开云体育

Jimmy, enjoyed your playing at last weeks Jazz Summer
School in Wales.

Best Regards

Vernon

Hi, why not send an e mail to phil @ bebops.co.uk.
He might be able to help. He provides a good service
too!

Best Regards

Vernon Fuller
St Helens
UK

Yeah, I'm just curious about Jimmy's tone. Also Wes
Montgomery. I think he used Fender Twin amps.

My favorite guitars are my '54 175 and my '56 Les Paul
Junior. I run them both in stereo thru a 60's vibrolux and a
polytone minibrute II. Kind of the best of both worlds.

I think it's fun to learn about other players gear. It
doesnt mean you are trying to rip off their vibe.
Rock on,
Mark

--- David <sribeme@...> wrote:

Hi Vitor

A good book as a springboard for some new ideas is:

Melodic Chord Phrases by Ron Eschete

It was/is published by REH Publications
ISBN 0-943686-08-3

I believe some other publishing company is
now publishing it. Search on the web and see
what you can find.

Alisdair MacRae Birch
Jazz Guitarist

Hi!
Thanks for all. I'm much more elucidated now.
I would like knowing more about more modern aproaches.

Thank's.

Greetings.
I'm Braden from Alberta, Canada, and I am 17. I'm a
self-taught guitarist, and have played for about 2 years. I
have some background in music theory, so I understand basic
chord structure, but I know pretty much nothing about jazz.
I play mostly rock stuff, but I want to branch out and play
everything.

Braden.

Hi,

The super 400 is a a gibson. Mine happens to be an acoustic
with a cutaway and the johnny smith conversion. This means
that it had a paf type pickup installed into the
body...scary stuff as it has to be cut and fitted.

Jimmy plays a Bennadeto. It really is a great sounding
instrument, but he would sound great on a Kay guitar if it
was set up well.

Lots of jazzers sound great on the es 175. I think the type
of guitar one plays is really not all that important,
really, but it is fun falling in love with all of those
instruments! Kinda like a women...but probably havin' a main
squeeze is the way to go.

David

Rodrigo
Got my CD from Lee Wall's "Guitar Records". Try the web site
, although for the last few
weeks the site has been down

Suerte
Roy

****
Message: 16
Date: Sun, 19 Aug 2001 23:30:17 -0300
From: "Rodrigo Gondim" <rodrigogondim@...>
Subject: Joe Pass record

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
***


Atte
Roy Gittings
Casilla 538, Vi?a del Mar, Chile
tel +56 32 479282
email roygitt@...

--- In jazz_guitar@y..., "Jimmy Bruno" <jbguit@y...> wrote:
<SNIP>

PS I'm glad you don't like my music!!!!

<SNIP>

I apologize if I offended you (obviously I did). I neither said that
I disliked your music nor is that true: I have 5 Jimmy Bruno CD's, 2
Jimmy Bruno videos, a scale fingering manual, and downloads from your
web site. I just would have preferred to see a different album title
is all; let's just leave it at that.

-Jim

Paul wrote

'do you have any particular
advice/approaches for practicing swing feel soloing? Or is
it just a matter of practice, practice, practice? '

Can I second Pauls request, having recently recorded some gigs and
rehearsals I would have to say that I'm disappointed with the lack of swing
in my lead playing. I listened to the Pat Metheny guitar lessons that were
discussed in recent postings and I totaly agree with what he was saying
about the need to get inside the rhythm rather than floating above (or in my
case sometimes fighting it). Could I request some thoughts on how and what
to practise to develope that sense of playing within the rhythm.
Paul like you I find it harder as the tempo increases. I'm sure we cann't be
the only ones.
Thanks in advance to all those who reply.

Best wishes
Ian

He plays a 6 string too. That's what I am asking
about.
Mark
--- Paul Erlich <paul@...> wrote:

Jazzers:
Here is what I do:
1. Program the chords into "Band in the Box" computer
software. (great program, I've progessed many times
faster using it: it supplies drums, bass, piano etc.
in zillions of styles--very high quality
backgrounds--I've played with worse musicians)
2. Play melody along with computer.
3. subtract piano part, comp chords with computer.
4. play chord melody with computer.
5. dump computer and learn song as solo doing walking
bass, chords, melody all at once--if it can be done.
(I thought a song like Giant Steps couldn't be done
this way, but lo and behold, Joe Pass goes and does it
on Virtuoso #2)

I listen to the song a million times if I have it, but
sometimes I don't. Sometimes I hear a song once on the
radio or tv. Sometimes another musician turns me on to
a song or I just come across it in a fakebook. I like
it best when I have several different recorded
versions so I don't get locked into a particular
version.

