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rstl99,

I have several archtops and 335 style guitars, as for heavy strings not
being suited for blues/funk, well there are many artists who would
contend with that. Look at Scofield, he plays .014 gauge strings on
his 335, Benson uses .014 or .013. The main thing to remember is that
if you have a 24.75" scale, .011's are about as thin as you would want
to go, as the strings do not require as much tension to be in-tune and
the thinner strings will be floppy.

I have an Ibanez AS193 (335 style) I use .011 Addario Chrome Flats, On
my GB12 I use .013's, and on my AF105 I use .012's, all Addario Chrome
Flats.
All these boxes have a 24.75" scale and play just fine with the strings
above. For blues/funk I just use the AS193 and I can get over a
half-step bend with the .011's at mid-neck.

With my boxes the sound is affected mostly by the following in order:

1) Your playing style/ability
2) The speaker and cabinet
3) The pickup configuration (floating/routed)
4) The body/top, solid/hollow, laminated/carved, etc.
5) The amp
6) The pick
7) Lastly the string gauge

This is just my experience, there are so many other things that affect
sound more than string gauge. Of course un-plugged or mic'ed the
priority of the string gauge goes way up. If you put me behind a
curtain and changed amps, speaker, pickups, pick, I would probably be
able to tell right away, but if you changed string gauge I would have a
hard time noticing any change at all. Now this is just me, I am sure
others have their own priorities. With any new guitar you will be
experimenting for a few months and what works best will eventually fall
in place.


Rick

[Moderator: Moved from Google Message Queue ]

The Kent Armstrong is a great replacement p/u, it's available @
Stewart-Macdonald, _www.stewmac.com_ () . I put one on my Epi
Howard Roberts, & the results were very, very cool.

Good luck,
JV

Juan Vega

Man, that's the lesson-of-the-week for all of us old dogs learning mew
tricks.

Fantastic!

M


--- In jazz_guitar@..., "jim_9791" <dimitris@d...> wrote:

I had a lesson with a young kid a couple of days ago. This kid has a
couple of diffculties to face-one of them is his picking hand is
partially handicap.

I wanted to make sure I'm not giving him to much to work on, so I
asked him how much he practices-not a very wise thing to ask bacause

a

question like that can stress a kid,or make practicing sound-maybe I
shouldnt have asked...But, the reason for this post, I got the best
reply I could ever have expected from Anyone! he said...

"until I get it right!"

I have just watched the Montreal concert with the new Basie band - terrific.

This has inspired me again to try to find transcriptions of the band`s arrangements, does anybody know of a source for these - I am really interested in studying the individual parts. I would also love to get copies of Tommy Dorsey`s arrangements for the Sinatra recordings. These are for my own study only, not commercial use as I don't have a big band (if only!)

Thanks to anybody who can help.

Will

Will,

Try Ken-Dor Music, or Lushlife.com (I think). Do a Google search, & you
should be able to find a ton of stuff. I've played quite a few Basie charts in
a big band, & they're very cool, although for the guitar chair, the majority
of it is Freddie Green-style comping.

Good luck,
JV

Juan Vega

"question like that can stress a kid,or make practicing sound-maybe I

shouldnt have asked...But, the reason for this post, I got the best
reply I could ever have expected from Anyone! he said...

"until I get it right!"

Wow! Keep that student for life! That's great.

Chris

Was just listening to one of four CD's I recently picked up of Ella and Joe. (Who, you asked?). I don't know how the tunes on these CD could sound any better by anyone else. I agree with John that it "ain't" about "old school", new school, etc. You can either play the music or you can't. All of the names we throw about in this forum can play or we would not be discussing them. To me it is just a matter of taste. I've seen Robert Conti's video and as I stated several months ago in a similar discussion, he reminds me of Stevie Ray Vaughn. He plays a heck of a lot of notes where to my taste fewer would do. Love his books though and Jimmy Bruno's playing. Joe Pass and Wes Montgomery are always gonna be my idols and I "ain't" changing.

There, I feel much better now.

Thanks to all who post.

LarryT

So, how we get to Sonny Sharrock?

Micah

It was at Port-O-Call. There were, at most, maybe 150-200 people
there. You could've sat on the stage if you wanted!
What about those effects, guys? Something out there that really
fills out your sound?--- In jazz_guitar@..., "Chip
SMith" <chiphsmith@m...> wrote:

the show was at the Port-O-Call wasnt it? how was the crowd ..was

it packed? i wonder cause i lived there until recently and know that
there are so many great shows that had like max 25 - 30 people at.
good place to see a show like that too ..real intimate.

----- Original Message -----
From: fkenyon1
Sent: Wednesday, September 28, 2005 6:07 PM
To: jazz_guitar@...
Subject: [jazz_guitar] John Scofield

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?

First, for those of you interested in Big band guitar, Freddie Green etc., I suggest . This page and associated blog explains alot and also has links to many other helpful pages.

Next, I have a transcription of Moonlight in Vermont, by Johnny Smith from one of the guitar mags. I am going to try to scan this and then upload the files-it will be in TIFF or maybe JPEG-I'm just sending images. Wish me luck.

Al

I think who influenced who is a very difficult thing
to do. We all get lots of influences. We aren't
capable of understand who influenced ourselves: all
you listen, all you think -even not musical thoughts
influence our playing-, all you belive conform your
ways of expression.
Don't you think?

