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Re: Searching for a Jim Hall Recording

David E. Lee
 

At 11:32 PM 8/19/01 +0000, you wrote:
I'm looking for a Jim Hall live recording that doesn't seem
to exist any more. It's with Don Thompson and Terry Clarke.
They play Scrapple, round midnight, i hear a rhapsody, and
probably others.
It's live from Toronto. An old vinyl that I've never seen on
CD. Beautiful sound, recorded on Don Thmpson's home reel to
reel if I remember correctly. Yes, one of the best
interpretations of Angel Eyes I've ever heard. The recording
captures the sound and feel of Jim Hall live, something, by
the way, I don't think his present record company knows how
to do. Just my opinion. You listen and decide. I have it on
vinyl. When I talked to Terry a few years back he said he
had lots of stuff from the toronto days but no record
company to pick it up. Send me a snail mail address OFF LIST
and if there's ever a chance I can burn a copy I'll try.

David
Re: Metheney and Diorio

Guillermo Bazzola
 

Pat Metheny studied with Joe Diorio in Florida during the
early '70s, and heard that he said something like "I should
have sent a check to Joe for some of my tunes". This
happened during a clinic/concert at the GIT during the '80s.
In fact, many of PM's early tunes on "Bright Size Life", his
first album, like the title cut or "Unity Village",
"Missouri Uncompromissed" or "Unquity Road" include lines
based on wide intervals, which is a distinctive element on
Diorio's style. Even more, he did an extensive use of that
resource on his early albums like "Solo Guitar", "Peaceful
Journey", or "Rapport" (all on Spitball Records) and wrote
that book called "Intervallic Designs" or something like
that. Jaco Pastorius, the bass player on "Bright Size Life"
also worked in Florida with both Diorio and
multi-instrumentalist Ira Sullivan. The same month that Pat
recorded "Bright Size Life" (December 1975), he also played
on a wonderful Gary Burton's album called "Dreams So Real",
based on Carla Bley's music, that also included Mick
Goodrick, Steve Swallow and Bob Moses, who was the drummer
on "Bright Size Life" I think that Pat Metheny should be
viewed as an integral musician, both the guitarist and the
composer. He did a brilliant synthesis of many different
styles, and, in order to that, besides the "guitaristic"
influences, he was influenced by some composers like Ornette
Coleman, Keith Jarrett, Mike Gibbs, Eberhard Weber or Carla
Bley (the last four, related to Gary Burton). Also pianist
Paul Bley (with whom Pat and Jaco played at a very early
age) might be considered a valuable influence on his musical
approach.

Guillermo Bazzola
Buenos Aires, Argentina


At 16:19 18/08/01 -0700, you wrote:

On the Diorio influence: I know Metheney heard Diorio
early on, and I can hear the similarities (backed by
charts/transcriptions), so I conclude there was
influence. In most academic fora, that is pretty much
enough to do the trick. Best of all, of course, would
be Metheney himself (although artists' statements
aren't always reliable). I wonder if he has ever
discussed Diorio. Anyone know? Not that the Diorio
influence is all there is to Metheney, but I do hear
some of it in there. By the way, I happen to like the
wide interval stuff, so none of this is meant
critically. Nor is the supposition that Metheney had
influences any criticism. I was just tracing back the
theory behind some of his playing.

Randy Groves
Re: The difference between Jazz & Blues

 

--- In jazz_guitar@y..., "Paul Erlich" <paul@s...> wrote:
--- In jazz_guitar@y..., "Deolindo Casimiro" <dcasimiro@h...> wrote:

From: "Sebastian" <jazz_1971@y...>
Subject: [jazz_guitar] Re: The difference between Jazz & Blues
Date: Fri, 17 Aug 2001 07:08:22 -0000
changes such as I-vi-IV-V7 kind of progression. Not to mention
the use of colourful chords, harmonies borrowed from any kind of
musical influences. Yes, even classical music from the
classical era (Bach, etc) or Romantic era (Debussy, Ravel) and
modern era (Stravinsky, Schonenberg). Jazz is still evolving as
you can see

I always thought Claude Debussy (and his peers) was a member of
the Impressionist School (not the Romantic).
Correct. This person didn't use the usual historical
categories. Bach is Baroque; Mozart and
Beethoven are Classical; Brahms, Chopin, Wagner,
and Tchaikowsky are Romantic; Ravel and
Debussy are Impressionistic (quite anti-Romantic,
in fact).

