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From what I recall it's simply a "cycle" progression. Something
like this - I'd have to hear it to confirm (not sure the key)

Verse

| GMaj7 | C7sus | FMaj7 | B7sus B7 |
| Em7 | A7 | DMaj7 | D7sus D7 |

Chorus
| Gm7 | C7 | Am7 | Dm7 |
| Gm7 | AbMaj7| C/D D7sus | D7sus |

Alisdair MacRae Birch
Guitarist/Bassist/Educator/Arranger


--- In jazz_guitar@..., "Dragos Florin Stefan"
<dragosflorin@y...> wrote:

Good Morning! (in romania, Buna Dimineata)

Please Please Please !!
I'm a very beginer jazz guitar player from romania.
CAn anybody help me with chorrds or guitar Tabs from the song
"Moonlighting" by Al JArreau. (From the movie soundtrack Moonlighting)


Thanx!!!

God Bless you,
Dragos Florin Stefan.

It's a nice idea, but will require lots of research. Here's a few to
add to the tree - more like a seperate branch!

In the UK at the same time the jazz guitar tree is broadly speaking
(there are many missed out!):

Swing Era
Lauderic Caton(b1910) & Ivor Mairants(b1908)

Bebop
Dave Goldberg(b1922) Pete Chilver(b1924) Denny Wright(b1924) Jim
Douglas(b1924)

Session Players/Big Band
Judd Proctor(b1933) Ike Isaacs(b1919) Ray Russell(b1947)

1950/1960/1970
Terry Smith(b1943) Phil Lee(b1943) Dave Cliff(b1944) Jim Mullen(b1945)

1970 Modern
Martin Taylor John Etheridge(b1948) John McLaughlin Allan Holdsworth

Alisdair MacRae Birch
Guitarist/Bassist/Educator/Arranger

I never thought I would ever be mentioned in a title with Jimmy Bruno!

The strained sound I speak of is that tense, almost flurried sound when
the edge of one's ability is reached. That wee bit of sloppiness of
being behind the beat, but not intentionally. Not including Django, I
think Chuck Wayne would among the first really stunning jazz virtuoso's
that just sounded utterly relaxed. Then you've got guys like Martino,
Conti, and to my ears Clint Strong, who really stand out as just being
stunning players who really take my breath away. When John posted the
following:

"Jimmy Bruno also has a
lightening speed with super tone .. there are no young
players with that kind of nimble virtuosity and that
tone .. why? becuaser tone comes with years"

I was in the mindset of thinking of who I might substitute in place of
Jimmy Bruno in that statement, nothing more. I've been in Philly a
couple of times, but have unfortunately not been there when Bruno was
playing. I hope to see him live one of these days, he is a great guitarist.

Ray

DAVID RUDICK wrote:

I would like toadd that I remeber Scofield saying he was influenced by jimi hendrix so we can't forget him and we can't forget that joe satriani was the teacher of charlie hunter. I think this is maybe a side branch of the tree but should be included none the less.


Joseph Ramirez

-If you search in yahoo for joe Pass music you 'll find a bunch a
websites with Joe Pass Transcripts, I just got a book the complete joe
pass, pretty good. The man is an animal on that fret board. Have fun






-- In jazz_guitar@..., "third_man99" <third_man99@y...>
wrote:

Does anybody know if there is guitar transcriptions of any songs from
Joe Pass's posthumous album "Unforgettable"?

I love the album, and would love to play some of the songs, but it
doesn't seem like anybody has transcribed them yet....

--- dangelico603 <jpcombs@...> wrote:

Hey Guys,
The melody was played all on the second string.
Jason


--- In jazz_guitar@..., "skantzos1"
<skantzos1@y...>
wrote:

I think yahoo trimmed off all the spaces in your

notation, i think
i

have repaired it:

E flat 6th E flat 6/9 E flat maj 9 Eflat 6/9 Fmi9

B flat 13 alt

--8------------6--------------------------------3-----------3---

--11-----------8-------------8-----------6------4-----------3---

--12-----------8-------------8-----------7------5-----------4---

--13-----------10------------10----------8------6-----------6---

-----------------------------13----------10-----------------x---

------------------------------------------------------------6---

...why would you want to play Eb6 up on the 13th. fret
... it canbe played as Eb6/9 so much more comfortably
on the 6th fret with pinky on melody at the 8th fret
... (spread chord ala Johnny Smith...) ... and the
next chord is even more diifcult ... seems to me that
this arrangement just makes something that can be
easier and sounds better, more difficult.....the point
is to play the arrangement "naturally" and with ease
... those 6th. chords with the large stretch are
difficult even with big hands ...