Rando



=====
J. Randall Groves, Ph.D. ("Rando")
Professor of Humanities
Ferris State University
groves@...
bebopguitar@...

jazz_guitar@... wrote:

Date: Mon, 20 Aug 2001 16:36:11 -0000
From: "Jimmy Bruno" <jbguit@...>
Subject: Re: Jimmy Bruno and Downbeat

--can you tell me where I said that about Pat Metheny??? I
don't even know the guy... and sad to say, I don't listen
much to jazz guitar CDS. What I have heard I did like. I
love his writing also. I also don't follow any guitarist's
output as closely as some of you do. I couldn't tell you
what cd who played what on so I know very little about Pat
Metheny except what I may read. I know he sells a lot more
CDS than I do. and I know we don't play the same style of
music. whatever you want to call it... jazz, be-bop, retro
etc... it is all music to me and there a many variations.
Anyway, in the grand scheme of things ... is this important?
To me music is fun. If some of you mis-interpret my remarks
as elitist, snobnish etc.. I can't help that. I am not like
that. I am happy and supportive of anyone making a living
playing the guitar no matter what kind of music one plays. I
have nothing against Pat Metheny, I wish him continued
success.... seems his type music ( or jazz) sells a lot of
CDS. I think that is great !!!! that only helps every other
guitarist trying to make a living. I wish you can show that
quote attributed to me... are you sure is wasn't Methaney
play jazz! and not a question mark? or something I said in
mid sentence. I don't control what an editor may print. I
rarely read my own interviews... don't have the time. I find
it interesting and very positive how people respond so
vehemently to defend their music preferences or artists. I
think it is a good thing but not very important. Happiness,
family and good health are much more important than who
likes who, or who is better , or more innovative etc....
It's only music and it is there to be enjoyed

Jimmy Bruno

Hey Jimmy, I wanted to stay out of this, knowing how things can be taken out
of context, but I just had to laugh at the above piece. It reads the way
you play, man! Well yeah, and that's only after me hearing you play one
song, Anthology. :))) Other than that, I'm a old fingerstyle guy who's
into pretty much of a whole other space, but that comparison sure tripped my
laugh trigger. Hahaha... Sorry man, but hahaha... Hope you have continued
success and a long and happy life. As you say, it's only music and having
fun with it is what it's all about.

I think you should write a tune based on the above paragraph. Seriously!
:)))

Regards,
...z


"The magic of listening brings us closer to the central core of the
universe. To begin to comprehend... life, it is not sufficient to touch and
see."
--Yehudi Menuhin

-- =---Seek the truth, speak the truth!---= --

L.G. "Zeek" Duff
WHAT!Productions!
Blue Wall Studio
303.485.9438
ICQ#35974686

Dear Mr. Bruno,

If your guitar-playing were anything like your attitude, you'd play
like a five-year-old. Thank God at least a part of you grew up.

Sincerely,

Michael Suh

I am happy and supportive of anyone making a living
playing the guitar no matter what kind of music one plays. I
have nothing against Pat Metheny, I wish him continued
success.... seems his type music ( or jazz) sells a lot of
CDS. I think that is great !!!! that only helps every other
guitarist trying to make a living. I wish you can show that
quote attributed to me

You bet I will. I'm not that BIG fan of Pat's composing, but the fact that
someone with his level of musicianship, playing instrumental music on a high
level is succesful makes me happy.

I think it is a good thing but not very important. Happiness,
family and good health are much more important than who
likes who, or who is better , or more innovative etc....
It's only music and it is there to be enjoyed

Amen to this too.
On the everlasting thread about what you're supposed to have said about
Metheny :-), I only wonder what is it that makes guitarists so more prone
than other instrument's players to argue about this kind of things. I can't
imagine that many sax players buying a sax to sound like, say, Coltrane, yet
you see lots of guitar players spending big bucks in instruments and
amplifiers to get another guy's voice... Doesn't make sense to me.
I would also like to thank you for being an active contributor to this list.
When you live where I live, in terms of distance from some sources, it's
invaluable to be able to ask things to guys who really know. What leads me
to the simple question.

After many years of classical playing, I'm scratching the surface of jazz
improvisation. I have a quite deep theoretical background, yet I still fail
to connect the lines in ways that satisfy me, particularly when I'm going
for a more traditional jazz thing. I listen to good guitar players, and the
ability to connect long lines along the fretboard puzzles me a bit.
What would be your advise in order to work on this particular area
(connecting long lines along the fretboard)? I can see some devices used
like chromatic passing notes used to shift positions, but still fail to find
a systematic approach to practising.

