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I used to regularly play in Pizza Express which had loads of glass -
exactly the same problem.

I tried several solutions and the one that worked was to all go
through the pa and have several speakers down each side of the room -
all not very loud. Even though it was a small place we had to have a
small monitor to hear our overall sound.

As for the bass player problem - teach him to tell the time as well
as keep it!

Will

--- dangelico603 <jpcombs@...> wrote:

Where is it? I can't find it.
Jason

Jason,

This is Johnny Smith's "Moonlight in Vermount"
voicings -- I didn't have the time to notate or tab it
... if you follow the melody and the sub. changes
below you should arrive at Johnny's sound...
...it is one of my favorite ballads --

A Section
Bar 1
Standard: EbMaj7 --- Cm7
Alt. Subs: Eb6/9 (first note is C: play Eb6/9 add13,
6th fret)
Standard: Cm7
Alt. Subs: EbMaj7 -- Cm7add4

Bar 2
Standard: Fm7 --- Bb7b9
Alt. Subs: Fm9 -- E7#9 (6th fret)

Bar 3:
Standard: EbMaj7 --- Cm7
Alt. Subs: Eb6/9 (same as bar 1) -- Cm7 -- Db9 for (Eb
note)

Bar 4:
Standard: Db7#11
Alt. Subs: Db7 - Db9#11 - Db7 (4th fret)

Bar 5:
Standard: Fm7 -- Bb7b9
Alt. Subs: Dm7b5 (add4, 5th fret) -- Ab/Bb (6th fret)

Bar 6 (1st ending):
Standard: Eb
Alt. Subs: Eb

Bar 6 (2nd ending):
Standard: Eb
Alt. Subs: Eb -- D7b9 (I add a D7#9 with added F
melody note right before the D7b9, 5th fret)

B Section
Bar 7
Standard: Am7 -- D7
Alt. Subs: Am11 - D7b5/Ab (or Abdim), 5th fret

Bar 8
Standard: GMaj7
Alt. Subs: G69 -- D7b5/Ab (or Abdim), 3rd fret

Bar 9
Standard: Am7 -- D7, 5th fret
Alt. Subs: Am11 - D7b5/Ab (or Abdim) -- B7#9 - B7b9
- B7#9

Bar 10
Standard: GMaj7
Alt. Sub: GMaj7 on 7th fret

Bar 11-13 Same as Bar 7 - 9 (transpose up a fret)

Bar 14
Standard: AbMaj7 -- Bb7b9
Alt. Subs: AbMaj7 (8th fret) -- E9 (9th fret)...

C Section -- follow A Section

Tag Ending: John Smith adds the double stops to the
single line ending: g/b - ab/c - c/eb - eb/g

Last 3 chords in TAG:
1) F9 (play the 13th note after the 9th, 8th fret)
2) E9 (play the 13th note after the 9th, 7th fret)
3) Emaj9, 6th fret: Eb-G-D-F-Bb (Finale),

Let me know if you need more help -- Enjoy

John Amato
Music blows the dust off your soul...
Isa.55:11




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

--stuck..

..s.top your looking ... I've been through a myriad of
maps ever since 1969 ... and the best amp not only for
the money but for the "Jazz" sound IMHO is a Polytone
Minibrute ..

I have the Polytone Minibrute IV and is simply a
luscious and gorgeous sounding amp ... my D'Angelico
sounds so sweet through this amp...


- stuckinthesky777 <stuckinthesky777@...> wrote:

I have been playing guitar for about 7 years now and
am currently
teaching lessons for the past 2. Im recently getting
into jazz guitar
and looking to start a quartet but was wondering the
best sounding amp
for a deep jazz tone?

John Amato
Music blows the dust off your soul...
Isa.55:11



__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005

Thanks for the kind, encouraging words, John. You've already been a
great help, on list and off. The things I have learned from this
group can't be found in a book. My whole approach to how to restart
my jazz guitar journey has been shaped by this group. Thanks to all.

