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Who are considered the best jazz guitarists of all time? +++ THIS +++ article provides one answer, what's yours? Who was left out that you think should be listed? Who is over rated and should be listed lower or, not at all?
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Like most top 10 or top 50 lists, I don't agree with the ranking, but that's a matter of taste. All are worthy to be on the list.
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Like most top 10 or top 50 lists, I don't agree with the ranking, but that's a matter of taste. All are worthy to be on the list.
Insights and incites by Notes ♫ I agree with Notes. But I think they missed a great guitarist in Tony Mottola: https://www.youtube.com/watch?v=a7TYeXgD4mQI would definitely add him to the list.
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Like most top 10 or top 50 lists, I don't agree with the ranking, but that's a matter of taste. All are worthy to be on the list.
Insights and incites by Notes ♫ I agree with Notes. But I think they missed a great guitarist in Tony Mottola: https://www.youtube.com/watch?v=a7TYeXgD4mQI would definitely add him to the list. Tony Mottola doesn't get his due often. With his many albums of "easy listening" renditions of various popular songs I think people forget what a formidable guitarist he was. Very tasty arrangements, very fluid and fast player. Could play with anyone and had a good long career.
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As with all lists people will disagree with plenty of parts of it. Overall, a pretty good list.
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[quote=MarioD]...............
Tony Mottola doesn't get his due often. With his many albums of "easy listening" renditions of various popular songs I think people forget what a formidable guitarist he was. Very tasty arrangements, very fluid and fast player. Could play with anyone and had a good long career. I agree but Johnny Smith is #13 on the list and some of his albums are "easy listening". Also what about Wes and those "string" albums? I am not starting a war but most all of the guitarist listed did covers like Tony did. And I am not knocking any of the guitarist on the list. I just think they missed an important guitarist. YMMV
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I first encountered the great Tony Mottola on Music Minus One records. Very influential.
Unless I read too fast, the list doesn't include any Brazilians. Perhaps they don't match the author's definition of jazz. But I would submit some of these should have been considerd: Joao Gilberto, Oscar Castro-Neves, Romero Lubambo, and Bruno Mangueira.
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Tony Mottola, Luiz Bonfa and a few others could have been included. But those lists are always like that.
A lot of personal taste goes into them, and it's often not my personal taste.
And who can really say who is best (#1). It's not something you can measure like who can eat the most hot dogs at the county fair. It's art, and art gets very personal.
Some people think John Coltrane is the greatest tenor sax player who ever lived. I can analyze his music and appreciate what a genius he was, but his music doesn't speak to me. I prefer Stan Getz or Stanley Turrentine because their improvised melodies resonate with me.
So my top 10 sax players would not be everyone's. Same for jazz guitarists.
But I think the list in the article was a pretty good list.
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Though not known specifically for jazz, I'd lobby for Tommy Tedesco and Chet Atkins. Skills at that level translates into players who can play everything. But like has been said, these lists are so subjective, who knows who belongs? Geeze, Jaco played jazz at a very high level and on 2 less strings. I mean, Donna Lee?
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What about Jeff Beck? Some of his music was definitely in the jazz genre, and there weren't many guitarists more accomplished than he was.
But who they left out of the list isn't as important as the fact that nobody on the list didn't deserve to be there.
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Though not known specifically for jazz, I'd lobby for Tommy Tedesco and Chet Atkins. Skills at that level translates into players who can play everything. But like has been said, these lists are so subjective, who knows who belongs? Geeze, Jaco played jazz at a very high level and on 2 less strings. I mean, Donna Lee? I was going to mention Chet Atkins as he did record some straight jazz tunes.
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[quote=MarioD]...............
Tony Mottola doesn't get his due often. With his many albums of "easy listening" renditions of various popular songs I think people forget what a formidable guitarist he was. Very tasty arrangements, very fluid and fast player. Could play with anyone and had a good long career. I agree but Johnny Smith is #13 on the list and some of his albums are "easy listening". Also what about Wes and those "string" albums? I am not starting a war but most all of the guitarist listed did covers like Tony did. And I am not knocking any of the guitarist on the list. I just think they missed an important guitarist. YMMV I certainly wasn't knocking Tony for those albums. Wes Montgomery did it, Johnny Smith did it just as you said. They had to make a living! I like those covers actually. They are very soothing and the playing it top notch on every one of them. When I was first learning guitar I used to listen to several Tony Mottola albums and work on figuring out the melodies and then trying to figure out his chordal backgrounds and scales etc. Good Stuff.
