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Huddersfield Jazz Guitar Society Newsletter No. 35 July 2014

Contents

Page

1. Meeting Summary ... 2

2. Members News .. 4

3. Swap an Idea .. 5

4. Membership ............ 12

5. Gig List . 14

6. Reviews 15

7. Of Interest . 16

8. Tuition 17

9. Sales/Wants/Trades . 18

10. Charts . 25

11. The lighter side of music.26

Celebrating the art and craft of jazz guitar

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1. Meeting Summary Hi Jazz Guitar Fans,

Our concert evening began how it was to continue, with a guitar duo. It was fitting that our resident, and thus most rehearsed, duo of Dave Vangelderen and Chris Brown should open the evening. They certainly got us off to a good start with It

Could Happen to You, with a memorable 4 bar introduction, over a bass pedal, and a tasteful tag to finish. Their next tune, Cole Porters I Love You, took a similar shape, again with a pedal intro (this time in octaves). After the usual high standard of soloing, and comping, they concluded with Sunnymoon for Two? Or was there some confusion with the title, as this, well-worn, blues definitely finished up as Tenor Madness, perhaps they were on a Sonny Rollins promo, mission?

Next up was Darren and Ian. A sight to behold, as they were both sporting relatively recently acquired 7 string archtops, prompted, in no small part, by the sterling advocacy of Howard Alden and Bucky Pizzarelli.

They played a lengthy and wistful, Bill Evans-like, reading of Emily, controlling those 7 string beasts admirably, especially in Darrens case as he had only had the thing for two weeks!

Following on from the big sound of 14 strings, Adrian Ingram and Jez Platt played a funky Bensonish reading of Lover Man. It was interesting to hear these two who had not played together before. Jezs always soulful and funky, more rock influenced, style leaned a little more towards the traditional, whilst Adrians more traditional, Wes influenced, style was a little more earthy. The results were actually very George Benson. Hardy surprising as tradition and funk always epitomises the great mans work! A nice set which definitely left us wanting more.

Following a short changeover break, the Two Pats concluded the first half of the evening with a short set of three tunes: Beautiful Love, Alice in Wonderland and Things Aint What They Used to Be.

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As was to be expected the Pats played great, beginning with a swinging version of Beautiful Love, replete with quotes from Softly as in a Morning Sunrise. This was followed by Alice in Wonderland or, as Pat McCarthy called it Alice in Sunderland (aka Malice in Sunderland)! Lively playing, great interplay and tasteful counterpoint took us up to the final tune of the first set, a contrasting, gritty, version of

Ellingtons perennial Things Aint What They Used to Be. Nice to hear the Wardell Grey/Annie Ross Twisted quote from Johnny Mercers Swingin on a Star, often used in a blues by our own Adrian Ingram!

Following a short break, for the raffle and chat, the Pats were back on their derrires for the second set, beginning with Lullaby of the Leaves. This was linked with a wistful ballad reading of Falling in Love Again, which was made into a guitar classic by Johnny Smith. The Pats stuck very much to the cool, concise, ballad style which made Smiths version so great. They then played the guitarists favourite There Will Never be Another You a common vehicle for most of the jazz guitar greats and the Pats were up there with them, in their ability to swing and play tasty note choices and appropriate harmonies. The tempo dropped for Angel Eyes, not as a ballad, but at a loping medium pace, which provided a new take on the tune. Softly was played at a slightly faster tempo, with Pat McCarthy supplying some stringy, Freddie Green, chording. The evening was brought to a successful conclusion with an up-tempo performance of Stella by Starlight.

The Pats were very well received and we hope to see them back again at some point. Our next concert evening is with ROY SAINSBURY, on Tues, Sept 2nd. Roy will also give a talk about his approach to chord melody playing.

The next meeting (Tues 1st July) is our Gershwin night. Music by Gershwin only please!!

We have changed our policy covering Items for Sale please read the notice on page 18

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2. Members News Call for Membership Participation

We have had a few successful, I believe, examinations/investigations of members favourite tunes. If you feel you could do a similar job please let me know. Send an email to huddjazzguitsoc@gmail.com or chat to any of the committee at the next meeting.

Remember the HJGS exists for the benefit(s) of its members, so we need to hear 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 other item 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 information and information exchange, so that we may all benefit from the collective wisdom and uncoordinated information that undoubtedly exists amongst fans and connoisseurs.

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3. 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 huddjazzguitsoc@gmail.com.

This month we have contributions from Adrian and Darren.