M

--- In jazz_guitar@..., John Amato <jamato316@y...>
wrote:

Marshall,

You are on the road to success. That road is paved
with many a good intention, and many a pot hole of bad
habits lay ahead, and repairs with good habits
(effective study skills, dedicated practice time,
etc..). But the road less traveled it seems is
disciplined dedication...this I sort of sense you
desire ... the desire to be the best players we can
lies in the disciplined dedication (...that is second
only to the desire to be the best player we can be
...)

...if I can help in any way .., let me know ...

--- In jazz_guitar@..., "DAVID RUDICK" <sribeme@m...>
wrote:
If you don`t want to modify your Gibson (which is a valuable item,)
go for a Rhythm Chief. Try the following link..



Best wishes,

Will

Hi Gang,

Just wanted to ask some advice about what to put on my 50's L4-C.

I love its natural tone.

It doesn't have a pickguard and I sorta like that. I want to be

able to use it on soft jazz gigs.

I have been considering a D'Armond type pick up, but I am not

sure. I have no real issues about using old "vintage stuff" or new
stuff....I would just like a clear, clean tone that is less apt to
feedback and that I don't have to make any mods.

Any thoughts about piezeo (sp?) type pick ups? I generally haven't

been that ecstatic about them in the past, but I am open.

Also, I am playing some jazz on a flat top round hole...any advice

would be appreciated.

DR

Best of luck - the secret is to take your time with each stage. Steady,
daily working through the lessons - taking about a week for each one is
the key. Your music reading and chord understanding will improve no end.

Best wishes,

Will

Which cheapo Ibanez box do you have? They've got about 15

different

models of cheapo jazz boxes.

Jazz through an AC-30 :-)

AG85 - cost me about ?250, fitted with 11s flats - looks and sounds
terrific.

The reason we ended up using the AC30 was by accident. We had set up
with my JC90 and my friends Mesa Boogie combo and were plugged into
the same extension outlet. A power surge (caused by a lighting unit,)
blew the fuses in both amps and I had to fly off home and fetch my
old Vox with its trusty 6 inputs.

The AC30 with its 2 12" speakers had a great tone and plenty of vol
even with us both in the same amp.

Cheers

Will

Two things..

A big (maybe 15") speaker and just a touch of reverb.

Heavy strings on your guitar.

I spent ages looking for that "Johnny Smith" tone and the answer was
staring me in the face. If you start out with featherlights strings you
end up with featherlight tone no matter what you do - you can`t get out
more than you put in.

Good luck

Will

I have been playing guitar for about 7 years now and am currently
teaching lessons for the past 2. Im recently getting into jazz guitar
and looking to start a quartet but was wondering the best sounding

amp

for a deep jazz tone?

Marshall,

You are on the road to success. That road is paved
with many a good intention, and many a pot hole of bad
habits lay ahead, and repairs with good habits
(effective study skills, dedicated practice time,
etc..). But the road less traveled it seems is
disciplined dedication...this I sort of sense you
desire ... the desire to be the best players we can
lies in the disciplined dedication (...that is second
only to the desire to be the best player we can be
...)

I have found from experience that whenever there was a
lapse in my playing or practice, or quality time on
the instrument, my playing had seriously taken a step
back. That is because as musicians, we are exactly
like athletes in training. Like them, we have to keep
a regular schedule of disciplined practice in order
to stay in top speed. It has to do with muscle
training (Kinesthetics, etc...). I have seen this with
many musician friends also ...

Since my gigs now are mostly solo, I keep in (musical)
shape by laying down tracks on my computer and a Boss
digital recorder I purchased that was not too
expensive. This summer I completed a project I had
been longing to do for the longest time, I recorded 2
CDs of standards, originals, and covers tunes. I now I
am on the thrid CD. I placed a smaple of those CD on
my web page:


The point is this, as musicians, especially jazz
musicans, it is imperative that we play with
others...however, ithat is not always possible or
readily available. What I have found to be the next
best thing is laying down tracks -- it does wonders
for your time, your harmony, your sense of melody,
your solos, because almost every aspect of your
playing is affected by playing along with (others) or
yourself on tracks . . .
...if I can help in any way .., let me know ...