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I was going to mention Chet Atkins as he did record some straight jazz tunes.
I had the good luck and the pleasure of meeting Chet many years ago. We were doing our gig and I mentioned that I tried being in a jazz band but pop cover songs paid the mortgage. Chet said that he always wanted to be a jazz player, but he knew which side of the bread was buttered. We both agreed that we are happy doing what we are doing, but the challenges of jazz would be interesting. Notes ♫
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Unless I read too fast, the list doesn't include any Brazilians. Perhaps they don't match the author's definition of jazz. But I would submit some of these should have been considerd: Joao Gilberto, Oscar Castro-Neves, Romero Lubambo, and Bruno Mangueira.
Or Nelson Farias, Toquinho, Yamandu Costa, Pedro Martins.... Just too many to mention!
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I was going to mention Chet Atkins as he did record some straight jazz tunes.
I had the good luck and the pleasure of meeting Chet many years ago. We were doing our gig and I mentioned that I tried being in a jazz band but pop cover songs paid the mortgage. Chet said that he always wanted to be a jazz player, but he knew which side of the bread was buttered. We both agreed that we are happy doing what we are doing, but the challenges of jazz would be interesting. Notes ♫ George Benson also knew what side of the bread was buttered.
Me, it's not about how many times you fail, it's about how many times you get back up.
Cop, that's not how field sobriety tests work.
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But you had to know that Django, Wes and Charlie were going to float up high!
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<...snip...>
George Benson also knew what side of the bread was buttered. Definitely. Add the saxophonist many sax players love to hate, Kenny G. If you find a way to make a living playing music, do it. If it brings you stardom and lots of money, that's even better. A lot of people dis musicians for 'selling out'. They get even more upset when they become big pop stars. I've played classical, jazz, and other forms of 'art music' but have never been able to make a living doing that. I needed a 'day job' to pay the mortgage. Mostly, I play pop music, and that paid off the mortgage. Which is a bigger sellout? Playing pop music or working a 9 to 5 as a wage slave for some faceless corporation? A bad day playing music is better than a good day at any day job I can think of. Some musicians refuse to play Mustang Sally, Brown Eyed Girl, Wagon Wheel, and others. These songs work so well with the audience, I wish I had a hundred of them that work like that. If it gets requested enough, and I can do a good job covering it, I'll learn it. That's how all but the lucky 1% of us make a living doing music and nothing but music. I suspect there are some very worthy musicians that could be on that list that don't play jazz for a living, but could if they got the breaks. Insights and incites by Notes ♫
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It funny as I got called out for selling out when I started a wedding band.
I had a rock band in the early to mid 60's that played a lot of gigs and got a great write up in the Rochester NY news paper. But I got tired of playing only rock so I started a jazz trio, a B3, drums, and me. We had a very hard time getting gigs. When we played people liked us but there wasn't a big demand for jazz bands in our area in the late 60's. There were a lot of rock places though. The B3 player and I started a wedding band and laughed all the way to the bank.
Me, it's not about how many times you fail, it's about how many times you get back up.
Cop, that's not how field sobriety tests work.
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I sold out. I had the dreams of being the big star and owning a tour bus and all of that but there came a time when I just had to admit that I wasn't good enough. That was so hard on me I considered myself to be such a failure that I considered suicide. I considered playing copy music as settling because I believed I was a good enough songwriter to sell many millions of albums. I really felt like never playing another note. I remember riding my motorcycle on the Ohio Turnpike and looking at those bridge abutments and really considered locking the throttle a full open and driving into one of them. I didn't play for a long time. And I was embarrassed to come back and play cover music with what I thought was a catalog of outstanding songs.
Well, the reality was that the catalog of outstanding songs, they weren't. That amazing level of talent and skill I thought I had, I didn't. And I had to learn the difference between chasing a fantasy and earning a living. I was never really okay with it, but I accepted the truth and played for about 8 more years before I just put it away and went back to college for my IT degree and got a big boy job. In addition, being in bars was really not a good place for me. Factor in my anxiety around large crowds of people and the exhausting amount of energy it takes to wear a happy mask for 5 hours and retiring was the right choice for me.
Everybody sells out in some way at some point in their life. How many guys go to the Home & Flower show just because it means they'll get laid later? Me playing those awful copy songs were my version of going to the Home & Flower show. And all in all, it was better than tattooing a bridge abutment with my body.
