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Everything that's been said about "time" has been helpful and good. I'm
going to stick my neck out here. I have a piece in the archives called Life
and Music.
In it, I try to describe what I've learned about "time" from trying to play,
and observing life. If you read it, you may get something out of it you can
use.

The first thing you have to face about your "time", is regardless of how bad
it is, that it's YOUR time.
Next, is "why am I playing like this"?

A lot of things effect time. Holding you breath while you play stops your
time flow, so sense your breathing as you play.
Not really hearing, and being sure of the next note you want to play,
effects your time. (uncertainty)
Falling in and out of focus and losing your concentration effects your time.

Essentially your "time" reflects you inner state of mind and feelings. Your
"time" also renders your inner state of being naked to the listener. Where
ever you are, what ever you are.....they'll hear you.

One thing I can say is unless you're in an iron lung somewhere, as you live
and breath and interact with others in conversation and all interactions,
NOT PLAYING MUSIC, your "time" is perfect.
The more deeply emotionally involved with others you are in the moment, the more synchronized your "time
will be with their "time". This is because you're not thinking about time,
you're living it with them.

Good time is also "Momentum". Momentum is created when a physical body sails, fly's,
skates, however you want to say it, across and resists the pull of gravity
After a particularly good performance you'll hear people say "wow!, that
shit was really movin' !!" After a bad performance you'll hear people say
"wheew, that shit sank like a lead balloon."

A metronome actually doesn't keep time. It forces you to listen to, and sense your own "time". If you realize this, it can help you a lot. Ask yourself "where in the hell am I."

Here's the best exercise I know for developing "time".
Walking a Quarter note line like a bass player through a single chord, a chord progression, or a whole tune if you know it well enough.
You have to hear the next note in your head before you play it. If you can't do this, work out a quarter note line around a blues progression, or what ever tune you know best, and play it over and over again the same way every time. Then work out another one, and another one.

You should feel like you're walking down the street with a good confident stride. You should begin to feel the "momentum" of your stride pick up and flow. You should begin to feel the urge to throw in some kicks to goose it along. Accent the 1, the 1 & 3 of every measure, then the
2 & 4. then mix em' up at random.
The build up of stride and momentum when it's strong enough, will make you feel like breaking out into 8th notes. If you do, you should be able to fall right back into that "stride" with no loss of momentum or flow.
The stride momentum and flow should be felt all the way into the 16th note. Try it, you may like it.

Dave Woods www.musictolight.org

Max
Get everything he did on the Riverside label That IMO was his best stuff!
Tony H

Jon
I am a straight ahead player!
However additionally I play Acoustic Jazz guitar I prefer the Selmer design
guitars that Django R played.
I had my Acoustics made with Spruce tops and Indian Rosewood back and sides.
This give the guitar real clarity and focus!
Maple or walnut necks and Ebony fingerboards of course.
I highly reccomend Shelly Park to you check out her guitars at Park
guitars.com
If you write to her tell her i passed this on to you!
Best
Tony Hughes

John
Thanks's I love what you have written here!
Tony Hughes

Sadly missing from most guitar player's lexicons are Sol Hoopii and King
Benni Nawahi as well as Dick McIntire. All three were acoustic steel guitar
players during the era where steel guitar was hot even in jazz and yes even
big band.

Sol Hoopii cut some recordings with Louis Armstorng and Dick Micntire played
with Bing Crosby and I believe even Louis.

On the guitar front, Oscar Aleman sadly lost to the ages was actually a
contemporary of Django's in Paris.

Check out

And you get an idea of the era that brought about a lot of what we hear
today.

-Adriel

Holy crap. That was great!

Micah



Clif Kuplen

When I think about this subject, things can go on for ever.
Some considerations:

Are we talking about influences. In my mind Louis influenced everyone. On the other hand he never fretted a note. If we are making a list of only guitarists, he's not on it, no matter how influental he is.

After this, I tend to think in terms of 'generations' allthough this is fuzzy.

For instance:

Earliest I can think of: Eddie Lang, and ?Johnny St. Cyr--the banjoist>>occasional guitarist with Louis' Hot Five & Seven
Robert Johnson, the blues guitarist cut one or two sides with Duke's band,

Next: Django, Freddie Green and other big band guitarists, probably including George VanEps

Next: WWII and the onset of electric guitar: Charlie Christian, some I don't remember and don't forget some of the Western Swingers who played with Bob Wills-I have heard that they got to Kansas City and mixed it up with Basie's bunch.

Next: The fiftys. Barney Kessel, Johnny Smith and a great many more.

Next--you fill in the rest.

Last-you, me and everyone on this list.

Al

Check out the "Jazz For Playboys" album. Freddie plays rhythm behind
Kenny Burrell, Frank Wess and a couple more names. He does his 4 to
the bar comping and it's a fair bit easier to hear him than on his
Basie band tracks.

