HJGS Newsletter 31 Mar14

8/12/2019 HJGS Newsletter 31 Mar14

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Huddersfield Jazz Guitar Society

Newsletter No. 31 March 2014

Hi Jazz Guitar Fans,

Don’t forget. The Rat & Ratchet is our new home.

Our change of venue went off without a hitch and, in general, membersappeared to be delighted with the room size, acoustics and general feel-goodambience. The beer is also superb, reasonably priced and brewed on thepremises! However, it was suggested that a change in positioning of theperformers would be helpful, perhaps against the front, exterior, wall to facilitatebetter visibility. This is in hand for the next meeting.

This, first session, got underway, as per usual withTom Prior, this time on his semi-acoustic Gibson ES-

135. He began, appropriately on this Duke Ellingtonevening, with a medley comprising of: Don’t GetAround Much Anymore and It Don’t Mean a Thingif it Ain’t Got That Swing. As usual, this was wellplayed, and featured many of the expected Priorisms,surprising twists and turns, that is, not least theending, which featured the famous phrase fromGeorge Gershwin’s, Rhapsody in Blue.

Tom was followed by the Idle Guits, in an early spot for them. They werecertainly out in force (seven players in all) and were, at this early junction inproceedings, robbed of their usual ‘Dutch courage’ with their drinking time severelycurtailed! Nevertheless, this resulted in clearer minds and a cleaner performance.

Apart from one false start, the Guits held together brilliantly, with Darren and Colintaking most of the solos. Colin appears to be gaining in confidence and isdefinitely improving as an improviser. They began with In a Mellow Tone,



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followed by Caravan. The latter was an ambitious arrangement, with exotic ChicoHamilton/Jim Hall like counter melodies running through the ‘A’ section. It alsohad a very tasty ending, featuring a crunchy minor/major dissonance. The Guitscompleted their set with Don’t Get Around Much Anymore; Colin taking the initialsolo and Darren the second.

Robin Thomas, then treated us to abluesy interlude, featuring Mood Indigo

which was, Robin informed us, originallyentitled Dreamy Blues. This was followedby C Jam Blues. Robin seemed uncertainwhether this was an Ellington opus, whichwas surprising given the notoriety ofEllington’s famous Newport recording of thispiece which featured the legendary 30minute solo by tenor saxophonist PaulGonsalves. We were then treated to anotherreading of the perennial Caravan.

The final set, before the break,was supplied by newcomer BrettBonnell from Newfoundland (is our famespreading?), Adrian Ingram and Darren.It was intended that Ian Wroe was alsoto be part of this ensemble but,unfortunately, there weren’t enough amplifiers to facilitate this. The trio,

Brett played Fender bass, gaveperformances of Lucky So and So andIn a Sentimental Mood. As usual,

Adrian and Darren played to a very highstandard, with newcomer Brett matchingthem all the way!

Following the raffle and chinwag the resident HJGS duo of Dave and Chrisplayed In a Mellow Tone, In a Sentimental Mood and Caravan. Dave, who isfortunately making a good recovery from a recent illness, was, understandably,

unaware that it was an Ellington evening,which meant that their entireperformance was a real impromptu affair.Well, you wouldn’t have noticed, as theprofessionalism of this unit is such thateverything they play is guaranteed to beof the very highest standard. They aregrowing in stature as the months pass!



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A nice contrast, from traditional tomodern, was provided by Jez Platt in a solo,and freewheeling, rendition of I’ve Got it Badand That Ain’t Good. This was played in adeclamatory style, with soulful call andresponse, a la Duke Ellington meets the

Average White Bad! Jez was then joined byMartin Chung for a rendition of perhaps

Ellington’s most famous blues: ThingsAin’t What They Used to Be.Initially, Martin seemed to have his‘rock band’ hat on as he was almosttwice as loud as anyone else hadbeen featured all evening and a fewwinces and flinches were noticedamongst the audience. Fortunately,the volume was a little morerestrained on their second tune, a nice funky arrangement of Satin Doll. Jez tookthe ‘A’ section in octaves, with a string-damped bridge. We were definitely in EarthWind and Fire territory with this arrangement! As expected, with pro players of thiscalibre, it was played with commitment and conviction, and worked surprisinglywell. I wonder what the Duke would have thought.

The evening ended with more mainstream

fare, drawing from swing and be-bop, when Adrian, Darren and Ian played Take the ‘A’Train and Cottontail; the latter taken at ablistering pace with all kinds of jazz quotesthrown in. Each player was able to play to theirstrengths, Ade’s fluent be-bop lines, Darren’sexhaustive chord voicings and Ian’s increasingproficiency on the 7 string guitar. This was abeautiful way to end the evening.

Our resident bass player Charles made an audio recording of the evening’sproceedings. If the recordings work, he will be selling copies for a modest sum, acontribution from which will go to HJGS.

