Check out the "Jack Wilkins Profile", and Discography in the "Jazz
Commentary" section of my web site:www.joegiglio.com. I hope you find
it informative and enjoyable! Joe Giglio

I have a Guild Starfire II which sounds terrific through my Carvin
nomad 112. The reverb is very complex and musical. For bigger gigs (or
with my 9 piece reggae/soca band) I use a stereo rig with a Boogie
Triaxis, a TC Electronics G Force processor, and a pair of single 12
cabs.
But as for the combo amp, I think the Carvin's EL84 power tubes have a
slightly better tone than the 6L6 tubes in my big stereo rig.
I have A/B'd a number of amps with similar characteristics but
different power tubes. For a nice jazz warm tone I think that EL84s
tend to behave more idiomatically (particularly when they start to
break up a little).
BTW, I also messed around with a solid state Tech21 amp recently and it
was remarkably smooth.

I just joined this list and have seen no activity yet.
I looked back over some of the postings since the
beginning in September 1999.

The convert to minor issue got my attention so I
thought I would put in my two cents.

I studied with Jackie King ()? in the late '70's
when he was still teaching in San Francisco.
He taught some real interesting fingerings etc.
This one I will use as an example is his directional improve exercise to get
you up and down the neck.? I tested this is email with a Fixed Width
using Netscape's IMAP email client, so I hope it hangs together for
everyone.

Note:????? F G Ab Bb C Eb F G Ab Bb
Finger:??? 1 3 4? 1 -1 4 -4 1? 2? 4
Fret:????? 1 3 4? 1? 3 6? 8 5? 6? 8
String:???? 6??????? 5????? 4

Note:???? C Eb F? G Ab Bb C Eb F
Finger:?? 1 4 -4? 1 2? 4? 1 4 -4
Fret:???? 5 8? 10 8 9? 11 8 11 13
String:?? 3?????? 2?????? 1

Now this is nothing earth shaking.?? Just a standard line for Fm7 without the
6th which would be the 3rd of Bb7.? So you can use it for IIm7 V7.
This should be practiced up and down the neck with the exact fingering
starting on the first position then on the 2nd etc.? It tops out about Bbm7 or
Cm7 depending on the range of your guitar and you.

I like the idea of not playing the 3rd of the V7 chord.? After a while you can really
hear it and since you are going out of your way to not play it you know where
that? sound is.? You can also get real fast at the fingering after a while.
If you don't hear the 3rd of the V7 (Bb7) just through it in a few times
as a resolution to the V7 to get it in your ear.? Then practice without playing it
and? pretty soon you hear it when not playing it and you then know it.

The point of this obvious line is it is one of many directional fingerings
that get you around the neck. It is a schematic and you can make many
different melodies by embellishing it and varying the fingering as you
move around.
It goes through 4 of the 5 positional scale fingerings for F minor or Ab Major.
1st position, 3rd position, 5th, and 8th.? I say scale
fingerings because I don't want to label them as dorian, major, lydian etc.
I studied the George Russell Lydian Concept of Tonal Organization
() so I think they are lydian scales, Ab.

Jackie King didn't say anything about scales.? I knew my scales and he was
teaching his concepts of getting around the neck.

He said you can play this for any:

AbMaj7,9,#11 or 11 which is not in this fingering,13
Fm7,9,11,13
Bb7,9,11,13
I cannot remember if he included:
Dm7b5?? but I do.

Now I could be wrong, but when he played it I could see that this was
working for blues licks, rock licks if thinking more pentatonic, and
jazz licks thinking Fminor or Ab.
He seemed to favor Charlie Parker and mentioned him a lot.

I can also think an Fm7 chord on the 1st fret, 3rd, 5th, and 8th or just a Fminor
triad in these positions.?? And play it for IIm7 V7 in Eb Fm7 Bb7,
AbMaj7 IMaj7, Dm7b5 in Cminor going to G7b5 with or without #5th II V in
minor key.

