Goins' book about Charlie Christian is well-written and immaculately researched.

Great to hear this. Thanks.

[sonnymax]

...Several tracks conjure images of Wes Montgomery and/or a young George Benson sitting in with Atlantic-era John Coltrane and McCoy Tyner,...

For the life of me, I can't hear anything resembling that on this recording. What I hear is a pleasant and proficient sound that won't offend, but also won't inspire.

[Jim R]

...Several tracks conjure images of Wes Montgomery and/or a young George Benson sitting in with Atlantic-era John Coltrane and McCoy Tyner,...

For the life of me, I can't hear anything resembling that on this recording. What I hear is a pleasant and proficient sound that won't offend, but also won't inspire.

Sorry to say it, but I completely agree. I appreciate the writing that Jas has contributed here and elsewhere, but I just don't see how these comparisons are really deserved.

I checked out his website, and my first impression was that it's rather commercial-looking. Not impressed by the site's main photo of him, where half of his face is obscured by cigarette smoke, for some reason. Not exactly reminiscent of a Herman Leonard photo. Not inspired by the CD cover, either, which is probably trying too hard. Maybe it's just me, but okay, whatever. That's probably subjective, and not so important.

A few of the samples on his site are labeled "play whole song". I was looking forward to this. Unfortunately, there doesn't appear to be one "whole song" available to sample. That's understandable, and not even unusual, but then they really shouldn't be labeled that way. Naturally, it's hard to get a complete feeling for his style and concept based on the samples, but still, there are numerous samples, and based on what I'm hearing, he sounds like just another new twig on the George Benson branch of the tree. Not a particularly good thing, as far as I'm concerned, particularly in light of the fact that Benson opted to sell out, and spawned numerous players who come across as very slick and commercial and quite predictable. I hear a lot of notes, a lot of chops, but precious little imagination or taste... or personality. I've lost track of how many jazz guitar players have struck me this way over the past 30 years or so. These comments are aimed primarily at the actual playing, and less so the compositions, which are harder to evaluate based on samples.

These are just my initial impressions, and I'd be happy if I turned out to be misleading myself, but maybe I'll have to hope to hear some of this on the local jazz radio station, because I definitely feel no temptation to buy this CD. I sincerely wish him all the best.

[fasstrack]

...Several tracks conjure images of Wes Montgomery and/or a young George Benson sitting in with Atlantic-era John Coltrane and McCoy Tyner,...

For the life of me, I can't hear anything resembling that on this recording. What I hear is a pleasant and proficient sound that won't offend, but also won't inspire.

Sorry to say it, but I completely agree. I appreciate the writing that Jas has contributed here and elsewhere, but I just don't see how these comparisons are really deserved.

I checked out his website, and my first impression was that it's rather commercial-looking. Not impressed by the site's main photo of him, where half of his face is obscured by cigarette smoke, for some reason. Not exactly reminiscent of a Herman Leonard photo. Not inspired by the CD cover, either, which is probably trying too hard. Maybe it's just me, but okay, whatever. That's probably subjective, and not so important.

A few of the samples on his site are labeled "play whole song". I was looking forward to this. Unfortunately, there doesn't appear to be one "whole song" available to sample. That's understandable, and not even unusual, but then they really shouldn't be labeled that way. Naturally, it's hard to get a complete feeling for his style and concept based on the samples, but still, there are numerous samples, and based on what I'm hearing, he sounds like just another new twig on the George Benson branch of the tree. Not a particularly good thing, as far as I'm concerned, particularly in light of the fact that Benson opted to sell out, and spawned numerous players who come across as very slick and commercial and quite predictable. I hear a lot of notes, a lot of chops, but precious little imagination or taste... or personality. I've lost track of how many jazz guitar players have struck me this way over the past 30 years or so. These comments are aimed primarily at the actual playing, and less so the compositions, which are harder to evaluate based on samples.

These are just my initial impressions, and I'd be happy if I turned out to be misleading myself, but maybe I'll have to hope to hear some of this on the local jazz radio station, because I definitely feel no temptation to buy this CD. I sincerely wish him all the best.