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Member’s News

Call for Membership Participation



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We have had a few successful, I believe, examinations/investigations ofmember’s favourite tunes. If you feel you could do a similar job please let me know.Send an email to [email protected] or chat to any of the committee at thenext meeting.

Remember the HJGS exists for the benefit(s) of its members, so we need tohear from YOU: good, bad, indifferent, news, views, gossip, ideas, viewpoints, gigs,sales wants, swaps… etc, etc!

Please keep us informed of any jazz guitar related gigs, events, sales or otheritem of interest, so that we can pass information on to other members. HJGS needs

to develop its wider network as an important forum for jazz guitar related informationand information exchange, so that we may all benefit from the collective wisdom anduncoordinated information that undoubtedly exists amongst fans and connoisseurs.

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Swap an Idea

This column appears to be popular so we will keep it for the time being. But,and this is an important but we do NEED YOUR CONTRIBUTIONS for this to be

successful. Contributions please to [email protected].

This month we have a couple of contributions.

The first is from Martin Chung.

Single chord vamps and grooves can pose a number of interesting possibilities forsoloists, often leaving them the freedom to imply new harmonic ideas “outside” of thechord(s) being played. This lick works primarily over an A minor or modal vamp, where 9ths,major 6ths (and the major 7th towards the end) can be utilised to add much needed colour.

It starts by superimposing the relative major Cmaj7th arpeggio starting from the major7th, before highlighting an A minor shape on the treble strings of the guitar towards the endof the second bar. The final bar includes the major seventh (G#) on the high E followed bythe major 6th (F#) at the end adding tension towards the end of the lick.

###############

The second is from Darren Dutson Bromley

mailto:[email protected]










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The Coltrane Changes.The Coltrane changes or multi-tonic changes were first demonstrated by JohnColtrane on the album Blue Train and were later expanded on in tunes such as CountDown and Giant Steps.

The Coltrane changes are essentially a way of negotiating a ii V Iprogression starting on chord ii and ending on chord I but taking in somedifferent ‘scenery’ along the way by way of some additional chords.Taking the key of C major as an example.

Chord ii is Dm7, chord V is G7 and chord I is Cma7.

The Coltrane changes are basically a different way of getting from Dm7to Cma7.

The inspiration for the progression was built out of a C augmented triad.The notes of a C augmented triad are C, E and G#. Basically a stack ofmajor thirds.

Thinking of the G# enharmonically itcan be named Ab. We now have C,E and Ab.

Turning each of the notes into major7th chords gives Cma7, Ema7 andAbma7

The progression is heading towardsCma7 so reversed gives Abma7,Ema7 and Cma7.You can lead into a chord with adominant 7th a perfect 5th above; thiscan help give a progression a strongharmonic flow.



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A dominant 7th chord a perfect 5th above Abma7 is Eb7, a dominant 7th a perfect 5thabove Ema7 is B7 and a dominant 7th a perfect 5th above Cma7 is G7.

The progression begins with Dm7; remember the Coltrane changes are an alternative

path from Dm7 to Cma7.

After Dm7 we go to Eb7, the dominant of Abma7 before moving onto Abma7, this isthen followed by B7 then Ema7 finally G7 to Cma7.

So the whole thing.

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Membership

Some memberships are now fal l ing due for renewal , remember membership

lasts for a ful l 12 mo nths from the paid up mo nth and the fol lowing benef i ts are

only avai lable to current p aid up members.

The following deals have been negotiated for members on production of a currentmembership card: -

Bulldog Pickups (Huddersfield) www.bulldogpickups.com

15% off all pickups and repairs/rewinds.

ElectroMusic (Doncaster) www.electromusic.co.uk Variable discount depending on the item(s) purchased.

GTR (Huddersfield) www.gtrguitars.co.uk

10% discount on strings and accessories.

The Music Room (Cleckheaton) www.the-music-room.com Variable discount depending on the item(s) purchased.

Matt Ryan www.guitarrepairer.com

10% off guitar repairs/setups

AmplifierCoversOnline.com www.amplifiercoversonline.com Customised Equipment Covers On Demand

Frailers www.frailers.com

http://www.bulldogpickups.com/


http://www.electromusic.co.uk/


http://www.gtrguitars.co.uk/


http://www.the-music-room.com/


http://www.guitarrepairer.com/


http://www.amplifiercoversonline.com/

http://www.frailers.com/











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Variable discount depending on the item(s) purchased.

Foulds Guitars - Derby www.fouldsmusic.co.uk Variable discount depending on the item(s) purchased.