But the point is jazz draws on all these influences,
and on blues and show tunes . . .
Hi Paul and Deolindo,

I'm sorry for the confusion. Bach is from the Baroque period
and Ravel, Satie and Debussy belongs to Impressionistic
period. The good thing from this mistake is... I know
there's someone out there reading my posts. :)

My main point still stands that Jazz draws from different
influences and is forever changing. The current(?) trend of
fusion/acid or radio-friendly jazz may not suit individual
taste as can be seen in the "Bruno vs Metheny" discussions
but... one can choose to listen to jazz music they like and
not be bounded by another's opinions of which jazz guitarist
is behaving like an ass, or whose's music is considered
jazz. If you like the music, chances are that you'll enjoy
it even if its called "Foo-foo music" by some.

Meanwhile, unless I've too much time on my hands... it's
back to more practising.

Regards to all,
seb
Identifying a Vintage Gibson Guitar

terifritts@compufamily.com
 

Hello!

I joined the group in the hopes that someone can help me to
identify the model of a vintage Gibson guitar. All I know is
that is was purchased used around 1949 and has the words
"The Gibson" on the peg head. If anyone can help, I would
really appreciate it. You can see pictures at:



Thanks for your time! If anyone can tell me the best place
to ask about this guitar, I would really appreciate it!

Teri
terifritts@...
Re: First things when starting with a new tune?

Endah W
 

Hi All,
Dear Victor,
I just want to share about the good tips from Jamey
Aebersold's book, I hope it is helpful.

TIPS FOR LEARNING A NEW TUNE

1. Listen to the song over and over
2. Memorize the melody on your mind
3. listen carefully to the bass line and harmony in general
4. Try playing the melody from the memory, slowly at first
5. Play the melody along with the CD. Copy and learn the
articulations, slurs, phareing, dynamic..etc.
6. Learn the scale and chords. (I always search a
comfortable position too.. :)
7. improvise over the harmony, keeping in mind the original
melody as a frame of reference
8. Emphasize the GUIDE TONE (3rd and 7th)
9. Memorize both melody and chord/scales if you haven't
already. Know where the cord tones are in your guitar.
10. Improvise your original melodies based on what your mind
HEARS. Let your mind guide your choice of notes. phrasing,
rhytms, articulations, etc..
11. Listen constantly to the original recording of the song
to further stir your imagination. Incorporate ideas of the
recording into your solos.
12. Learn the lyrics if the song has any. Mentally sing the
lyrics while playing the melody.
13. Fall in love with the melodies to songs. Play them like
YOU wrote them.

I sometimes practice a new tune with the metronome and
playing the 8th note without stopping.

and I'm sorry about my English too, I'm an Indonesian..

best regards,
Endah

nb: maybe the other member want to help giving me some
guitar daily practice? i really need it too.. :)

-----Original Message-----
From: varp@... [mailto:varp@...]
Sent: 20 Agustus 2001 4:40
To: jazz_guitar@...
Subject: [jazz_guitar] First things when starting with a new tune?


Hi guys!
I just play jazz for a few years and i usualy get a little confused
when i have a new tune and have to improvise on it ( what's the
first things to do?).
I usualy start to divide the guitar arm in sections and then
studing arpejos and scales in each section, but i would like very
much to hear about your methods of work.
(Sorry about my English errors, i'm Portuguese).

Vitor.
Portugal.
New Member Introduction

Endah W
 

Hi, My name is Endah Widiastuti.
I'm a new member and want to learn more about jazz guitar...
because I really love it ;)

My fave guitarists are
Wes Montgomery,
Jim Hall,
John Scofield,
Emily Remler,
etc...

best regards,
Endah
Metheny's sound

 

Right from the man's keyboard:

only thing, i HATE the way "chorus boxes" sound, my sound
is mostly the "straight" 134/digitech line which is behind
me with NO PITCH BEND which gets blended IN THE AIR with
the the two DISCRETE delay pitch bends (which are much
softer than the "straight" amp volume) to get a bigger
sound. i HATE when i hear the "pitch bend" and the straight
mixed together and coming out of the same speaker. it
drives me crazy.
Re: Searching for a Jim Hall Recording

Guillermo Bazzola
 

Right. It is not on CD, as well as other Jim's great CD,
that one with Red Mitchell

GB


At 19:45 19/08/01 -0400, you wrote:
I'm looking for a Jim Hall live recording that doesn't seem
to exist any more. It's with Don Thompson and Terry Clarke.
They play Scrapple, round midnight, I hear a rhapsody, and
probably others.
It is Jim Hall Live, from the mid-70s. Recorded in Toronto,
if I remember correctly. It was on Horizon Records that was
either owned or distributed by A&M. Long out of print as far
as I know, and I don't think ever on CD. Great LP.
Brad
Guillermo Bazzola
Buenos Aires, Argentina
Re: Metheney and Diorio

Patricio Murphy
 

Ummm, Metheny doesn't use chorus on his sound...
He doesn't use a chorus pedal, but the effect he achieves
(in the early days by using three amps, two of 'em with
slight delays) is what a chorus is about. He explains it
quite thorougly at .

