I hate to be a broken record but…drop the needle back again… I still find it astounding how profoundly Jimmy Raney is underestimated historically. Save a few critics, notably Ira Gitler and Whitney Balliett, it seems like he’s largely expunged from jazz history.
The other day I watched a jazz guitar history video by the noted guitar video blogger, Rick Beato. He has a ton of fun videos on rock and jazz fusion guitar with transcriptions and insightful commentary. So I was a bit stunned at his omission of my father from the list in his video, THE GUITAR 1929-1969 | THE PLAYERS YOU NEED TO KNOW which featured a large section devoted to the history of jazz guitar.
So I had to think about that one a bit to myself. Is the fact that Jimmy Raney is missed by someone I regard as knowledgeable reflect poorly on him for his omission, or my father, for the lack of impression he made on Beato? Is this a question of artistic subtlety or simply commercial recognition?
Is Jimmy Raney doomed to become a footnote in jazz guitar history books? It’s really hard to say. My father was a bit of purist and eschewed the spotlight unless somebody reached out him and said, “You’re the shit, man!” Don Schlitten did that for him in the 70s as well as Gerry Teekens and Nils Winther in the 80s. So maybe his retiring personality or his leaving the scene for nearly a decade in the 60’s was as much at fault as any.
Here’s what I believe. Although their reputations and influence are quite deserved, Jim Hall and Wes Montgomery came after Jimmy Raney. Jimmy Raney was the it guy after Charlie Christian and Django Reinhardt and he was a primary influence on 50s guitarists like Hall, Montgomery, Burrell and Grant Green and several others. There was just nobody playing like he was then. He was a freak of nature. Even Tal Farlow said, “Jimmy was always just a step ahead of the rest of us”. High praise. Jimmy was the bridge from Charlie Christian to bop.
I was reminded of this as I unearthed an informal interview I did with trombonist/arranger Bob Brookmeyer in February of 2011 who mentioned the same thing. I haven’t published it honestly because he has some rough commentary on some people that are still alive. But at any rate, Bob Brookmeyer was certainly in a position to know the truth, both historically and with his high level of involvement in jazz from the early fifties until his passing in 2011.
Here are some nice exerpts with Bob discussing the topics generally:
Excerpt one:
JR: What do you remember was Stan’s (Getz) relationship with my father? How was that?
BB: I think, probably just…he had to be very impressed, because Jimmy was such a wonderful player then. He was the first bridge…um Who’s the other guy in New Jersey, the older guitar player…
JR: Tal Farlow?
BB: Tal Farlow, yeah. But, Jimmy had it. After Charlie Parker, they said Charlie Christian was the bridge. I don’t think so. I think Jimmy was the bridge.
JR: Right
BB: He was you know…I talked to my wife. I played her some of his stuff. I said if he wasn’t a genius, he was pretty close to it.
JR: Yeah. I guess that Charlie Christian was still on the edge of the swing era. Maybe sort of pre-Parker in a way…I was listening to some stuff the other day with Benny Goodman and I was surprised at how modern it was. I was listening for things trying to check what my father was listening to and put myself back in those days. But my father I think he changed the feel, almost you know?
BB: He did, I would say
JR: The way the eighth is or something. It was a very strident eighth before, you know? Even Dad’s playing was almost a little out of the Christian feel in the beginning more exaggerated swung eighths. It seemed like he consciously made it a little bit more – I don’t know – a little bit more the way it is now. I don’t know if he was the only one doing it but he was definitely one of them. That’s what I always thought anyway.
BB: Yeah, I think that people were playing with exaggerated accents, trying to get the line to speak and Jimmy was so full of subtleties…
Excerpt 2:
JR: I guess it was Dave Young’s pad and I guess it was shared by the photographer… was that Eugene Smith, was his name?
BB: Yeah, he was the last one there. Hall Overton was downstairs, Dick Cary below that and Gene Smith. I knew David in Boston so he got in touch with me, and he got the loft and we started playing over there. And Jimmy was one of the first ones I think. And when Jim Hall got in town with Giuffre I got to know Jim Hall and he came over and there was some memorable times of he and your Dad playing.