So if the sound and fingering is Fm7 and can be used for Fm7 Bb7
(through in the D 3rd of V7 chord)? or AbMaj7 then you can substitute
minor fingerings over I VIm7 IIm7 V7 like this.
BbMaj7?? Gm7?? Cm7? F7
Dm7??????? Dbm7? Cm7 Ebm7?? back to Dm7 or BbMaj7.

It's based on IIIm7 VI7 IIm7 V7? Substitution and tri-tone sub for the
dominate chords.? This is of course IIm7/II? V7/II? IIm7? V7.

So if you start on the 10th fret for Dm7 scale fingering in 10th position
you move down a half step to Dbm7 9th fret again to Cm7 8th fret and
change to a Ebm7 scale fingering on the 6th fret then repeat.? Stay on the
same fingering and down a half step to Dm7 on the 5th fret Dbm7 or the 4th
Cm7 on the 3rd change to Ebm7 on the 3rd etc.? Now work on ways to
go back up the neck with a similar concept.

Now Jackie King never said anything about "convert to minor" to me.
It was just obvious, so either he taught me this or I discovered it when
I studied with him.

I have mentioned one directional minor fingering up and down the neck,
the 5 positional scale fingerings, and substitutions to link minor chords
through changes.? There are many other ways to look at this and many
other fingerings so I am just illustrating what I think convert to minor is
about.? In my mind it is very guitar fingering oriented.
?

Chris Grey
?

Hi everybody,

There's a Django recording where a modern French (?) guitar
trio (80's) did a nice job in dubbing voicings and comping
on Django's old tracks.

One of the best tunes (with a great, lively "multi-solo") is
Night and Day.

The question is: Does anybody know this album's title? I've
searching the web for it and can't find it. The guitar trio
could be "Guitars Unlimited", but I'm not quite sure.

I've reading the group messages since last October and I'm
pleasantly surprised on the high level of discussion. I was
a student at Berklee in the 80's, but, as I told you before,
had to "take five" after an automobile accident. Things go
much better now, after years of therapy (I had a brachial
plexus paralysis). And now, hopefully, I'm "back on the
road".

My question before, about a would-be Mozart piece, is for my
daughter, who's starting on piano lessons and loves classic
(well, someday she'll listen to reason).

Greetings from Mexico,

Marco.

Vincent:

I have a CARVIN AG 100 D. It has three channels, two guitars and one
mic,100 watts, heavy duty 200 watt 12" speaker and a horn tweeter. It also
has 16 digital effects, including reverb. I bought it used for less than
$300.00. New, it's around $400.00. I play a Bill Comins Archtop, and a
Guild acoustic. I sometimes use a porchboard bass and also sing through it.
It's a workhorse. I particularly like the acoustic quality that it brings
out of my Comins. The horn adds. Carvin also has some good small tube amps.
Check them out. I also have a Polytone mini brute but since I accompany
myself and sing, I opt for the Carvin or a direct box to the house PA. Good
luck. Polk Shelton, Austin, Texas.

Hi. It just so happens that I play a Pat Metheny model Ibanez,
the PM-20. I've tried several amps in that price range and wound up
with a Peavey Classic 30. Nice warm sound, tends to be bass-heavy with my guitar (probably the heavy strings), so I turn the bass down. Try it, you might like it.

I also tried out a Fender Princeton 65 and Princeton Chorus, both very good. I've heard that a lot of jazz players like the Polytone amps, but I never see those up here (Nova Scotia).

From: vinong@...
Reply-To: jazzguitar@...
To: jazzguitar@...
Subject: [jazzguitar] guitar amp that suit my sheraton.
Date: Fri, 03 Dec 1999 17:59:03 -0800

Hey Guys,
I just bought a Epiphone Sheraton II. I feel good for its sound when i
play it in a recital hall. I jacked straight into the hall's PA system
DI Box. But I'm trying to find a amp that suit to this beauty when I
playing in some bad sounding hall, such as a night club or a pub.
My budget is around $300-$400 USD. can you guys recommend some good
stuff? I always sounds like Pat Metheny's mellow sound with huge
reverb.
thanks.

