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--- rayray <rayray@...> wrote:

Bruno is a great guitarist, but he's a bit "old

school" and almost
sounds like he's working too hard when he plays up
tempo tunes. It's as
if he hasn't made that quantum leap to the
"effortless" sounding chops

Ray,

Question: Have you heard enough of Bruno, maybe traced
his recording history, to make that statement? Jimmy
burns with musicality and tone ... I would disagree,
but it's subjective -- and before I engage in trying
to prove that point ... there is no pont in making the
argument ...because it's opinion and subjectivty
according to individual definitions of "tone" and
"musicality" --

--- as far as the young players, I haven't heard any
"genuine" sound that is not coming from either a bank
of processors, pedals, synths, etc... (and I listen to
all the new young dudes coming up)

...and, I guess if you want to peg us guys as "old
school," that is OK ... I'm cool with that ... old
school, new school ... it all came from the same
source...and comes from the heart when it's ON...

best wishes....

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



__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005

For me, very useful was my teacher getting me to sing what I was improvising. It forces you to choose notes wisely, slow down, stop for a breath, etc. If you're like me though, very self-conscious about playing not to mention any vocal noises, it felt like torture at the time!

Chris

Hello everybody!

I'm playing jazz-guitar since few years, and I learned a lot of chords
and scales, and all kind of theory (I just begun the fourth year in a
jazz guitar school). I have a little combo and we use to play in small
jazz-cafes (unfortunately not too often:(..., but anyway, my biggest
problem now is the right time (I think this is the right term for it),
to have that strong jazz feel.

So make it shorter could you give me some tips hove to improve my time?

Thanx a lot
Attila (Hungary)

At 01:10 PM 9/26/2005, you wrote:

The first chart I learned was "How High The Moon" :-)

Which I just learned, followed immediately by "Ornathology", since the changes are the same.

Not to mention how easy it is to think that hey, this next book or video I buy will make me great overnight!
There is, unfortunately, no shortcut.
Chris

Agreed! Unless Michael Moore also plays a mean guitar on Donna Lee ... :) Hmm, on guitar, would he have a rather fat yet oddly winy tone I wonder?
He certainly would have to play a 100% made-in-America guitar and amp!

John Amato wrote:

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 ... time
spent with fretborad under fingers -- lots of days and
nighst of friction making music ...

Bruno is a great guitarist, but he's a bit "old school" and almost sounds like he's working too hard when he plays up tempo tunes. It's as if he hasn't made that quantum leap to the "effortless" sounding chops that you hear in a player like Pat Martino (not that many players achieve such heights!). Jonathan Kreisberg is a young player with plenty of tone and chops. There are the chosen few who just "get it" at a young age in regards to solving the technical issues of playing the guitar. The ability to build great chops was easy for them, and they were able to move right on to the music.

FYI - I'm not one of the chosen few! :(

Ray

I found some more books that contain chord melodies. The problem if seen as one is that they are all done in tab. You could copy them in finale or any other notation software and you could have them. One book has 24 standards, some beetles stuff and many christmas CHM's. I can't post to the file archive because I am behind a firewall that thinks the archive is a pornographic site, I hate this.

Joseph Ramirez

At 01:58 AM 9/26/2005, you wrote:

Hi Gang,

Wow all of this economic talk...I for one am not an expert in those lofty areas, but I do know something interesting...Alan Greenspan was a professional jazz sax player! He gave it up when he realized that he was pretty good but not great, BTW, he was also the guy in the band in charge of the finances!

Wow, interesting! I wonder if they ever played for free? :)

Hi folks, recently I downloaded the Galbraith book, and as usual it was another cool thing recommended by this group. I'm working on my notation skills, so it came at a good time.
I only have one question: I'm doing Round Midnight, and can't figure out what the little numbers, circled and otherwise, represent.
No doubt the answer will make me feel really obtuse, but fortunately I'm used to that.
Thanks,
Chris

--- In jazz_guitar@..., "DAVID RUDICK" <sribeme@m...> wrote:

"......Every player has their favorites of course. And playing a nice steel string is just a

gas...."

I'm with ya on that one!

