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7/30/2019 HJGS Newsletter 25 Sep13
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Huddersfield Jazz Guitar Society
Newsletter No. 25 September 2013
Hi Jazz Guitar Fans,
Once again, the August meeting: a players night, was well attended.
Unusually, the evening kicked off not with Tom Prior, who was in attendance butdidnt play, but with Dave Vangelderen and Chris Brown. Their set also marked adeparture from the norm with two contemporary jazz tunes, as opposed to their usualstaple repertoire of standard show tunes. The first offering, Everybodys Song But
My Own by Kenny Wheeler took time tosettle. After a few false starts, the duomade its way through the tunesconvoluted harmonic structure. This BillEvans-like tune (reminiscent in places ofAlice in Wonderland) sounded difficult
and despite the usual fine playing, failedto engage the audience. Their secondtune, Steve Swallows Falling Grace isbetter known but in a similar vein to theWheeler offering, and, thus, fell onsimilarly deaf ears. Perhaps thismaterial is a step too far for the
Djangoites and Kesselites that comprise the largest proportion of HJGS members?
It was a relief to many, therefore, when Dave and Chris presented There Will
Never Be Another You as their third tune. This was much better received. All in all,a fine if adventurous, set from this excellent resident duo!
It was early doors too for the Idle Guits.They also offered a surprise with the Al Bowllyvocal styling of Malcolm Tuke whose velvetvocal chords were central to thearrangements of Blue Moon andHoneysuckle Rose. As usual, the Guitsplayed in their joyous easy-going style, with
tight arrangements, lovely little interludes andband-like interjections.
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Classical Guitarist Tim Allen once againtreated us to a Jerry Reed tune Blue Finger.Reed recorded many of his 1960s classics ona classical, nylon-string, guitar and Tims useof a similar instrument added to theauthenticity of this tune which was alsobeautifully played and had the audiences feettapping throughout!
Next up was Adam Hinchliffe who in asurprisingly short time has progressed from arelative newcomer to jazz guitar to one of the
societys best players. Well done Adam. He gave us two tunes, As Time Goes Byand the blues classic (not a 12 bar I hasten to add) Since I Fell For You. Those ofyou who have heard Jade Harris regular performance of this tune, at the Head ofSteam Monday session, or Kyla Broxs rendition, in many a Northern club, will knowthat this tune is fast becoming a Northern Anthem and it was an excellent choice onAdams behalf. His version, as expected, however owed more to Joe Pass than Joe
Bonamassa! A great choice and very well played.
Following a short break there was yet another surprise in the form of singerCleo who was joined by Ian and Darren for Autumn Leaves. Cleos light sopranovoice was a delight and featured some accurate and confident scatting. Ian andDarren stayed up for a rendition of Emily both players reading and thus negotiatingtheir way through this new, to them, tune. For some reason Darren seemed to beplaying other peoples guitars all evening. Ians Benedetto Benny soundedwonderful.
Next up was Pete Davies who gave a solo rendition of My Funny Valentine. Agreat tune but a tough call for a solo guitar. Nevertheless, a good practice for nextmonths solo guitar evening and Paul has plenty of time to finely polish hisperformance before next February 14th! Full marks for confidence and noticeableimprovement upon his previous HJGS spots.
Robin and Charles always play withlan, yet their nervous enthusiasm doestend to mar the steadiness or, often in theircase, unsteadiness of tempo. This is a pity,
as they both have much to say and are ableto do so, under their own steam. Perhapstheir tendency to rush is infectious? Oncethe tempos settle, usually by the secondtune, everything is fine with Charleskeeping steady time and Robindemonstrating, perhaps unconsciously, howmuch of a debt he owes Barney Kessel.They played Our Day Will Come and an improvised Blues in A.
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Steve Fraser a seasoned player, and ex city of Leeds College of Music student,is a newcomer to the society and we hope to see him on a regular basis. Many of you
will know him for his fine work accompanyingsinger Terri Shaltiel in and around the WestYorkshire vicinity. He was joined by MartinChung for two jazz/funk classics Sunny andBlue Bossa. I remember both Steve andMartin watching Pat Martino play Sunny in
Manchester recently, wide-eyed and open-mouthed. It was interesting to note whetheranything had rubbed off! Certainly, thecontinuous long flowing lines and relativemajor 7th over minors (in effect min 9th basedsubstitution) were in evidence, as was the
incessant drive and forward motion generally associated with Martino. Althoughconsidered hackneyed and, subsequently,rarely played Steve and Martin reminded usof just what a great tune Blue Bossais.