Pianists Dont Strum (The sorry state of comping among student jazz guitarists)

Generally, guitar players are terrible at comping, frequently strumming the same chord shape over and over. Think about it the next time you play a standard and give yourself a hefty fine every time you find yourself striking the same shape (inversion) twice in succession!

Set yourself goals, e.g. play a different sound (shape) on each beat of the bar, preferably with melodic voice-leading (movement of parts) on your highest and/or lowest strings.

Take, for instance the 1st bar of Heres That Rainy Day: -

What are you going to play? Please, under pain of death, do not play 4 strums of the same Gmaj7, as this is going to sound like Pete Seeger plays Bill Evans. Pianists dont strum, repeat: PINAISTS DONT STRUM. Okay, occasionally they may play repetitive groups of chords, generally fragments, with their left hand for effect, similarly, big-bands do the same, but it is the exception rather than the rule, which is why it sounds effective. Jazz guitarists seem to strum away unthinkingly, not just on one chord, but generally throughout the tune. So THINK, if you hear yourself doing this either drop out (leave spaces), or, preferably, move your chords melodically, forming baroque-like counter-melodies and spurring on the soloist. Think of Joe Pass chord-melody style, this is what to aim for in your comping. I have provided a few examples of what you might do for starters over the Gmaj7:

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Continue with examples of your own, and then try: -

1. Different keys 2. Dom7ths 3. Minor7ths 4. Adding rhythmic phrasing 5. Over a standard tune

The next time you see/hear an otherwise proficient jazz guitarist playing the same chord shape for 4 beats or more, throw a tomato at them!!

Adrian Ingram

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Charlie Christian Its always interesting coming up with new ideas for the newsletter and we are generally proud of the content. The playing techniques seems popular and we always have positive feedback so we are going to take it one step further and target a series of guitarists and discuss their playing styles, life, influence and influences and recordings. Im going to kick it off with Charlie Christian. For many players Charlie Christian was their first influence, the reason they play jazz guitar. Amazing considering how short a period Christian was around, he died at the age of 25 and was essentially in the limelight for only three years. Reading interviews with Wes Montgomery, Barney Kessel, Oscar Moore and Herb Ellis, they all talk about the influence of Christian and learning from his recordings. Herb Ellis even made an album

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called Thank You, Charlie Christian. Barney Kessel and Charlie Christian were both from Oklahoma and in 1940 when Kessel was just 16 he got to jam with the great man. Barneys fond recollections of the meeting included the advice given to him by Christian. Charlie told me many things that day, such as the importance of swing when playing jazz. He said it was important to get some fire going, get an emotion. No matter what else you do, get that feeling. Wes Montgomery started learning the six-string guitar at the relatively late age of 20 by listening to and learning the recordings of Charlie Christian. He was known for his ability to play Christian's solos note for note and was hired by Lionel Hampton for this ability. As a guitarist learning in the late 70s and 80s I learned of Charlie Christian second hand after discovering Barney Kessel and Joe Pass. Recordings of Christian at the time were difficult to come by and I got hold of an album called Solo Flight, The Genius of Charlie Christian This contained most of Christians famous recordings from Benny Goodmans band with a few of the solos spliced together from different takes to make them more substantial. Christians recorded output is limited to mostly the Goodman band apart from Live at Mintons a very telling album released in the 1990s and is essentially jam sessions at the legendary Mintons jazz club in Harlem. The personal on this album read like a whos who of bebop including Dizzy Gillespie, Kenny Clarke and Thelonious Monk. One of the most interesting things about Christian is he was a fully formed electric guitarist and soloist. That isnt an unusual thing today but back then Christian was at the forefront of electric guitar development. The first players to move onto the electric guitar were acoustic guitarists and banjo players and generally they sound like amplified acoustic guitarists. Christians playing sounded more like a saxophone with flowing lines and an acutely modern harmonic outlook to music. He cited Lester Young as one of his big influences. Christian gained national exposure with Benny Goodmans band. Goodman at the time was the king of swing, running one of the most successful bands of the late 1930s and 40s. How Charlie arrived in Bennys band is quite a well-known story. The promoter John Hammond having discovered Christian in Oklahoma discussed him with Goodman. Goodman wasnt interested as the electric guitar was a relatively new instrument but Hammond brought him to Los Angeles anyway. Unknown to Goodman, Hammond installed Christian on the bandstand for that night's set at the Victor Hugo restaurant. Displeased at the surprise and giving Hammond the legendary Goodman stare, Goodman called Rose Room, a tune he assumed Christian would be unfamiliar with. Christian took about twenty choruses, all of them different, all unlike anything Goodman had heard before. That version of Rose Room lasted forty minutes. By its end, Christian was in the band. In the course of a few days, Christian went from making $2.50 a night to $150 a week.

