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It was most helpful. I will be "testing" 'em out at my local quality
acoustic dealer - McCabes in Santa Monica. I will post my results when
I pull the trigger so to speak.

Jon

I don`t know about the fretboard radius but can tell you about the
electrics. I believe that the original models had a 5 meg vol control.
This means that the vol control would have placed virtually no load on
the pickup but also would not have had such a good, even sweep as a
modern one. However, in the quest for re creating the orignal tone
there is an argument for removing all controls from the guitar and
feeding the "CC" pickup straight to the jack socket and doing all the
vol controling at the amp.

Also, original tube amps of that period would have presented a huge
input inpedance meaning that - again - there was very little load on
the pickup. Low load equals better response.

I suspect that the reason for the 5 meg vol control was simply that
these were readily available radio spare parts of the day. As was the
original choice for the Strat selector switch.

Will

I've never had a chance to see a real gibson ES-150. Anyone know

what

the fretboard radius of this guitar when Charlie Christian would have
played one? I guess they always describe pre-war 150's and post-war
150's. How much did they change?

--- Sean Williams <scanz777@...> wrote:

Jim Hall's early influences with Sonny Rollins, Paul
Desmond, Red Mitchell, Art Farmer, George Shearing,
just to name a few would suggest he is more fashioned
in the stylings of jazz that I would say borders with,
mixes company with, and touches iinterlocking circles
with the hard boppers .. yes, I would agree...

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

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



__________________________________
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In a message dated 9/27/2005 8:29:38 PM Eastern Daylight Time,
jamato316@... writes:


Ray,

this may sound over simplistic, but what I have fond
to be very effective is this: when you are not playing
with a drummer or another musician where time is et
down -- use a Metronome -- yes, whenever you play,
pratice, etc. whereno other musician is playing ...
use a Metronome ..

...my timing usially went off the wall whevever I was
not playing with a band until I established the
metronomme rule w/myself ... after 37 years I still
use it ... yes, the same metronome is about 35 years
old ... the one that has the silencer on the back
where you get a blinking light if you are recording
and don't want the clicking sound ...

...it's indispensable for me....

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






Wow, that reminds me of the old, plastic, windup Seth Thomas I STILL have
(but don't use much anymore). No little blinking light on THAT one! LOL

Rick
Cape cod

I am sorry, but what is the definition of "Archtop"? I do not think a ES-335 is an archtop. I have an Ibanez Artist (the scofield es-335 type) semi-hollow body. I certainly do not consider it an archtop. I have a D'Aquisto from Steve Stern (Fender) and I DO consider that an archtop. Granted the top on the Ibanez is arched, however, the top is not hand carved spruce and the bracing is totally different. I think an archtop has to MOVE when it is played to be defined as an archtop. A semi hollowbody top does not MOVE when you play it.

Just wondering what a true definition is.
Thanks,
Andy

--- In jazz_guitar@..., "Max Wurr" <mail@m...> wrote:

Hi All

Just finished reading Adrian Ingham's biog of Wes. I own very little
of Wes's stuff and wondered which recordings I should get first. So
far, I have Bumpin' (love Tear It Down on that one), the Verve Masters
compilation and a recent repackaged issue of his early stuff with
Hamp's band. I have ordered The Incredible Jazz Guitar from Amazon,
but what else should I get to ensure I've heard the best of his stuff?

Cheers

Max

For my money the best are the Incredible Jazz Guitar, Boss Guitar and
one album of him with his brothers.

--- Jeff Shirkey <jcshirke@...> wrote:

On Sep 27, 2005, at 2:26 PM, John Amato wrote:

I hear so much about these picks I went out and

bought

two .

Which kind did you get? I would want ones that are
nearly identical

...

Yes, they're called Gypsy Jazz picks -- 2.5mm ... an
excellent pick ...

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



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--- Jeff Shirkey <jcshirke@...> wrote:

On Sep 27, 2005, at 2:26 PM, John Amato wrote:

I hear so much about these picks I went out and

bought

two .

Which kind did you get? I would want ones that are
nearly identical
in size and shape to the Dunlop Jazz IIIs. I know he
takes custom
orders, but is there a standard pick he makes that
fits the bill?

Thanks,

Jeff

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

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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

__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around

I do almost all of my playing on a flat-top. It was a Gurian S3R until, upon finishing my education and making my first decent money, I treated myself. At that time I was into acoustic swing, fingerpicked ragtime and fingerpicked blues. I tried a whole bunch of guitars, from many makers and ended up with a Martin M-38. It's still the guitar I use most of the time. It's getting near to it's second refret.