Darren and Adrian wound the eveningdown with a low-key and soft version of CryMe A River, heavily derived from the BarneyKessel/Julie London version.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Members News
Call for Membership Participation
We have had two successful, I believe, examinations/investigations ofmembers 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 needsto 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 anduncoordinated information that undoubtedly exists amongst fans and connoisseurs.
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Our very own Martin Chung was recently featured in the HuddersfieldExaminers Whats on Where music feature. They kindly gave us permission toreproduce this article, written by Nick Lavigueur, in our newsletter. Youll find a copyat the end of the newsletter.
Solo Guitar feature night
Tuesday 3rd September meeting
The evening will be given over entirely to solo guitar. Players maypresent one or two unaccompanied tunes. These can be rubato, a la Joe Pass,or in tempo, a la Lenny Breau or Martin Taylor or any style which befits theplayer and the tune. Only one criterion, it must be a solo work. No looping orbacking tracks.
HJGS Jazz Guitar Car Boot/Garage Sale/Swap Meet
Tuesday 5th November 8:00 9:30 Head Of Steam
The first portion of the November Players night will be given over to asales/swap event, both for members and interested general public. Anything guitar orjazz related is eligible. To quote Charlie Parker Nows The Time to dig out any: -
1. Rarely used CDs and LPs/vids etc,2. Surplus to requirements music/books/magazines,3. Guitars, spares (tuners, bridges, pickups, pickguards, tailpieces etc).4. Amps, speakers, valves, covers, cases etc.5. Anything else guitar or jazz related.
Start putting stuff in a box a.s.a.p. ready for the November meeting. A great way ofmoving on those music books you have finished, for others to benefit from.Conversely, there will be things that you might find interesting and useful. Lets worktogether in the spirit of a society! Please make an effort, as this is something fromwhich we all stand to gain.
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 besuccessful. Contributions please to [email protected].
We have two contributions this month, the first from Ian and the second, a lovelyanalysis of Stella by Starlight, from Darren.
The previous articles in this series have looked at big chord movements so here,
by way of contrast, are some little chords; two note chords.
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The two main defining notes in a chord are the 3rd (is it major or minor?) and the
7th (major 7th or dominant 7th?). Using these two notes, even without the root, clearly
outlines the texture and context of the chord. The examples below, in the key C, show
each of these II(Dm7)-V(G7)-I(Cmaj7) movements on pairs of adjacent strings.
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Stella By Starlight
Every couple of months weve tried to introduce a study piece for the society to learn. A piecewe feel will be beneficial to practice and which will give the opportunity for members to playtogether. This months set piece is Stella By Starlight. Stella by Starlight has become apopularly standard performed regularly. It is a quite difficult piece to play due to its constantlyshifting harmony and is worth studying.
Stella by Starlight was written by Victor Young and was featured in the 1944 film TheUninvited where it was performed as a recurring theme by the Victor Young Orchestra. Atone point in the film the main character, Rick played by Ray Milland tells Stella, played byGail Russell that hes playing a serenade to Stella by Starlight.
Lyricist Ned Washington wrote lyrics for it in 1946.
It was recorded by Harry James and his orchestra in 1947 and a few months later by FrankSinatra.
Charlie Parker made one of the first jazz recordings in 1952, closely followed by Stan Getz.Since then it has become a very popular standard with instrumental recordings by BudPowell, Stan Kenton, Miles Davis, Dexter Gordon and Joe Pass to name a few and vocalversions sung by Tony Bennett, Ella Fitzgerald, Anita ODay and Ray Charles.
It has also featured in a number of other later films including The Nutty Professor with JerryLewis and Casino with Robert De Niro and Sharon Stone.