Re your bad news: You might be right, perhaps not. I haven't heard it. But, to be frank, nmaybe just in terms of the Golden Rule alone it might be better to listen to a whole track before judging. I know you probably know enough to tell where the guy's at, but what if it were reversed? Would you want him or someone else judging you in sections? And I say that out of respect for other opinions by yourself I've read here. I also say it as a guy with little patience for guys, especially guitarists, with (merely) lots of chops, and derivative chops at that. As for personality my favorite improvisor was, is, and always will be Lester Young. So that's where I'm coming from, to be clear. I might agree with you if I listened, but, again, the Golden Rule. Plus, we're guitar players and you know the respect we get in the biz. Does the word 'none' ring a bell?

And I'm also surprised that you'd make so much out of externals. I also went to the website and also thought it looked like shit, but so what if the music's good? (I know, you didn't dig that either). I once couldn't sell a DVD of an inspired concert with Eddie Locke, John Beal, James Chirillo, myself (in order of age, not false modesty)where Eddie also gave great and pithy speeches about the community spirit of jazz musicians, music education, neighborhoods---all b/c I asked him to speak to the college-aged students about basically their own culture. But it was recorded by a student and not of the slickest quality so everyone I asked passed. (Finally it found a home in a jazz museum) And, sad to say, I sort of file statements beginning with 'I checked out his website, and' in the same category. So....

I will defend Mr. Goins unequivecally on one point---and I know you weren't putting him down for it, Jim. I think, misleading labels like 'whole track' aside, the reason everyone's getting creamed who actually has the temerity to want money for a quality product they broke their ass to make is that everyone else is giving away the store---the frickin' geniuses. I concede that Mr. Goins could have been more upfront though.

I just am uneasy putting down any good guitar player on GP (general principals, to be clear), even if he was overrated by the GP editor. I have to listen and my ears will be the arbiter. But---though I know it seems like I'm lighting into you now---we both know how hard the shit is. My experience with guitarists tht work is they get each other's backs. None of us are geniuses (except a few like the subject of Mr. Goins' book, which needless to say I'd love to read. If nothing else I'm sure glad I heard of the cat via this thread for that alone).

And again I'm sorry if I was a little hard on you, but that's my gut level feeling. In fact I'll put my money where my mouth is and buy his CD, sound unheard. Even if it stays on the shelf after one listen I'd buy it to support the cat. He's out there plying a bitch of a trade and managed to get a rave from a press guy that can help, over-fulsome or not said praise may be. Good for him. It's time a brother (guitarist) got a break. So please cut him a little slack. Anyone writing a biography on Charlie Christian starts out aces in my book.

BTW: Benson 'sold out'? Gimme a break. I'm not even gonna go there. I'll stop b/c now I'm starting to get pissed. But make a record as musical, classy in presentation of the guitar, and popular as Breezin', then we'll talk.

Sorry. man, but this trip your post rubbed me the wrong way, especially since on 2nd reading I caught the snarky comment about George. Why blame him for the copycats he spawned anyway? Again, if they copied you would you be so bugged? Think about it.

On the board 3 times: Golden Rule. Golden Rule. Golden Rule

(edited for clarity. JF)

Edited August 28, 2011 by fasstrack

[Jim R]

Sigh. There was a time when I would have quoted your post, and countered every individual point that I disagreed with or objected to, but frankly, I doubt that it's worth the effort, or necessary. I'll try to be concise...

For starters, that was quite a lecture you delivered there. You're sorry you were "hard on me"? What am I, your little pupil? I mean, please. I don't think I said anything that was unfair or not based in fact. I'm "snarky" because I mentioned the fact that George Benson sold out? I think it's you that should be giving me a break on that one. I loved "Breezin" in 1976, and I still enjoy it to this day. That was probably the last Benson recording I got anything out of, though, and that was recorded 35 (thirty-five) years ago! You're right, though- let's not even go there. It's old news, and I'm happy for him. I'd love a place in Hawaii too, and I'd probably have done the same thing he did.