--- "Wm. Marshall Faircloth" <mfcpa1@...> wrote:

Reading these, especially Coker, has given me real
insight into how
the modes and scales are used in improvisation. I
found that I was
doing a lot of this intuitively already, except that
I was using
primarily the major and minor scales. As long as it
was a diatonic
progression, (see Clif and Pete, I'm a-larnin') my
solo notes sounded
pretty much 'in', provided I hit the notes I was
hearing in my head.

I can't wait to see where this leads!

Maintain

Marshall

John Amato
Music blows the dust off your soul...
Isa.55:11



__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005

John, went to your site, great stuff, nice listening music like
Dicks video site. I love hearing the melody. Tasty. This is how I
like to play too. I loved it was a very good year, I may have to
look that one up.
FWIW I just got Abersold #76, "How to learn tunes", Its a goldmine
for techniques on memorizing these type tunes and also great lists
of tunes and the most common keys. A must get imo. Oh well just
rambling.
Keep up the great work!
kyle
--- In jazz_guitar@..., John Amato <jamato316@y...>
wrote:

My rendition of Jim Hall's adaptation of a Mexican
folk song ... correction web page ...



John Amato
Music blows the dust off your soul...
Isa.55:11



__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005

Interviewer: "Can you explain jazz?"

Yogi: "I can't, but I will. 90% of all jazz is half improvisation. The
other half is the part people play while others are playing something
they never played with anyone who played that part. So if you play the
wrong part, it's right. If you play the right part, it might be right
if you play it wrong enough. But if you play it too right, it's
wrong."

Interviewer: "I don't understand."

Yogi: "Anyone who understands jazz knows that you can't understand it.
It's too complicated. That's what's so simple about it."

Interviewer: "Do you understand it?"

Yogi: "No. That's why I can explain it. If I understood it, I wouldn't
know anything about it."

Interviewer: "Are there any great jazz players alive today?"

Yogi: "No. All the great jazz players alive today are dead. Except for
the ones that are still alive. But so many of them are dead, that the
ones that are still alive are dying to be like the ones that are dead.
Some would kill for it."

Interviewer: "What is syncopation?"

Yogi: "That's when the note that you should hear now happens either
before or after you hear it. In jazz, you don't hear notes when they
happen because that would be some other type of music. Other types of
music can be jazz, but only if they're the same as something different
from those other kinds."

Interviewer: "Now I really don't understand."

Yogi: "I haven't taught you enough for you to not understand jazz that
well."

With all this talk about pickups I would like to dispel some myths.

The Rhythm Chief is a DeArmond pickup from the 60s, which goes for ?300+
nowadays on Ebay. I have one of these and also have repaired several
others. DeArmond pickups are simply two coils in a housing; the smaller
coil is underneath the top 2 strings and the larger under the bottom 4. The
reason it sounds good is that it is balanced for heavy gauge strings with a
wound third -simple, no magic magnets, no magic wire.

The reason a Charlie Christian pickup sounds good is that it has a huge
chunk removed from the magnet so that it is balanced for heavy strings.

Now, here we have the crux of the matter - other pickups made in 1959 were
not rocket science and the ones now marketed as `59 models are no
different. They are two coils mounted on a flat magnet wired inantiphase to
cancel hum that’s all.

What IS different is that people in 1959 used substantially heavier
strings, which had a thicker fuller tone - that is all there is to it.

If you want a better tone from your guitar fit 11 or 12 gauge strings with
a wound third and with ?10 out of the ?200 you have saved on pickups buy a
copy of Mickey Baker’s jazz guitar course and become a better player. You
can use the other ?190 to buy flowers for your wife and toys for the kids.

Will

Some of the discussions here have got me thinking about a sound
problem I had recently (and not the first time).

I got a call for a restaurant gig. Guitar, bass, drums and a singer.
When I arrived, I found that the place was basically a single
storefront. As a rough guess, no more than 20 feet wide. The door was
on the left of the front wall and the rest of that wall was the usual
glass window.

There was a table just to the right of the door and, to the right of
that, was the space for the band. It was next to the front window,
along the right hand wall. It ended atthe edge of a bar which ran the
rest of the length of the place on the right.

I don't know how clear that explanation was, but the space for the
band was like 8 x 10 or so (I'm guessing). That sounds like plenty of
room, but the problem was there was a grand piano in it -- which we
had no use for. We pushed it to one side as best we could, but there
wasn't much room left.