Patricio Murphy
NAN - Buenos Aires, Argentina
Re: Metheney and Diorio

 

Hmmm, funny that Metheny himself said (in a seminar at
Berklee) that he doesn't use stereo chorus. I guess he
doesn't know his own gear...

From: JohnL <banjology@...>
Reply-To: jazz_guitar@...
To: jazz_guitar@...
Subject: Re: [jazz_guitar] Metheney and Diorio
Date: Sun, 19 Aug 2001 17:45:38 -0700 (PDT)

Wow........yea metheny does use chorus......!!!!! Actually
he uses two delays set at 15 and 17ms.....each one is set at
a pitch a little above and below the normal guitar sound.
John
Re: Jimmy Bruno Midnight Blue Guild eBay Auction

Ross Ingram
 

Jimmy >>I think it's cool you put a entry in. I heard a
couple of your tunes on directv(jazz840) and your playing
sounds inspiring to me. Midnight Blue is a CD on my list to
pick up. >> Ross

----- Original Message -----
From: Jimmy Bruno
Sent: Sunday, August 19, 2001 5:36 PM
To: jazz_guitar@...
Subject: [jazz_guitar] Re: Jimmy Bruno Midnight Blue Guild eBay Auction

None of which you say is true. Album titles are not
copyrighted. "Midnight Blue" is the name of a new tune... it
is perfectly OK to call a Cd by a title tune. There are many
CDs with the same title. If you had an ear you would know
that there is nothing on my 1st album that even remotely
resembles "Bluesette". The money for the auctiion is going
to a good cause... ALL the proceeds go to musicians who have
hit hard times...
PS I'm glad you don't like my music!!!!

--- In jazz_guitar@y..., kangas@t... wrote:
I'm amazed that this message got by the moderator - a blatant
advertisement. Perhaps I am wrong, but I assumed that part of the
role of the moderator is to filter out spam and commercial messages.

That said, this is one of the reasons that I don't like Jimmy
Bruno -- how can you take a title - "Midnight Blue" which is one
of the all time jazz guitar classics by Kenny Burrell, and blatantly
reuse the name? (Are album titles copyrighted?) I think this is
incredibly disrespectful. If you listen to his first album,
you'll also hear a song that he claimed to write as bearing a
very strong resemblance to Blusette.

I guess I'm really surprised at Concord Records as well who are
probably going to rush to sign up Kenny G., Eminem, and Britney
Spears. I've heard it said that his record company, among others,
pushes the "smoking" image and discourages him from playing
ballads, which in my opinion, he is really quite artful.

I like both Bruno and Metheny at various times. I recently heard
Pat speak for a couple hours, and was amazed by his really honest
commitment to music. I agree his sound is kind of muddy to me.

-Jim


--- In jazz_guitar@y..., concord_records2001@y... wrote:
To celebrate the release of Jimmy Bruno's smokin' new Concord
release Midnight Blue on August 14th you can bid to win a
private lesson with Jimmy in his hometown of Brotherly
Love - Philadelphia!
The Winning Bidder will also receive one guitar courtesy of
Fender Guild: The Guild StarFire 2, thin line archtop, retail
value $1999.99
and one Seymour Duncan pickup! The winner may choose from either
their Seymour Duncan, Antiquity or Benedetto product lines.
Joe Pass record

Rodrigo Gondim
 

Hey people, last week i got a record(LP) by Joe Pass called
"Ira, George and Joe". Joe plays a lot of gershiwn tunes
like but not for me and nice work if you can get it. Do you
know where i can get this record on CD?

Thanx
Rodd
Re: Amsterdam conservatory teachers

Rodrigo Gondim
 

Hey Vitor, i'm a brazilian guitar player and i'm going to
study in brussels next month. I've heard that jazz music in
Belgium and Holland is really nice and high level. I don't
know this guy you mentioned but i'm going to the royal
conservatory and gonna study with Paolo Radoni (someone
knows him?) but i'm planning to take some lessons with a
great sax player from belgium called Steve Houben.

