Whose right?

Keep practicing. Play with other musicians. Get out of that "comfort zone" you are in (if you are playing the PRS - I think I may like the T-type tone better). Keep running with the "slop" like you meant to do that...was is Joe Pass who said something like that?
Am the one with the prs, am a little confused on your comment? Can you elaborate please?
I'll try to elaborate:


There seems to be a feeling, like a second and third or fourth nature that jazz players have. Hard to explain, but you can hear and sometimes feel the tension and resolution of the melody. If a mistake is made the player keeps working like it was part of the song and keeps going like it was nothing. Just let go. Keep practicing. With other musicians, not just guitarists, you build a better understanding; sort of like communicating with someone who speaks another language - you learn to understand each other. Music is a universal language like love. It can also be seen like mathematical and physical formulas.

Here's an idea: keep the listener interested, but satisfied.

If all else fails, listen to Santana - he seems to "untangle" things when I think too much and complicate things, and even turns porch lights on to different paths that my ideas can take. Simple runs can usually be much better than the complex construction that some players work so hard on. The tone, "attenuation," the feeling. Black Magic Woman - Peter Green actually wrote and recorded that, but Carlos took the idea, made it somewhat simpler with a Latin flavor and feeling. You hear Santana on the radio, but I bet a lot of people don't even know who Peter Green was...

Let me know if I confused you even more. Oh yeah, and PRACTICE. Keep practicing.
Last edited by 1152 at Dec 10, 2013,
I once spent a whole summer working on nothing except chords and made more improvement as a jazz guitarist than I had done before. Not only did it improve my chordal knowledge, but it helped my single-line playing too.

In this article, I’m going to be sharing some tips and lessons I’ve learned over the years that have helped me improve as an accompanist in an array of settings.

Knowing loads of cool voicing’s and inversions doesn’t mean anything unless we know how to apply them tastefully in a live setting. Below are some pointers that have helped me comp in a variety of situations over the years that I always refer back to.