101 Forgotten Greats & Unsung Heroes
February, 2007
It’s no secret that the talent, technique, and creative force of magnificent and awe-inspiring guitarists runs deep. And going deep doesn’t mean studying only the obvious guitar heroes. You have to get out on the fringes, and experience not only the players who influenced the greats, but also the seminal movers and shakers who were not blessed with massive or on-going pop-culture fame. After all, a complete guitarist is a vessel of multiple influences.
To this end, the GP staff endeavored to compile a vast list of players who float just under the popular radar. Of course, all such efforts are compromised by omissions, so to make sure our 101 list was as comprehensive as possible, we enlisted the input of players from the Guitar Player and Harmony Central forums. All of their suggestions were incorporated into the GP staff’s master list, and then began the vicious battle to whittle down the multitude to a workable number. We kept the “forgotten or unsung” criteria at the forefront of all challenges, but that doesn’t mean even we are confident every deserving player made the cut.
But whether you agree with some of the selections or not, what you’ve got is a colossal collection of fabulous guitarists worthy of your attention. Hopefully, you’ll be intrigued by some of these entries to seek more information about the artists, and absorb their creative concepts and licks into your own style. Above all, helping our readers increase the depth and diversity of their approach to the guitar was the GP staff’s main goal in this undertaking. Enjoy!
Leo Nocentelli
Leo Nocentelli earned his crown as the king of New Orleans-style funk guitar during his groundbreaking work with the Meters. Nocentelli hallmarks include a crispy clean tone, creative use of chord fragments, and a laser-like execution of licks that were often doubled by the bass. This is different from James Brown’s funk, where the guitar rides a ninth chord over a heavy backbeat. The second-line rhythms indigenous to southern Louisiana are uniquely syncopated, and the real magic of the Meters lies in interlocking parts. The Nocentelli-penned instrumental “Cissy Strut” is a textbook example. —Jimmy Leslie
Full article at: http://www.guitarplayer.com/article/101-forgotten-greats/Feb-07/27696
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