Like I said, the website design and the CD cover art and all that... not really a big deal. However, it does indicate to me that somebody may be trying a little too hard on the "image". Oh look, he named his guitar... must be another B.B. King (okay, I'm exaggerating, but seriously, I don't get anything out of that. Nothing at all). The "trying too hard" re the image is kind of a red flag, to me. Not necessarily a deal-closer, but it doesn't make a good first impression. I only care about what my ears are going to get out of the deal.

I do not go around giving guitar players the benefit of the doubt. I do not "have their back", simply because I'm a guitar player. I mean, wtf? I'm just stating my opinion about what I've heard from numerous samples of his playing. You expect me to adjust my opinion just because I'm a guitar player? To support all guitar players? Even if I could afford to do that economically, I wouldn't operate that way. If anything, I've become more discriminating and selective when it comes to guitar players, after all these years of focusing on this branch of the music.

I said I wished him well, and I even said that I hoped I'd be able to hear some of his CD on our local jazz radio. Not only would it be more fair to judge his playing that way (as I already said), but hell, it might hit me differently a month from now. I'm not condemning the poor guy, for crying out loud.

Hope I didn't post too emotional. Time to go eat. Cheers.

Oh, and please give us a full report on the CD.

[Leeway]

It sounds pretty close to Muzak, or at least "smooth" jazz, which I think is the market it is intended for. I don't hear any great technical facility either. Just my two cents.

[fasstrack]

Sigh. There was a time when I would have quoted your post, and countered every individual point that I disagreed with or objected to, but frankly, I doubt that it's worth the effort, or necessary. I'll try to be concise...

For starters, that was quite a lecture you delivered there. You're sorry you were "hard on me"? What am I, your little pupil? I mean, please. I don't think I said anything that was unfair or not based in fact. I'm "snarky" because I mentioned the fact that George Benson sold out? I think it's you that should be giving me a break on that one. I loved "Breezin" in 1976, and I still enjoy it to this day. That was probably the last Benson recording I got anything out of, though, and that was recorded 35 (thirty-five) years ago! You're right, though- let's not even go there. It's old news, and I'm happy for him. I'd love a place in Hawaii too, and I'd probably have done the same thing he did.

Like I said, the website design and the CD cover art and all that... not really a big deal. However, it does indicate to me that somebody may be trying a little too hard on the "image". Oh look, he named his guitar... must be another B.B. King (okay, I'm exaggerating, but seriously, I don't get anything out of that. Nothing at all). The "trying too hard" re the image is kind of a red flag, to me. Not necessarily a deal-closer, but it doesn't make a good first impression. I only care about what my ears are going to get out of the deal.

I do not go around giving guitar players the benefit of the doubt. I do not "have their back", simply because I'm a guitar player. I mean, wtf? I'm just stating my opinion about what I've heard from numerous samples of his playing. You expect me to adjust my opinion just because I'm a guitar player? To support all guitar players? Even if I could afford to do that economically, I wouldn't operate that way. If anything, I've become more discriminating and selective when it comes to guitar players, after all these years of focusing on this branch of the music.

I said I wished him well, and I even said that I hoped I'd be able to hear some of his CD on our local jazz radio. Not only would it be more fair to judge his playing that way (as I already said), but hell, it might hit me differently a month from now. I'm not condemning the poor guy, for crying out loud.

Hope I didn't post too emotional. Time to go eat. Cheers.

Oh, and please give us a full report on the CD.

I was just calling 'em like I saw 'em, period. I wasn't nuts about where you were coming from, and I stand by what I said. Your defensiveness only proves it out.

[Sundog]

What I hear is a pleasant and proficient sound that won't offend, but also won't inspire.

I've listened to all the samples available on Amazon and I have to agree. I think that's a fair characterization. For what it's worth I ithought Jim's post was a pretty evenhanded statement of his opinion (as are all his posts I've come across).

[fasstrack]

Sigh. There was a time when I would have quoted your post, and countered every individual point that I disagreed with or objected to, but frankly, I doubt that it's worth the effort, or necessary. I'll try to be concise...