I now see music as one more thing I failed at. Like sports, marriage, fatherhood...
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Everybody sells out in some way at some point in their life. How many guys go to the Home & Flower show just because it means they'll get laid later?
I went to see Cher with my wife. I swear I was the only straight guy there but I got to my fun after the show....
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So in that post you got to turn back ti-ime??
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I see Chet finally got mentioned. I didn't see Tommy Emmanuel on here, either, but maybe I missed it. There are certain players, certain musicians who can transcend genres, and there are a few out there Just because a player doesn't play a particular style doesn't mean they can't, or won't. I also didn't see mention of Oliver Gannon on here, either, and he consistently ranks high in Canadian jazz scene as a fantastic jazz guitarist. How many of you use some of his tracks in BIAB?
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Perhaps "The best jazz guitarists of all time" is not the right name.
Some of the best? Some of the best famous?
One thing I learned in music, is no matter how good you are, there is always someone better, and always someone not a good as you are.
I met Tom Scott back in the 1980s. We were the house band at a Hyatt Hotel, and Tom was staying there while leading a band for Steve Lawrence and Eydie Gormé.
He told me, and I paraphrase, "I know there is a sax player, probably playing in a Holiday Inn in a place like Valparaiso Indiana that could put me in his back pocket, but I was in the right place, at the right time, with the right connections, I showed up straight, and I could do the job, so I got the break."
To expand on that, somewhere in a house band there is a guitar player that could put many of those "best" guitarists to shame, but he/she isn't in the right place at the right time and doesn't have the right connections.
Insights and incites Notes ♫
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... but he/she isn't in the right place at the right time and doesn't have the right connections. Or just doesn't want the pressures of the bigger circuits. I've known a few people who have had breaks with big bands and quit after a short while for their own sanity/comfort.
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When touring and opening up for major acts in concert, a few of them told me that they had more fun when they were up-and-coming than they did once that made it. There were pressures, schedules, promotional appearances and the feeling that they were a cog in a giant wheel. However, not one of those people told me that they would quit the big time and big money and then go back to being small-time. I 'almost' made the big time once. Our manager and the label couldn't agree on money (the label wanted to p i m p us) so the deal fell through. We were severely disappointed at that time, and it broke the band up. I went back to 6 days a week, and 5 hours a night for 1/4 the money. Decades later, I realize it just was part of life's adventure, and to be treated as a peer by the stars of the day was an experience most musicians never get. Another good thing about never attaining stardom is that I'm not a has-been.  Since then, other than 2 attempts at being normal, I have made my life doing music and nothing but music. Again, I'm luckier than most. I'm having a happy life, living it on my own terms and instead of saying "I have to go to work today", I say, "I GET to go to work today." And that's a good way to live. Long ago I quit comparing myself to the great sax players. I do try to learn from them, and even the passive listening I do for my own enjoyment gets internalized and comes out in little ways. And (back on topic) there is no definitive 'greatest' list in any of the arts. Was Picasso better than Dali? Was Stan Getz better than John Coltrane? How about Maria Callas vs. Renée Fleming? Mikhail Baryshnikov vs. Rudolf Nureyev? Muddy Waters vs. B.B. King? Tchaikovsky vs. Shostakovitch? Tolstoy vs. Dostoyevsky? When it comes to art, it's a matter of taste. My greatest might not agree with your greatest and we could both be right --- or wrong. It doesn't matter. Just enjoy what you like. I like quite a few on that list, some don't speak to me musically, but I don't dislike any of them and they are all worthy. Insights and incites by Notes ♫
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And (back on topic) there is no definitive 'greatest' list in any of the arts. Was Picasso better than Dali? Was Stan Getz better than John Coltrane? How about Maria Callas vs. Renée Fleming? Mikhail Baryshnikov vs. Rudolf Nureyev FWIW, I personally and generally have more respect for the 'jobbing' people than the stars and high-flyers. The session people, the soap actors, the repertory theatre actors, people like yourselves delivering night after night, a great many buskers and street entertainers/artists, because they pretty much all deliver great performances, time after time and often with a very quick turnaround. The people where ad-libs and improvisation and covering up for failures of self and others are second nature. For me, these are the true 'bests', even when I've never previously heard of them.
Last edited by Gordon Scott; 01/30/23 04:47 AM.
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I was going to mention Chet Atkins as he did record some straight jazz tunes.