JR: Uh-huh.
BB: Jim said, “Raney would play these long solos” And Jim said it was “like hearing an art form”. Which is more a Classical term. But it was so well-constructed that it was really very close to a written art form.
Excerpt 3:
JR: What was my father’s influence on Jim Hall?
BB: I would think it would have to be profound. When Giuffre’s trio came to The Vanguard which was right around the corner from me, I really fell in love with the band. That’s what I was saying, it was just great and Hall was playing so well and simplifies and had his guitar tuned lower and the trio was just delightful. So I think with the two guitars playing together like I have a movie of them doing it in my head. And Jim always felt like that couldn’t play fast. He and I were working together for a year playing duo, we kind of talked him out about that and Jim said he couldn’t play fast yet I had some tapes from Fat Tuesday’s ‘72 -3 …uh (corrects) ’82-83 where he could play fast but never like Jimmy. I see the things now and watch his hands (the Youtube videos) and that must’ve been stunning for Jim Hall. Because nobody was doing what Raney was doing, so it had to be an influence, you know. His tone was beautiful and the facility and how he made the lines hang together.
As a document of Jim Hall and Bob Brookmeyer’s commentary, here is a cut of my father just letting fly chorus after chorus on “Spuds” on a live recording from the famous Jazz Loft recordings from 1957-1965 featuring Raney, Hall & Brookmeyer. This recording is listed as April 1965. I’m not completely certain of the date but judging by the evolution of my father’s line vocabulary it’s likely correct.
Jimmy Raney, Bob Brookmeyer and Jim Hall at the Jazz Loft, 1965
Until next time, folks.
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28 Comments
Martien oster
So nice to see that you are putting much effort in keeping the memory alive.
I have always been a big fan of your father.
For what it’s worth:did a tour with the late Larry Coryell in 2016 and he told me my playing reminded him of your father who he thought was one of the greatest.
Great to hear these recordings!
Thanks!
Greets from Amsterdam,
Martien.
Jon Raney
Thanks Martien,
I had received a recording from Jamey Aebersold that was supposed Larry and my father. Unfortunately, there was no playing of the two of them on it. I did hear some kind words during Larry’s portion of the concert. I will have to ask Jamey again what happened to the playing portion – if that somehow was missed or if it was simply never recorded.
Best
Jon
Mark Miceli
Great memories of hearing your Dad, many times, at the Hearthstone Tavern 7th and Main St., Louisville, KY. Just incredible!!! I, too, saw Rick Beato’s video, that you mentioned, and it prompted me to comment on the obvious, yet surprising omission of Jimmy Raney. Beato needs to correct that glaring omission for sure!
Best of luck in keeping his memory alive.
Jon Raney
Hi Mark,
Sure let’s tag team him, ha! Thanks for the comments
Best
Jon
Tom Browning
Studied with Jimmy in Louisville in the late 70s and am still working on his ideas and incorporating them into my music. He was the coolest !
Jon Raney
Hi Tom,
Re: coolest. I’ll say. Mr. Nonchalant!
Lawson Stone
Thanks for keeping your dad’s music out there. He did a set of solos based on standards for the Jamey Aebersold series, volume 20. I have, over the last 3 years (yes it has taken that long) been learning these solos as a way to study bebop. The solos are a revelation. Those hip lines pouring out of MY amplifier… I think my amps believe they have been sold to a real jazz guitarist! Seriously, I can analyze your dad’s lines and see exactly what he was doing, but no way could I ever have anticipated those ideas, or thought of them. They are logical “after the fact” but at the moment I hear them, they are explosive. Your brother Doug is also a truly stunning guitarist, and I miss him deeply. Thank you for carrying the fire!
