Check out a podcast called the body Electric. It features mostly Toronto-based guitarists, but is expanding to include players of other instruments as well.
Chris
---------------------------------------- "There are two means of refuge from the miseries of life: music and cats." - Albert Schweitzer
Nice to hear from you! Maybe the guy you're referring to is Brian Kelly? Brian knows Seymour Duncan & if memory serves he had an L-4, too. If you're looking for a neck-mounted p/u I recommend you look at units from Jason Lollar & Kent Armstrong. Jason Lollar is the "yoda" of pickups; I have one of his Charlie Christian models on my main Telecaster & that guitar can do just about anything. Kent Armstrong is no slouch, either; I have one of his neck-mounted p/us on my Epiphone Howard Roberts & that guitar has an amazing "jazz box" sound.
Congrats & good luck with the new guitar...
Cheers,
JV
Juan Vega
In a message dated 7/26/2018 10:04:47 AM Pacific Standard Time, jazz_guitar@... writes:
Hello everyone, been quite an ordeal to get signed in here this time around. Hello to Juan and John Amato if he is still active here.
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I got a used archtop from the folks at Heritage Via Wolfe Guitars in Fla. There are issues with the floater. I've been talking with Mike at Herritage [ fine bunch of people as far as I can tell.
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They suggested I try to bend the floater's mount and it came loose.... with very minimal prodding by me. I could see there was no room to move with the pick gard in place. This in it's self isn't a big issue. I am thinking about replacing that pickup anyway. For now it would be a neck mount. The guitar was built to satisfy someone who wanted a Johnny Smith model. According to the hype they came as close as they could with out infringing on somebody's turf according to the story. I wanted that particular guitar because of the 1.75 n ut and the 25 inch scale. I really liked that idea and had never played on till mine arrived. So that's why I want to ask you guys about pickups. I remember someone [ but sadly not their name ] who often spoke highly of Seymour Duncan pickups. I remember he had an L4 at the time I was hanging around here. I'd like to find out which pickup he was talking about. It would be pretty easy to hang a full sized humbucker there. I lean toward the darker sound of a top mounted humbucker, but Mike and some of the folks at Heritage are not big fans of that idea. I think..... the top is braced with two parallel braces which would not be compromised by putting one there. But if I can find the right neck mount p.u. I could spend more time playing then woodworking. That would be ok too.?
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Does anyone remember the Seymour Duncan pickup L4 owner was so in favor of? Again I apologize.
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p.s. I' m still not a jazzer and still can't compose a brief post.
Hello everyone, been quite an ordeal to get signed in here this time around. Hello to Juan and John Amato if he is still active here.
I got a used archtop from the folks at Heritage Via Wolfe Guitars in Fla. There are issues with the floater. I've been talking with Mike at Herritage [ fine bunch of people as far as I can tell.
They suggested I try to bend the floater's mount and it came loose.... with very minimal prodding by me. I could see there was no room to move with the pick gard in place. This in it's self isn't a big issue. I am thinking about replacing that pickup anyway. For now it would be a neck mount. The guitar was built to satisfy someone who wanted a Johnny Smith model. According to the hype they came as close as they could with out infringing on somebody's turf according to the story. I wanted that particular guitar because of the 1.75 nut and the 25 inch scale. I really liked that idea and had never played on till mine arrived. So that's why I want to ask you guys about pickups. I remember someone [ but sadly not their name ] who often spoke highly of Seymour Duncan pickups. I remember he had an L4 at the time I was hanging around here. I'd like to find out which pickup he was talking about. It would be pretty easy to hang a full sized humbucker there. I lean toward the darker sound of a top mounted humbucker, but Mike and some of the folks at Heritage are not big fans of that idea. I think..... the top is braced with two parallel braces which would not be compromised by putting one there. But if I can find the right neck mount p.u. I could spend more time playing then woodworking. That would be ok too.?
Does anyone remember the Seymour Duncan pickup L4 owner was so in favor of? Again I apologize.
p.s. I'm still not a jazzer and still can't compose a brief post.
Hi.? Have you tried this e-mail address for Doc Dosco.