I had the good luck and the pleasure of meeting Chet many years ago. We were doing our gig and I mentioned that I tried being in a jazz band but pop cover songs paid the mortgage. Chet said that he always wanted to be a jazz player, but he knew which side of the bread was buttered. We both agreed that we are happy doing what we are doing, but the challenges of jazz would be interesting. Notes ♫ I had that almost exact conversation with Chet at the Chet Atkins Appreciation Society meeting one year. He sat next to me for Martin Taylor's set one afternoon. While we were waiting for it to start, we talked about jazz and he talked about how he had wanted to do that almost exclusively but needed to make a living!! His skills as a player are well known and his skills as a producer are too. He was very talented in many ways and a very nice person to meet as well!
My wife asked if I had seen the dog bowl. I told her I didn't even know he could.
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These lists are mostly meant to get clicks or eyeballs or views or plays however they are presented. I agree with Notes and I am sure many others commenting here, there can never be a definitive list of "best" when it comes to art. It is in the eyes and ears of the beholder. Plenty of good discussion here though. I can listen to Django, Martin Taylor, Joe Pass, Tommy Mottola, Chet Atkins, Tommy Emmanuel for hours on end and always be amazed and entertained. While certainly not a big jazz guy, I do like a lot of jazz players!
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<...snip...>
I had that almost exact conversation with Chet at the Chet Atkins Appreciation Society meeting one year. He sat next to me for Martin Taylor's set one afternoon. While we were waiting for it to start, we talked about jazz and he talked about how he had wanted to do that almost exclusively but needed to make a living!! <...> We all have to make a living, and sometimes doing your second favorite type of music is the one that will pay the mortgage. I'd love to play jazz, and did it for a while, but I don't know if I would want to play it exclusively. I'd miss the power of rock, the angst of blues, the rhythms of salsa, and so on. But I'm lucky. In my present situation, I get to play a little of almost every type of pop music. That is everything but Heavy Metal and Rap. A duo can't do justice to Heavy Metal, and I just can't talk fast enough to do Rap. I can sneak in a little light jazz if I want to, but on most days I'm content to play pop music, and interact with the audience. I give them what they want, music they know by heart, and they give me what I want, applause, love and the ability to make a living doing music and nothing but music. I told you I was lucky. Notes ♫
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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I'd love to play jazz, and did it for a while, but I don't know if I would want to play it exclusively. I'd miss the power of rock, the angst of blues, the rhythms of salsa, and so on For a long, long, time I didn't realise that my primary musical interest is jazz, though I have a broad view of what constitutes jazz. It was really only the jazz-funk fusion stuff of the 70s and 80s that made me look deeper into what drive my tastes, and I started to realise that an awful lot of what I liked was played by jazz-oriented musicians playing some of what they wanted to play in other contexts that "weren't jazz". I also note the number of people I've know who "don't like jazz", but do like what I play (both as a maybe-musician and from my music collection).
Jazz relative beginner, starting at a much older age than was helpful.
Kawai MP6, Korg M50, Ui24R, Saffire Pro 40.
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BIAB2022 UltraPAK, Reaper, a bunch of stuff.
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I'd love to play jazz, and did it for a while, but I don't know if I would want to play it exclusively. I'd miss the power of rock, the angst of blues, the rhythms of salsa, and so on For a long, long, time I didn't realise that my primary musical interest is jazz, though I have a broad view of what constitutes jazz. It was really only the jazz-funk fusion stuff of the 70s and 80s that made me look deeper into what drive my tastes, and I started to realise that an awful lot of what I liked was played by jazz-oriented musicians playing some of what they wanted to play in other contexts that "weren't jazz". I also note the number of people I've know who "don't like jazz", but do like what I play (both as a maybe-musician and from my music collection). I think some people hear the term jazz and then they think of some esoteric thing they heard 20 years ago that is hard for many people to like. There are some wild crazy out there performances in jazz, but there is plenty of very good "mainstream" jazz that just about anyone that likes music will find something to like. Just like many genres, jazz has so many subcategories and some are just not what "most" people like. But it only matters what you like and what I like for our own entertainment.
My wife asked if I had seen the dog bowl. I told her I didn't even know he could.
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only matters what you like and what I like for our own entertainment. ... and the paying customers. Aye, there's the rub.
Jazz relative beginner, starting at a much older age than was helpful.
