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Did Wes Montgomery alternate up and down strokes with the thumb,or did
he down stroke only;and what are the names of the albums he recorded in
the late 50's,first with Harold Land then Pony Poindexter?




Thank you.

Jimmy Harris

Any one have a transcription to les pauls how high the moon

Hello - Just joined & wanted to introduce myself.
Been playing folk, bluegrass, pop, & blues acoustic guitar for 30
years. Have always listened to jazz, love be-bop, but frankly never
really loved the sound of traditional jazz guitar.
However, digging further into the blues, I'd like to add subtle changes
to "jazz-up" typical 12 bar chording & broaden my range of songs. (I
particularly love the old Piedmont fingerstyle of blues as played by
(Arthur) Blind Blake.) So I'm easing into diminished chords, etc.
Will scan the old postings for tabs, interesting tips, etc, then
perhaps chime in again. Looking forward to sharing & learning!
Best to all, Jeb

Hi there,

For those of you that are interested. You can visit my homepage at:



Greetings from Holland,

Dick

Hi all!

As promised, another transcription has been added to the ever-growing collection of music available at !!? Check out Wes Montgomery’s blazing solo over the jazz classic “Summertime”.? Wow…his octave solo is incredible!!? Don’t forget to utilize the Transcription MIDI and the Jam Track for practicing.

Coming Attractions?

1.??????Joe Pass’ solo over “Blue Bossa”

2.??????Kenny Burrell’s solo over “Call it Stormy Monday”

3.??????Jim Hall’s solo over “St. Thomas”

????????
THANKS again to all those who continue to write me with words of encouragement! Please take the time to sign my GUESTBOOK while you’re visiting!

--brent

Stafano wrote:

a combination of
high quality music
and good gastronomy

Mmmmm, my two favorite things....

I write you as Press Office of DINNERJAZZ.
It's a festival dedicated to the jazz music, which takes place in
Orvieto
(Italy) in the month of December. This year, as you can see through the
internet site www.orvienet.it/dinnerjazz it was the second edition.
We have invited the best italian jazz musicians to play in the two
weeks of
the festival.

This festival jazz has two important meanings:
- it's an anticipation of the famous (you surely know) Umbria Jazz
Winter
(www.umbriajazz.com) and it takes place in the month of december, just
two
weeks before Umbria Jazz.
- it's a novelty, 'cause it developes as a combination of high quality
music
and good gastronomy.

From this year on, we have decided to improve, to strengthen this
festival,
realizing about 30/40 concerts. We would like to start this festival
from
October to December. For this reason, we want immediately to study the
right
formula, contacting the jazz musicians of the world, famous and
beginners,
to make an accurate choise of the bands to invite.

We are contacting the jazz bands (through their e mail) and
organizations, associations, on line jazz magazines, radio, to explain
to them something about this festival and to receive some materials
about the jazz artists in all the world who could partecipate to our
festival.

We ask you to send us:
- CD or TAPES
- A BIOGRAPHY of the artists who compose the bands (which instruments
they
play, where they played and in which occasions, if they have
collaborated with
famous musicians...)
- A PHOTO of the band.

You can send this material to:

"Redazione La Città", Ufficio Stampa Dinnerjazz
Via Velino, 6 - 05018 Orvieto
Terni - Italy


Best regards

Stefano Corradino

I write you as Press Office of DINNERJAZZ.
It's a festival dedicated to the jazz music, which takes place in Orvieto
(Italy) in the month of December. This year, as you can see through the
internet site www.orvienet.it/dinnerjazz it was the second edition.
We have invited the best italian jazz musicians to play in the two weeks of
the festival.

This festival jazz has two important meanings:
- it's an anticipation of the famous (you surely know) Umbria Jazz Winter
(www.umbriajazz.com) and it takes place in the month of december, just two
weeks before Umbria Jazz.
- it's a novelty, 'cause it developes as a combination of high quality music
and good gastronomy.

From this year on, we have decided to improve, to strengthen this festival,
realizing about 30/40 concerts. We would like to start this festival from
October to December. For this reason, we want immediately to study the right
formula, contacting the jazz musicians of the world, famous and beginners,
to make an accurate choise of the bands to invite.

We are contacting the jazz bands (through their e mail) and organizations,
associations, on line jazz magazines, radio, to explain to them something
about this festival and to receive some materials about the jazz artists in
all the world who could partecipate to our festival.

