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I have "Sight To Sound", and possibly "Styles..." as well, I'll have to look. You may want to check college/university libraries for copies as well, maybe you can check one out and have a look. Here in L.A., the Brand Library is a treasure trove of stuff; used bookstores may also be able to hook you up. I also corresponded w/ Leon a while back, so I'll try to track down his email address, maybe he can set you up with a copy. Good luck! Just wondering, why are you looking for it???

Cheers,
JV

Juan Vega

Amazon.com, alibris.com, and bookfinder.com all list copies for sale. The cheapest I found was on bookfinder for $42. Other prices were close to $100.

t


On Nov 24, 2010, at 6:02 AM, logic wrote:

Hello all,
Just joined today.
I've been a guitarist for 35 years. Due to an auto accident, I lost the use of my left arm for 10 years.
I regained the use of it last year and I'm starting to learn to play again. I play mostly Blues but played pretty much everything in my day.

I'm looking for a book I lost in a flood.

Anyone know where I can find "Styles For The Studio" by Leon White?
Any help would be grately appreciated.

I used it in the 70s to learn and practice scale patterns.

Thank you all, Wayne

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

On 11/30/2010 5:18 PM, akmbirch wrote:

RIP, Arnie, thank you for
all your contributions to jazz and jazz guitar.

Amen

Bobby

George wrote - You transcribe to improve your ears as much as anything else.
If you want to let a computer do it for you, just buy a book of transcribed
solos.

What a Rubbish statement. -

Most books I've looked at are 'incorrect in places' - regardless of who has
transcribed / published them, I'd much prefer to sit and transcribe - what I
want from a track myself..

Using 'Transcribe' is a great help in transcribing - much more of a learning
experience than buying a book - surely George .

As far as 'chord recognition' goes - Transcribe is really helpful - on
something like a 'Joe & Ella' or 'Barney & Julie' track - when it's just
guitar(and bass) and vocal - gets those chords that you're 'just not sure
about' (most times at least).

Aaron,

You'll need to learn to read for information and not take things out of context. I was talking about using the feature where Transcribe figures out the notes for you not the program in general. I've never had any success with it figuring out chords, though it's not something I've really needed.


George Hess
ghess1000@...

I have just learnt that Arnie Berle, passed away on October
12, 2008. I know many of you have used his books and a
number of you studied with him personally at his home in
Yonkers, NY and at Mercy College. So rather belatedly, I
have put together the following obituary using sources from
Amsco, Music Sales and Mel Bay. RIP, Arnie, thank you for
all your contributions to jazz and jazz guitar.

--
Alisdair MacRae Birch
Guitarist/Bassist/Educator/Arranger


Arnie Berle, Guitarist, Multi-Instrumentalist, Writer and
Educator

Arnie Berle passed away on October 12, 2008, almost one year
after the death of his wife, Rosalie (deceased October 20,
2007) and after suffering the second of 2 heart attacks.

Arnie Berle born and raised in New York City, Arnie began
playing clarinet, saxophone, and flute while in high school.
In the 1950's, he toured with one of the leading dance bands
of the time, Johnny Long. In 1964, with the arrival of the
Beatles, Arnie decided to study the guitar. Studying with
Howard Morgen, Barry Galbraith, Hy White and Jim Hall. While
continuing his studies, he began working in night clubs and
theatres where he accompanied such stars as Tony Bennet,
Jerry Lewis, Alan Kind and Jerry Vale.

Arnie's reputation as a player put him in demand as a
private teacher. He decided to devote his time to teaching
and writing instruction books. His first two books, "Arnie
Berle's Book Of Modern Chords and Progressions For Guitar"
and "Arnie Berle's Complete Handbook for Jazz Improvisation"
became instant classics when they were published by Music
Sales in the late 19602' and early 1970's.

His experience with other instruments, including accordion
and vibraphone, gave him a much broader musical perspective
of the guitar.

In 1974, he began writing interviews and articles for Guitar
Player Magazine, and in 1977 he began his very popular
column "Fretboard Basics." Also in 1977 Arnie began teaching
at Mercy College in Dobbs Ferry, New York. Arnie published
over 40 books and his name is cited in the International
Who's Who in Music. He is survived by 5 children and 7
grandchildren.