Kawai MP6, Korg M50, Ui24R, Saffire Pro 40.
AVL:MXE Linux; Windows 11; Win8.1: Scarletts
BIAB2022 UltraPAK, Reaper, a bunch of stuff.
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As far as the customers are concerned, at least for the market that I chose, I'm easy.
When I was 40, I chose the retirement market. At that time it was mostly American Songbook era jazz, Frank Sinatra, Louis Prima, Benny Goodman, Duke Ellington, Cole Porter, Count Basie, and so on.
As time went on the older folks moved into nursing homes and we started playing Elvis Presley, Chuck Berry, Buddy Holly era songs. After that Beatles era, and now Seger, Motown, Sting, etc.
I've always been able to mix C&W of the same era, Caribbean and Latin American music (it is Florida), and some blues, as long as any of these genres is not too hard core. It's easy to turn everybody's music into nobody's music if you veer too deep and one direction. For example, we might do Maxie Priest's "Close To You" with a rap section in the middle, and the people like it, but if we did hard core rap, it would turn them off.
I chose a good market for South Florida, as I have never been out of work until COVID, and now that COVID has settled down, I'm doing up to 20 gigs a month again.
But like I said, I'm easy. I like music from every genre, and I like performing. I even enjoy playing songs I would never choose to put in my personal listening playlist. It's just fun to play music, and if they want to hear Mustang Sally, or Brown Eyed Girl again, I'm into it.
I give them what they want, songs they know by heart. They give me what I want, applause, love, and the ability to make a living by doing music and nothing but music.
Life is good today.
Insights and incites by Notes ♫
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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As far as the customers are concerned, at least for the market that I chose, I'm easy.
...........................
But like I said, I'm easy. I like music from every genre, and I like performing. I even enjoy playing songs I would never choose to put in my personal listening playlist. It's just fun to play music, and if they want to hear Mustang Sally, or Brown Eyed Girl again, I'm into it.
I give them what they want, songs they know by heart. They give me what I want, applause, love, and the ability to make a living by doing music and nothing but music.
Life is good today.
Insights and incites by Notes ♫
You are not easy Notes, you are very smart. Give the audience what they want and you will get many jobs. Your philosophy was the same as mine when I ran my wedding band. Although we were only weekend warriors we had a very good avocation. Gigging was fun and profitable for us also.
Me, it's not about how many times you fail, it's about how many times you get back up.
Cop, that's not how field sobriety tests work.
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
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I figure it's the same with any business. Give them what they want, and they will give you what you want.
Or, as Donna Summer sings in "Bad Girls", a song about -- how should I put it -- the ladies of the night.
Mister, do you want to spend some time,
I got what you want, you got what I need,
I'll be your baby if you spend it on me.
In this biz, I've known some of those "working girls" and I respect them. It's not an easy profession.
I get to play music, and live my life on my own terms. We are self-employed too.
If working 40 hours a week as a wage slave for some faceless corporation isn't selling your body, I don't know what is.
I guess I'm drifting off-topic. But then, any thread that goes on long enough drifts off-topic. That makes it like a conversation in a coffee shop.
Many musicians I have known have had a secret desire to play jazz or classical, but play pop music. The famous studio musicians known as "The Wrecking Crew" were jazz cats, but they recorded much of the pop music that is the soundtrack of our lives.
Others have classical backgrounds, you can see those influences in many pop songs.
Back when I was an AFofM union member, I remember reading an interview with a retired country music piano player. He said, "Don't let the suits know you are secretly into jazz, because they really believe in this kind of music."
I think having experience in other genres than your chosen one is a good thing.
And to add, what is Jazz anyway? Dixieland, Glenn Miller/Duke Ellington era swing, Cool School, Bop, Funk, Fusion and so on???
Anyway, I enjoyed the list and they were all fine players.
Insights, incites, and tangents by Notes ♫
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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Joe pass and Wes Montgomery have to be mentioned in the conversation!
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Joe pass and Wes Montgomery have to be mentioned in the conversation! Torrey, Joe Pass is number 9 on the list and Wes is number 1.
Me, it's not about how many times you fail, it's about how many times you get back up.
Cop, that's not how field sobriety tests work.
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
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How's It Going . Read Your Article I'm a retired Guitar Player Disco Era 16 Years on Road. I Have arthritis Hand So I Play Bass & Took up Harmonica in Covid. love doing Standards & Old Popo Tunes Charts I'm An Ex Berklee Guy Great Chord Chops & Love My BNB 2023. A few friends
of mine still in the Buss down by You still in Touch. Love to hear some of your Files & Swap w You. What Do You Think ?