The Amp Shack – Contact Andrew Lazdins

Valve/Solid-State amp and Effect pedal repairs. Discount available.Phone: +44 (0) 7716 460 163

Email: [email protected]

MicroVox www.westf.demon.co.uk 10% discount (see feature later in this newsletter)

Phone: +44 (0) 1924 361550


Vinyl Tap have been removed from the list as they have decided that they will nolonger offer any discount on new cds and discount by negotiation on second-hand

cds. As a consequence we feel we can no longer include them.

We are actively pursuing other supplier/retailers and will let you know as soon as weconfirm them. Remember also that we welcome your suggestions re the futuredirection of HJGS. Please get in touch.

Committee

Martin ChungPublicity, joint treasurer, website/facebook and development

Darren Dutson BromleyEnsembles, education, website/facebook and development

Adrian IngramNewsletter, education, international liaison and development

Ian WroeHost, joint treasurer, artiste relations, events and development

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Gigs

Thurs 27thth Adrian Ingram’s Jazz Dawgs, Strays, NewarkFri 28th Adrian Ingram/Darren Dutson Bromley, Strays, Newark Sun 30thth Adrian Ingram’s Jazz Dawgs, The Sportsman, Huddersfield. Phil

Kampen’s birthday special

New Jazz Gig

http://www.fouldsmusic.co.uk/




http://www.westf.demon.co.uk/











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The Jazz Dawgs will be hosting a regular monthly gig every 1st Sunday (4:00pm – 7:00pm) at the Grove, Huddersfield.

The Dawgs will feature different guest(s) each month interspersed with theoccasional jam session in which anyone can play, (please bear in mind, however,that it is a jam session and not an open mic!).

The Grove is considered by many to be the best pub in the area, it certainlyhas the greatest variety of real ales! The roster so far is: -

Sun 6th April Anita LeeSun 4th May Chris Harrison

Monday night jazz at The Head of Steam - Cancelled

The new owners of the Head of Steam have decided that they will no longersupport live music. The staff announced, to the musicians, on Monday the 20th andagain on Wednesday the 22nd that these would be the last gigs.

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Other Jazz Guitar Clubs/Societies

(We are 1 of only 4 jazz guitar societies in England)

Here are a few links: -

http://cheadlejazzguitarclub.wordpress.com/

http://www.southjazzguitar.org ------- Note new website address

http://www.treforowen.com/index.php?id=38

http://www.meetup.com/LondonJazzGuitarSociety/

http://members.iinet.net.au/~jgswa/index.htm Jazz Guitar Society of Western Australia

MeetingsThe first Tuesday of the month at The Head of Steam: Huddersfield Railway Station(see http://www.theheadofsteam.co.uk/huddersfield )

Remember the society needs YOUR views and input so, if you want to provide

a short introduction/discourse for a tune yourself or make any suggestions for a tune,please speak to a committee member. We have already had some other interestingideas put forward which we are looking into. YOUR ideas are both vital and welcome.It is YOUR society and the committee is there entirely on YOUR behalf. Please,

please get involved if you can!



http://www.southjazzguitar.org/





http://www.theheadofsteam.co.uk/huddersfield/










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2014 meetings

Mar 4th - Players night Apr 1st - Parker nightMay 6th - Poss Guest or Players nightJun 3rd` - Gershwin nightJul 1st

Aug 5th

Sep 2nd Oct 7th Nov 4th Dec 2nd - Showcase

Workshop/seminars

Please note that in order to ensure an effective combination of complete

workshop and some time for playing, these sessions will commence at 8:30 on the

do t .

Of Interest, News and Reviews

Found anything on the web or heard of something which may interest our members, thenthis is the place for it.

Following on from our review of luthier Daniel Slaman. He has told us that he is“doing a complete make-over ” of his workshop, as a consequence he is holding a sale

of guitars. The details can be found at: -

www.newvintageguitars.com/clearance-sale-2014.html

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http://www.newvintageguitars.com/clearance-sale-2014.html





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ROQSOLID Amplifier covers

When Matamp, a local yet internationally acclaimed amplifier manufacturer

recommend ROQSOLID for their premium quality covers, I knew that they had to be good.And, indeed, very good they are. Tailored precisely, beautifully made and utilising the finest

materials, the quality is such that I have been back many times and all of my amplifiers are

now fitted with ROQSOLID covers!

Moreover, all of the friends and fellow musicians I have sent to ROQSOLID have alsoreturned for further orders. Their bespoke covers are manufactured from three basic materials:

dustguard, ampguard and foamguard. These are attractive and durable, waterproof and

resistant to knocks and bumps. There is a generous choice of 9 colour bindings for the edging,which from an aesthetical standpoint, sets-off the appearance of these covers a

treat. Consequently, not only will your amp be waterproof (keep the rain off

those electrics!) and resistant to those niggling knocks from carrying around

corners, down narrow corridors and other awkward restricted spaces, but it will

also look fantastic as the accompanying pictures will attest.