I also have an old Epi acoustic arch-top, a 'Blackstone,-no cutaway, no electrics. This guitar looks great but it seems to have no sustain and is therefore good for rythmn only--or at least I think so.

Al

Chris said >can't figure out what the little numbers, circled and
otherwise, represent.<
Numbers in circles represent the string on which a note is to be played,
without circle indicate which LH finger to use. If there are letters
they are for the Right Hand (from the Spanish)
P=pulgar=thumb
I=indice=index
M=medio=middle
A=anular= ring, and sometimes
C=chiquito=pinky
Brad

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9/27/2005

John Amato wrote:

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" --

I don't mean to demean Bruno in any way, he is a great guitarist. And
tone and/or musicality is completely subjective. But I just don't have
the impression that Bruno could hang with someone like Robert Conti
without sounding strained. That completely effortless sound at fast
tempos. Clint Strong also comes to mind, a long time favorite of mine.
I don't question Bruno's musicality in anyway, I'm just the type that is
always searching for something more.

--- 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)

I don't know if you've checked out Kreisberg in particular, but his last
three albums are sans effects. I generally lean toward players that
don't use effects (Although Monder and Rosenwinkel are two exceptions!).

...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...

I won't deny that, it's gotta come from the heart. But I do like what
the younger guys are doing rhythmically and harmonically. I just feel
as though a breakthrough has been made from more traditional
"guitaristic" approaches to playing the guitar.

Ray

Has anyone had a chance to try the new Fender Jazz King amp? What were
your impressions of it?
Thanks in advance,
George

Full House, Smokin at the half note and every others group that he is
playin on.
You should be forewarned--this music will blow your mind. Have fun . Ken

On Sep 27, 2005, at 2:26 PM, John Amato wrote:

I hear so much about these picks I went out and bought
two .

Which kind did you get? I would want ones that are nearly identical in size and shape to the Dunlop Jazz IIIs. I know he takes custom orders, but is there a standard pick he makes that fits the bill?

Thanks,

Jeff

I hear so much about these picks I went out and bought
two ...whew, $25 for 2 -- I thought I broke a window
or something, was ready to ask the guy if I get hat or
t-shirt with them ....

..anyway, took them home and played them on my archtop
-- I have to honestly say they are worth the money - -
they are supposed to last a lifetime (yeah, right, if
you don't lose them ...)

...the response is great -- they bounce back off the
strings and the sound they produce is warm yet bringt
(hard to explain..) ... best sound the guitar has made
so far with the Dunlaps I was using (1.5mm, 2mm,
2.5mm) ...

,,the edge is belved so ther is no shard points ...
and it's groved in such a way as to almost stick to
your thumb .. it's a pick that is super ergonomic ...

...only had it a few hours and it is really starting
to grow on me ... I think I am going to enjoy this
pick for the sund it is getting out of the guitar ///
like getting a new guitar &#92;&#92;&#92;&#92;

..now, if only I could stop losing them ...

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



__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005

The revelation to some members that that there is Barry Galbraith book
in the archives, underlies that many members have not visited our file
archives.

There is over 100mb of material stored there, all contributed by members.

If you haven't done so, why not visit it, you need to login using a
separate login id from Yahoo, which is easy to create, and it's free.

We created a login so that you can easily upload files to the area to
share with other members. All your contributions will be greatly
appreciated by other members. Think download two files upload one file
etc.



In particular check out Bill Leavitt's Chord melodies, Howard Roberts
Super Chops, Michael Morganelli's Quick Reference for Jazz Theory,
Rosenwinkel's Improvisation Exercises.mp3 etc...

Alisdair MacRae Birch
Guitarist/Bassist/Educator/Arranger

I say just spring for the Complete Riverside Recordings. That's more than enough to keep you busy for quite a while. Add Smokin' at the Half Note and Full House and you're set.

Jeff

bozobreak wrote:

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?

I heard recordings of a couple of private lessons a guy took with Pat Metheny, and this issue was one of the main points Pat was trying to get across. His suggestion was to take any opportunity to play, and play with musicians who are stronger that you (especially drum and bass players). Pat said that he felt very fortunate to have been able to play as much as he did with great players when he was young. If good time is a problem and opportunities for gigs are scarce, then use a metronome or play with recordings of great players. The driving force behind great time will create the momentum you need to improvise freely. He remarked that a guy like Michael Brecker has such a great sense of time that it almost doesn't matter what the notes are, the momentum he creates is like a truck rolling down a steep grade. It's unstoppable!

Ray