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Re: Mr. Goodchord (Was: Mick Goodrick's Advancing Guitarist)
--- In jazz_guitar@y..., "David E. Lee" <dalee@c...> wrote:
It's a big leap, I can't deal with it everyday, but I came to mickHi David, Could you explain this formula that Mick gave you to the group here? Maybe that will help me get a handle on whether I need to buy Goodchord. I play keyboards and can read standard notation so looking at keyboards and at the guitar, I can see that the guitar is more challenging than keyboards for voice-leading but certainly not impossible. If I am using a given set of strings to chord then I can voice-lead up and down that set by knowing the notes under my fingers, by being aware of the note values of each fret position on those strings and by knowing the notes of the chords I wish to play. It sounds cumbersome but in practice it's fairly smooth as long as I practice the transitions among the chords to various positions. The key connection for me was thinking about the least possible note- movement between the notes in two different chords in standard notation and then thinking about the least possible finger-movement between the two chords on the fingerboard. I've been thinking this way for a year or so and all the rules I need to know fit on a couple of pages of notepaper. Applying those rules is certainly a challenge but lately I've been dancing up and down and across the neck with chords and not just with single-note lines. How does the GoodChord system beat this? Could you give me a concrete example? I'm not looking for an argument, truly, I'd really like to know. Thanks! Cheers, Kevin www.TheNettles.com |
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Reminder - The Jim Pellegrino Trio
We would like to remind you of this upcoming event.
The Jim Pellegrino Trio Date: Saturday, August 18, 2001 Time: 8:00PM - 12:00AM EDT (GMT-04:00) Sat, August 18th, John Carlini will be playing with "The Jim Pellegrino Trio" at The Verve. The lineup will be- Jim Pellegrino - Tenor Sax and Flute Bob Funesti - Acoustic Bass John Carlini - Acoustic Guitar Verve Restaurant 18 E. Main St. Somerville, NJ (908)707-8655 |
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Re: The difference between Jazz & Blues
Ross Ingram
The chinese were the first to experiment with a 12 tone
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system but without considering even temperment(12,000 B.C.) from "Theory of evolving tonality". Blues at times can seem chromatic, but jazz is chromatic(if it wants to be, or maybe if you it to be). Take your favorite blues head and play it in all twelve keys and then maybe try to hear it in all twelve keys. This seems like a simple question but it's not. I taped that 20 hour documentory on jazz(PBS-USA) hosted by people like Wynton Marsallis (what a classy guy). I know I'm not the only one in the group who watched it. >>Ross ----- Original Message -----
From: Tran Duy Viet Sent: Wednesday, August 15, 2001 1:32 PM To: jazz_guitar@... Subject: [jazz_guitar] The difference between Jazz & Blues Hi all, I am new to Jazz & Blue music and I want to understand the basic concepts of them. Could anyone tell me the differences between the Jazz & Blues music ? Thanks in advance. Regards, VDT |
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Subject: Re: Sea Train
Paul Erlich
--- In jazz_guitar@y..., "Steve Gallagher" <steveg@a...> wrote:
From the Gibraltar Encyclopedia of Progressive Rock:From: "Zeek Duff" <zkduff@q...>I'm pretty sure it's the same "band", thoughDifferent band. There's one from the UK that's Sea Train [USA] a.k.a. Seatrain Updated 3/7/01 Discography Sea Train (69?) Seatrain (70) Marblehead Messenger (71) Watch (73) Reviews The other band to emerge from The Blues Project, Sea Train was led by bassist and flutist Andy Kulberg and featured bluegrass fiddler Richard Greene. There was also a sax and the usual guitar and drums. The ambitious first album continually shifted gears from art-rock to neo-baroque to laid-back country to folk-rock. It sold poorly, perhaps because of the undistinguished vocals and miserable cover art. Personnel changes followed, signaled by a name change: Sea Train became Seatrain. Singer/guitarist Peter Rowan joined and pushed the band closer to bluegrass, and Greene plugged his violin into a wah- wah pedal. The next two albums, both produced by George Martin, are noteworthy mainly for Greene's energetic fiddling, and are of little interest as progressive rock. Seatrain yielded a small top-40 hit, "13 Questions," remembered with affection by aging hippies. More personnal changes followed Marblehead Messenger, including Greene's departure. The final album, Watch, is noteworthy only for the reworking of Kulberg's old Blues Project instrumental, "Flute Thing." -- Don McClane |
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Re: Minor,major etc on Bm7b5
Paul Erlich
--- In jazz_guitar@y..., Mark Stanley <bucketfullopuke@y...> wrote:
All I know is that he lives in Boston and it at leastI think it's more like 3 years now. He doesn't discriminate, though . . . my drummer is taking beginner-level jazz piano lessons with him now . . . |
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Re: Guitar intros
Zeek Duff
jazz_guitar@... wrote:
Original Message:I don't know how others do it, but I use one of two methods, usually. First, I try to find original recordings or sheet music copies of stuff I really want to do and often, the oldies have an intro, some quite extensive. If that can't be done or I don't like the original intro, I take something from the song, usually the ending, or some turnaround I've invented for it and place that at the beginning. I do that a LOT with my original stuff. Sometimes, just for variety, just go into the head, no intro at all. If the singer is at all worth their salt, their first note and a count off ought to suffice nicely. :) Regards, ...z Whatever their other contribution to our society, lawyers could be an important source of protein... -- =---Seek the truth, speak the truth!---= -- L.G. "Zeek" Duff WHAT!Productions! Blue Wall Studio 303.485.9438 ICQ#35974686 |
