开云体育

any suggestions would be appreciated.
using a Victor Baker seven string archtop & an Acoustic Image Ten2
model amp.
have the f-holes covered with clear tape (and have also tried dougs
plugs). still getting feedback during performance. re-postioning sometimes helps
but then there are other times when i cannot position myself because of
stage limitations.
so... what else might i try?
thnaks in advance ,
jack

[Non-text portions of this message have been removed]

... Jim,

.... a 2nd listen rendered some interesting concepts, largely occupied within
"Octave Displacement" ... wen I studied with Martino he had write out a number

of exercises ...(some attached) ... on 2nd listening I can really appreciate
the

direction and "sound" .... cool in its experimental aspects ... I too love
"RISK" ... it's in the management thereof ....
John Amato
Isaiah 55:11








________________________________
From: JamesM <jmings2003@...>
To: jazz_guitar@...
Sent: Sat, October 2, 2010 2:58:54 PM
Subject: [jazz_guitar] Re: body and soul solo guitar



Hi John, as I told Dave earlier, in so many words, it's just an improvisation
for a long time until Body and Soul took over near the end. Maybe I shouldn't
have called it that. ;-) There was no intention to fool with anybody. I played

it once. When I listened back to it, I felt like that improvisation did presage

B&S with certain elements, so I left it as an introduction. For some reason my
2

nights with Stern opened up some kind of passage way for me. Man, I try to come

to music with no preconceptions, and it is hard to do. I like that my little
club is inclusive. The more you like the more there is to enjoy. When one isn't

always comparing apples to oranges or this musician to that musician then, I
feel, one can appreciate each player for the soul they bring to the table. This

is not being a phony with no taste or appreciation. It is more about allowing
the music to be what it is without prejudging according to some prejudice that
I

pull around like a sack of sand. Mike Stern has a beautiful smile. That
transported me as much as anything.
I'm sorry you didn't get all you wanted from my version of Body and Soul. I was

pretty happy that that type of improvisation came my way. I have been trying
off

and on for along time to make spontaneous music that sounds good. Finally, one

night I just started playing and it happened when I wasn't trying so hard.
Jim
--- In jazz_guitar@..., John Amato <jamato316@> wrote:

OK Jim,

While I can surely appreciate the concept and the overall great sound, I

can't

for the life of me find the melody ... I don't know, maybe it's just a quirk

I

have, but I can appreciate a song and songster much, much more if I can

detect

a

glimmer of a melody ...

In '97 I attended a 2-week guitar camp/workshop up in Conn., that where I met

and played with John Abercrombie, but the second week Mike Stern gave a
workshop

and min-concert by himslef and with invited students and teachers at the
wrkshp.

I do appreciate Mike's voice and his writing skills, (he studied with Charlie

Bonacos), but his soling leaves me flat ... now, that's my take on it, but I

do

credit him for some fantastic technique and chops .... but his musical

approach

for me leaves me vacant ... it seems that every CD he puts out has the same
song-format, he starts low and easy and ends up loud and raunchy ... even

with

his ballads ... again, let me say that I in no way am 'dissing' him or
downgrading his music .... but for me he just doesn't do it ... like in the
fashion of running out and getting his new CD (or any of his old ones ...

which

I have ...)
John Amato
Isaiah 55:11








________________________________
From: JamesM <jmings2003@>
To: jazz_guitar@...
Sent: Sat, October 2, 2010 12:44:31 AM
Subject: [jazz_guitar] body and soul solo guitar


this is dedicated to Mike Stern for the beautiful example he set here the

last

two nights.

This is a jazzmaster thru a Love Amp50 into a boogie 22, etc.
Hope y'all enjoy the music.
Jim

[Non-text portions of this message have been removed]

You're quite right, Bobby, and I think that everyone has to do his own
risk assessment. My own position is that I'm just not going to take
Brazilian rosewood guitars over international borders, it's that
simple. Problem is, that if you're questioned, you either have to
admit that it's Brazilian and you lose the instrument, or lie, and
then you can still lose it if you're proven wrong (and it just isn't
my style to lie). Of the two Brazilian rosewood guitars I have left,
one of them, built in 1976 is eligible for an exemption, but you still
need to get import and export licenses each time you travel. Life is
too short.

Just so everyone understands how the system works, CITES is the name
of a treaty for the protection of wildlife, flora and fauna. and has
been signed by 175 countries, called parties, nearly as many as the
UN. There is a coordinating body in Geneva that looks over day to day
business and arranges the meetings of parties every three years. All
parties have the right to propose resolutions for these meetings and
to vote for or against all proposed resolutions. When a resolution is
passed, each party is obliged to have its government enforce the
resolution as a condition of its accession to the treaty, and this
often requires that the country write law to permit enforcement. The
USA doesn't have to write law because it just prosecutes CITES
resolutions under the Lacey Act, which is far broader than any CITES
resolution. Ask any government lawyer, and if he's open and frank
he'll admit that the Lacey Act is out and out scary. If, for example,
you walk into your local music store and buy a mahogany guitar, let's
say it's a Gibson, and it turns out that when the mahogany left
Honduras the export permit was forged. Believe it or not, you're
legally responsible because the Lacey Act requires you to do due
diligence on any product you purchase that is made from wildlife, the
entire chain of possession from harvest to final product. Now
everyone is going to rush and say that the government would never
prosecute that, and they're right, but doesn't it offend you that
legally you can be held responsible? It sure does me. There are even
those who consider that the Lacey Act is unconstitutional, but it's
apparently never been tested all the way.

Many other governments have their own umbrella acts, but none is
anywhere near as comprehensive as Lacey. Still other countries write
specific law for each resolution. As I said in an earlier post, the
customs services of North America, the European Union, Japan,
Australia and New Zealand are the most assiduous in applying CITES
resolutions. So that context, in fact, is what you are up against
when you carry a Brazilian rosewood guitar on an international
voyage. The tragedy is that the instrument can be made of legal
material, but if you can' t prove it, or if your paperwork is not in
order, you may well lose it.

As to the future, I'm not optimistic. The governments wanted a method
of cracking down on illegal trade in wildlife and they've got it; no
one I've spoken with, and I've spoken with a lot of people, is ready
to lead the charge to ease the collateral damage that their
regulations cause to musicians and the like. If anything,
restrictions are likely to become even more draconian in the future

With that depressing thought, I'll wish everyone a pleasant evening.

All best,
Robert

On Oct 4, 2010, at 1:33 AM, Bob Hansmann wrote:

Hi Alan,
>
> As for CITES, I can live with that more or less:...

I think you are looking at it from a luthier's perspective - once it
arrives at it's destination, you're done unless something goes wrong
with it.

Traveling players, OTOH, must deal with it on an ongoing basis, never
sure of what the outcome will be of each and every trip.

best,
Bobby