The drummer, who had the smallest drums I've seen, like toys almost,
wedged himself in between the piano and the bar (one cymbal so close
to my head I had to use an ear plug). The singer put the PA
electronics under the piano and set up two speaker stands. She
basically sung from inside the crowd. The bass player showed up quite
late and plugged into the PA. Fortunately, he was playing bass guitar
and liked to stand. There wasn't room for another chair.

I had my usual rig, two little amps and my nylon string. I put the
amps on top of the piano (I usually try to get them off the floor) on
some placemats and plugged in like usual. This was before the bassist
showed up.

The sound of the guitar was awful. Very harsh. I don't know how else
to describe it. I'd assume the hardwood of the piano, the glass, the
bar and not too many people at the beginning made it a live, echoey
room.

After a few tunes, I switched to a solid body steel string electric
(for reasons unrelated to the sound problem), the bass player finally
showed up, a crowd formed and the sound was fine. The rest of the gig
went well.

In the past I've found that my stuff sounds much better in a dead
room, i.e. one with lots of upholstery, carpet and people.

But I'm wondering. What can you do in that situation? Does EQ help?
Are there any tricks to improve things in a "live" room like that?

Thanks in advance,

Rick

Hi Gang,

Just wanted to ask some advice about what to put on my 50's L4-C. I love its natural tone.

It doesn't have a pickguard and I sorta like that. I want to be able to use it on soft jazz gigs.

I have been considering a D'Armond type pick up, but I am not sure. I have no real issues about using old "vintage stuff" or new stuff....I would just like a clear, clean tone that is less apt to feedback and that I don't have to make any mods.

Any thoughts about piezeo (sp?) type pick ups? I generally haven't been that ecstatic about them in the past, but I am open.

Also, I am playing some jazz on a flat top round hole...any advice would be appreciated.

DR

I have been playing guitar for about 7 years now and am currently
teaching lessons for the past 2. Im recently getting into jazz guitar
and looking to start a quartet but was wondering the best sounding amp
for a deep jazz tone?

Where is it? I can't find it.
Jason





--- In jazz_guitar@..., "Alan Levin" <alevin@g...> wrote:

I just uploaded (or maybe tried to upload) Johnny Smith's

arrangement of this piece. It is a scan of a transcription in one
of the guitar mags. Unfortunately, the orginal is printed on
newsprint and the scans are very 'dirty' and grey. I had to leave
them very large to keep the information from being obscured.

I hope these are helpful and watch those 5 or 6 fret stretches.

Thanks

Al

We would like to remind you of this upcoming event.

Gig:NY,NY:Sheryl Bailey and Singo Okudairu

Date: Wednesday, October 5, 2005
Time: 9:00PM - 1:00AM EDT (GMT-04:00)

Guitarist Sheryl Bailey will join master drummer, Shingo
Okudairu at Merchants: 1125 1rst Ave @ 62nd Street, NYC
NO COVER, just a killing trio!
9pm-1am

There's a groovy (kind of eclectic) new album out from the legendary
guitarist Leo Kottke and Phish bassist Mike Gordon. Kind of a Calypso
feel, very mellow but the musicianship is absolutely incredible. It's
called "Sixty Six Steps"............look into it!!

You can also listen to sample tracks at Amazon!!

Guys

I will be in Hagerstown area this weekend. If you have a gig anywhere
near there (100 mi radius) and could use a couple of moral
supporters/fans/groupies, Let me know on or off site.

Marshall

We would like to remind you of this upcoming event.

Gig:Brooklyn, NY: The Jazz Spot/Monday Night Jam Sessions

Date: Monday, October 10, 2005
Time: 8:00PM - 12:00AM EDT (GMT-04:00)

The Jazz Spot
375 Kosciusko Street
(entrance on Marcus Garvey Blvd)
Brooklyn, New York
718-453-7825
web site: thejazz.8m.com

Monday Night Jam Sessions
8pm to 12am $5
"Jazz Guitar"

Friday & Saturday-
Live Jazz $10


Travel Directions:

J train to kosciuszko Street
then walk 4 long blocks to Marcus Garvey Blvd.