Vincent


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______________________________________________________

Hey Guys,
I just bought a Epiphone Sheraton II. I feel good for its sound when i
play it in a recital hall. I jacked straight into the hall's PA system
DI Box. But I'm trying to find a amp that suit to this beauty when I
playing in some bad sounding hall, such as a night club or a pub.
My budget is around $300-$400 USD. can you guys recommend some good
stuff? I always sounds like Pat Metheny's mellow sound with huge
reverb.
thanks.

Vincent

开云体育

One Web site that has a few Scofield transcriptions is:


Rick

Hello, all!

I've got a question for you: where I can get transcriptions of Jhon
Scoffield's
song's? Or probably you can send them to me.

Thank you, Igor.

<A href=">Welcome to johnscofield.com - John
Scofield - jazz guitarist/composer/Verve rec</A>

Thanx for returning my mail, I know I left
some great guitarists and CDs out but as we all saw they were filled in by
others. I did want to mention that the Pure Desmond album that I mentioned
with Ed Bickert is available on CD on the CTI label. It's a Great CD period.
And as far as guitar playing goes this guy is too much. the way he is so
melodic and incorporates chords as an integral part of his soloing. I always
recommend this album to my students. To try to hip them to the importance of
playing chords while soloing. There are so many valuable aspects to doing
this which I won't go into right now but Ed Bickert the guitarist with Paul
Desmond seems to demonstrate it just fine.
As far as the Jim Hall Live CD I can't say for certain if
its out on CD yet or not. My guess is that it is. For 1 he is a living legend
in Jazz and 2 its also great music so I would ask at a record store and pick
it up also.
I just wanted to mention I have been checking out this E-mail
group for about 5 months or so and I think its a beautiful thing, so many
people asking questions, and helping each other in their journey of jazz,
it's really utilizing the Internet in such a positive way. Keep it up
Everyone.
Peace,
Teddy

You probably mean where can you find them on the Internet? I'm sure if you
spent some time searching you'd find something, most likely a tab. But what
I'd recommend is to try to transcribe the songs you like yourself. That way
you get your ears in shape.

I have some suggestions that will irk most purists of jazz.

It's named "HEAVY'N JAZZ" by Jaco Pastorius (under Jazzpoint records LC
7223) who will be familiar to fans of bass lovers. It also features a young
Bireli Lagrene who plays a mean guitar.
The live tracks includes perennial favourites for the heavy minded like
Jimi Hendrix's "Purple Haze"/ "The Third rock from the sun" and even "smoke
on the water" / "Star spangled banner".

Not bad if you need to exercise your ear-drums for a change.

Another suggestion would be to try sth from Stephane Grappelli, master
violinist who unfortunately passed away just a few years back. A good album
would be "At the Winery" from Concord.

Good Luck in your pursuit.

Jack

Howdy,
A lot of good suggestions. A few names to add to the list, albeit performers
not CD titles. I don't think any Jazz guitar collection is complete without
Eddie Lang (there's a CD with Lang and Carl Kress/Dick McDonough, I think
more important to the development of Jazz guitar than Django, as much as I
like Django).
Barney Kessel, especially his work with Artie Shaw's Gramercy Five. Almost,
but not quite as exciting as Charlie Christian, considering the time.
Did anyone mention Tal Farlow? Can't imagine there'd be any CD that wasn't
outstanding.
Johnny Smith "Moonlight in Vermont." Great guitar with Stan Getz and/or Zoot
Simms.
Chico Hamilton "The Dealer." Larry Coryell's first jazz sessions. The CD
reissue also has a few cuts with Gabor Szabo.
Finally, Szabo's "Spellbinder." Available as a Japanese import for mucho
bucks. "The Sorcerer" and "More Sorcery" are next best.
These all assume a basic Wes/Burrell/Django collection as a base.
Brad Little

rob clark <robertclar-@...> wrote:
original article:

Hi All,

I'm pretty new to jazz guitar and would welcome suggestions
concerning the to 10 or so jazz guitar CDs (Chrismas coming
up and all). I have some Charlie Christian, Django, and Wes
- but thats about it. Thanks in advance for the input.
Rob

For something that is a little outside the norm...try some Wayne
Krantz....his new one is Greenwich Mean....great improvising...sounds
like himself...no one else....very unique!....www.waynekrantz.com or
www.montsa.com...GREAT stuff!