I had sent paradisemusictn Johhny smith's arrangement
for "moonlight" ... but it had no fingerings ...

John Amato
Music blows the dust off your soul...
Isa.55:11



__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005

I dont know about Hawkins and Christian but i am quite sure that Bird knew
his theory. Afterall he did study compostion with Varesee!
I would be suprised if the others didn't I think musicians of that era knew
more that they are generally credited. Additionally musicians tend to downgrade
there education to give the impression that they are intuitive geniuses.
Maybe they are!
As Joe Diorio would say ultimately everything does come from intuition!
I agree! However, as Boulou Ferre stated to me personally it is best to
achieve a balance. A self evident truth IMO. I have never understood the Anti
intellectual posture many take. Music is language in one sense Whatever helps you!
You cant know too much. I stayed with teachers I admired for near decades I
never bought the idea that if you stay with one to long you will sound just
like him.
We interpret and re interpret it becomes yours. That along with the music we
listen too one draws on all of music history!
Best
Tony Hughes

Good Morning! (in romania, Buna Dimineata)

Please Please Please !!
I'm a very beginer jazz guitar player from romania.
CAn anybody help me with chorrds or guitar Tabs from the song
"Moonlighting" by Al JArreau. (From the movie soundtrack Moonlighting)


Thanx!!!

God Bless you,
Dragos Florin Stefan.

Ray, you said:

"I don't mean to demean Bruno in any way,"

'the impression that Bruno could hang with someone like Robert Conti
without sounding strained'

Could you please explain these statements?

DR

the show was at the Port-O-Call wasnt it? how was the crowd ..was it packed? i wonder cause i lived there until recently and know that there are so many great shows that had like max 25 - 30 people at. good place to see a show like that too ..real intimate.

Note: forwarded message attached.


---------------------------------
Yahoo! for Good
Click here to donate to the Hurricane Katrina relief effort.

I haven't read all of this thread but Herb Ellis and Freddie did an album in the early
70's called rythm Willie on Concord Jazz...
Gregg

--- In jazz_guitar@..., "fkenyon1" <fkenyon@m...> wrote:

Saw John and band last night in Salt Lake.They were terrific! Played
stuff from the Ray Charles CD. He used a lot of effects. Silly me-
I've just been playing my guitar! Which effects pedals do you guys
like?

So far, I don't use effects when playing jazz; maybe, if I played some
fusion stuff. however, I'm a big fan of the Ibanez C-9 chorus pedal;
I think this is the chorus that scofield uses or had used in the
past. my rock pedal board is:

dunlop crybaby wah>TS9 Ibanez(overdrive) w/analogman TS-808 mod>Ibanez
P-7 phaser>dunlop uni-vibe w/footcontroller>dunlop micro amp (boost)

Ibanez c-9 stereo chorus (stereo)>Boss DD-6 digital delay (stereo)

this goes stereo to (2) Real tube "preamps" rackmountsw/ 12AU7's>into
(2) 100watt fender 212R's, very loud if need be, sometimes I only haul
one fender amp depending on the venue

donnie loeffler

Does anybody know if there is guitar transcriptions of any songs from
Joe Pass's posthumous album "Unforgettable"?

I love the album, and would love to play some of the songs, but it
doesn't seem like anybody has transcribed them yet....

John,

Sorry about that chief - it looks like we are in complete agreement.

Rob

Agree good points. I know Raney was greatly influenced by Parker and
I thought Farlow was a big fan of Bud Powell. Also the basic
structure of a Tree may not be the right type of illustration for
this, because different players in later generations have a
combination of influences from previous generations that don't map to
a tree structure.

--- In jazz_guitar@..., "Rick_Poll" <richardipollack@y...>
wrote:

I think the problem with this sort of tree is that some players were
more influenced by guitarists than others.

I think it's fair to say that Wes was influenced by Christian, since
Wes reportedly learned to play by copying Christian solos. That's
also true for a lot of guys of that era. Barney Kessel comes to mind -
- he continued to use the "Charlie Christian" pickup throughout his
career.

But, Jim Hall, as someone pointed out, was probably more influenced
by horn players than guitar players. Tal Farlow credits Red Norvo
for a lot of his style.

I don't know exactly who influenced Metheny. His style was in place
when Bright Size Life came out. Who sounded remotely like that? Maybe
Gary Burton and associates? Does anyone know?