The original key of Stella by Starlight is G major although it is more commonly played in Bband is usually found in the real books in this key. That said there have been a number ofrecordings by guitarists in the original key of G, notably Jim Halls wonderfully swinging
version of the 1957 album Jazz Guitar and George Benson on the 1989 album Tenderly.Grant Green has recorded a version with organist Larry Young on the album I Want To HoldYour Hand. Rather unusually this was played in Eb and features a bluesy, motif-laden soloby Grant and a wonderfully melodic solo by Hank Mobley. Other version by players such asPeter Bernstein, Ulf Wakenius (Ray Brown Trio) and Jimmy Raney are in Bb. There havebeen a number of recordings of the piece as a solo, most notably Martin Taylor on thealbums Artistry and In Concert and Joe Pass on the classic album Virtuoso. Martin playshis version in G while Joe interestingly chooses the key of C.
The piece is based around a number of tonal centres implied by a series of un-resolving ii-Vprogressions and a number of ii-V-Is. Whilst containing a strong and fairly conventional
melody, harmonically many of the relationships of the chords and keys are tenuous givingthe piece a meandering, unsettled quality with only the last eight bars giving way to astronger, more functional harmony to lead to the home key tonic.
Here is a transcription of Jim Halls solo from the album Jazz Guitar (Pacific Jazz, 1957).This album was also released in Europe as THE WINNER with Larry Bunker overdubbed ondrums (Fontana FJL 121)
Volume 93, Whats New, book & CD by Jamey Aebersold, features a play along version ofStella (in Bb) with some interesting chordal decorations. This provides a good way of gettingup to speed if you are working on your own.
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Membership
Some memberships are now falling due for renewal, remember membershiplasts for a full 12 months from the paid up month and the following benefits areonly available to current paid up members.
The following deals have been negotiated for members on production of a currentmembership card: -
Bulldog Pickups (Huddersfield) www.bulldogpickups.com15% off all pickups and repairs/rewinds.
ElectroMusic (Doncaster) www.electromusic.co.ukVariable discount depending on the item(s) purchased.
GTR (Huddersfield) www.gtrguitars.co.uk10% discount on strings and accessories.
The Music Room (Cleckheaton) www.the-music-room.comVariable discount depending on the item(s) purchased.
Matt Ryan www.guitarrepairer.com10% off guitar repairs/setups
AmplifierCoversOnline.com www.amplifiercoversonline.comCustomised Equipment Covers On Demand
Frailers www.frailers.comVariable discount depending on the item(s) purchased.
Foulds Guitars - Derby www.fouldsmusic.co.ukVariable discount depending on the item(s) purchased.
The Amp Shack Contact Andrew LazdinsValve/Solid-State amp and Effect pedal repairs. Discount available.
Phone: +44 (0) 7716 460 163
Email: [email protected]
Vinyl Taphave 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-handcds. 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 Chung
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Publicity, 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
Gigs
Monday night jazz at The Head of SteamSeptember2nd Jon Taylor / Adrian Ingram / Ian Rose16th Rod Mason / Adrian Ingram / Ian Rose
23rd
Vanessa Rana / Adrian Ingram / Ian Rose
Sun 8th Adrian Ingrams Jazz Dawgs. The Blacksmiths Arms. Lastingham. Summer
festival
Sun 15th Robin Sunflower with the James Robinson Quartet. Thornhill Sports &
Social Club, 3 6pm
Wed 29th Adrian Ingram / Al Morrison / Phil Kampen. The Pave, Princes St, Hull
A message from Paul HartleyTuesday Jazz at the Bakers Vaults, Stockport 2013
Sept 10th Paul Hartley Quartet featuring Andzrej Baranek (piano)Sept 24th Paul Hartley Quartet featuring Phil Nicholas (trumpet)
9 - 11pm FREE admissionBakers Vaults, Market Place, StockportTel 0161 477 7312
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
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http://www.meetup.com/LondonJazzGuitarSociety/
Meetings
The first Tuesday of the month at The Head of Steam: Huddersfield RailwayStation (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 anysuggestions for a tune, please speak to a committee member. We havealready 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 committeeis there entirely on YOUR behalf. Please, please get involved if you can!
2013 meetings
Sep 3rd - Solo guitar piece night (See Members News)Oct 1st - Concert (tba)Nov 5th - Guitar swap meet (See Members News)Dec 3rd - Christmas 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 8:30on the dot.