For starters, that was quite a lecture you delivered there. You're sorry you were "hard on me"? What am I, your little pupil? I mean, please. I don't think I said anything that was unfair or not based in fact. I'm "snarky" because I mentioned the fact that George Benson sold out? I think it's you that should be giving me a break on that one. I loved "Breezin" in 1976, and I still enjoy it to this day. That was probably the last Benson recording I got anything out of, though, and that was recorded 35 (thirty-five) years ago! You're right, though- let's not even go there. It's old news, and I'm happy for him. I'd love a place in Hawaii too, and I'd probably have done the same thing he did.

Like I said, the website design and the CD cover art and all that... not really a big deal. However, it does indicate to me that somebody may be trying a little too hard on the "image". Oh look, he named his guitar... must be another B.B. King (okay, I'm exaggerating, but seriously, I don't get anything out of that. Nothing at all). The "trying too hard" re the image is kind of a red flag, to me. Not necessarily a deal-closer, but it doesn't make a good first impression. I only care about what my ears are going to get out of the deal.

I do not go around giving guitar players the benefit of the doubt. I do not "have their back", simply because I'm a guitar player. I mean, wtf? I'm just stating my opinion about what I've heard from numerous samples of his playing. You expect me to adjust my opinion just because I'm a guitar player? To support all guitar players? Even if I could afford to do that economically, I wouldn't operate that way. If anything, I've become more discriminating and selective when it comes to guitar players, after all these years of focusing on this branch of the music.

I said I wished him well, and I even said that I hoped I'd be able to hear some of his CD on our local jazz radio. Not only would it be more fair to judge his playing that way (as I already said), but hell, it might hit me differently a month from now. I'm not condemning the poor guy, for crying out loud.

Hope I didn't post too emotional. Time to go eat. Cheers.

Oh, and please give us a full report on the CD.

I was just calling 'em like I saw 'em, period. I wasn't nuts about where you were coming from, and I stand by what I said. Your defensiveness only proves it out.

[fasstrack]

Sigh. There was a time when I would have quoted your post, and countered every individual point that I disagreed with or objected to, but frankly, I doubt that it's worth the effort, or necessary. I'll try to be concise...

For starters, that was quite a lecture you delivered there. You're sorry you were "hard on me"? What am I, your little pupil? I mean, please. I don't think I said anything that was unfair or not based in fact. I'm "snarky" because I mentioned the fact that George Benson sold out? I think it's you that should be giving me a break on that one. I loved "Breezin" in 1976, and I still enjoy it to this day. That was probably the last Benson recording I got anything out of, though, and that was recorded 35 (thirty-five) years ago! You're right, though- let's not even go there. It's old news, and I'm happy for him. I'd love a place in Hawaii too, and I'd probably have done the same thing he did.

Like I said, the website design and the CD cover art and all that... not really a big deal. However, it does indicate to me that somebody may be trying a little too hard on the "image". Oh look, he named his guitar... must be another B.B. King (okay, I'm exaggerating, but seriously, I don't get anything out of that. Nothing at all). The "trying too hard" re the image is kind of a red flag, to me. Not necessarily a deal-closer, but it doesn't make a good first impression. I only care about what my ears are going to get out of the deal.

I do not go around giving guitar players the benefit of the doubt. I do not "have their back", simply because I'm a guitar player. I mean, wtf? I'm just stating my opinion about what I've heard from numerous samples of his playing. You expect me to adjust my opinion just because I'm a guitar player? To support all guitar players? Even if I could afford to do that economically, I wouldn't operate that way. If anything, I've become more discriminating and selective when it comes to guitar players, after all these years of focusing on this branch of the music.

I said I wished him well, and I even said that I hoped I'd be able to hear some of his CD on our local jazz radio. Not only would it be more fair to judge his playing that way (as I already said), but hell, it might hit me differently a month from now. I'm not condemning the poor guy, for crying out loud.

Hope I didn't post too emotional. Time to go eat. Cheers.

Oh, and please give us a full report on the CD.

I was just calling 'em like I saw 'em, period. I wasn't nuts about where you were coming from, and I stand by what I said. Your defensiveness only proves it out.

I felt so badly after I wrote that last paragraph I was going to delete it but it was pointed out that it would be more honest to let it stand. Instead I will apologize deeply to Jim and the entire community for my hubris and intemperate remarks.