Rodd

-----Mensagem original-----
De: varp@... <varp@...>
Para: jazz_guitar@... <jazz_guitar@...>
Data: Domingo, 19 de Agosto de 2001 09:55
Assunto: [jazz_guitar] Amsterdam conservatory teachers


Hi!!
I'm a Portuguese guitarrist and i'm thinking in going to study at
the Amsterdam Conservatory (Holland). I think the most well
known guitar teacher there is a guy called Jesse Van Ruller.
Does anyone have some informations about this guy? Or the
other teachers of the Amsterdam Conservatory? I have a friend
studing (world music) at the Rotterdam Concervatory, and he
says that the jazz in Amsterdam is in a high level, but he says it's
very tradicional too. The jazz that i like is more modern stuff,
people like Mick Goodrick, Kurt Rosenwinkel (my
favorite guitar player), and other stuff like Julian Arguelles, etc...
I dont know if Amsterdam is the most indicated for me, but
anyway it
is the only high level place that i can afford.
Thanks!!!!

Vitor.
Portugal.
Re: Mike Stern and Mick Goodrick

Ross Ingram
 

Sounds to me Randy like you need to own a 7 string solid
body(answering both enties). I love my archtop to but even
on a big band gig usually use my solid body and put my arch
top on a stand for show. It all depends on your solid body.
I'm sure Pat Martino & Lenny Breu put a lot of thought into
that.I think a fender style with dual humbuckers is
cool.Ibanez makes a 7 sting archtop(Pat Metheny model) but
you can't even custom order a 7 string solid body with a
fixed bridge. I have a schecter 7 string (they're made in
Korea now) and it's wild having that whole set of tones down
there. I think a guitar builder out there needs to come up
with a better body style for solid bodies for jazz players(I
don't worry that much about my 7 string cause I have a belt
sander). I just haven't done it yet. >> Ross

----- Original Message -----
From: Randy Groves
Sent: Sunday, August 19, 2001 5:30 PM
To: jazz_guitar@...
Subject: [jazz_guitar] Mike Stern and Mick Goodrick

On Mike Stern: What is his best work? I bought a cd of
his a while ago, didn't really care for it (don't
remember why--I'll have to listen to it again. Lots of
mention of Mick Goodrick. What is his best? (I tend to
favor acoustic sounding archtops rather than solid
body electric fusion stuff). Randy Groves

=====
J. Randall Groves, Ph.D. ("Rando")
Professor of Humanities
Ferris State University
groves@...
bebopguitar@...
Re: Jimmy Bruno Midnight Blue Guild eBay Auction

Jimmy Bruno
 

-I don't remember putting down Pat Metheny. I have often
said both in print and on the web that I admire his guitar
playing and I especially like most of his compositions...

-- In jazz_guitar@y..., Mark Stanley <bucketfullopuke@y...> wrote:
Well, Mr. Bruno.

I think we all agree that you are a super
player/musician. Myself and a few others here
don't understand why anyone would put down
Pat Metheny. Maybe you can explain why you
dont think he plays jazz. He does cover a lot
of different territory as an artist, but jazz
is one of them and his playing has changed
the evolution of guitar, which is quite an
achievment.
-Mark


--- Jimmy Bruno <jbguit@y...> wrote:
None of which you say is true. Album titles are not
copyrighted. "Midnight Blue" is the name of a new
tune... it is perfectly OK to call a Cd by a title
tune. There are many CDs with the same title. If
you had an ear you would know that there is nothing
on my 1st album that even remotely resembles
"Bluesette". The money for the auctiion is going
to a good cause... ALL the proceeds go to musicians
who have hit hard times...
PS I'm glad you don't like my music!!!!

[SNIP]
Re: New Member Introduction

Ted Vieira
 

Hi Endah,

Welcome to the group! You can't go wrong listening to
the guitarists you've listed. Those are a few of my
favorites as well.

Ted Vieira

--
Listen to my CDs for free:


--
Or visit my website:

Bio Information, Sound Files,
Free Online Guitar Instruction, Books, CDs and more...
Danny Boy

John Horstkamp
 

Hi all,
Anyone know where I can find a nice chord melody
arrangement of Danny Boy?