I agree completely. The real benefit of transcribing is to improve your ears but not the ones on the sides of your heads. Transcribing teaches your inner ear how to hear things correctly and where what you transcribed and similar things are on your instrument. In my whole life I have never been able to play something I’ve transcribed earlier if it was more than a month earlier or something like that. After a month or so I’ve moved on and that’s it. It’s gone. Someone once told me that if I continued practicing the piece for three weeks after I transcribed it I would finally be able to remember it on a more or less permanent basis. Unfortunately I have never tried that. It’s not important to me but what is important is how transcribing has brought me closer to understanding where things are on my guitar and how to make them happen in the manner I hear them internally. However if years later I hear something I have transcribed I still probably cannot play it from just memory but I can play right alongside the recording with just a few mistakes. I am sure that this is common to others who transcribe material.

The other benefit is the noodling factor. For every lick I steal off a recording I can come up with at least 5 personalized versions of the original lick.






Brian Kelly

From: aaron woolley
Sent: Tuesday, November 30, 2010 1:02 AM
To: jazz_guitar@...
Subject: [jazz_guitar] Re: "Tune Slower" better than Slow Gold?




George wrote - You transcribe to improve your ears as much as anything else.
If you want to let a computer do it for you, just buy a book of transcribed
solos.

What a Rubbish statement. -

Most books I've looked at are 'incorrect in places' - regardless of who has
transcribed / published them, I'd much prefer to sit and transcribe - what I
want from a track myself..

Using 'Transcribe' is a great help in transcribing - much more of a learning
experience than buying a book - surely George .

As far as 'chord recognition' goes - Transcribe is really helpful - on
something like a 'Joe & Ella' or 'Barney & Julie' track - when it's just
guitar(and bass) and vocal - gets those chords that you're 'just not sure
about' (most times at least).

Amen. I think it was Thomas Edison who said, "Genius is 90% perspiration,
and 10% inspiration", or something to that effect...

Cheers,
JV

Juan Vega

On 11/29/2010 10:33 PM, jack wrote:

Inspiration is for sissies. It's all about getting up in the morning and working you ass off for decades, and great things only come from those who see the little bits of what is good in what they do and expand on that, leave the unsuccessful stuff out. It's damn hard work.

Well said!

best,
Bobby

George wrote - You transcribe to improve your ears as much as anything else.
If you want to let a computer do it for you, just buy a book of transcribed
solos.



What a Rubbish statement. -



Most books I've looked at are 'incorrect in places' - regardless of who has
transcribed / published them, I'd much prefer to sit and transcribe - what I
want from a track myself..



Using 'Transcribe' is a great help in transcribing - much more of a learning
experience than buying a book - surely George .



As far as 'chord recognition' goes - Transcribe is really helpful - on
something like a 'Joe & Ella' or 'Barney & Julie' track - when it's just
guitar(and bass) and vocal - gets those chords that you're 'just not sure
about' (most times at least).

Well he's heard this question about a trillion times I'm sure. Sco did pay his dues. I've heard from people (on this list) who described him as a student at Berkeley transcribing and coping practically everything that Joe Pass ever did. Anyone who thinks that is a walk in park has never tried it. Then he moved on and integrated that ( and Jim Hall) with what he already knew about rock era guitar.

The he spent the rest of his life doing it every day and every night. There is no logic to creating great solos, and who knows where it comes from, but not from the conscious mind that is for sure. On that great album (that certainly is jazz) called Time On My Hands, with Jack Dejonette, Charlie Haydn, and Joe Levano, he created some awesome ballad solos. There was an interview with the transcriber who asked him why he played those notes. He said, that was because of something that Charlie and Joe were doing in that tune, I was following them, it was in the moment.

One of my favorite visual artists, Chuck Close, was asked how he was inspired to do his paintings and how he planned it all out, and he said, I'll hell you one thing, it ain't inspiration. Inspiration is for sissies. It's all about getting up in the morning and working you ass off for decades, and great things only come from those who see the little bits of what is good in what they do and expand on that, leave the unsuccessful stuff out. It's damn hard work.