--- kuboken1 <kuboken1@...> wrote:

--- In jazz_guitar@..., "Rick_Poll"

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?

Yeah, I thought he sounded a lot like Goodrick and
Diorio back then...

Ken

__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005

Hey, I have a simple recipe: know your theory, but
make sure you are having fun with it.
Jazz music is about having fun doing what you do,
being who you are. Without ear, you don't get fun. In
the other hand, without theory it's easier to get
frustrated, and that's another way of not having fun.
We better stop trying to be geniuses, we better try to
be happy with our music.

--- blues4hues@... wrote:

I dont know about Hawkins and Christian but i am
quite sure that Bird knew
his theory. Afterall he did study compostion with
Varesee!
I would be suprised if the others didn't I think
musicians of that era knew
more that they are generally credited. Additionally
musicians tend to downgrade
there education to give the impression that they are
intuitive geniuses.
Maybe they are!
As Joe Diorio would say ultimately everything does
come from intuition!
I agree! However, as Boulou Ferre stated to me
personally it is best to
achieve a balance. A self evident truth IMO. I have
never understood the Anti
intellectual posture many take. Music is language in
one sense Whatever helps you!
You cant know too much. I stayed with teachers I
admired for near decades I
never bought the idea that if you stay with one to
long you will sound just
like him.
We interpret and re interpret it becomes yours. That
along with the music we
listen too one draws on all of music history!
Best
Tony Hughes

__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005

awseyler@... wrote:

I agree with DR. How can ANYONE think Conti is any better than Bruno. Conti plays the SAME thing over and over and over. I think he does the Johnny Smith thing in EVERY song. It is sickening! There is no imagination there, he has played for years and has developed his own licks over given progressions, but he uses the same ones in all of his tunes. I have reservations for Bruno also, but Bruno is WAY ahead of Conti in my opinion.

Bruno may certainly be more musical to some ears, but the point I was making focused more on raw chops. As it was stated:

"Jimmy Bruno also has a
lightening speed with super tone .. there are no young
players with that kind of nimble virtuosity and that
tone .. why? becuaser tone comes with years"

I just think Bruno takes tunes a little too fast at times, it has nothing to do with who is necessarily "better". Bruno could notch it back a hair on tempo and sound so much more relaxed on fast tunes. Perhaps Conti is too staged, but the chops are insane. I saw the label "lightening speed" and thought, so there must also be a super-lightening and a super-duper-lightening. Just my thoughts at that moment. Amazing chops come easy for those few who have a gift to exploit. The rest have to work really hard to get to develop that "nimble virtousity".

Ray

--- In jazz_guitar@..., "Rick_Poll"

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?

Yeah, I thought he sounded a lot like Goodrick and Diorio back then...

Ken

What a great attitude !

Once I got it right, my teacher made me play it right once for every
time I played it wrong. :-(

I had a lesson with a young kid a couple of days ago. This kid has a
couple of diffculties to face-one of them is his picking hand is
partially handicap.

I wanted to make sure I'm not giving him to much to work on, so I
asked him how much he practices-not a very wise thing to ask bacause a
question like that can stress a kid,or make practicing sound-maybe I
shouldnt have asked...But, the reason for this post, I got the best
reply I could ever have expected from Anyone! he said...

"until I get it right!"

I agree with DR. How can ANYONE think Conti is any better than Bruno. Conti plays the SAME thing over and over and over. I think he does the Johnny Smith thing in EVERY song. It is sickening! There is no imagination there, he has played for years and has developed his own licks over given progressions, but he uses the same ones in all of his tunes. I have reservations for Bruno also, but Bruno is WAY ahead of Conti in my opinion.

JIM HALL IS THE MAN!

But, you know what they say about opinions.

***
Ray, you said:

"I don't mean to demean Bruno in any way,"

'the impression that Bruno could hang with someone like Robert Conti
without sounding strained'

Could you please explain these statements?

DR

Allisdair

I think I hit on it when I asked in an earlier post, "Where's
Leonard Feather when we need him?"

Marshall

-- In jazz_guitar@..., "Alisdair MacRae-Birch"
<akmbirch@y...> wrote:

It's a nice idea, but will require lots of research. Here's a few

to

add to the tree - more like a seperate branch!

In the UK at the same time the jazz guitar tree is broadly speaking
(there are many missed out!):

Swing Era
Lauderic Caton(b1910) & Ivor Mairants(b1908)

Bebop
Dave Goldberg(b1922) Pete Chilver(b1924) Denny Wright(b1924) Jim
Douglas(b1924)

Session Players/Big Band
Judd Proctor(b1933) Ike Isaacs(b1919) Ray Russell(b1947)

1950/1960/1970
Terry Smith(b1943) Phil Lee(b1943) Dave Cliff(b1944) Jim Mullen

(b1945)

1970 Modern
Martin Taylor John Etheridge(b1948) John McLaughlin Allan

Holdsworth

Alisdair MacRae Birch
Guitarist/Bassist/Educator/Arranger

I love the album, and would love to play some of the songs, but it
doesn't seem like anybody has transcribed them yet....

Why don't you transcribe them yourself? It shouldn't be hard to get chord charts for most of the tunes. You'll also learn ten times more by doing it yourself.

Steve