The great bop players may have become guitarists because of
Christian, and were certainly trodding in his footsteps in trying to
play horn-like lines, but I think it would be fair to say that Bird
influenced Raney more than Christian did. To me, Raney's lines remind
me of Bird, not Charlie.

My old teacher, Warren Nunes, curiously had a very small record
collection. He attributed his style to George Shearing.

Anyway, my point is that some guitarists were not influenced
primarily by other guitarists, Charlie Christian himself being a
shining example.

Rick








--- In jazz_guitar@..., "MJU" <memjazz@m...> wrote:

What about:

1. Jimmy Raney, Kenny Burrell, Barney Kessell, Tal Farlow and

others (like

Johnny Smith) in that vein after Christian?
2. Joe Pass, Herb Ellis, Mundell Lowe, Tal, & Grant Green along

with Wes

and Jim Hall?

Django and Christian were essentially around at the same time. One

was

European Gypsy the other Mid West Swing and Blues.

Then thereare those that were more or less contemporaries of

Christian (an

influences on him): Oscar Moore & Eddie Durham (who was the one

that turned

a young CC on to the electric guitar).

There are too many others that were important and influential

before

Chirstian on the instrument. I saw where someone mentioned Lang,

but then

there is Kress, McDonough, Van EPs and the other big band guys like

Freddie

Green and Bus Etri that had a major impact on the instrument at the

time.

The timeline from the 1900's to 1970 would fill a volume or two of

an

encyclopedia-type book easily.

I know that you were probably giving an overview but there are too

many

people to figure in (for me that is). I must lie down and think

about

this............... :)

----- Original Message -----
From: "Sean Williams" <scanz777@y...>
To: <jazz_guitar@...>
Sent: Tuesday, September 27, 2005 4:42 PM
Subject: [jazz_guitar] Jazz Guitar Tree?

I was giving it some thought and was wondering if I
was wrong in my accessment. As far as a timeline and
influences as far as styles, I picture a tree with
Charlie Christian at the apex and then two branches
with Wes Montgomery on one side and Jim Hall on the
other. It could look like this with players similiar
in style or mentioned influences branching further:

Charlie Christian
/ &#92;
Wes Montgomery Jim Hall
/ &#92; / &#92;
Benson, Martino, Raney Goodrick, Metheny,
Scofield

This is just given as an example and maybe there are
far too many players to peg this way. But it seems
that there is one group who's lines are more bop
oriented while another is more into space and
textures.
Is this fair?


Sean Williams
www.gtr4hire.com

Freddie also has a solo album he recorded with an extended combo. I found it on CD the other day. You can really hear some of his voice leading and attack on some of the cuts.

I do not know if anyone has mentioned this yet but check out Charlton Johnson's book on big band comping. I have gone through that book and have found it very informative. It is available through Hal Leonard and is around 15 - 20 bucks. Johnson not only took over Freddie's spot in the band after his death but he and Eddie Durham are really the only two guys that recorded electric guitar solos with the Basie Band. I haven't really checked out the bands latest recordings but I have met Wil and have heard him play. Both Johnson and Matthews are great in that style and have a great deal to offer those of us interested in it.

Saw John and band last night in Salt Lake.They were terrific! Played
stuff from the Ray Charles CD. He used a lot of effects. Silly me-
I've just been playing my guitar! Which effects pedals do you guys
like?

Mr Freddie Green was the master of course,but older members may
recall Steve Jordan on John Hammond Sr.'s "Vanguard" sessions.He
played an L5 as opposed to Freddie's Stromberg or (later)
Gretsch.Going back even further you could check out Alan Reuss with
BG although he did play chord solos (Pickin' with Patsy" probably his
best known).
If you want to hear Mr Green more clearly try "Mostly blues..and some
others" by the Count Basie septet on "Pablo" or "Rambo" from
Manhattan Transfer's "Vocalese" album.
An oddity but well worth listening to if you can find is "Breakin' it
up on Broadway" by the Dukes of Dixieland with Jim Hall on rhythm
guitar(try "Lady be good") and "Kid Ory and his Creole Jazz Band" on
Good Time Jazz with the great Barney Kessel is on the face of it even
more unlikely,but jazz is a broad church indeed.
Ray Anthony may have been no Count Basie but he was a pretty good
Harry James."Jam session at the Tower" wasn't a jam session
either,but the first jazz album recorded by Capitol in their new
premises.I've never heard of Nick Bonney before or since but he does
a pretty good Freddie Green.
Finally Frank Sinatra's "Lover" with George Siravo and his orchestra
has some wonderful 4 to the bar guitar playing.I always understood it
to be by George van Eps but am happy to be put right if this is not
so.