Thanks,
John
Re: Searching for a Jim Hall Recording

Awseyler@aol.com
 

Right. It is not on CD, as well as other Jim's great CD,
that one with Red Mitchell

I have the following on CD by Jim:

HALL JIM ALL ACROSS THE CITY
HALL JIM BALLAD ESSENTIALS
HALL JIM BY ARRANGEMENT
HALL JIM CIRCLES
HALL JIM COMMITMENT
HALL JIM CONCIERTO
HALL JIM DEDICATIONS AND INSPIRATIONS
HALL JIM DIALOGUES
HALL JIM GRAND SLAM
HALL JIM IT'S NICE TO BE WITH YOU
HALL JIM JAZZ GUITAR
HALL JIM JAZZPAR QUARTET + 4
HALL JIM JIM HALL (GIANTS OF JAZZ)
HALL JIM LIVE
HALL JIM LIVE (PART 2)
HALL JIM LIVE AT TOWN HALL - VOL 1
HALL JIM LIVE AT TOWN HALL - VOL 2
HALL JIM PANORAMA
HALL JIM SOMETHING SPECIAL
HALL JIM STUDIO TRIESTE
HALL JIM SUBSEQUENTLY
HALL JIM TEXTURES
HALL JIM THREE
HALL JIM WHERE WOULD I BE?
HALL JIM YOUKALI
HALL JIM / BROOKMEYER BOB LIVE AT THE NORTH SEA JAZZ FESTIVAL
HALL JIM / CARTER RON ALONE TOGETHER
HALL JIM / MATTHEWS DAVE CONCIERTO DE ARANJUEZ
HALL JIM / METHENY PAT JIM HALL & PAT METHENY
HALL JIM / MITCHELL RED JIM HALL & RED MITCHELL
HALL JIM / RANEY JIMMY / SIMS ZOOT TWO JIMS AND A ZOOT
PETRUCCIANI MICHEL / HALL JIM POWER OF THREE
ROLLINS SONNY / HALL JIM THE BRIDGE
SHEARING GEORGE / HALL JIM FIRST EDITION
BURTON GARY / HALL JIM SIX PACK
CARTER RON / HALL JIM LIVE AT VILLAGE WEST
CARTER RON / HALL JIM TELEPHONE
COLLETTE BUDDY / HAMILTON CHICO / HALL JIM TANGANYIKA
DESMOND PAUL / HALL JIM BOSSA ANTIGUA
DESMOND PAUL / HALL JIM EAST OF THE SUN
DESMOND PAUL / HALL JIM PAUL DESMOND QUARTET
DESMOND PAUL / HALL JIM TAKE TEN
DESMOND PAUL / HALL JIM DESMOND BLUE
DESMOND PAUL / HALL JIM EASY LIVING
DESMOND PAUL / HALL JIM GLAD TO BE UNHAPPY
EVANS BILL / HALL JIM INTERMODULATION
EVANS BILL / HALL JIM INTERPLAY
EVANS BILL / HALL JIM LOOSE BLUES
EVANS BILL / HALL JIM UNDERCURRENT
FARMER ART / HALL JIM BIG BLUES
FARMER ART / HALL JIM LIVE AT THE HALF NOTE
FARMER ART / HALL JIM TO SWEDEN WITH LOVE
GIUFFRE JIMMY / HALL JIM JIMMY GIUFFRE (GIANTS OF JAZZ)
GIUFFRE JIMMY / HALL JIM THE JIMMY GIUFFRE 3
GIUFFRE JIMMY / HALL JIM TRAVLIN' LIGHT

Now, these three:
HALL JIM STUDIO TRIESTE
HALL JIM / RANEY JIMMY / SIMS ZOOT TWO JIMS AND A ZOOT

I converted myself from LP yo CD but they came out GREAT!

Andy
Re: Metheney and Diorio

JohnL
 

Wow........yea metheny does use chorus......!!!!! Actually
he uses two delays set at 15 and 17ms.....each one is set at
a pitch a little above and below the normal guitar sound.
John

"Happyness is a Dream, Maddness is Reality, but you've got a
couple options" - A Wise Man
Re: Innovation, aesthetics. chops and Glass

Natalie Lanoville
 

It's flack. The innovators get flack, the followers
get slack.

Natalie Anne Lanoville
Vancouver, Canada
gnat@...

Message: 3
Date: Sat, 18 Aug 2001 17:30:07 -0700 (PDT)
From: Mark Stanley <bucketfullopuke@...>
Subject: Re: Innovation, aesthetics. chops and Glass

My point about Phillip Glass is that usually
the innovators get a lot of slack, like Monk did
in his day. Hence the phrase "you can tell who the
leader is by the amout of arrows in his butt", a
metaphor for people shooting negative comments his
way, etc. Does that make sense? Maybe I'm saying it
wrong.
-M
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