Of Interest, News and Reviews
Found anything on the web or heard of something which may interest our members, then
this is the place for it.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
TERRY SMITHAn overlooked giant of British Jazz guitar!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
It is a crime that so few people are aware of Terry Smith. This, however may be aboutto change with the appearance of three fine CDs representing Smith in the 1960s, at the height
of his fame and more recently (2007 and 2011) both in live and studio settings. Perhaps Terry
Smith is at long last about to receive the recognition his huge talent deserves? Adrian Ingram
has reviewed all three of these CDs for HJGS.
NIGHT TIME IS THE RIGHT TIME - 60s SOHO SOUNDS (Cadillac SGCD 007)Terry Smith - guitar, Bob Stuckey organ, Martin Hart drums.
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As a guitar obsessed teenager in the 1960s I was
constantly trying to discover new players, new to me that
is. I had found all of the obvious ones and was
particularly enamoured with Wes, Tal, Grant Green andHank Garland. England had its guitar heroes in 1967;
Clapton, Beck and early Hendrix. In the world of jazz,
things were very different as we appeared to have very
little home grown talent. Jim Mullen was still playing
R & B with Brian Auger, Martin Taylor had yet to emergeand Louis Stewart (who, of course, is Irish anyway) had
only just arrived in London and was yet to get his break
playing with Tubby Hayes and Ronnie Scott.
Of course there were good players in the background, Dave Goldberg, Cedric West,
Dick Abel and Ike Isaacs come to mind. For a short while, Ernest Ranglin was resident in
England and made a huge impression on those who saw and heard him. At this time the name
of a young, and relative newcomer, was regularly getting rave reviews: his name was Terry
Smith. Smith was a smash at the hippest, most happening, music venues; the same venues that
hosted the cream of Englands alternative Jazz/Soul/Blues acts like: The Spencer Davies
Group, John Mayalls Bluesbreakers, Long John Baldry/Rod Stewart/Brian Auger and JulieDriscolls Steampacket and the hugely talented Graham Bond.
Smith was playing in a modern American style replete with bluesy lines and lots of
octave work, moreover, he had an organ group, similar to the great Jimmy Smith, a rarity in
England at that time. Initially influenced, and inspired, to play jazz guitar by Chuck Wayne onearly George Shearing records, Smith had evolved to style somewhere between Wes and Grant
Green and, on first hearing, could easily be mistaken for either!
Smith went on to become Scott Walkers MD, and to form the fusion bands Ifand later
Zebra, before battling serious alcohol problems and a catastrophic hand injury. At his peakbetween 1966 and 1970, he regularly topped the Melody Maker Polls as best jazz guitarist and
produced, arguably, the finest UK jazz guitar album of all time: Fall Out (Sunbeam recordsSBRCD5006), which featured both his organ trio and the pick of the crop of British session
musicians in, what was usually better known as, the Harry South Band.
Sadly, there is pitifully little of Smith on record/CD, especially from his best period.
The appearance of NIGHT TIME IS THE RIGHT TIME - 60s SOHO SOUNDS (Cadillac
SGCD 007), featuring four tracks from his 60s organ trio, is, therefore, of great importance.
Smith should be much better known and, given the right circulation, this released will certainly
help.
There are five tracks, featuring Smith, on this CD, recorded, live at Ronnie Scots Old
Place, between 1967 and 1968, As such, they are representative of his best and most relaxed
playing, swinging non-stop from start to finish, Smith obtaining a wonderful sound from his1963 ES-330 and Fender Pro-reverb amp. I seem to remember Smith using Rotosound, for
whom he was an endorser, heavy flatwound strings circa 14-58, a gauge not dissimilar to Wes
Hi Fi Gibson Sonomatic flatwounds! Smiths sound is certainly as deep, big and fat as any
L5 or Super 400.
The set begins with Sweet Georgia Brown, a tune you wouldnt associate with organ
soul-jazz, but it is played here with a simple, but effective, arrangement which recalls all of
those McDuff/Holloway/Benson Jazz Workshop sessions. Great octave work and asurprising number of chromatic runs, very much in the vein of Ernest Ranglins early sixties
work; their paths must have crossed on many occasions as Ranglin was also a frequent guest at
Ronnies Old Place. Standard fare in Bernsteins I Feel Pretty and Cole Porters All of Youfollow, beautifully played and really swinging. Why do players, as good as this, disappear
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into obscurity? And, this is a question which equally applies to Bob Stuckey who, back in the
60s, was up there with Smith and McDuff.
