EVERY jazz instrument has its acclaimed virtuoso who is looked up to by the jazz world as the reference point and dominant influence.
The piano reached a creatively pianistic level with the likes of Oscar person who was greatly influenced by Errol Garner; the saxophone took on status as a solo instrument with Coleman Hawkins and reached its ultimate through Charlie Parker to Ornette Coleman and John Coltrane; Elvin Jones established intricate patterns and dynamics to become jazz’s number one drummer; Louis Armstrong is associated with excellent trumpeting in its traditional, New Orleans style while Miles Davis remains the modern jazz favourite; the trombone became a total accomplishment in the hands of J. J. Johnson.
The guitar is currently evolving and reaching out to new levels of creativity with Stanley Jordan opening up new frontiers and dimensions.
The journey began in 1942 when Charlie Christian succeeded in taking the instrument to the forefront from the back seat where it was restricted to performing an accompanying role. Wes Montgomery elevated it to a height where the instrument began to establish chorded solos at the octave in the 60s.But Stanley Jordan has emerged with a new artistic feat. And this is not at all surprising because the Jordans are known for their artistic greatness, especially in the jazz world:
Clifford Jordan is known for the ability to hold his own with Eric Dolphy in the 1964 Charles Mingus Orchestra; Duke Jordan will always be remembered for being the pianist with Charlie Parker’s classic 1947 quintet; Louis Jordan, a great saxophonist and talented singer is one of the most beloved of all musicians as his celebrated Tympany Five bridged the gap between swing and rhythm and blues; trumpeter Marlon Jordan who is the younger brother of Kent Jordan is currently creating a sound identity for himself; Sheila Jordan is one of the most consistently creative of all jazz singers. The roll call is long, as the Jordan’s have dominated the jazz scene, bringing their different talents to bear on the art form. But Stanley Jordan is perhaps the most inventive of them all, introducing an extraordinary element to jazz.
I became convinced when I saw Jordan perform recently. Parading a trio of bass and drums with him doubling on piano and guitar, it was a strange and brilliant spectacle from point of view of musicianship and instrumental configuration. Instead of playing these two instruments separately, he configured the two into one single instrument, making one complement the other as he shared improvisational lines between the low and high notes of the piano and guitar. Sounding like a quartet, he occasionally turned his attention to the piano, which he played professionally well. He struck me as a genius and virtuoso waiting to enjoy widespread acclaim at 52.
Born in 1959, Stanley Jordan’s discovery in the early 80s deservedly earned a lot of headlines in the jazz world because he came up with a new approach to the instrument. Though he was not the first to use the technique of tapping, Jordan’s extensive expertise gave him the ability to play two completely independent lines on the guitar (as if it were a keyboard) or, when he wanted, two guitars at the same time.
Jordan originally studied the piano but switched to the guitar at the age of eleven years. He played for a while on the streets of New York after graduating from Princeton in 1981. On account of his talent and proven ability, he was soon discovered. And instead of playing with rhythm and blues groups the way most jazz men do as stepping stone for graduating to the real, straight-ahead thing, he was immediately employed by the masters and giants of the art form. It was a great opportunity to play with the great composer, arranger, saxophonist and bandleader, Benny Carter. It was a great achievement becoming a sideman to veteran Dizzy Gillespie, the king of bop and bebop with whom Jordan successfully held his own.
However, the big break came for him after he recorded a solo album for his Tangent label and he signed with Blue Note Records. Jordan plays amazing jazz and is one of today’s greatest talents, but like most genuinely creative artists, he has not organized himself well business- wise, neither is he allowing any one to do it for him. Otherwise, considering the incredible guitar he continues to play, Jordan deserves more acclaim and recognition than he is getting today
Jordan’s acclaimed technique, which finds him roaming over the fret board, strumming and gliding rather than picking, has earned him both plaudits and brickbats. But he silenced his critics with his recording by taking standards and anthems that have been done to death and making them sound fresh through invigorating, explosive guitar solos. At age 52, Jordan is an inspiration to the young generation of guitar players where everybody seems hooked on the George Benson - Earl Klug solo concept in particular and the jazz world in general.
Operating at a time when the art form is being compromised and reduced to popular music in the name of ‘crossovers’ and ‘fusions,’ Jordan remains a vital link between the old and the new. His continued experimentation is a reminder that the purity of the art form must be kept alive.
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