Hail JGYG brethern,
In response to the best wes recordings question I find my favorite wes is
the stuff with Mel Rhyne on organ or that feature one or both of his brothers
(Buddy and Monk)
There was a vinyl album called the small group recordings of wes montgomery.
I dont think it is on cd yet.
some great ones are:
Groove Brothers
The Boss guitar of wes montgomery
The altenative Wes montgomery
Movin Wes
The incredible guitar of Wes Montgomery
any of the harold Land recordings on riverside
I found that as career progressed he got more into the commercial
thing....Creed Taylor stuff. Jeesh doing Beatles tunes. But Grant Green did the same
thing. I once heard Kenny Burell say in a clinic that HE was the best jazz
guitarist in the world....still scratchin my head over that one
Regards
John Earl

Not (yet) owning an archtop or other more traditional jazz guitar
instrument, I play a bit of jazz (and other stuff) on my Lowden
handmade Irish acoustic guitar (actually, mine is Japan made as George
Lowden moved production to Japan for a few years to keep up with
demand), and love the sound. The Lowden is a somewhat large bodied
guitar that has such a wonderful, balanced, bell-like tone. It is
fitted with a LR Baggs I-beam pickup so is pluggable, but I generally
play it unplugged for sheer pleasure.

Presently, I yearn for a nice flat-wound fitted archtop to amuse myself
learning and playing more jazz. Really a lifelong goal and one can
always learn so much more and grow. I was particularly moved and
motivated when I recently saw a TV special featuring Les Paul playing
jazz in a small NYC club, aged 90 and with what looked like pretty bad
arthritis in his hands, yet smiling ear to ear and enjoying himself
tremendously. What a role model for all of us ageing guitarists!

Now if only one day I can play "Sweet Lorraine" or "All the things you
are" 1/10th as good as Joe Pass did, I can die satisfied!

--- In jazz_guitar@..., "DAVID RUDICK" <sribeme@m...> wrote:

I love playing jazz on acoustic instruments. ...
Every player has their favorites of course. And playing a nice steel

string is just a gas.

Much better than my reply of "...universe."

Oh, and a belated thanks to the gentleman who made
available the Galbraith book.

Back to the shed.

Micah

Thanks Brad, and all the others who've chimed in on this query. I love
the look and feel of a nice archtop, the fact that it can be played
acoustically with reasonable results, and would like it if it could
prove somewhat more versatile as I like to play different styles and
would prefer not having to (not yet anyway) acquire a second electric.
I may still do that, as a good ES-335 copy is a very versatile guitar
as some have noted.
Anyway, I've looked at a very nice (mint really) Yamaha archtop locally
but feel the owner was asking too much for it. I'll next be looking at
an Ibanez archtop (FG-100) which may be more reasonably priced. If
that doesn't pan out then I'll look for a good 335 copy, probably
Ibanez.
Cheers, all!

--- In jazz_guitar@..., guitar48@c... wrote:

I have a question: can an archtop guitar meant for jazz playing,

instead of being fitted with med-heavy jazz guages, be fitted with
lighter guages that would allow playing other styles (fusion, blues,
etc.) with reasonable success? <
It will probably lose some of its acoustic properties and have

intonation problems if you use an unwound third. Easily fixed with an
adjustable (i.e. tune-a-matic type) bridge. Otherwise it might need a
trip to a luthier for a complete setup, probably $100 or so unless it
needs a new bridge, then it would be more. Electrically should sound
okay, but may have to play with the pole for the third string for
balance, may not.

Brad

at berklee they taught one to pick bass lines with pick and do other strings
with fingers. but sometimes I slide the pick between the 3rd and 4th finger.
I use the dunlop jazz III picks and as they are small i used to put them in
my mouth. That is until I almost asphixiated myself on a gig when i inhaled
the pick
I also like to put a bunch of bite marks on a new pick. it offers some
traction and I am better able to hold onto it
John Earl

Hi Max,

Besides what you've listed I really like (in no particular order):

Smokin' at the Half Note with the Wynton Kelly Trio
Far Wes
Groove Yard (The Montgomery Brothers)
So Much Guitar - has one of his best recorded jazz guitar tone IMO.

John

In a message dated 9/27/2005 10:28:20 AM Eastern Daylight Time,
david_woods@... writes:

I don't know about the presidential guitar folks, and I PROMISE that I won't
stoop to politics in this post, and soil the pristine intent of our forum.
However, I'm working on an idea for the presidential toilet seat. It has an
autographed portrait of George Bush on the underside of the lid, and a
caption that says "flush every 30 days.



Or we can flush ANY President every 4 years. We just didn't do it the last
(few) times.........

Rick
Cape Cod

In a message dated 9/25/2005 6:09:12 AM Central Standard Time,
_jazzism50@... (mailto:jazzism50@...) writes:
To John Amato:
thank you so much for the Galbraith book. I guess I know what I'll be studying this winter.
John Earl