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Subject: Re: Sea Train
Steve Gallagher
From: "Zeek Duff" <zkduff@...>I'm pretty sure it's the same "band", thoughDifferent band. There's one from the UK that's with some different members. I seem to recall that they did morph drastically from their previous incarnation, which I never heard. They were American and released an album around '73-'75. |
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Re: Jimmy Bruno and Downbeat
Am I missing something? Where did these last two posts on Bruno come
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from? They seem very out of context for what seemed to me as a focused response to a question. Nobody is arguing better or best or jazz not jazz. I'm just a little confused, a lot of time and effort was spent to respond to something that I do not think exists in this posting. Not trying to cause trouble, just confused.... --- In jazz_guitar@y..., "Mark Stanley" <bucketfullopuke@y...> wrote:
I guess I would like to put my 2 cents in as well. Ya know, |
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Re: Vox amps
I used a Vox AC 30 many years ago, and although I recall the tone
controls needed careful setting to tame the fierce treble, recordings made at the time reveal a nice sound when I listen to them now. After trying lots of amps I am now using a Carvin Bel Air, which curiously is a very similar design to the AC 30, I believe. It too can be overly toppy, but overall I have been very pleased with it. John Clarke Basingstoke UK |
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Re: Minor,major etc on Bm7b5 (Graham Cox)
Graham Cox
Hi Seb,
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Thanks mate, I'll give it a go. Cheers, Graham Hi Graham, |
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Re: Jimmy Bruno and Downbeat
Mark Stanley
I guess I would like to put my 2 cents in as well. Ya know,
I graduated High School early and just practiced jazz guitar 14 hours a day before going to Berklee. When I got there I really got bitter from this whole guitar player attitude, which maybe I had to some extent, where music just becomes a contest of who's better and yadda yadda. I had to quit playing for a year because it made me so sick. Like this comment: if I spend ten years studying music, scales, chords, harmonyI try not to get caught in this head of, I am so much better than so and so who is rich and famous...why not me? Do you really think it should bother you (or me)? I mean most of the record buying public does not know chromatic harmony, etc. And it's kind of weird that the ones of us who are studied and maybe more talented than your typical MTV band (I cant think of any at the moment), usually are so hyper-critical of people who are actually doing well in a career as challenging as jazz. Everyone has their own ideas of what good music is and I agree it is relative to mood, age, drugs if you're on them, other factors, too. If Jimmy Bruno is "whatever", and I still have not heard him, I imagine it's who he wants to be. He is obviously real good or we wouldnt waste time discussing what we do or dont learn from him, but ya know, for me sometimes I'd rather hear The Residents or The Clash (oh no, Punk) or Zeppelin or Hendrix or Elton John or whatever the hell I want and I have a degree in jazz studies from NYU and have practiced forever and studied w/ some greats, etc. My point: Let's maybe lose this "because I play jazz I am so much deeper and heavier than anyone" attitude. It usually just means that you are a self-hating ass. I have played gigs where a guitarist comes up to me and does this "Hey man, i really dig your playing, but you dont bend enough notes" or "play more like Jeff Beck" or someone else.....Why are these idiots, and yes it's more often guitar players than other instruments, so in need of advising me on how to make music? Do they think I'm making so much money that I should be doing the job differently? I mean, I've devoted a life time to music and I really dont expect to get rich from it and at the moment cant even squeek out a living. If you think your going to make more money because you know the right scale to play on a D dim. chord, you are sadly mistaken. So if it is really just about art, for my entertainment I'll put on Trout Mask Replica by Captain Beefheart and there hasnt been a more creative album mentioned on this forum. That's my opinion.... Mark |
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Re: Minor,major etc on Bm7b5 (Graham Cox)
--- In jazz_guitar@y..., Graham Cox <jazzguitar@o...> wrote:
Dear Listers,Hi Graham, Charlie Banacos - The correspondence address is there. Regards, seb |
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Re: Liebman
Guillermo
Hello,
Dave Liebman is one of the greates living artists. He's an exceptional player and theorist. Also has a great site: There are a couple of Elvin Jones' albums, Elvin Jones at the Lighthouse (Vols 1 & 2) w/Steve Grossman & Gene Perla where the saxophonists playing is incredible. Lieb also did a couple records (around 1980) with a great group with Terumasa Hino (trumpet), John Scofield (guitar) , Ron McClure (bass) and Adam Nussbaum (drums) . The albums were made in Holland, and the names are "If they only knew" and "Doin' it again". He was also part of group "Quest", with Richie Beirach (piano), Ron McClure (bass) and Billy Hart (drums), and recorded several albums in duo with Beirach. Some very good albums under his own name are: "The Opal Heart", "Setting the Standard" and an old ECM "Drum Ode", a jazz-rock album GB At 10:57 14/08/01 +0000, you wrote: Can anyone recommend a couple good recordings by Dave Liebman.Guillermo Bazzola Buenos Aires, Argentina |