Proprietors, Lee and Bryn Towns will make covers for any amplifier,head, speaker-cab., effects pedals, carry cases and even a beautifully crafted

guitar-case cover. Orders can be made in person at the ROQSOLID factory, by phone or

online, where Lee will talk you through online dimension

submissions. The usual waiting time is two weeks and the

cost is surprisingly good value, ranging for example, from£20 to £40 for a Polytone cover. (HJGS members are

entitled to a discount!). Lee will also, if requested,

manufacture for your needs, i.e. the addition of side pockets,

repositioning of the handle slot and so forth, at a very small

additional cost.

The JAZZ DAWGS have been touring with

ROQSOLID covers for four years and even after beingmanhandled on and off the confined space of a canal narrow

boat, dragged along canal towpaths, through muddy fields,

over farm gates and up and down the winding staircases of old public houses (inns), these

covers still look like new! Without hesitation, wehighly recommend this product.

Contact Lee or Bryn Towns on: -Web: www.roqsolid.co.uk

www.amplifiercoversonline.com

Tel: Factory +44 (0)1924 442 244

Lee +44 (0) 7929 253 434

Bryn + 44 (0) 7748 155 864

TOLLFREE: 0808 189 0089

See Website for Skype options

Lee measuring up one of Adrian’s Polytones

Prominently displayed in the Factory

http://www.roqsolid.co.uk/








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Pictured right: Cutting room, note

racks of templates in the

background.

Pictured below: Two of Ian’s well used amp covers (left Musicman RD110; right AER AG8), and his

bespoke guitar case cover.

Reviewed by Adrian Ingram with pictures by Ian Wroe.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Branco Stoysin – Alone

There currently seems to be a plethora of acoustic guitarists,many armed with virtuosic techniques and following a trend tohit, bash, thump and scratch their guitars in any perceivable wayas if it were a drum or percussion instrument. Whilst this can beimpressive and in the right hands effective it quickly becomestiresome, YouTube is currently awash with a great many

examples of pieces that lack any substance and are really abunch of superficial techniques strung together in the guise of amusical composition. When I received Branco's CD 'Alone'through the post and reading the words acoustic guitar on the

beautifully designed sleeve I half expected it to be like that. Thankfully I was very wrong, thisis a delightful collection of originals, well played and well recorded.

Born in the town of Novi Sad in Serbia, Branco began playing the guitar at the age of 15. Inthe 1990s he moved to the UK and currently lives in London where he regularly performsboth solo and with his trio.

This album, as its title 'Alone' suggests is a solo effort with Branco creating different texturesby over dubbing guitars to create a collage of sound. It's a very honest recording that doesn't



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rely on studio trickery or egotistical guitar pyrotechnics, just the sound of the acoustic guitarsweetened only with the now seemingly obligatory reverb.

Not afraid to wear the world music badge on his sleeve, Branco draws influence from EasternEurope, North Africa and Spain and leads us down a path to reveal a number of differentsoundscapes each with an intriguing title to help further our imagination. The album isdedicated to his fellow Serbian, inventor and scientific genius Nikola Tesla and track 7, called'Aurora Tesla’ is his tribute. Other titles include 'Two Japanese Girls on the Bridge', 'AdagioFor All The Dear Souls' and 'Behind the Clouds There's the Sun'.

Many of the tracks follow a very similar formula of arpeggiated guitar accompaniment with anoverdubbed melody and improvisations. The tracks never reach a fever pitch of excitement,rather they are a set of ambient miniatures each creating an atmospheric quality, drawing thelistener in to a hidden world which gradually on repeated plays reveal more and moresecrets. I’ve had the CD in my car on repeat for a week and it has provided a sonic backdropto many of my journeys and I’ve really grown to like it. The album is not jazz in the traditionalsense, it reminds me at times of Al Di Meola’s 1985 album Cielo e Terra. The album isbeautifully packaged and comes with the addition of a bonus DVD, a five-minute collection ofimages set to the title track of the album ‘Alone’.

The album is released on Branco’s own label Sun Recordings and is available from hiswebsite www.brancostoysin.co.uk

Reviewed by Darren Dutson Bromley

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PAT MARTINO : Martino Unstrung : A Brain

Mystery--Sixteen Films

Featuring Delmar Brown, Red Holloway, Les Paul, JohnPatitucci, Joe Pesci, Carlos Santana & Pete TownsendTime 82 mins

This British made documentary traces Pat Martino’s descentinto what at first was thought to be a mental illness butsubsequently turned out to be an arteriovenous malformation(AVM) , a tangle of abnormal, poorly formed blood vessels inhis brain that led to an aneurysm. Having lost much of hispast memory after the operation, including playing the guitar,he had to also re-learn family and friends. Paul Broks a

neuropsychologist narrates the documentary which he co-wrote with director Ian Knox andhe puts Pat through some memory tests and discovers many sides to Pat’s story. There aresome music clips of Pat with his quartet in New York playing up a storm and also playingguitar at home with his wife, also a talented player. There are comments from musicians andfriends, all of whom are in awe of Pat’s talent. As the DVD liner notes say “Pat Martino is an

unlikely American hero whose moving story holds meaning for us all”. Congratulations toSixteen Films for making a thoughtful and intelligent documentary on a fantastic guitar player

http://www.brancostoysin.co.uk/






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who has risen above adversity to once again take his place as one of the legends of jazzguitar.