Having said that, Sco's solos are not like Wes Montgomery,with an elegant beginning, middle, and conclusion, like a classic poem. They are much more in the raw moment than that. Don't think Coltrane could describe what he did either, or Bird. All depends on the moment and how you've prepared yourself.

j

in my opinion Carlton isn't in category of best jazz IMPROVISERS

Well, for my money, neither is Scofield. I can't stand his tone or his
phrasing (most of the time). Carlton kills him on both counts.

Jeff

My personal opinion is that both SCO and Carlton are well aknoweledged players but SCO
incomparable he has got his wery own feel , everything he plays has SCO written through his playing . he is on of the best jazz guitarists out there. there are many gigantic jazz guitarists
but very few can sound as musical and bottomlessly inventive improvisers off all times.

in my opinion Carlton isn't in category of best jazz IMPROVISERS

--- In jazz_guitar@..., "Alan Cugnoni" <ac@...> wrote:

No But I have a very nice Yamaha AE 2000 carved archtop

What prod year and how much ?

Visit



Will

On Nov 28, 2010, at 11:45 PM, funkifized34 wrote:

--- In jazz_guitar@..., "keithfre" <keith.freeman@...>
wrote:

Larry Carlton, who is every bit Scofield's equal on the instrument

But I've never heard him play anything I'd call jazz ;-}

-Keith

You haven't heard the "Last Nite" disc, then. It was around this
time that Pat Metheny did some seminars at Berklee (I was attending
at the time) and said that Larry was his favorite player at the
time. My teacher Darcy Hepner said that same thing when I presented
my transcription of Larry's solo on "So What" which included a fair
amount of diminished/dominant scale work and some beautiful phrasing.

I have that cassette some great playing on there. Cuts from that gig
are on an instructional vid Carlton had out in the 80s. Cut my teeth
on that vid and coincidentally Sco's On Imporvisation. Very good
stuff on both.

Ron
Living and playing outside the box.





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

The solo on Kid Charlemagne is a classic. He is obviously playing over
the changes which are more complex during his solo then during the verse
or chorus. Not ii-v's but changes in key never the less.
I frankly can't imagine Joe Pass (a genius of jazz guitar) play anything
any better or more harmonically logical on that tune.
I love great guitar players. Carlton, Scofield and Pass all qualify. As
do Jerry Reed, Tommy Emmanuel, Paco, Eric Johnson among hundreds of
others. If they have a voice, I'll listen to what they have to say.
Scott


On Mon, 29 Nov 2010 15:24:35 -0000 "keithfre" <keith.freeman@...>
writes:

You haven't heard the "Last Nite" disc, then.

No, I hadn't, thanks. But listening to the samples on allmusic I
still don't hear any jazz, only blues and modal fusion. Can you
recommend any recordings of his where he negotiates the tricky
changes of jazz standards? That would be my criterion for putting
him in the same class as Sco as a jazz guitarist.

-Keith

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You haven't heard the "Last Nite" disc, then.

No, I hadn't, thanks. But listening to the samples on allmusic I still don't hear any jazz, only blues and modal fusion. Can you recommend any recordings of his where he negotiates the tricky changes of jazz standards? That would be my criterion for putting him in the same class as Sco as a jazz guitarist.

-Keith

No But I have a very nice Yamaha AE 2000 carved archtop

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

It just seems to me that Sco was getting a ton of free publicity focused on the exzct people that might buy his recordings.

Is it so unreasonable to ask him how he thinks about soloing?

I'd say it's unreasonable for him to blow off the question.

Basically, he refused to talk about how he thinks about soloing and said "buy the album".

I think he was rude, and he knew it.

Larry also did some serious blowing over the changes to "All The Things You Are" on his 2nd lesson video, on acoustic. He doesn't play the head, but I'm flabbergasted to see and hear him come up with chorus after chorus of fresh ideas, although he considers himself a "jazz-influenced blues player" and that he aspires to be a bebop player.

Jimmy Bruno has said that Larry can certainly play bebop.