But I want to explain why I saw red and went after Jim for getting on that guy Goins' case and George Benson's without disrespecting his opinion or anyone else's.

What I mean by jazz guitar players being a fraternity I can only explain by talking about my generation ('talkin''bout my generation....) and the one that preceded and taught us.

My peer group includes guys like Ed Cherry, Paul Meyers, Randy Johnston, (a little older) Michael Howell, and others. Most of us have been friends for years, done some of the same gigs, played duo for hours on end, turned each other on to gigs at times. We all know how tough it is to try to survive with a hollow-body guitar and a warm tone in the music business. They are great guys, fine players, and pros all the way. Joe Cohn to me stands out as brilliant. No diss on the other guys, but I played with and heard him enough to make that statement with confidence. This is my main point: When one of us gets a rare break we try to rise above professional jealousy and say ýeah, bro! Good for you!'. Why? Because if one of us succeeds it lifts all of us and gives us hope for all we believe in. As far as the guys younger than us, the respect continues. When I had a little trio gig a few years ago the first guy applauding after the first tune was Russell Malone. Russell met me exactly once before, but he lives to hear and cheer good guitar players. He lifted my spirits that night by coming based on hearsay about me and staying in an empty club for a set.

The previous generation, that some of us were lucky enough to hear live, know and study with were people like Barry Galbraith, Don Arnone, Joe Puma---I'm not mentioning the bigger names, but these guys that did record dates used to have a 'guitar club' that chipped in for an amp to keep in the studio so they wouldn't have to shlep one for a record date. I saw these guys together enough to know the love and respect they shared, plus the jokes, booze, etc. My two personal mentors from that generation were Jimmy Raney and Eddie Diehl and I could not have done better.

Now I'm not gonna say that these guys, or myself at that, are angels and haven't talked some shit on the others, especially when a new guy on the scene breaks through and gets gigs we wish we had. we're human and it's natural to try to protect your phoney-baloney turf from perceived interlopers. But when we slipped that way we always felt like absolute shit afterwards especially having to face and talk to the guy. Most of us never do that anymore because it's petty and sucky, but mostly because a break for one is a break for all.

If it weren't for Wes Montgomery's 'commercial' records with strings, brass, etc. (not to mention Bird with strings and other records like that) I never would have forgotten people like Eric Clapton and discovered jazz. Wes broke his ass on the road carrying the organ downstairs, etc. George Benson starved and busted his ass for years. Someone offered him a chance to live like a human being by singing (I think he's a damn good singer) and playing pop music but with a hollow body guitar and his jazz chops very much intact. He did a great job with it IMO, and if that's 'selling out' let me know how and I'll do it in a minute. Maybe what he did was bland or MOR, but it's still melodic music with a beat, not bullshit like hip-hop. It's hard to get a gig, any gig, and for black guys in the music they happened to invent it's a motherfucker. Other people can say what they want, but I will never put down any instrumentalist who killed himself for decades playing good or great jazz when someone gives them a chance to survive a little better and they take it. You have to know what the music business is like to understand this. Calling someone a sellout without walking a mile in his moccasins is too facile and IMO not the classiest thing.

I never heard of this guy Goins before and still haven't listened to him. But if he plays a hollow body guitar well (even if it's not the most inspired or original), knows some tunes (better yet writes some), can swing, can play for a singer, etc. like the other members of this fraternity do and a big-shot editor gives him a leg up career-wise and he gets a few gigs off of that all I can say is Amen. Maybe one of us will be next.

I'm off the soapbox, Jim and forum. As you were.....

Edited August 30, 2011 by fasstrack

[fasstrack]

Funny how this thread died. Possibly making my point about jazz guitar being at the back of the popularity class?

I did listen to Goines. Agreed, not nearly what the editor claimed but he and his group were alright. Nothing bad about it and anyway they have a nice feel. One of the tunes I liked, can't remember which now. He actually reminded me more of O Donnell Levy than George. Coming out of blues and organ trios. He did have some of George's licks, though. Pretty good player. I'd like to get the Christian bio.