For more info contact Ian Knox at [email protected] or Eimhear McMahon [email protected] or the Website www.sixteenfilms.co.uk

Ian Macgregor

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A Tribute to Paco de Lucía

I was very sad to learn of the passing of the virtuosoflamenco guitarist Paco de Lucía on Wednesday26th February of a suspected heart attack in Mexico.Such is his standing in the flamenco world that hishometown Algeciras has decreed two days of officialmourning. Paco has been one of the most virtuosic,iconic and influential flamenco players for a long

time, his speed and dexterity unmatched. In someways he was the ultimate musical magpie, borrowingideas from jazz, latin, rock and other genres andseamlessly absorbing them into his own playing andultimately into flamenco itself. His influence was sostrong that these 'new' sounds have become the norm, adopted by many flamenco guitaristsin an effort to remain relevant and to keep up with the great man. Although he openedflamenco’s traditional boundaries to rhythms, harmonies and instruments from the widerworld even when he was playing a tango, using jazz chords or backed by an electric bass,his music remained unmistakably and authoritatively flamenco.

He collaborated with a number of jazz musicians and although he never truly played jazz hiskeen musicianship, furtive imagination and astonishing technique allowed him to fit ineffortlessly. As a result he became very influential, inspiring players such as Chick Corea,John McLaughlin and Al Di Meola.

My first experience of Paco de Lucia was back in around 1979 watching a televised concertcalled 'The Meeting of the Spirits' featuring Paco, John McLaughlin and Larry Coryell. I'dheard of McLaughlin and Coryell and they were the reason I watched it but it was Paco deLucia who stole the show. His playing was more considered, consisted and inventive and hecould also hold his own next to McLaughlin who was at the time considered one of the fastest

guns in the west and Coryell was no slouch either.

Paco de Lucía was born on 21 December 1947 as Francisco Sánchez Gómez in Algeciras,Cádiz. He was the youngest of the five children of flamenco guitarist Antonio Sánchez andPortuguese mother Lucia Gomes; his brothers include flamenco singer, Pepe de Lucía, andflamenco guitarist, Ramón de Algeciras. He later adopted the stage name Paco de Lucía tohonour his mother.

His father Antonio introduced Paco to the guitar at a young age and was extremely strict inhis upbringing from the age of 5, forcing him to practice up to 12 hours a day, every day, tobuild that formidable technique and to ensure that he could find success as a professional

musician.



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Paco would often juxtapose dazzling runs with rasgueados, tremolo and other techniqueswith abstract jazz influenced chords and scale tones. These innovations saw him play a keyrole in the development of traditional Flamenco and the evolution of New Flamenco and Latin jazz-fusion from the 1970s. He received acclaim for his recordings with flamenco singerCamarón de la Isla recording 10 albums together. His collaborations with guitarists JohnMcLaughlin, Al Di Meola and Larry Coryell in the late 1970s saw him gain wider popularityoutside his native Spain. De Lucía formed the Paco de Lucía Sextet in 1981 with hisbrothers, singer Pepe de Lucía and guitarist Ramón de Algeciras, and collaborated with jazzpianist Chick Corea on their 1990 album, Zyryab.

Paco de Lucía received some of Spain’s most prestigious awards, including the Gold Medalof Merit in the Fine Arts in 1992 and the Prince of Asturias Award for the Arts in 2004. Hewas awarded the Spanish Culture Ministry's Fine Arts Gold Medal in 1992. He was alsogranted a Doctor Honoris Causa degree by Berklee College of Music in 2010 and won twoGrammies in 2004 and 2012. His 1973 rumba "Entre Dos Aguas" (Between Two Waters)became one of the most popular recordings in Spain.

Darren Dutson-Bromley



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Here is a new guitar strap/support we came across at a recent guitar show. Itlooked very impressive.

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Most jazz guitars have magnetic pickups and jazz guitarists often have

strong views as to which type or make of pickup provides them with their

favoured sound. Many players will take the trouble to fit replacement pickups

in order to find the ideal sound for their taste. There is a wide choice

available. However for the player who requires a true acoustic tone for their

style of playing, ‘Hot Club’ for example, all too often the choice is limited to a

microphone (mic) on a stand or an under saddle transducer. The worst case

scenario is when the guitarist has to ‘borrow’ whatever mic comes with the

house P.A., point it at the instrument and hope for the best! If the player is

lucky, the mic will be one designed for instruments rather than the more

common vocal mic, (an SM58 is great for vocals but its frequency response and proximity effect which are designed to enhance vocals make it less than ideal

for instruments), and of course the stand mic requires the guitarist to maintain

a constant distance between the instrument and the mic (posture issues).