Take care

Dave

This email won't really help. Think of top 10 in each
jazz guitar genre and then era and then guitar/piano,
guitar/sax, guitar/vocalist, etc. In no particular
order.

Jim Hall with Bill Evans

All the Jimmy/Doug Raney Duet Cds

Jimmy Raney's CrissCross CDs

Howard Alden's Solo CDs

Howard Alden and George Van Eps duo CDs

Jimmy Bruno, solos, duos, trios

Frank Vignola

Check out the Jardis catalog especially the jazz
guitar duo CDs.
Peter Leitch and Heiner Franz
Mitch Seidman and Fred Fried
Helmut Kagerer and Peter Berstein

Peter Berstein with the Jimmy Cobb Mob

Kenny Burrell live double CD

Feddy Green

Joe Pass, solo and his many duos with John Pisano
Joe Pass CDs with Ella Fitzgerald singing

Pick one of each and find your top 2 or 3 favorite
styles.

Ed T.


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Yahoo! Shopping:

Teddy,

I have all the ones you mentioned EXCEPT:

"Jim Hall Live"

"Paul Desmond Live."

I didn't know these have been released on CDs....If so, where did u get
them?....Thanks

Thought you guys and gals might get a kick out of this!


Sing this to the tune of "Would You Like to Swing on a Star".
-----------------------------------------

(chorus)
Would you like to play the guitar
Carry money home in a jar

From a coffeehouse or a bar

Or would you rather get a job?

(verse)
A job is a thing that makes you get out of bed
And work every day until you're dead
Your back is achin' and your brain is numb
And you just can't wait until the weekend comes
But if you don't want to starve or beg or rob
You're gonna have to get a job

(chorus)
Or would you like to play the guitar
Drive for miles and miles in your car
And pretend that you're a big star
Or would you rather book the gig?

(verse)
The agent's the guy who takes out twenty percent
What he says isn't always what he meant
He'll clean you out in ways you never thought
Because he's good at business and he knows you're not
And then he'll sue if you ever make it big
Cause he's the guy who booked the gig

(chorus)
Or would you like to play the guitar
For a living - hardee-har-har
I'll admit it's kind of bizarre
Or would you rather be the wife

(verse)
The wife is the one who has to rescue our butts
She's either a saint or else she's nuts
She gets impatient and she gets annoyed
Cause she's the one who must remain employed
And by the way if you want to wreck your life
Become a guitar player's wife

(chorus)
Cause all the monkeys aren't in the zoo
They can be trained to play guitar too
Some do a whole lot better than you
But even if you don't go far
You could be worse off than you are
At least you're playing your guitar

Well, I'd have to say that limiting it to ten CDs is a rough
one, but first on my list would have to be "So Much Guitar" by Wes Montgomery
also "The Incredible Jazz" guitar By Wes also. In actuality get all the Wes
you can get a hold of because its all great, and very important as Jazz
guitar goes. Kenny Burrell's "Man At Work," His "God Bless The Child' CD and
any of his "Ellington Is Forever" Tributes are Important. "Jim Hall Live,"
and the 2 CDs he did with Bill Evans. Another underrated guitarist who I
think is very important to investigate his approach to the instrument is Ed
Bickert you'll find him under his own name and also some classic stuff he did
with alto saxophonist Paul Desmond "Pure Desmond" & "Paul Desmond Live." He's
playing is an excellent example of comping for yourself while improvising
using the harmonic aspect of the instrument along with lines. "Pat Martino
Live" is a must have!
Pat Metheny's "Bright Size Life', Charlie Haden & Pat Metheny "Beyond
Missouri Sky'' and Jim Hall and Pat Metheny that just came out recently are
all must haves. Well, The list can go on and on I'm sure I've exceed the 10
cd limit, and left out many great ones, but these are some of my suggestions
I hope they help you out and give you the great joy of listening that they
have to so many jazz guitarists and fans as well.
Peace,
Teddy Pantelas