TIA,
Patricio Murphy
NAN - Buenos Aires, Argentina

jazz_guitar@... wrote:

Original Message:
Date: Mon, 20 Aug 2001 04:58:58 -0000
From: terifritts@...
Subject: Identifying a Vintage Gibson Guitar

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!

What a beauty! I checked the picture and seeing that it's a round hole with
the white label (orange, after 1954) clearly missing, unless there are
numbers stamped on the back of the neck, which didn't start until 1953 and
was then only on solid body guitars, I'm afraid you're going to be stuck
with an estimate unless you have the thing carbon dated. You might check
carefully inside with a flashlight and dentist's mirror to see if the label
just got hung up in there somewhere, or in crevices around the case.
Otherwise, someone removed it (usually attempted by idiots on stolen
instruments) or it just fell off and no one noticed or realized it's worth
in defining the guitar's year and model. Judging by the shape, I'd say it's
an old 'L' (most likely) or 'J' series small body. It very much resembles
the L-00 reissue, the original of which was made from the 1920s through to
?? It also could be one of the early J-180s... You need that label to be
certain... :&#92; Going by it's apparent condition, it looks to be worth big
bucks to a collector. Try contacting Gibson directly and you might get a
year that particular headstock inlay ceased being used. That would give you
an "at least as old as" date. To me, it looks to be from the 1920s or 30s,
and could be worth well over 5 figures, but not having that label could hurt
the value unless Gibson validates the headstock... Gibson acoustics are now
the Gibson Montana Division. Via email, try
Terry Fingerson: Tfingerson @ gibson . com or mail a picture of the guitar
clearly showing the headstock to:

Gibson Guitar
1894 Orville Way
Bozeman, Montana 59718
Attn: T. Fingerson

PH: 406/587-4117 same line for faxing

Good luck!!!
...z


A person needs only two tools. WD-40 and duct tape. If it doesn't move
and it should, use WD-40. If it moves and shouldn't, use the tape.

-- =---Seek the truth, speak the truth!---= --

L.G. "Zeek" Duff
WHAT!Productions!
Blue Wall Studio
303.485.9438
ICQ#35974686

From: "Jimmy Bruno" <jbguit@...>

I don't see anyone bidding to take a lesson with you.
Or did I miss it???

In jazz_guitar@y..., "Steve Gallagher" <steveg@a...> wrote:

From: concord_records2001@y...

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!

What's second prize? Two lessons with Jimmy? :-)

Wow, flamed by Jimmy Bruno! I'll never wash my monitor
screen again.

Jimmy, please don't take it personally. It was only meant
as a jab at concord_records for posting spam to this group.

Steve Gallagher

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

I am really into Bruno's tone. Is that what he
is playing?

See what you quoted below -- it's a 7-string Benedetto.

--- Randy Groves <bebopguitar@y...> wrote:

David: you wrote:

[SNIP]
I would highly recommend Bill Comins. Great

guitars,

great
sound, great guy, a wonderful value.

Regarding 7 string guitar, dare I

say, watch
the Jimmy Bruno instruction tapes. He plays the
thing great!
It is a Bennedeto, but the Benny's are way too

pricy

for
players unless you really have to have one. But,

if

you do
go for the Benny you could probably sell it for
close to
what you paid and it may even improve as a
commercial
investment.

I have the Bruno tapes. Great no-nonsense
instruction.
Very helpful. He changed my picking. And the guitar
is
way cool. And yes, a Benedetto would be a good
investment, but only if you were willing to sell it,
and I probably couldn't once I had my hands on it.
[SNIP]

William Leavitt's "Melodic Rhythms for Guitar" is
one of the best, most organized methods I've seen.

Mike Crutcher
Guitarist/Vocalist/Arranger/Instructor
Available for sessions/fill-ins/performances/private lessons.

"You've Got To Funkifize"
-Tower Of Power

<Bob, can you help this guy?>

Yes, although I don't know the teacher he mentioned here, I
would advice him to go to Hilversum Conservatory, which is
the most Jazz-based with some good references and
future-prospections. The problem with all conservatories is
the fact that a single teacher can make a big difference and
in the end there isn't anyone who can tell which teacher
will fit to which student. In that respect I would advice
him to have a personal contact with the theachers
themselves.

Amsterdam/Hilversum

Rotterdam