The under saddle transducer produces a distinctive ‘electro-acoustic’

sound. This is because it ‘feels’ the structural vibrations of the instrument rather than ‘hearing’ the sound

waves transmitted through the air, as our ears do. Extensive eq correction is often required in order to produce

an acceptable sound and even then it is not a true acoustic sound.

Microvox offers a solution to many problems of reproducing a true acoustic sound. The system

consists of a dedicated power supply (NB – it is not a preamp) and a miniature flat response condenser mic.The mic element is housed in a small black aluminium block and faces down onto the instrument. It attaches to

the instrument by means of a Velcro ™ pad. This method of fixing isolates the mic from unwanted structural

vibration and ensures the mic is a fixed and constant distance from the sound source.

Any pickup device is the first link in the amplification chain. Microvox system mics ensure that this

first crucial link is as faithful to the true sound as possible.

Members of HJGS will receive a 10% discount on all Microvox products from Westf ield Music in

Wakefield. Contact details: -

Website www.westf.demon.co.uk Email [email protected]

Tel. +44 (0) 1924 361550

The recommended Microvox for acoustic guitar is M400 with either PSU.









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www.mambo-amp.co.uk

www.adrianingram.com

www.jazzdawgs.co.uk

http://jazzguitarscene.wordpress.com/

http://www.joefinn.net/html/jazz_guitar_almanac.html

http://jamieholroydguitar.com

http://www.darrendutsonbromley.com Check out Darren’s pod casts

Tuition

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Also from Jamie Holroyd: -

RGT Jazz Guitar Diplomas

I'd also like to mention the new RGT Jazz Guitar Performance Diplomas that I have been helping

private students prepare for.

These are ideal for those looking for certification in jazz guitar performance, but don’t want to go thetraditional University route.

I have had a great experience with them so far with my students, and they are accredited by the

London College of Music a cost only a small fraction of what a traditional university course does.

From the RGT website

The Diplomas focus on developing the technical skills and theory needed by guitarists playing a broad

range of jazz styles. The exam content includes improvisation and rhythm playing, as well as a

performance element that enables the guitarist to demonstrate their preferred style of jazz playing -

whether that be classic jazz tunes such as those of Django Reinhardt and Wes Montgomery or tracks by more contemporary players such as Pat Metheny and John Scofield.

http://www.mambo-amp.co.uk/


http://www.adrianingram.com/


http://www.jazzdawgs.co.uk/






http://jamieholroydguitar.com/


http://www.darrendutsonbromley.com/











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There are four levels of Jazz Guitar Performance Diploma available:

Diploma Of The London College Of Music - DipLCM

Associate Of The London College Of Music - ALCM

Licentiate Of The London College Of Music - LLCM

Fellowship Of The London College Of Music - FLCM

Each diploma provides guitarists with the opportunity to gain an internationally recognised

professional qualification and to develop their jazz playing skills to an advanced level. The Diplomas

are awarded by London College of Music Exams and are accredited by the University of WestLondon. To view more information please go to: -

http://www.rgt.org/exams/jazz-guitar-performance-diploma.php

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Here’s a message from a friend of ours Mike Gellar: -

Hi Adrian and Ian,

Just read the article about HJGS. Good to read about you two!

Members of the HJGS might be interested in my Mike's Master Classes site -

http://www.facebook.com/l/oAQEEZSvnAQEDO9yz8ulke0KlHpG_MbjrMPH2gGIY NfqJpw/www.mikesmasterclasses.com - also on FB and I have a Youtube channel

"mgellar" that has clips from all of the classes on there that are available for download.

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21st NORTH WALES INTERNATIONAL JAZZ GUITAR WEEKEND

May 9th - 11th 2014

GLYNDWR UNIVERSITY Mold Road, Wrexham, Wales, LL11 2AW

North Wales Jazz: Now celebrating fifteen years of international jazz guitar events inWrexham.

IMPROVE YOUR JAZZ GUITAR SKILLS AT THIS GREAT VALUEWEEKEND!

Only £99! (£90 Concession)



http://www.facebook.com/l/oAQEEZSvnAQEDO9yz8ulke0KlHpG_MbjrMPH2gGIYNfqJpw/www.mikesmasterclasses.com








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Call +44 (0)1745 812260 to enrol and for further info or see www.northwalesjazz.org.uk anddownload the enrolment form.

Five 2 hour workshops with internationally renowned tutors.