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Christian was very influential in the development of bebop and would play frequently after shows with the Goodman band at Minton's where he had a guitar and amp stored. The influence he had on "Dizzy" Gillespie, Charlie Parker, Thelonious Monk and Don Byas can be heard on their early "bop" recordings "Blue'n Boogie" and "Salt Peanuts". Other musicians, such as trumpeter Miles Davis, cite Christian as an early influence. Indeed, Christian's "new" sound influenced jazz as a whole. He reigned supreme in the jazz guitar polls up to two years after his death. In the late 1930s Christian had contracted tuberculosis and in early 1940 was hospitalised for a short period when the Goodman group was on hiatus due to Benny's back trouble. Christian returned home to Oklahoma City, in late July 1940 before returning to New York City in September 1940. In early 1941, Christian resumed his hectic lifestyle, heading to Harlem for late-night jam sessions after finishing gigs with the Goodman Sextet and Orchestra. In June 1941 he was admitted to Seaview, a sanitarium on Staten Island in New York City. He was reported to be making progress, and Down Beat magazine reported in February 1942 that he and Cootie Williams were starting a band. After a visit that same month to the hospital by tap dancer and drummer Marion Joseph "Taps" Miller, Christian declined in health and died March 2, 1942. He was 25 years old. He was buried in an unmarked grave in Bonham, Texas, and a Texas State Historical Commission Marker and headstone were placed in Gates Hill Cemetery in 1994. The location of the historical marker and headstone has been disputed. Charlie Christians Guitar and Amp. Charlie Christian played a Gibson ES150 guitar. The ES150 was the first electric guitar that had commercial success. The Gibson ES150 was introduced in 1936 and was an enormous success in the jazz bands of that time because it produced enough volume to be heard. Kinds of wood used in the production of the Gibson ES150:

Archtop: solid spruce Back and sides: solid maple Neck: mahogany Fretboard: rosewood

The ES150 has a single-coil pickup in neck position that is known as the "Charlie Christian Pickup.

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The Gibson EH150 guitar amp came into existence before the Gibson ES150 (it was used for lap- steel guitars).

The EH150 has a 10" speaker (later a 12") producing 15W. It has 1 microphone input, 3 instrument inputs, volume controls, a bass- tone expander and an "Echo" speaker jack.

Charlie Christians playing style.

Charlies picking technique seemed to be predominantly down strokes and he advocated this as a means to achieve swing in the music. His melodic lines consisted mostly of 8th notes and while he didnt have the technical dazzle of players such as Django he did have an advanced harmonic outlook and at times played some very chromatic lines. It is understandable how he influenced the development of bebop. Ive chosen an excerpt of a solo from the Goodman tune Breakfast Feud This was recorded in December 1940 and is based around a head arrangement with solos. Harmonically the piece is very simple and the solos are based on a blues progression. This was one of the first Christian solos I learned and while at the time I had a lot of fun playing it, it wasnt until much later that I realised how melodically advanced this solo is. Christians use of chromaticism is extensive, check out the G diminished arpeggio superimposed over the F7 chord which resolves chromatically down to the F root. The use of moving into chord tones via chromatic approach notes is one of the techniques used by players such as Charlie Parker.

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Breakfast Feud (2nd half of solo)

Quotes from other players about Charlie Christian

Wes Montgomery (Guitar Player '73)

How did you get interested in the guitar: Charlie Christian, like all other guitar players. There was no way out. That cat tore everybody's head up. I never saw him in my life, but he said so much on

records. I don't care what instrument a cat played, if he didn't understand and feel the things that Charlie Christian was doing, he was a pretty poor musician.

"Solo Flight" - boy that was too much! I still hear it. He was IT for me. I didn't hear anybody else after that for about a year. I listened to (Charlie Christian's records) real good, and I knew that everything

done on his guitar could be done on mine. About six or eight months after I started playing I had taken all the solos off the records and got a job in a club just playing them. I'd play Charlie Christian's

solos then lay out.