Additionally, the last issue of Jazz Improv magazine had an interview
with Will Matthews, the current guitar player in the Basie orchestra.
Good reading - covers technique, equipment, and gives some example
chord runs. Matthews does it well (of course...) and I got to sit at a
table about 10ft away from him when they played Birdland a month or so
ago. I got to study his technique for two sets, but I was deaf for a
day and a half.

-mike

In a message dated 9/28/2005 9:04:07 PM Eastern Daylight Time,
fkenyon@... writes:

Saw John and band last night in Salt Lake.They were terrific! Played
stuff from the Ray Charles CD. He used a lot of effects. Silly me-
I've just been playing my guitar! Which effects pedals do you guys
like?


If you have the bucks the Eventide Eclipse is the stuff

In a message dated 9/28/2005 3:45:01 PM Eastern Daylight Time,
dallasguy2112@... writes:

What are some good recorded examples of comping in a big band
environment ? I've listened to a lot of Wes and Joe Pass, but haven't
found anything where they (or others of their caliber) are playing in
a big band context.

Well remember with a big band you are not supposed to be out front but in a
supporting role. As someone else said, the Freddie Green chunk chunk is the
gold standard for this style of playing.

Freddie Green is the master, but unfortunately, it's hard to hear him. Really, it's a rhythmic function that is felt as much as heard, not some fancy voice-leading thing. Learn to play shell voicings really steady, four to the bar.
www.freddiegreen.org

Good points! Especially about horn influences versus
guitar enfluences and I will second what you said
about Raney. If you have not checked out the tree that
was uploaded to Home/PDF Files/Miscellaneous/
Jazz_Guitar_Tree please do so.
I think addresses a lot of players that were
mentioned, and it's especially refreshing to see were
Van Eps placed.

Looking at this again it seems that maybe it is more
of a time line than pointing to influences.

For influences for Metheny here is great article.


--- Rick_Poll <richardipollack@...> wrote:

I think the problem with this sort of tree is that
some players were
more influenced by guitarists than others.

I think it's fair to say that Wes was influenced by
Christian, since
Wes reportedly learned to play by copying Christian
solos. That's
also true for a lot of guys of that era. Barney
Kessel comes to mind -
- he continued to use the "Charlie Christian" pickup
throughout his
career.

But, Jim Hall, as someone pointed out, was probably
more influenced
by horn players than guitar players. Tal Farlow
credits Red Norvo
for a lot of his style.

I don't know exactly who influenced Metheny. His
style was in place
when Bright Size Life came out. Who sounded remotely
like that? Maybe
Gary Burton and associates? Does anyone know?

The great bop players may have become guitarists
because of
Christian, and were certainly trodding in his
footsteps in trying to
play horn-like lines, but I think it would be fair
to say that Bird
influenced Raney more than Christian did. To me,
Raney's lines remind
me of Bird, not Charlie.

My old teacher, Warren Nunes, curiously had a very
small record
collection. He attributed his style to George
Shearing.

Anyway, my point is that some guitarists were not
influenced
primarily by other guitarists, Charlie Christian
himself being a
shining example.

Rick

Sean Williams
www.gtr4hire.com




______________________________________________________
Yahoo! for Good
Donate to the Hurricane Katrina relief effort.

Hey,

Any recording by the Count Basie band with Freddie Green on rhythm guitar is the holy grail for this style. Check it out...

Cheers,
JV

Juan Vega

Go old school. Freddie Green. Start where it started. Freddie almost never
played lead as he really wanted to concentrate on playing the chunka chunk
rhythm.

Discography here:



-Adriel

Hello YJGG,

What are some good recorded examples of comping in a big band
environment ? I've listened to a lot of Wes and Joe Pass, but haven't
found anything where they (or others of their caliber) are playing in
a big band context.

Thanks for any ideas !

I read a post or two a few days ago praising the Phillip's Guitars
Jazz Nouveau line.I have both the sixteen inch model which has a
laminated maple top/back sides and the seventeen inch model which
uses
laminated spruce for the top.
I am selling my new/ mint 16" Jazz Nouveau for $600. shipped to
conus.It comes with a harshell case(with key),an extra clear
pickguard,and a patch chord.
If anyone has checked them out on his website, phillipsguitars.com,
wants the smaller body guitar,and wants to save a couple hundred
bucks
drop me an email.
The glowing reviews on these instruments are not an
exaggeration.Ebony
fingerboard ,MOP inlay ,built in HB pickup.Look at his site for
pictures (this one is the sunburst style). I prefer the size of the
seventeen inch model.The sixteen inch model looks better to me as it
has bound teardrop/catseye type f holes.They both come set up,
ready to go.Hope it's okay to sell it on here and someone will be
very
suprized at the quality for your buck.

I think the problem with this sort of tree is that some players were
more influenced by guitarists than others.

I think it's fair to say that Wes was influenced by Christian, since
Wes reportedly learned to play by copying Christian solos. That's
also true for a lot of guys of that era. Barney Kessel comes to mind -
- he continued to use the "Charlie Christian" pickup throughout his
career.

