开云体育

I picked up an old Polytone MB a few years back. I think it's
from the early 80's or so, but I'm not sure. Plug in my ~2001
Gibson L4, and it just does it's thing. Lovely sound - no fuss,
no muss.

Scott

Dallas Selman wrote:

Jazz bassist Jack Lesberg dies at 85
October 5, 2005, 12:27 PM EDT

ENGLEWOOD, N.J. -- Bassist Jack Lesberg, who played with many of the
jazz greats of the 1940s and '50s and had a distinguished career in
symphonic orchestras, has died.

Lesberg, who was 85, died of complications from Alzheimer's disease on
Sept. 17 at the Lillian Booth Actors' Home, his daughter, Valerie
Kaplan, told The New York Times for Wednesday newspapers.

A Boston native, Lesberg played violin in area clubs before switching
to double bass in the late 1930s. He was a survivor of the Cocoanut
Grove nightclub fire, in which 492 people died in 1942.

Moving to New York City in 1943, Lesberg soon gained attention. Jazz
legends he played with included guitarist Eddie Condon, tenor
saxophonist Coleman Hawkins, clarinetist Benny Goodman, pianist Earl
"Fatha" Hines and vocalists Billie Holiday and Sarah Vaughan.

Lesberg played with Louis Armstrong starting in the late 1940s. He
toured with the Armstrong All Stars in the mid-1950s.

His career also included work with some of the world's top orchestras.
Lesberg performed with the New York City Symphony Orchestra from 1945
to 1948, mostly under Leonard Bernstein's direction.

Lesberg was with the Sydney Symphony in Australia during the early 1970s.

For the past 25 years, he lived mostly on Roosevelt Island. His last
noteworthy performance was in March 2003 at Mat Domber's March of Jazz
in Clearwater, Fla.

Besides Kaplan, Lesberg is survived by another daughter, Jacqueline
Murphy; three grandsons; and his companion of 25 years, Linda Reilly.

,0,2158223.story?coll=ny-region-apnewjersey

Oops, almost forgot... There's usually a grounding wire that goes to the
tailpiece. That's gotta come off too.

-mike

I have a JC-120 I bought new back in 1984. I've had it modified with an output jack that I run into a cabinet that has 1x15" JBL speaker. This is for situations where you have plenty of space to setup.
I also have a JC-77, which I got in 1987. It's quite a bit lighter and smaller with 2x10's. It's for situations where space is limited.
I've also found that my Evans amp, which I use primarily to play my pedal steel guitars though, sounds real good with jazz boxes. Hope that helps!


Toby Rider
Fort Worth, Texas

I use two vintage amps that are currently available as reissues: a
Fender Deluxe Reverb (JBL E series) and a Vibroverb w/ a 15" JBL D130.
They both have good bass response, but the 15" wins. I also use an
older Polytone "Mini-Teeny-Tiny-Baby-Brute" that has like a 8-in.
speaker and 100 watts, a little square box that's pretty powerful.
Tom McComb

On 10/5/05 6:00 PM, "None Nope" <needtoretirenow2000@...> wrote:

Hello all,

So which model exactly? and what price new or used do you think is reasonable?

My main amp used to be a Fender Deluxe 112. 65W solid state with a single
12" speaker. Weighed about 30lbs, had nice reverb and a good clean tone.
People seem to ask about $150, but they go for less.

The jazz ensemble I played with in high school had a 4x10" Fender Blues
Deville. That was a fun amp! Great tone with my les paul & flatwound 11's.
Heavy one though.

-mike

On 10/5/05 5:02 PM, "bebmen" <bebmen@...> wrote:

If I use semi-hollow body guitar, do I need any extra tools and
perfaps skills to replace a pickup? I mean, there is no plastic plate
like in Strat that when you take off everything is on sight. How do
get to the switch?

On hollowbodies you take the nuts off the switches/pots/jacks and pull
_everything_ out of the pickup hole. It's not a terribly fun thing to put it
all back, but there are some tricks to make it go faster.

-mike

This is definitely the string number. If you play this Am7 in 5th position,
the "C" will be on the 3rd dtring. Same in next measure, the low Bb is to be
played on the 6th string.

Ok...now I get it.

But I still think the nomenclature is misleading. How did you know the "3" was in reference to the C note in the Amin7 chord? I assumed it was either a position marker (3rd position), or that it was telling me to play the A note on the third string--or something. Meanwhile, yes, I had already gone ahead and fingered the Amin7 chord in 5th position, C note on the third string. Shrug...I didn't need anyone to tell me that. ;)

Anyway, yes, now it makes sense, but it still seems like a strange way to notate things.

Jeff

on 10/5/05 8:05 AM, Ron Murray at rmurray@... wrote:

on 10/5/05 2:51 AM, Jeff Shirkey at jcshirke@... wrote:

I know you probaly have a ton of material already to
study and digest ... but you HAVE to download (if you
already haven't) the Barry Galbarith Chord Melody book
available free here in the files archives:

What's up with the circles with numbers in them above certain
measures? Does it indicate position? Suggested fingering (if so, in
what way)? I'm looking at "Autumn in New York" now, and the "3" above
the third beat of measure one isn't making a whole lot of sense to
me, particularly if it indicates third position (which, imo, makes no
sense...unless I'm being a complete ass, which is always a distinct
possibility).