When I Grow Too Old To Dream is a beautiful tune, in which we get the opportunity
to hear Smiths more poetical rubato, style and, in the true organ group style, the set ends with
Bobs Hop a Stuckey penned blues. What a great set! For those of you who, like me, grew up
on a diet of Montgomery, Burrell and Green this CD is a breath of fresh air!
It should also be noted that other tracks on this CD feature early examples of guitarist
Phil Lee and the late lamented sax player, Dudu Pukwana.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
THE TERRY SMITH TRIO TENDERLY(Actone ARCD 1002)Terry Smith - guitar, Pete Whittaker organ, Don Burrell drums.
TERRY SMITH QUARTET THE THIRD FLOOR RICHARD (Actone 1007)Terry Smith - guitar, Alan Berry piano, Val Mannix - bass, Don Burrell drums.
Perhaps it is time for Terry Smith to receive the longoverdue recognition his huge talent deserves. For almost
30 years his reclusive, low-key, on-and-off presence on
the British jazz scene has kept him out of the public eye.
Like Tubby Hayes, those who remember him from the
1960s wax lyrical about his playing; amongst jazz
connoisseurs of the period he is still something of a jazz
guitar legend!
It is fitting, therefore, that drummer Don Burrell has
chosen to put Terry Smith firmly back in the spotlight
again, by recording, producing and releasing two fineCDs on his fledgling ACTONE label. Don is also
featured on both albums, providing excellent, sensitive support to Smiths lyrical guitar
playing.
Recorded four years apart, these recordings present Smith in two distinctly differentsettings, the former in a 60s style organ trio and the latter in a, more conventional, piano
quartet. These instrumental groupings are, co-incidentally, the same as those featured on Wes
Mongomerys first two releases for Riverside. Wes was, of course, a pervasive force during
Smiths formative years and many a listener mistook his playing on the classic Fall Out LP
for that of his older and more famous American counterpart.
Octave playing has always been a strong feature of Smiths playing and, on theevidence of these two ACTONE CDs remains so to this day. It is interesting to note the subtlechanges in tone and style over the years. Perhaps understandably, Smith now plays with less
of a young mans adrenalin fuelled groove, instead there is a maturity and melodic lyricism,
born out of wisdom and experience. And, on these discs there is a greater emphasis on
standard tunes, with rich and interesting chord progressions. Smiths life journey has taken
him from the largely pentatonic based grooves of Grant Green to the, more sophisticated and
gentler melodicism of Wes Montgomery and Joe Pass.
Smiths tone is also markedly different from his 60s period, not quite as dark and full,
yet equally as attractive and rather more acoustic. It certainly sounds as if he has dropped
down a few gauges in string weight. When I saw him in London, a few years back, he was
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using a tiny 15 watt, Fender Pro Junior amplifier and this is the signature tone he produces on
both ACTONE recordings. I also noted that he was using a thumb pick on his right hand first
finger, rather than the heavy ivory picks he used to lovingly fashion from defunct or broken
piano keys!There is little to choose between Smiths playing on these two CDs. The earliest,
Tenderly, is an organ trio featuring nine tracks, six well-known standards, two jazz standards
and an original, Smith penned, blues.
Third Floor Richard, is a more recent, live,
recording containing twelve tracks. With the exception ofpianist Alan Berrys tune Minor Mode, all selections are
either classic jazz standards such as Tune UP, Ladybird
and Up Jumped Spring or popular standards like, I Fall
In Love Too Easy, You Go To My Head and When
Sunny Gets Blue. Unless you have a particular dislike
for the organ trio, an acquired taste for some, I suggest
that you purchase both. There is so little recorded
material available by this great player that it is absolutely
essential to get these CDs while you can!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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
Tuition
20th NORTH WALES INTERNATIONAL JAZZ GUITARWEEKEND
OCTOBER 11th - 13th 2013
GLYNDWR UNIVERSITYMold Road, Wrexham, Wales, LL11 2AW
North Wales Jazz: Now celebrating fourteen years of international jazzguitar events in Wrexham.