GUEST TUTOR HOWARD ALDEN RESIDENT TUTOR TREFOR OWEN

www.howardalden.com www.treforowen.com

Group A:Hands-on tuition sessions, i.e. for students who wish to learn in a playing situation.

Group B:Tuition sessions for students who need help in basic skills.

Saturday evening concert (May10th - 8.30pm) featuring the course tutors plus guests.

Wide choice of reasonably priced accommodation available in Wrexham and the surroundingarea. ---------------------------------------------------------------------------------------------------------------------------

Sales

Please let me know as soon as items are sold to remove them from the l ist .

An impo rtant message to al l contr ibutors to the sales colum n.

Modern dig i ta l cameras take highly detai led pictures. This detai l com es at a cost,

namely huge fi le size. If this newsletter becom es too b ig (app rox imately 6-7 Mb),

som e email services, part icular ly academic in st i tut ions and businesses, wi l l not

deliver it .

If you want to include a picture of the sale item, or ind eed item in our sw ap a l ick

colum n, then the pictures n eed to be reduced in f i le size, preferably n o m ore than

100KB p er pictur e.

Hints. Try searchin g for ‘optimising images for the web’ for help on this.

Crop the image view to show jus t the item.

I, un fortu nately, do n ’ t have the t ime to spend op t imising im ages for the newslet ter. If

they are too big they risk gett ing lef t out.

Ian

http://www.northwalesjazz.org.uk/

http://www.howardalden.com/


http://www.treforowen.com/




http://www.northwalesjazz.org.uk/



20

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Set Bulldog Stratocaster Pickups, Haydens finest, lovely sound…….….£120

Pair Gibson P100 Pickups (From ES-135)……………….………………………..£80

All prices are negotiable and interesting trades are welcome

Contact Ian Wroe - [email protected]

1980s Heritage Golden Eagle, near mint. Blonde, with jaw droppingly spectacular woods.Made at the original Gibson by ex-Gibson employees, who knew how to make archtops.

Big reduction in price, bargain at £2,000 for quick sale no offers

Includes case and

upgraded electrics.

Px considered.






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1969 Gibson L5CES. Near mint, all original with case. This is an exceptionally fine

guitar. A great player, and a fabulous jazz sound. Same colour and specifications as a1962 model for half the money.

Benedetto “Benny” small-bodied jazz guitar with “AAA” carved spruce top and chamberedmahogany body. This high-end jazz guitar was designed by Bob as a pro’s instrument,

lightweight, easy to play and with the sound of a full-bodied archtop in a smaller package.He got it right, which is why Howard Alden, Jimmy Bruno and Frank Vignola all play them,

I used this model for all three of my Stephan Grossman teaching vids, the Mel Bay DVD andCD with John Pisano, The dvd session in NY with Howard, Jack, Jimmy and Frank andseveral of my cd recordings and tuition cds. You don’t see these delightful little jazz guitarsfor sale very often……………………………………………………….£2,000 or poss swap/px

Late 70s early 80s Peavey Special 2x12 valve amp (6L6s). Fantastic (collectors)condition, recent full service and re-valve. Big, big, full sound (instant Wes) with cool retrofeatures: spring reverb and tremolo. Big amp, but not at all heavy. A real bargain

at………………………..£175 ono

CONTACT Adrian Ingram: Tel 01484 314529; Email [email protected] ---------------------------------------------------------------------------------------------------------------------------

CSL Benson. As far as we can tell a prototype made for CSL (Former Ibanez Distributors) and was

built in the same factory to the same quality as the early Ibanez George Benson. Only difference is

here are two full size humbuckers making the guitar less susceptible to feedback and giving more

options in terms of swapping pickups. OHSC and fitted with Bulldog Cool PAFS. £750

----------------------------------

Yamaha SA2000 circa 1980. Very high quality 335 Killer. Just been refretted by Stuart Palmer.

Original case, including instruction book and tool kit. It has been played but it has been loved, no



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chips, some light scratches and the usual tarnishing to gold hardware, remarkable condition for a 30+

year old guitar. £1150

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Gibson Les Paul R8 1958

historic reissue from 2003.

Includes case and

certificate. 9lb 4oz in

weight. £2000

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Simon and Patrick SP6 solid spruce

top electro acoustic. Signs of use.

Nice tone. £195

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Roland GR33 guitar synth + pickup : £200 onoSession Rockette 30 fantastic little jazz amp : £90 ono

JMP 50 1980 Marshall head : £600Eventide Time-Factor delay/sampler/loop pedal : £220

Tone Pros locking nickel stoptail (335/ Les Paul etc) : £20 Boss digital dimension (1980s) pedal as new (Mike Stern/Sco/Metheny etc) : £80

Fender 57 USA reissue Strat. Mint with upgraded pickups………………...£950

Contact Hayden Minett on 07967 831193 or hjm@bulldogpickups.com---------------------------------------------------------------------------------------------------------------------------






23

Hofner HCT J17 As New As newwith very heavily padded gigbag.