On Thursday, June 21, 2018, 2:56:08 PM PDT, goosenberg@... [jazz_guitar] wrote:
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Sorry to use the list for this, but I'm trying to reach Doc Dosco. Doc - Would you please drop me a line at goosenberg@...? I have a question about a Peerless that you have for sale. Thanks.
Sorry to use the list for this, but I'm trying to reach Doc Dosco. Doc - Would you please drop me a line at goosenberg@...? I have a question about a Peerless that you have for sale. Thanks.
I love this method... thanks for this. My rules for improv is that the improv should remind u of the head (at least a little bit) and this method would empahsize that.
GIG: Petaluma, CA: Chuck Sher's North Bay All-Stars, April 24
A few years ago I was contacted by someone (a tv producer or something here in L.A.) who had built an outdoor amphitheater in the back of his house and was looking to put on music and other types of artistic events. In the course of our conversation he told me, "of course, there's no budget to pay the performers, but you'll be performing in front of all sorts of industry heavy hitters and it'll be terrific exposure". It took just about all the self-control I had not to tell him, "hey motherf**ker, you built a f**king amphitheater in back of your house and you're telling me you aren't willing to pay performers? Are you out of your f**king mind????" Instead I politely told him I didn't work for free and/if he was able to come up with a reasonable amount of compensation I'd consider performing at his venue; never heard from him again...
Of course, musicians often undercut themselves, and professional players are also undercut by hobbyists/amateurs willing to play for tips/food/drinks (which don't really come out of the venue owner's bottom line) just for what I call the "boner" of playing live. It's part of what you have to deal with if you're trying to make it as a player. In my part of town there's a pretty good trumpet player who plays at one of the places where I have a standing gig as well. He's a good player & all but he's also an optometrist who has his own business, so it doesn't really matter whether he makes money or not (not all of the sidemen he hires are pros, either). Oh well...
Cheers,
JV
Juan Vega
Top 10 Comebacks When a Bar Owner Asks You to Play for Free - Guitar World
Top 10 Comebacks When a Bar Owner Asks You to Play for Free
"Sure, I¡¯ll play for free, but you also have to give away all your drinks and food to the customers while I perform. You know, for the exposure. We can put each other on the map!"
You¡¯ve practiced your ass off. You¡¯ve prepared a live show you¡¯re proud of.?Now you¡¯re facing a bar owner who has the audacity to suggest that you perform at his venue for free.?To this, we offer these 10 comebacks:
1. Sure, I¡¯ll play for free, but you also have to give away all your drinks and food to the customers while I perform. You know, for the exposure. We can put each other on the map!
2. Didn¡¯t your mother ever tell you that you can die from exposure?
3. No. Let me pay you. For giving me my future!
4. Yes! That¡¯s exactly what I¡¯m looking for¡ªexposure at a bar called Gary¡¯s Wet-n-Whistle in Peoria, Illinois. Look out, Grammys! Here comes me!
5. Sure! I always wanted to whip out my private parts during my shows. That¡¯s what you mean by exposure, right?
6. Thanks for this opportunity! I always save my most adventurous concerts for ¡°exposure¡± gigs. We¡¯re planning on a three-hour rendition of Make sure you have an experienced sound man and a lot of mics.
7. I¡¯ve always wanted my live album to encompass the awesome acoustics and vibe of your bar, the Ass Shanty. I¡¯ll bring the mobile recording unit with me. I can see it now¡ªLive at the Ass Shanty!
8. Yes, this dive is most definitely Stone Pony-esque. Should I sign your wife¡¯s boobs now? Or do we wait? Your call.
9. I tell you what¡ªwhy don¡¯t you cater a party at my house for free?
10. No!
Got a great comeback of your own? Post it in the comments below or on Facebook. Special thanks to fellow guitarist Dave Finkel for help with this column.
Shane Speal is "King of the Cigar Box Guitar" and the creator of the modern cigar box guitar movement. Hear the music, see the instruments and read about his Cigar Box Guitar Museum at . Speal's latest album, is on C. B. Gitty Records.
Thanks for making the effort to post this, Juan. Great approach. I like the one note and then one scale over the entire tune idea. It's a great way to look at soloing in a different way, starting simple.
Chris Smart
Scott Dercks
james mings