Jon Raney
Hi Lawson,
Been a while. I understand what you mean by after the fact. So easy in hindsight 🙂 I ran into that issue when I was writing the analysis book. I was trying to analyze as “if I were him” which is quite presumptious 🙂
Cheers
Jon
Dom Petito
Jon,
Did you bring the omission of Jimmy’s name to Rick Beato’s attention? Did he have any reaction?
Dom
Jon Raney
Hey Dom,
I dropped a comment on the Youtube thread. Somewhat sarcastic in tone I suppose. No response. Generally it doesn’t seem like he does respond to posters though. Maybe it’s a minefield to do so. But figured he’d see the name and make an exception
Stephen Cimino
I don’t think you should concern yourself with what Rick Beato thinks. If a jazz genius like Bob Brookmeyer, Stan Getz, Bill Evans, Jim Hall, Charles Mingus ( he was quoted as saying your father was his favorite jazz guitarist), Phil Woods, etc… left him off their list, that might be reason for concern, but Rick Beato?
Even the local teaching guru, Joe Monk, (who was there when it all happened), said, when asked who was the greatest jazz guitarist, “Jimmy Raney, because he was the most honest of them all”.
When Johnny Smith was approached by someone who wanted to write a book about his lines, he said, “Why would you want to write about my lines, Jimmy Raney played the best jazz lines of any of the guitarists”. Your father told a student of his that Smith used to come into the club where he was playing in disguise, and sit way in the back, to try and cop what your father was playing!
Even at the very end, my guitar teacher saw your father playing at a music clinic, and said, ” Jimmy Raney was older than anyone playing there, but he was still the best. Tal Farlow was shot after the 50s ended, but Jimmy Raney is playing better than ever.”
When I saw him live at Zinno, I was astounded. There was no sense that his playing was dated in any way. I just thought to myself,”This is the greatest jazz playing I’ve ever heard in my life. There is no one who even comes close to this. It’s the only correct way to play jazz. Screw all these idiots who rave about Metheny, Scofield, Benson, Pass, Martino, Abercrombie, Frisell(!),etc… ”
Music is still the same. It’s still melody, harmony and rhythm, no matter what the endless hype and technology tries to tell us. Jimmy Raney, Wes, Jim Hall, Ed Bickert, Lenny Breau and Tal Farlow (of the 50s) are still the greatest at putting those three elements together to create great jazz. There are others who are fine players, but those six players are the most important in the history of jazz, after Charlie Christian.
Jon Raney
Hi Steve,
Thus endeth the sermon Lol
Stephen Cimino
Amen! Praise the Raneys!
Jon Raney
Although Beato was sort of the excuse to start a conversation. My recognition also concerned some of the influential players you mentioned in the end. He should be as famous as Jim Hall, Wes Montgomery and Tal Farlow for example in my opinion. He’s just seems objectively great. There is a unique spark there in his playing that is recognizable – I’ve seen it. But his mention seems to require this sort of this word-of-mouth “underdog” quoting. It’s always been curious to me
Mark Miceli
Great memories of hearing your Dad, many times, at the Hearthstone Tavern 7th and Main St., Louisville, KY. Just incredible!!! I, too, saw Rick Beato’s video, that you mentioned, and it prompted me to comment on the obvious, yet surprising omission of Jimmy Raney. Beato needs to correct that glaring omission for sure!
Best of luck in keeping his memory alive.
Jon Raney
Hi Mark,
Sure let’s tag team him, ha! Thanks for the comments
Best
Jon
Tom Browning
Studied with Jimmy in Louisville in the late 70s and am still working on his ideas and incorporating them into my music. He was the coolest !
Jon Raney
Hi Tom,
Re: coolest. I’ll say. Mr. Nonchalant!
Jon Raney
Although Beato was sort of the excuse to start a conversation. My recognition also concerned some of the influential players you mentioned in the end. He should be as famous as Jim Hall, Wes Montgomery and Tal Farlow for example in my opinion. He’s just seems objectively great. There is a unique spark there in his playing that is recognizable – I’ve seen it. But his mention seems to require this sort of this word-of-mouth “underdog” quoting. It’s always been curious to me
Martien oster
So nice to see that you are putting much effort in keeping the memory alive.