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IMPROVE YOUR JAZZ GUITAR SKILLS AT THIS GREAT VALUEWEEKEND!
Only 99! (90 Concession)
Call +44 (0)1745 812260 to enrol and for further info
or see www.northwalesjazz.org.uk and download theenrolment form.
Five 2 hour workshops with internationally renowned tutors.
GUEST TUTOR JACK WILKINS
http://www.jackwilkins.com
RESIDENT TUTOR TREFOR OWEN
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 (October 12th - 8.30pm) featuring the coursetutors plus guests.
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Wide choice of reasonably priced accommodation available inWrexham and the surrounding area.
Registered Charity No. 508519 President: Martin Taylor MBE.
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Sales
Please let me know as soon as items are sold to remove them from the list.
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60s Gibson Johnny Smith pickup (neck mounted).. 55
Set Bulldog Stratocaster Pickups, Haydens finest, lovely sound....120
All prices are negotiable and interesting trades are welcome
Contact Ian Wroe ( [email protected] )
Telecaster Pickups: -1. Boxed pair of Fender Custom Shop Texas Specials. Full fat sound with good
balance and punch, as new... 702. Fender Custom Shop Twisted-Tele neck pickup. Not commercially available,
except on custom shop Teles, therefore hard to come by, nice full sound35
3. Bulldog Alnico III neck. Best sounding Tele pickup for jazz, end of story.
Similar spec to custom shop nocaster pickup but bespoke, hand wound as opposed to
mass produced. New, bargain at354. Lollar neck pickup, signed as new. Lollars are current flavour of the
month35(or you could order one wait 3 months and pay 100!!)
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5. Lindy Frailin high output neck pickup, new ..SOLD6. Mojo Boutique bridge pickup, new 307. Pair of Bare-Knuckle Mules (PAFs), everyones current favourite
Humbucker..100
8. Aged Bulldog PAFS Boxed/new....100
9. New Gibson P90 (soapbar) with black cover30
Celestion 30 10 8 ohm speaker. new.. 20Fender 30 10 8 ohm speaker. new.. 20
Dunlop Jazz picks 205 and 206 series. Hard to find and expensive in UK. Bargain.
Job lot packs of 36. 5 per pack!!! (nb 20p not included in sale)
George Van Eps string damper, Original early 50s model actuall machined by VanEps. Used by Eps, Jim Hall, Herb Ellis. Stops all open string feedback on archtops.
Mega rare, offers, trades.
Session Sessionette 75 watts. Recovered (as new appearance) fully serviced, (just)
with new upgraded celestion speaker.Collectable!.............................................................................................................SOLD
Contact Adrian Ingram; 01484 314529
Fender Pro Junior, as new. Very small and as loud as any 100 watt trannie amp. Ideal
for jazzers wanting the old valve tone!.......................................................................250
Fender Blues Junior Mark III, latest edition with all mods + previous faults sorted.
Reverb and 12 speaker for big Wes/Burrell tone. Mint............................................350
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Roland GR33 guitar synth + pickup : 200 onoSession Rockette 30 fantastic little jazz amp : 90 onoJMP 50 1980 Marshall head : 600Eventide Time-Factor delay/sampler/loop pedal : 220
Tone Proslocking nickel stoptail (335/ Les Paul etc) : 20Boss digital dimension (1980s) pedal as new (Mike Stern/Sco/Metheny etc) : 80Fender Hot-Rod Telecaster with case900 o.n.o.
Fender 57 USA reissue Strat. Mint with upgraded pickups...950Contact Hayden Minett on 07967 831193 or hjm@bulldogpickups.com---------------------------------------------------------------------------------------------------------------------------
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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.
Its a 65/66 ES 355 and is in great shape.
Many thanks
Gary [email protected]
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: -
[email protected] 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 ShackThe 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: [email protected]
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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 youhave 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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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
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.----------------------------------------------------------------------------------------------------------
7 String Archtop Contact [email protected]
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For all amp (valve and solid state)
and effect pedal repairs.
7/30/2019 HJGS Newsletter 25 Sep13
20/22
20
Charts
7/30/2019 HJGS Newsletter 25 Sep13
21/22
21
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
7/30/2019 HJGS Newsletter 25 Sep13
22/22