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Re: Minor,major etc on Bm7b5
Mark Stanley
All I know is that he lives in Boston and it at least
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a 2 year waiting list to study w/ him. -Mark --- Graham Cox <jazzguitar@...> wrote: Dear Listers, |
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Re: Liebman
Rodrigo Gondim
-----Mensagem original-----
De: Paul Erlich <paul@...> Para: jazz_guitar@... <jazz_guitar@...> Data: Tera-feira, 14 de Agosto de 2001 18:29 Assunto: [jazz_guitar] Re: Liebman --- In jazz_guitar@y..., Mark Stanley <bucketfullopuke@y...> wrote:Can anyone recommend a couple good recordings by Dave Liebman.John McLaughlin: My Goals Beyond Hey people I got a Liebman record and it's very very very good ( crazy stuff) It's called "Return of the tenor" . He's playing standards like blackbird, all the things you are , all of me etc, and it's very modern stuff (i think ). This session features a very good guitar player, Vic Juris. Very good player. He uses that "Stern chorus/delay" sound that i hate but the guy has o lot of great ideas and a mature playing. Rodd PS: Next month i'm going to study music in belgium (brussels). I think there is a lot of guys from europe in this list. Can you give me some information about places to jam in brussels? Thanx |
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Re: The difference between Jazz & Blues
Ted Vieira
Both jazz and blues are heavily based on improvisation and often can contain
many of the same elements, but jazz tends to often included more complex harmonic structure, the use of altered chords and substitutions, and . "Jazz" can cover a wide spectrum of style and feel (latin, swing, funk, Brazilian, etc - and all the variations of each style). These are just a few differences, out of many. Hope this helps, Ted Vieira -- Listen to my CDs for free: -- Or visit my website: Bio Information, Sound Files, Free Online Guitar Instruction, Books, CDs and more... |
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Re: Gear
Ted Vieira
Hi John,
You are right about it's the player who can make the guitar sound great. I've heard guys sound great on Epiphone "Joe Pass" models that are less than a $1000.00 in price. Someone who's a great player can make a $100.00 strat copy sound like a million bucks. The quality of a guitar does make a difference in the sound (and can make a big difference in how much the player will enjoy playing it), but the biggest difference comes from the hands of who's playing the guitar. Ted Vieira -- Listen to my CDs for free: -- Or visit my website: Bio Information, Sound Files, Free Online Guitar Instruction, Books, CDs and more... |
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Re: Jimmy Bruno and Downbeat
David
Hello Gang,
I can't resist replying about this debate regarding Jimmy. 1. I think that it is really a bad concept to "throw out the baby with the bathwater". I would have to ask which opinion about Jimmy is correct the first perspective that Jimmy is great or the second opinion by the same person that Jimmy is not great? The only thing we know for sure is not about Jimmy, the only thing we know for sure is that the person who gave the opinion seems to have changed his mind. 2. Personally, I often times find myself changing my mind. It is painful because the mind changes so easily, yet it is so hard to actually learn something...Jimmy Hendrix, Jim Hall, Pat Metheny, Pat Martino, Scofield, Larry Coryell, Wes...I love them all, I appreciate them all, I would just like to say thank you to them and George Harrison, and David Lindley, and so many more. I think the problem is that we need to identify with something or someone because we can't do it all and feel threatened or unappreciated. After all, if I spend ten years studying music, scales, chords, harmony I am most likely not going to dig Punk and I may be angry and feel that it is unfair that no talents are making big money, etc. We all know these arguments. But this is not a Marxist debate. I personally am attracted to certain musicians. Of course to me they are the best But which me? The 8 year old me or the 21 year old me or the 45 year old me? Each "me" thinks its the best and the smartest. Personally, I am glad that there is music. Regarding the topic of Jimmy Bruno...of course he is great. He may or may not be your taste. You may not like his philosophy or his manner or you may love it. I once a/b a video of Jimmy and Pat Martino...very different. You could say that Jimmy was very accessable and clear and that Pat was mystical and impossible to follow...or you could say that Jimmy was simplistic and that Pat was poetic and sensitive. I don't know, but I certainly gained something wonderful from both. To some Coltrane sounds like noise and to other it is the sound that God must listen to...for me I have had both experiences depending on my mood. People change, moods change. I did see Jim Hall and that night I found him boring. Yet, he remains one of my favorites. Kenny Burrell can make me feel great and mellow and at times I could care less. Isn't that just how humans are? Now, with all that how the hell is one to function? I say, it is called "Playing Music" so, mainly I like to enjoy it. Sorry for the diatribe, but I think that it is important for all of us to know that even what we really love at times we may hate. And remember gang, when I was a kid The Ventures ruled! But you know what? I never listen to them now, but in my heart they will always be the sound of electric guitar David |
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