Ulf wakenius biography of michael jordan

Even the very best jazz guitarists rarely receive the attention and plaudits that the genre’s horn blowers – saxophonists and trumpeters, in particular – receive. Perhaps that’s because, traditionally, the guitar, which superseded the banjo in jazz rhythm sections, was primarily perceived as a supporting and accompanying instrument rather than a viable vehicle for solo improvisation.

Another reason why the spotlight didn’t fall on jazz guitar players in the music’s formative years was that their instrument was acoustic and didn’t have the ability to cut through the rest of the ensemble like brass and woodwind instruments could. So while the horns basked in the limelight, guitarists had to make do strumming chords and comping in the background.

But electric amplification changed everything for the role of the guitar in jazz. Introduced in 1931, the hollow-bodied electric guitar was immediately sought-after by guitarists struggling to be heard in the swing era of brass-heavy big bands. Now, though, not only could their percussive rhythm work be clearly audible in relation to the rest of the ensemble, but the possibility of playing solo passages had also become a tangible reality. Even so, due to the propulsive

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