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Ask sales and support questions about Band-in-a-Box using natural language.
ChatPG's knowledge base includes the full Band-in-a-Box User Manual and sales information from the website.
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User Video: Next-Level AI Music Editing with ACE Studio and Band-in-a-Box®
Band-in-a-Box® 2024 German for Windows is Here!
Band-in-a-Box® 2024 für Windows Deutsch ist verfügbar!
Wir waren fleißig und haben über 50 neue Funktionen und eine erstaunliche Sammlung neuer Inhalte hinzugefügt, darunter 222 RealTracks, neue RealStyles, MIDI SuperTracks, Instrumental Studies, "Songs with Vocals" Artist Performance Sets, abspielbare RealTracks Set 3, abspielbare RealDrums Set 2, zwei neue Sets von "RealDrums Stems", XPro Styles PAK 6, Xtra Styles PAK 17 und mehr!
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Update Your PowerTracks Pro Audio 2024 Today!
The Newest RealBand 2024 Update is Here!
The newest RealBand 2024 Build 5 update is now available!
Download and install this to your RealBand 2024 for updated print options, streamlined loading and saving of .SGU & MGU (BB) files, and to add a number of program adjustments that address user-reported bugs and concerns.
This free update is available to all RealBand 2024 users. To learn more about this update and download it, head to www.pgmusic.com/support.realband.htm#20245
The Band-in-a-Box® Flash Drive Backup Option
Today (April 5) is National Flash Drive Day!
Did you know... not only can you download your Band-in-a-Box® Pro, MegaPAK, or PlusPAK purchase - you can also choose to add a flash drive backup copy with the installation files for only $15? It even comes with a Band-in-a-Box® keychain!
For the larger Band-in-a-Box® packages (UltraPAK, UltraPAK+, Audiophile Edition), the hard drive backup copy is available for only $25. This will include a preinstalled and ready to use program, along with your installation files.
Backup copies are offered during the checkout process on our website.
Already purchased your e-delivery version, and now you wish you had a backup copy? It's not too late! If your purchase was for the current version of Band-in-a-Box®, you can still reach out to our team directly to place your backup copy order!
Note: the Band-in-a-Box® keychain is only included with flash drive backup copies, and cannot be purchased separately.
Handy flash drive tip: Always try plugging in a USB device the wrong way first? If your flash drive (or other USB plug) doesn't have a symbol to indicate which way is up, look for the side with a seam on the metal connector (it only has a line across one side) - that's the side that either faces down or to the left, depending on your port placement.
Update your Band-in-a-Box® 2024 for Windows® Today!
Update your Band-in-a-Box® 2024 for Windows for free with build 1111!
With this update, there's more control when saving images from the Print Preview window, we've added defaults to the MultiPicker for sorting and font size, updated printing options, updated RealTracks and other content, and addressed user-reported issues with the StylePicker, MIDI Soloists, key signature changes, and more!
Learn more about this free update for Band-in-a-Box® 2024 for Windows at www.pgmusic.com/support_windowsupdates.htm#1111
Band-in-a-Box® 2024 Review: 4.75 out of 5 Stars!
If you're looking for a in-depth review of the newest Band-in-a-Box® 2024 for Windows version, you'll definitely find it with Sound-Guy's latest review, Band-in-a-Box® 2024 for Windows Review: Incredible new capabilities to experiment, compose, arrange and mix songs.
A few excerpts:
"The Tracks view is possibly the single most powerful addition in 2024 and opens up a new way to edit and generate accompaniments. Combined with the new MultiPicker Library Window, it makes BIAB nearly perfect as an 'intelligent' composer/arranger program."
"MIDI SuperTracks partial generation showing six variations – each time the section is generated it can be instantly auditioned, re-generated or backed out to a previous generation – and you can do this with any track type. This is MAJOR! This takes musical experimentation and honing an arrangement to a new level, and faster than ever."
"Band in a Box continues to be an expansive musical tool-set for both novice and experienced musicians to experiment, compose, arrange and mix songs, as well as an extensive educational resource. It is huge, with hundreds of functions, more than any one person is likely to ever use. Yet, so is any DAW that I have used. BIAB can do some things that no DAW does, and this year BIAB has more DAW-like functions than ever."
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