Just £350.

Many thanks

Gary [email protected]

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65/66 ES-335

I've hung it up on ebay for £5.5k which is very close towhat I paid a few years back. I live in Mirfield approx15 mins from Huddersfield if you or anyone else wantsto come try it out.

It’ s a 65/66 ES 355 and is in great shape.






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For more info contact Paul Wright on: -

[email protected] or mob 07527 389637

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The Comins Jazz amp has a power

attenuator...all valve 1x12...nice & light

combo & built by the great amp builder

George Allesandro....£1,000

'Triggs Jazzbox the top is

laminate....£2,500 £2,200

The Ameson 120w is a very small

transistor amp...very highquality....£650

The Ameson 50watt is all tube & a

small head... £750

Schaefer 15''Jazzer………£3,500






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Antoria telecaster, 1970's, dark surburst green, all original, comes with soft case. goodcondition. £150.00

vintage strat copy, dark wood stain, £50.00

Double Bass, Antoni, professionally setup by Crinson and Gohlman, comes with soft

case and stand. good condition. £380.00

Contact Andrew LazdinsThe Amp Shack The Professional Tone Breakdown Service

Ph: +44 (0) 7716 460 163


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Hello HJGS, here are some photos of the gear I am thinking of selling.

The Gibson L-7 is very nice and was owned by USA bluesman Duke Robillard, looking for £2250.

The Abbott Victor Burlington is a fab piece of British guitar history. Ebony neck plays better than almost

anything. Made in 1940’s, may have been started before WWII and finished off after, according to

Frank Cambridge. So rare that I can’t find another one to compare for valuation, but I’d like £1500 for

it.

For all amp (valve and solid state)

and effect pedal repairs.







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The Gibson BR – 9 amp is late 1940’s, last time I played through it I was not awestruck so it maybe needs

a bit of a look at, it used to sound “ Golden” - so maybe needs a valve or a bit of know how ? £300 as it is.

Also for the collector a J.G.Abbott senior 1928ish, round sound hole archtop, quite like the Gibson L-3 or

L-4 of the late 20’s, light as a feather, very nice plectrum guitar, again too rare to find a value but I’d

like to think £900 would be fair.

Anyone interested can call me on

07711050846.

Thanks, Andrew.

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Here’s a message from Dan at Foulds Guitars

I'm running short of jazz guitars again! I've still got a bigger stock than most butdecent jazzers between £300 and £1500 I'm selling everything I get so if you



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have any members that would like to move any unwanted guitars on we may beable to help.

Of course I am happy to offer a deal on goods for members, they just need tomention when enquiring.

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For Sale.t.c.electronic 'G.Major' Guitar Effects Processor. Contains all the effects you will ever

need all in one unit:

Noise Gate/EQ/Compressor/Chorus/Flanger/Vibrato/ResonanceFilter/Phaser/Tremolo/Panner/Delay/

Pitch Detune/Whammy/Pitch Shifter/Reverb-----and much more.

Bought by me second hand--never used--so must go. £200

email me at: [email protected]

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Barry Glen Has the following guitars and amp for sale.

Knight 16inch body cosomini pick up ex condition. Built in 2004 byGordon. £1,750.

Gibson amp owned fromnew hardly used.Mint.£300






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GUILD.A.A. 1962 found stripped ofparts and finish.Gordon Wells did all thework tailpiece and bridge bought fromHans, original case in ex condition.£2,000.

Contact: [email protected]. 01740 644282.

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Trades

Wants

1. small amp : Polytone (any model considered); Musicman RD50(1x10 or 1x12); Peterson (Wood cab 10” speaker) AER etc

2. Seymour Duncan alnico Pro II neck telecaster neck pickup

3. D’Armond archtop pickup, any model considered.

4. Benedetto or Kent Armstrong (early wood finish type, not Chinesechrome or gold, metal casing) floating pickup.

5 Any other archtop i.e. Bartolini, Lollar, etc. considered

6 Yamaha jazz guitar model AE1200, AE1200s AE2000 etc. cash orpossible PX against Benedetto Benny or Heritage Golden Eagle

If you have of know the whereabouts of any of the above please contact AdrianIngram [email protected]

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Gypsy jazzer (Doubling Double Bass & Rhythm Guitar) seeking fellowGypsy jazzer's for blow.Tel. Mike on: 01663 743610.----------------------------------------------------------------------------------------------------------

Charts

Huddersfield Jazz Guitar Society

Contact [email protected]

If you don't want to continue receiving newsletters and notices then send an emailwith the subject 'REMOVE' to [email protected]

Cheers

Ian









HJGS Newsletter 31 Mar14

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Transcript of HJGS Newsletter 31 Mar14