We ask you to send us:
- CD or TAPES
- A BIOGRAPHY of the artists who compose the bands (which instruments they
play, where they played and in which occasions, if they have collaborated
with
famous musicians...)
- A PHOTO of the band.

You can send this material to:

"Redazione La Citt", Ufficio Stampa Dinnerjazz
Via Velino, 6 - 05018 Orvieto
Terni - Italy


Best regards

Stefano Corradino

Brent Stuntzner wrote:

Zube,

I've been working on some transcriptions lately and I've got a question.
Lets say you're transcribing a solo based on B flat blues changes

What would you use for a key signature?

B flat major would match up the accidentals with the actual intervals used
(ie A flat 7 would be notated with a flat, and so on).
B flat Mixolydian would be the most "correct" harmonically.
B flat minor would have the least amount of #s and flats in the transcription.
or just do everything in C major

Is there a (at least somewhat) standard convention for transcriptions?

I assume we're talking about a blues progression with a Bb dominant 7th
right (rather than a maj. or min. 7th)? The convention I've always seen,
and the convention I use myself, is to use Bb Maj, even though you're
having to flat the seventh all of the time. I agree that Bb Mix (Eb Maj)
would be the easiest to read, but I think it tends to impress a different
tonality. Since the chords in a blues progression aren't entirely
diatonic, I see the key signature as somewhat unnecessary except to
indicate the root note.

Hope that helps! Feel free to check out my website of transcriptions to
help in answering other similar questions...it may be helpful that way. :-)

--brent

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PLEASE remove me - fareed haque -from this list

Williams, Mike wrote:

Zube,

I've been working on some transcriptions lately and I've got a question.
Lets say you're transcribing a solo based on B flat blues changes

What would you use for a key signature?

B flat major would match up the accidentals with the actual intervals used
(ie A flat 7 would be notated with a flat, and so on).
B flat Mixolydian would be the most "correct" harmonically.
B flat minor would have the least amount of #s and flats in the transcription.
or just do everything in C major

Is there a (at least somewhat) standard convention for transcriptions?

I assume we're talking about a blues progression with a Bb dominant 7th right (rather than a maj. or min. 7th)? The convention I've always seen, and the convention I use myself, is to use Bb Maj, even though you're having to flat the seventh all of the time. I agree that Bb Mix (Eb Maj) would be the easiest to read, but I think it tends to impress a different tonality. Since the chords in a blues progression aren't entirely diatonic, I see the key signature as somewhat unnecessary except to indicate the root note.

Hope that helps! Feel free to check out my website of transcriptions to help in answering other similar questions...it may be helpful that way. :-)

--brent

Hi,

I'm the transcriptionist for 'Just Jazz Guitar' magazine. Ville is
correct about what he said below about a Blues in Bb being written with 2
flats.

Cheers,

Shane Simpson
--


----------

As far as I know jazz music doesn't have any specific standard for music notation of its own. Jazz notation keeps mainly to standard notation, although it is freely interpreted as jazz music in general. So, I'd write the B flat blues in the key of B flat major (with two flats).
- Ville.

From: jrz <zube@...>
Reply-To: jazzguitar@...
To: jazzguitar@...
Subject: [jazzguitar] transcription Question
Date: Mon, 17 Jan 2000 09:12:56 -0600


Hey all, just signed on to this list...

I've been working on some transcriptions lately and I've got a question.
Lets say you're transcribing a solo based on B flat blues changes

What would you use for a key signature?

B flat major would match up the accidentals with the actual intervals used
(ie A flat 7 would be notated with a flat, and so on).
B flat Mixolydian would be the most "correct" harmonically.
B flat minor would have the least amount of #s and flats in the transcription.
or just do everything in C major

Is there a (at least somewhat) standard convention for transcriptions?

zube

I liked the can...I could re-use it later...as a can - Chester


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______________________________________________________

Has anyone out there got the Paul Desmond Quartet live at Bourbon street
album - with Ed Bickert on gtr?

Will buy / swap / borrow & supply beer or similar....

Any help appreciated!

Ken

Hey all, just signed on to this list...

I've been working on some transcriptions lately and I've got a question.
Lets say you're transcribing a solo based on B flat blues changes

What would you use for a key signature?