Joe Pass (Down Beat)

I first heard Charlie Christian in about 1942 - on record - I never did hear him live. His sound was just great. How, with a little amplifier without any gimmicks or anything, he gets that sound! Today we

have all this equipment, all special kinds of pickups and amplifiers.....and still can't get that sound! I think it has to do with the person that's playing, probably.

Joe Pass (Melody Maker April 1974)

I think there are three guitarists who left an impression on the Guitar: Django Reinhardt, Charlie Christian and Wes Montgomery.

Tal Farlow (BMG Dec 1959)

I was curious to know how he (Charlie Christian) achieved such a full, firm swinging sound - and I still am - so I began learning those choruses note for note. Charlie's playing was so strong and clean that

memorising the notes was not so difficult so I just had to work out the fingerings for the phrases.

Tal Farlow (Down Beat 1969)

Christian made music important to me. I rearranged the schedule at my shop so I could work nights and listen to band remotes (broadcasts)....Christian was the one who got me going. I bought all the Goodman/Christian recordings and memorised Charlie's choruses, playing them on a second hand

$14 guitar and $20 amplifier.

Russell Malone (Down Beat July '99):

When I was younger, it took me a little longer to track down Charlie Christian. I came to him through listening to guitarists such as Barney Kessel, Tal Farlow and Herb Ellis. I first heard Charlie on a Benny Goodman record. I liked him immediately. His playing really got to me......... No one swung like Charlie Christian. It's safe to say that he was one of the founders of the bebop movement. You listen to what he was playing back then on an album like Live Sessions at Mintons Playhouse, and you hear it still being played today..... You've got to check out his solo on Stompin' At The Savoy What drive, what swing! He had a great sense of time and every note had definition, thanks in large part to the fact that he used all down strokes.......Charlie's influence is everywhere!

Roy Clark (Guitar Player June '70)

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I was working in Oklahoma City, where Charlie lived. A guy called Benny Garcia had acquired Charlie's guitar.........He brought to me one night to play. The guitar had that filed bar pickup on it and there was a big bubble in the back of the body. But I could just FEEL the vibrations in that guitar, like

Charlie's music was still in it somewhere. It was a beautiful instrument. I'll never forget that feeling....of playing Charlie Christian's own guitar.

Barney Kessel (Guitar Player Oct '70)

I had the fortune to work with Charlie Christian and he was more aggressive, forceful and louder than I was. I said to him: "You play loud" - not as a criticism or anything. He said: "I like to hear myself!"

Charlie played probably 95% downstrokes, and held a very stiff, big triangular pick very tightly between his thumb and first finger. He rested his 2nd, 3rd and 4th fingers on the pick-guard. He

anchored them there so tensely that it was like there almost wasn't a break in the joint. He almost never used the 4th finger of his left hand.

B B King (Guitar Player March '75)

Charlie Christian was amazing. I first heard him around '41 or'42. There were 10 cent vending machines then, just like juke boxes but with pictures......and that's how I saw Charlie Christian I was still in Indianola Mississippi at the time. To me, he was a master of diminished chords. A master at

new ideas too. Barney Kessel plays a lot like him but with ideas that are more of today. Charlie didn't fluff notes much...he was so sure.

Mary Osborne (Guitar Player Feb '74)

...some musicians told me to drop by a place called The Dome to hear this guitarist who was working with the Al Trent Sextet which was passing through town (Bismark, North Dakota). The man was

Charlie Christian. It was the most startling thing I had ever heard. I had listened to all the jazz guitarists of the time.... but they all played acoustic. And here was Charlie Christian playing Django's

"St. Louis Blues" note for note, but with an electric guitar. I'll never forget that day.

Darren Dutson Bromley ~~~~~~~~~~~~~~~~~~~~~~~~~~

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4. Membership Some memberships are now falling due for renewal, remember membership lasts for a full 12 months from the paid up month and the following benefits are only available to current paid up members.

The following deals have been negotiated for members on production of a current membership 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 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: theampshack@gmail.com

MicroVox www.westf.demon.co.uk Acoustic instrument mics. 10% discount

Phone: +44 (0) 1924 361550 Email: andrew@westf.demon.co.uk

Mac Amplification www.mac-amps.com Amplifier + Pedal repairs Phone: 07716 860676 Email: repairs@mac-amps.com Mundo Music Gear www.mundomusicgear.co.uk An ergonometric revolution for guitarists

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

Committee

Martin Chung Publicity, joint treasurer, website/facebook and development

Darren Dutson Bromley

Ensembles, education, website/facebook and development

Adrian Ingram Newsletter, education, international liaison and development Ian Wroe Host, joint treasurer, artiste relations, events and development

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Meetings

The first Tuesday of the month at The Rat & Ratchet, Huddersfield (see http://www.ossett-brewery.co.uk/Pubs/HuddersfieldDistrict/tabid/1612/Default.aspx)

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 interesting ideas 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!