But, Jim Hall, as someone pointed out, was probably more influenced
by horn players than guitar players. Tal Farlow credits Red Norvo
for a lot of his style.

I don't know exactly who influenced Metheny. His style was in place
when Bright Size Life came out. Who sounded remotely like that? Maybe
Gary Burton and associates? Does anyone know?

The great bop players may have become guitarists because of
Christian, and were certainly trodding in his footsteps in trying to
play horn-like lines, but I think it would be fair to say that Bird
influenced Raney more than Christian did. To me, Raney's lines remind
me of Bird, not Charlie.

My old teacher, Warren Nunes, curiously had a very small record
collection. He attributed his style to George Shearing.

Anyway, my point is that some guitarists were not influenced
primarily by other guitarists, Charlie Christian himself being a
shining example.

Rick








--- In jazz_guitar@..., "MJU" <memjazz@m...> wrote:

What about:

1. Jimmy Raney, Kenny Burrell, Barney Kessell, Tal Farlow and

others (like

Johnny Smith) in that vein after Christian?
2. Joe Pass, Herb Ellis, Mundell Lowe, Tal, & Grant Green along

with Wes

and Jim Hall?

Django and Christian were essentially around at the same time. One

was

European Gypsy the other Mid West Swing and Blues.

Then thereare those that were more or less contemporaries of

Christian (an

influences on him): Oscar Moore & Eddie Durham (who was the one

that turned

a young CC on to the electric guitar).

There are too many others that were important and influential

before

Chirstian on the instrument. I saw where someone mentioned Lang,

but then

there is Kress, McDonough, Van EPs and the other big band guys like

Freddie

Green and Bus Etri that had a major impact on the instrument at the

time.

The timeline from the 1900's to 1970 would fill a volume or two of

an

encyclopedia-type book easily.

I know that you were probably giving an overview but there are too

many

people to figure in (for me that is). I must lie down and think

about

this............... :)

----- Original Message -----
From: "Sean Williams" <scanz777@y...>
To: <jazz_guitar@...>
Sent: Tuesday, September 27, 2005 4:42 PM
Subject: [jazz_guitar] Jazz Guitar Tree?

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

I put a couple of videos up of old Chick tunes from RTF days I'm
working on, and a Trane tune too.



Clif Kuplen

rayray wrote:

I think I'm going to give the La Bella 800L Black Nylon Tape Wound
strings a try. I play fingerstyle with nails, and the idea of nylon
wound flats sounds intriguing from the aspect of getting a nice smooth
release from the nail. The Gibson flatwounds I've been getting as of
late have been a little rough in texture, as if the flat windings
aren't quite tight or even enough. The 800L La Bella wound strings
are apparently pretty fat due to the nylon tape:
(028w-038w-048w-056w), but the low E string is a 052 without the tape,
so the tension shouldn't be any higher than the Gibsons I'm using
now. I'll probably still switch out a 016p and 020p for the first and
second strings respectively.

I'll post my thoughts after it happens,

Ray

I put the La Bella 800L's on a couple days ago and I'm really enjoying
them. I've got them on a '74 Gibson Howard Roberts Custom. I didn't
think it possible, but the nylon tape wound 800L's
(028w-038w-048w-056w), actually seem to have a little more clarity and
projection than the Gibson flatwounds. And I love the way they feel! I
really am getting a nice smooth release from the fingernail due to the
nylon tape. I did have to raise the action a little, but they fit just
fine in my existing nut. Although the strings don't put any more
tension on the neck than the Gibsons I was using, they do have more mass
due to the tape, which I think is creating a wider vibration pattern. I
put on the 012p and 015p plain strings from the set and they sound good,
but I'm thinking that I might go with a 014p and 018p eventually. I've
just gotten used to a little heavier feel and sound. I'm going to get
an opinion from my local guitar dude about the setup, but I like the way
it feels at the moment.

I'm a happy camper,

Ray

Hey Guys,
The melody was played all on the second string.
Jason


--- In jazz_guitar@..., "skantzos1" <skantzos1@y...>
wrote:

I think yahoo trimmed off all the spaces in your notation, i think

i

have repaired it:

E flat 6th E flat 6/9 E flat maj 9 Eflat 6/9 Fmi9 B flat 13 alt

--8------------6--------------------------------3-----------3---
--11-----------8-------------8-----------6------4-----------3---
--12-----------8-------------8-----------7------5-----------4---
--13-----------10------------10----------8------6-----------6---
-----------------------------13----------10-----------------x---
------------------------------------------------------------6---

Nikos

--- In jazz_guitar@..., jazzism50@a... wrote:

My favorite version of this song is the 1959 Downbeat Magazine
jazz album of the year version by Johnnie Smith and Stan Getz.

Johnnie's

trademark sound is the use of what I believe are called

chromatic

chords. They

are typically stretch chords that can be quite challenging to

the

tendons when

initially used. eg. I dont really know how to notate like this

but

here is

an attempt key E flat----first two bars