B flat major would match up the accidentals with the actual intervals used
(ie A flat 7 would be notated with a flat, and so on).
B flat Mixolydian would be the most "correct" harmonically.
B flat minor would have the least amount of #s and flats in the transcription.
or just do everything in C major

Is there a (at least somewhat) standard convention for transcriptions?

zube

I liked the can...I could re-use it later...as a can - Chester

Greetings from the UK!

I just signed on to this list so I hope this message works OK! I'm fairly
new to jazz playing - after many years playing bluegrass, folk & blues, I
took the plunge last year and started taking jazz lessons (mainly swing &
gypsy styles) - what an amazing (and difficult!) world I've discovered!

To the person wanting to play big band swing on his solidbody, don't give up
on it just yet - your neck humbucker should be able to provide most of the
tones you need (with the help of some careful EQing at the amp). I don't
know what strings you're using, but you could try using heavier guages (.12s
or .11s with a wound G), or try using flatwounds (as someone else
suggested). Finally, you should probably raise the action, too. Most
solidbodies come set up for lead work far up the neck and will buzz like
crazy once you start chunking out those fat chords...

As far as using the Strat is concerned, well, I can't help you there! ;-)

Hope this helps,

Mike
London, UK

Have you tried fat-gauge flat wound strings? - Ville.

From: OracleElf@...
Reply-To: jazzguitar@...
To: jazzguitar@...
Subject: [jazzguitar] Jazz Tone
Date: Fri, 14 Jan 2000 22:25:12 EST


Hey everyone! I just got into Jazz guitar about 6 months ago (have been
playing for 2 years) and I REALLY love it, but am having a few "hardware"
problems.

I'm using solidbody guitars... A Carvin SC90 (like the Les Paul) and a
Fender Strat. Now, I really like this setup into my Fender Twin Reverb, but
when it comes to traditional big band Jazz swing (Basie, Ellington) they
aren't doing very well for the fat, flappy Jazz guitar tone that
semi-hollow's get. I don't really know what to do... I'm tempted to put a
pickup in my acoustic guitar because it's tone is good like that.. What is
everyone else's view? Thanks for ALL your help!!

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Jim Sullivan wrote:

The secret of tone on a solid body guitar is in the strings. The heavier the
string guage is the fater the the sound and that fat sound is what the
difference is. Most guiitarist's today use 008 to 0010 sets. my string guage
0012, 0015, 0019, 0032, 0046, 0058, this gives me a great tone for jazz and
I can still use this setup for blues and rock. I also use a very low action
so I casn still do all the tricks that modern guitar playing demands. I use
a Patrick Eggle Legend guitar and a Mesa MK4 Amp this covers all the sounds
I need, even country. Big Jim Sullivan

----- Original Message -----
From: Brent Stuntzner <stuntzner@...>
To: <jazzguitar@...>
Sent: Saturday, January 15, 2000 4:19 PM
Subject: [jazzguitar] Re: Jazz Tone

I'm using solidbody guitars... A Carvin SC90 (like the Les Paul) and

a

Fender Strat. Now, I really like this setup into my Fender Twin

Reverb, but

when it comes to traditional big band Jazz swing (Basie, Ellington)

they

aren't doing very well for the fat, flappy Jazz guitar tone that
semi-hollow's get. I don't really know what to do... I'm tempted to

put a

pickup in my acoustic guitar because it's tone is good like that..

What is

everyone else's view? Thanks for ALL your help!!

It occurs to me that I saw a video of a Sonny Rollins performance recently
(the performance taking place sometime in the 70's) and that his guitar
player (a young Asian-American) was playing a Les Paul and was getting a
nice jazz tone out of it. Maybe someone else might know his name and his
setup?

--brent


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Hi Jim,

I remember you from the Tom Jones Show, you were a major inspiration
to me back then. I'm glad to see your still out there. You always
sounded so great.

John Link

Attaboy Big Jim!!

I agree that solid body guitars can get a good jazz tone. Eldon Shamblin
played a Stratocaster for years with the Texas Playboys and got a really
nice swing/jazz sound. I had a Telecaster with a Gibson humbucker on the
neck pickup and it could produce a really nice jazz tone when played through
a Fender Twin with no speakers and a 15" Fender cabinet (Music Master
maybe?).
Brad Little