2014 meetings

Jul 1st - Gershwin night Aug 5th - Players night Sep 2nd - Guest night (Roy Sainsbury) 8:00pm prompt. Oct 7th - Theme night Nov 4th - Players night 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 dot.

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5. Gig List - July Sun 6th Adrian Ingram/Andy Wallis, Ainley Top big Hotel breakfast gig. 7:30 11:00am (yes in the morning!) Mon 7th Robin Sunflower/Adrian Ingram with Groove Indigo, Hare & Hounds, Rothwell, 8:30pm Sun 27th Adrian Ingrams Jazz Dawgs, The Sair, Linthwaite. 4:00 7:00pm

New Jazz Gig

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 the occasional 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 certainly has the greatest variety of real ales! The roster so far is: -

Sun 3rd Aug Terry Kenyon + Ian Rose Sun 7th Sept Robin Sunflower Sun 5th Oct Petes Birthday Bash Live Jazz every Sunday and Tuesday at The Railway

74-76 Wellington Road North, Stockport SK4 1HF Tel 0161 477 3680 9-11pm free admission

Paul Hartley / George Galway/ Ken Marley jazz trio next appear at the Olive & Vine Restaurant, 846 Wilmslow Road, Didsbury M20 2RN on Sunday 20th July 6-8pm

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6. Reviews

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7. Of Interest Found anything on the web or heard of something which may interest our members, then this is the place for it.

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

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

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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 Darrens pod casts

www.jazzonthetube.com

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8. Tuition

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Registry of Guitar Tutors (RGT) Jazz Guitar Diplomas http://www.rgt.org/exams/jazz-guitar-performance-diploma.php

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Heres 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_MbjrMPH2gGIYNfqJpw/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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9. Sales Please let me know as soon as items are sold to remove them from the list.

An important message to all contributors to the sales column. Modern digital cameras take highly detailed pictures. This detail comes at a cost, namely huge file size. If this newsletter becomes too big (approximately 6-7 Mb), some email services, particularly academic institutions and businesses, will not deliver it.

If you want to include a picture of the sale item, or indeed item in our swap a lick column, then the pictures need to be reduced in file size, preferably no more than 100KB per picture.

Hints. Try searching for optimising images for the web for help on this.

Crop the image view to show just the item.

I, unfortunately, dont have the time to spend optimising images for the newsletter. If they are too big they risk getting left out.

Ian

Many guitars have been sold through our monthly sales listings. If an item is sold, as a direct consequence of an ad being seen in the newsletter, we, the committee, would be pleased to receive a small contribution to HJGS funds.

In order to keep the content fresh, we have decided that all ads will run for TWO editions and will be deleted unless specifically resent. All current ads will be removed from next months newsletter unless we receive notification from advertisers. ---------------------------------------------------------------------------------------------------------------------------

Set Bulldog Stratocaster Pickups, Haydens finest, lovely sound..100

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

Pair Lollar Fender Jazzmaster pickups. $100 each + postage and tax from Jason Lollar so a bargain at 100 for the pair

All prices are negotiable and interesting trades are welcome

Contact: Ian Wroe ianmwroe@virginmedia.com

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---------------------------------------------------------------------------------------------------------------------------Benedetto Benny small-bodied jazz guitar with AAA carved spruce top and chambered mahogany body.

CONTACT Adrian Ingram: Tel 01484 314529; Email adrian@jazzdawgs.co.uk --------------------------------------------------------------------------------------------------------------------------- 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

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Simon and Patrick SP6 solid spruce top electro acoustic. Signs of use. Nice tone. 195

---------------------------------- Roland GR33 guitar synth + pickup : 150 ono Session Rockette 30 fantastic little jazz amp : 90 ono JMP 50 1980 Marshall head : 600 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 ---------------------------------------------------------------------------------------------------------------------------

SOLD

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65/66 ES-335 I've hung it up on ebay for 5.5k which is very close to what I paid a few years back. I live in Mirfield approx 15 mins from Huddersfield if you or anyone else wants to come try it out. Its a 65/66 ES 355 and is in great shape.