I have always been a big fan of your father.
For what it’s worth:did a tour with the late Larry Coryell in 2016 and he told me my playing reminded him of your father who he thought was one of the greatest.
Great to hear these recordings!
Thanks!
Greets from Amsterdam,
Martien.
Lawson Stone
Thanks for keeping your dad’s music out there. He did a set of solos based on standards for the Jamey Aebersold series, volume 20. I have, over the last 3 years (yes it has taken that long) been learning these solos as a way to study bebop. The solos are a revelation. Those hip lines pouring out of MY amplifier… I think my amps believe they have been sold to a real jazz guitarist! Seriously, I can analyze your dad’s lines and see exactly what he was doing, but no way could I ever have anticipated those ideas, or thought of them. They are logical “after the fact” but at the moment I hear them, they are explosive. Your brother Doug is also a truly stunning guitarist, and I miss him deeply. Thank you for carrying the fire!
Jon Raney
Hi Lawson,
Been a while. I understand what you mean by after the fact. So easy in hindsight 🙂 I ran into that issue when I was writing the analysis book. I was trying to analyze as “if I were him” which is quite presumptious 🙂
Cheers
Jon
Stephen Cimino
I don’t think you should concern yourself with what Rick Beato thinks. If a jazz genius like Bob Brookmeyer, Stan Getz, Bill Evans, Jim Hall, Charles Mingus ( he was quoted as saying your father was his favorite jazz guitarist), Phil Woods, etc… left him off their list, that might be reason for concern, but Rick Beato?
Even the local teaching guru, Joe Monk, (who was there when it all happened), said, when asked who was the greatest jazz guitarist, “Jimmy Raney, because he was the most honest of them all”.
When Johnny Smith was approached by someone who wanted to write a book about his lines, he said, “Why would you want to write about my lines, Jimmy Raney played the best jazz lines of any of the guitarists”. Your father told a student of his that Smith used to come into the club where he was playing in disguise, and sit way in the back, to try and cop what your father was playing!
Even at the very end, my guitar teacher saw your father playing at a music clinic, and said, ” Jimmy Raney was older than anyone playing there, but he was still the best. Tal Farlow was shot after the 50s ended, but Jimmy Raney is playing better than ever.”
When I saw him live at Zinno, I was astounded. There was no sense that his playing was dated in any way. I just thought to myself,”This is the greatest jazz playing I’ve ever heard in my life. There is no one who even comes close to this. It’s the only correct way to play jazz. Screw all these idiots who rave about Metheny, Scofield, Benson, Pass, Martino, Abercrombie, Frisell(!),etc… ”
Music is still the same. It’s still melody, harmony and rhythm, no matter what the endless hype and technology tries to tell us. Jimmy Raney, Wes, Jim Hall, Ed Bickert, Lenny Breau and Tal Farlow (of the 50s) are still the greatest at putting those three elements together to create great jazz. There are others who are fine players, but those six players are the most important in the history of jazz, after Charlie Christian.
Jon Raney
Hi Steve,
Thus endeth the sermon Lol
Stephen Cimino
Amen! Praise the Raneys!
Dom Petito
Jon,
Did you bring the omission of Jimmy’s name to Rick Beato’s attention? Did he have any reaction?
Dom
Jon Raney
Hey Dom,
I dropped a comment on the Youtube thread. Somewhat sarcastic in tone I suppose. No response. Generally it doesn’t seem like he does respond to posters though. Maybe it’s a minefield to do so. But figured he’d see the name and make an exception
Jon Raney
Thanks Martien,
I had received a recording from Jamey Aebersold that was supposed Larry and my father. Unfortunately, there was no playing of the two of them on it. I did hear some kind words during Larry’s portion of the concert. I will have to ask Jamey again what happened to the playing portion – if that somehow was missed or if it was simply never recorded.
Best
Jon