A circled number generally indicates which string to play the note on.

Ron Murray

This is definitely the string number. If you play this Am7 in 5th position,
the "C" will be on the 3rd dtring. Same in next measure, the low Bb is to be
played on the 6th string.

Hello all,

So which model exactly? and what price new or used do you think is reasonable?

Thanks,
Don

For some reason he has the Rhythm Changes progression going from

Bbmaj6 to Gb7 to F11 back to Gb7. I wasn't familiar with the Gb7
there. Shouldn't that be G7 or can someone explain that sub to me.

You wear me out, man! lol

Reminds me of the chess club I used to be in. Guys would
analyze 'Fine's Basic Chess Endings' to death.

I will 'get' all this one day.

M


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

Note the implications of improvisation on the
interchangeability of the dom b7 and the dim7 chords
in reference to the Diminished scale and the Half
Diminished scale - in order to break out of the "rut"
of the natural shapes and patterns that the guitar is
sometimes mistakeningly indigenous for:

e.g.

B7b9---> B-C-D-Eb-F-F#-G#-A-B (B Half-Dim. scale)
C Dim7---> C-D-Eb-F-F#-G#-A-B (C Dim. scale)

Notice that these are the same scales starting on the
I and bii degrees ...

...taking into account Dom7b9 is the same chord as
it's bii Diminished, e.g., B7b9 = C Dim7

Implications:

If I use semi-hollow body guitar, do I need any extra tools and
perfaps skills to replace a pickup? I mean, there is no plastic plate
like in Strat that when you take off everything is on sight. How do
get to the switch?

I am not sure what deep means... However I like the fender hot rod
deluxe....

--- In jazz_guitar@..., "stuckinthesky777"
<stuckinthesky777@y...> 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?

If it's cut for a standard humbucker (or gretsch filtertron) get a
tv jones... www.tvjones.com


--- In jazz_guitar@..., "DAVID RUDICK" <sribeme@m...>
wrote:

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

will_halligan wrote:

Two things..

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

I've got a Roland JC120, but have been considering a Fender '65 Twin Reverb reissue with the single 15" speaker. I'm not getting the kind of bottom end I want from the JC120. Has anyone played through one of the new Fender's? The idea of a 15" speaker is giving me visions of bottom end heaven! ;)

Ray

I love my cube 60, has a clean jazz channel, lead channel has a
couple of nice fender type models, I love both sounds. I like the
chorus and other effects. I heard many bad things about the polytone
and was scared out of buying. At half the price I cant imagine a
better amp than the cube. Im more happy with it than anything ive
bought . Did I mention that I really like it. Light too for the
power.
Good luck
kyle

--- In jazz_guitar@..., "Robert Lizarraga"
<robert.lizarraga@s...> wrote:

This kinda depends on personal preference of course and how much

money

you can spend. I play jazz through a Line 6, that's right a

modeling

amp, true jazzers will have some negativity to share about this I'm
sure. Also, Roland has the Cube 60 which seems to be the amp of
preference but, if you want to play in stereo get the Roland

JC120, a

heavy amp but, it sounds great. I've heard the Polytones, wasn't
impressed and I've played on the Mesa Boogies IV, both over

priced.

Evans makes a very light weight kick ass amp but again you will

spend

from $1200.00 on up, they sound great especially for solo work.

For

your quartet idea I would definetly check out the Rolands. hope

this

helps.



--- In jazz_guitar@..., "stuckinthesky777"
<stuckinthesky777@y...> 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?

A circled number generally indicates which string to play the note on.

In this instance, it's above a chord, and it makes little sense--at least to me.

Thanks, though.

Jeff

To summarize all the different concepts and ideas that
are floating around for many young players today --
for those starting out, I''d like to try and summarize
the necessary components to practice by minimizing the
amount of data ...

The folowing is a list of scales for improvisation all
derived from the MAJOR ... I give my students what
works well for me ...

...All the alterations are on the MAJOR scale -- I
find it so much easier to learn, to practice, and to
ultimately play what gets learned...

All scales are based on MAJOR to be applied with the
following alterations:

MAJOR (also IONIAN MODE)
1 2 3 4 5 6 7

NATURAL MINOR (Relative Minor, same as the AEOLIAN
MODE)
1 2 b3 4 5 - #5 (b6) b7

MELODIC MINOR
1 2 b3 4 5 6 7

HARMONIC MINOR
1 2 b3 4 5 - #5 (b6) 7

DORIAN MODE
1 2 b3 4 5 6 b7

PHYRGIAN MODE
1 b2 b3 4 5 - #5 (b6) b7

LYDIAN MODE
1 2 3- #4 5 6 7

MIXOLYDIAN MODE
1 2 3 4 5 6 b7

AEOLIAN MODE
1 2 b3 4 5 - #5 (b6) b7

LOCRIAN MODE
1 b2 b3 4 - #4(b5) - #5(b6) b7

DIMINISHED SCALE:
1 2 b3 4 - #4(b5) - #5 6 7

HALF-DIMINSHED SCALE:
1 b2 b3 3 - #4(b5) 5 6 b7

.....if anyone is interested in where to play the
above, e-mail me for a further explanation of
application . . .


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



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