Hofner HCT J17 As New As new with very heavily padded gigbag. Just 350. Many thanks Gary Webb garyjwebb@btinternet.com

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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

The Ameson 50watt is all tube & a small head... 750

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For more info contact Paul Wright on: -

ptw01@btinternet.com or mob 07527 389637

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Antoria telecaster, 1970's, dark surburst green, all original, comes with soft case. good condition. 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 Lazdins

The Amp Shack The Professional Tone Breakdown Service

'Triggs Jazzbox the top is laminate....2,500 2,200

The Ameson 120w is a very small transistor amp...very high quality....650

Schaefer 15''Jazzer3,500

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Ph: +44 (0) 7716 460 163 Email: theampshack@gmail.com

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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 1940s, may have been started before WWII and finished off after, according to Frank Cambridge. So rare that I cant find another one to compare for valuation, but Id like 1500 for it. The Gibson BR 9 amp is late 1940s, 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.

For all amp (valve and solid state) and effect pedal repairs.

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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 20s, light as a feather, very nice plectrum guitar, again too rare to find a value but Id like to think 900 would be fair.

Anyone interested can call me on 07711050846. Thanks, Andrew.

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Heres a message from Dan at Foulds Guitars I'm running short of jazz guitars again! I've still got a bigger stock than most but decent jazzers between 300 and 1500 I'm selling everything I get so if you have any members that would like to move any unwanted guitars on we may be able to help. Of course I am happy to offer a deal on goods for members, they just need to mention 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/Resonance Filter/Phaser/Tremolo/Panner/Delay/ Pitch Detune/Whammy/Pitch Shifter/Reverb-----and much more. Bought by me second hand--never used--so must go. 200

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email me at: mikejazzbass@btinternet.com

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1949 Levin Deluxe Levin's guitars quickly earned a reputation for high quality and they built a wide range of instruments including classical guitars, mandolins, harp guitars and archtops like the Deluxe here. The Deluxe, which was inspired by Gibson's Super 400 and Epiphone's Emperor, measured a little more than 18 inches across the lower bout. Levin Deluxe guitar is the highest quality workmanship. The top is hand carved spruce and the back and side hand carved walnut, the inlays are very detailed with a spectacular headstock inlay in great condition. All parts original (replica pickguard) Price 3,400

Contact Ian Wroe for further details

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Gibson L5-C 1973. 3,500 Superb guitar set up beautifully, excellent condition. The pickup in the photograph is not included but I can provide an original Gibson "Johnny Smith" pickup. The guitar can be heard on Youtube with this pickup. Search for 'Roy Sainsbury, What are You Doing the Rest of Your Life?' Please feel free to call me for more details. Roy Sainsbury 07866 430926 or 01902 845246.

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Trades

Wants

1. small amp : Polytone (any model considered); Musicman RD50 (1x10 or 1x12)

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2. Yamaha jazz guitar model AE1200, AE1200s AE2000 etc. cash or possible PX

3. Guild jazz guitars

If you have of know the whereabouts of any of the above please contact Adrian Ingram adrian@jazzdawgs.co.uk

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Back to Contents 10. Charts

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11. The lighter side of Music After all of the sweat and tears of practising/playing/hunting gigs we thought a little humour may not come amiss. Heres a starter. If you come across any joke/bon mot/cartoon/story which tickled your funny bone, then please send it in and share. Here are a few to start us off.

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BMG September 1955 (banjo jokes arent new!!)

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Q. How do you get a jazz guitarist off your doorstep? A. Pay him for the pizza.

******** One from the classical world.

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A world famous orchestra was in final rehearsals for its forthcoming European tour, when the conductor fell off his podium and broke his wrist. The orchestra manager and leader got together and, after deciding that they couldnt

afford to cancel the tour, reasoned that the orchestra was fully rehearsed and only really needed a guide conductor, so they asked if anyone had conducting

experience. They were in luck, the second trombonist had done some conducting; deciding they had nothing to lose, they gave him a try. It worked beautifully so

they appointed him guest conductor for the tour.

The tour was a great success and, at the end of the tour, came the showcase gig at the Albert Hall. The original conductor was, by now, well enough to continue and so the second trombonist was sent back to his seat, with grateful

thanks (and a bonus).

Where the f*$& have you been, said the first trombonist?

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Huddersfield Jazz Guitar Society

Contact huddjazzguitsoc@gmail.com

If you don't want to continue receiving newsletters and notices then send an email with the subject 'REMOVE' to huddjazzguitsoc@gmail.com

Cheers

Ian