The very gift that makes a session musician great can also be a curse. Oftentimes expected to be chameleon-like, it's that very act of becoming a credible musical shape-shifter that can sometimes lead to a loss of individuality. Lee Ritenour is a consummate and complete guitarist if ever there was one; his varied discography supporting a seemingly insatiable appetite for anything to do with the six-stringed instrument and all its variations. Often (and, in many cases, unfairly) linked too heavily with a genre that he helped formulate in the mid-to-late 1970s through his own "fusion lite" albums like Captain Fingers (Epic, 1977), to call Ritenour a smooth jazz guitarist would be unfairly exclusionary, as 6 String Theory proves in spades.
Not that there's anything wrong with smooth, but there's none to be found amidst 6 String Theory's multiplicity of styles, all-star guests and a cohesion surprising for an album so eclectic. Instead, Ritenour goes for the throat with some down-and-dirty blues ("Give Me One Reason," featuring guitar slingers/blues belters
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data-original-title="" title="">Neal Schon and Slash get together for the high octane shuffle of "'68'"; a classier blues, "Why I Sing the Blues," where elder statesman
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data-original-title="" title="">Keb' Mo', Jonny Lang and Vince Gill, who not only turns in a searing solo, but as impassioned a vocal turn as his partners. And just to prove he still can do it, there's a nod to
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data-original-title="" title="">Andy McKee. A guitar competition as well as a CD, 6 String Theory closes with its winner, classical guitarist Shon Boubil, performing two Legnani "Caprices."
The entire set kicks off with Ritenour's funky "Lay It Down," capably sharing the bill with contemporary
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data-original-title="" title="">John Scofield. As well as Ritenour plays here and throughout 6 String Theoryhumbly leaving more than ample room for his guests as he appears, in fact, on only eight of the album's fifteen tracks and never dominatesit highlights the disc's one and only flaw: Ritenour plays undeniably well throughout, but it's the very strength of the voices around him that highlights his own lack of one. It's hard to criticize a player so accomplished and so diverse, but while many of his guests will be remembered for their distinctive musical personalities, it's far more likely that Ritenour's legacy will be as an exceptionally talented chameleon, capable of fitting into any contextnot, by any means, a shabby accomplishment, however, and especially when the result is as thoroughly enjoyable as 6 String Theory.
Lay It Down; Am I Wrong; L.P. (for Les Paul); Give Me One Reason; "68"; In Your Dreams; My One and Only Love; Moon River; Why I Sing the Blues;] Daddy Longlegs; Shape of My Heart; Drifting; Freeway Jam; Fives; Caprice, Op. 20, No. 2 and 7.
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With the realization that there will always be more music coming at him than he can keep up with, John wonders why anyone would think that jazz is dead or dying.
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