HJGS Newsletter 39 NOV14

8/10/2019 HJGS Newsletter 39 NOV14

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Hudderseld Jazz Guitar Society Newsletter No. 39 November 2014

ContentsPage

1. Meeting Summary ... 2

2. Members News .. 5

3. Swap an Idea ... 6

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

5. Gig List .. 14

6. Reviews ... 15

7. Of Interest . 19

8. Tuition . 29

9. Sales/Wants/Trades . 33

10. Charts .. 40

11. The lighter side of music .. 41

12. Services 42

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Celebrating the art and craft of jazzguitar


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1. Meeting Summary

The October meeting was a theme night, songs by Cole Porter. Cole Porter was aprolic composer and songwriter and with so many great songs to choose from we knew itwas going to be a good night.

As has become customary Tom Prior kicked offthe proceedings with a rather unique take on thesong 'Night and Day'. The piece began with theriff from the Kinks song 'All Day And All Of TheNight' before launching into the song by way ofsome rather mad glissando and a boogie woogiepattern, all delivered with the skill andenthusiasm we've come to expect from Tom.

Next upwasLarry,

joinedby Darren. The rst song was 'Love For Sale' whichbegan with Larry playing the head and soloingbefore Darren took a solo after which Larry sang inhis wonderfully intimate and laid back style. Theirsecond offering 'What Is This Thing Called Love'was played with a similar format.

Darren

remainedand was joined byCharles on

bass for a (mostly) chord melody arrangement of'Lets Fall In Love'.

Dave and Chris took us to the break with threetunes. The rst was a skilful rendition of 'I Love You'.This was followed by an unusually funky version of'Love For Sale' replete with Dave's percussive slaps.The third and nal tune from the duo was a bossa

nova arrangement of 'Night and Day'

After the break it was the turn of the'Guits' and there were quite a few! It wasgreat to see Roy Swaby who has beenmissing from the society for a whilefollowing a hip operation. The othermembers of the ensemble were Richard

Speight, Colin Lodge, Phil Kampen,Charles Adamczuk, Robert Fowler, Tim

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Allen and Darren. They began with 'Anything Goes' complete with a at ve ending followedby a lovely arrangement of 'Begin The Beguine'.

John Radcliffe who'd own all the way from

Australiato be with us, or so he said was up next alongwith Darren. They played the song 'You'd Be SoNice To Come Home To'

Robert Fowler followed accompanied by Darren for a vocal rendition of 'Love For Sale'. Thiswas done in a melancholic, colla voce style that made the lyrics seem even more poignant.

Finally Ian, Adrian and Martin, each with a solid body electric guitar brought the evening to

an entertaining close. Ian was playing his latest acquisition, an Eastwood 7 string telecastershaped guitar. Plain body, two controls, one pickup and a terric tone, all you need.

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The trio began with 'What Is This Thing Called Love,followed by 'Night and Day'. Both pieces delivered withthe skill and style expected of players of this calibre.

All in all a terric evening with quite a varied program,even the duplicated pieces were played with suchdifferent interpretations as to remain interesting.

Next month is a regular players evening.

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2. Members News

Call for Membership ParticipationWe 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 [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 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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mailto:[email protected]


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3. Swap an IdeaThis 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] .

Lenny Breau By Darren Dutson Bromley

I rst became aware of Lenny Breau through Maurice JSummeeld's excellent book 'Jazz Guitar, It's Evolution andits Players. This was a Christmas present from my parentswhen I was around thirteen and my guide and companion fordiscovering 'new' players. Even though I d read about Lennythe rst time I heard him was a little later on the 1981 lm'Tamage Farlow'. Here he was heard playing a duet with Tal.Lenny was a player unlike any jazz guitarist I'd seen before,he played with a thumb pick and rolled out cascadingharmonics and unusual chord voicings. As the last playerdiscussed in this series on inuential jazz guitarists was TalFarlow the link seems too good an opportunity to miss.

Leonard Harold Lenny Breau was born on August 5, 1941 in Auburn, Maine. His parents, Harold Hal Lone Pine Breau and Betty Cody were professional country and western musicians whoperformed and recorded from themid-1930s until the mid-1970s. Lennybegan playing guitar around the age ofeight. By the age of fourteen he wasthe lead guitarist for his parents band.He was billed as Lone Pine Junior and played Merle Travis and ChetAtkins instrumentals and occasionallysang. Lenny made his rstprofessional recordings in Westbrook,Maine at the age of 15 while working

as a studio musician. Many of these recordings were releasedposthumously on a CD appropriately titled Boy Wonder.

The Breau family moved to Winnipeg, Manitoba, in 1957, andtheir new band travelled and performed around the city andprovince as the CKY Caravan. Their shows were broadcast liveon Winnipeg s CKY on Saturday mornings from various remotelocations.

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Around 1959 Lenny left his parents country band and sought out local jazz musicians, performing atWinnipeg venues including Rando Manor and the Stage Door . Here he met pianist Bob Erlendson,who began teaching him more of the foundations of jazz. In 1962 Breau left for Toronto and sooncreated the jazz group Three with singer/actor Don Francks and Eon Henstridge on acoustic bass. Three performed in Toronto, Ottawa, and New York City. Their music was featured in the 1962National Film Board documentary Toronto Jazz. They recorded a live album at the Village Vanguard

in New York City and appeared on US-network televisionon the Jackie Gleason and Joey Bishop shows. Returningto Winnipeg, Lenny became a regular session guitaristrecording for CBC Radio and CBC Television, andcontributed to CBC-TV s Teenbeat, Music Hop, and hisown Lenny Breau Show..

Lenny s fully matured technique was a combination ofAtkins and Travis ngerpicking and Sabicas-inuencedamenco, highlighted by extraordinary right-hand

independence. His harmonic approach was acombination of country, classical, modal, Indian, and jazz,he was particularly inuenced by pianist Bill Evans.

In 1967, recordings of Lenny s playing from The LennyBreau Show had found their way into the hands of ChetAtkins. The ensuing friendship resulted in Lenny s rsttwo LP issues, Guitar Sounds from Lenny Breau' and

The Velvet Touch of Lenny Breau. Live! on RCA. He livedin various Canadian cities until 1976 when he returned to the United States. He spent the next

several years moving between Nashville, Maine, Stockton, California and New York City eventuallysettling in Los Angeles in 1983.

Breau had continual drug problemsfrom the mid-1960s, which he managedto get under control during the lastyears of his life.On August 12, 1984 hisbody was found in a swimming pool athis apartment complex in Los Angeles,California. The coroner reported that hehad been strangled. His wife, JewelBreau, was the chief suspect in thecase but she was never charged withhis murder and the case is stillunsolved.

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Selected Discography

LENNY BREAU AS A LEADER

"GUITAR SOUNDS FROM LENNY BREAU" 1969 RCA (LP)

"THE VELVET TOUCH OF L.BREAU-LIVE!" 1969 RCA/1994 ONE WAY (LP,CD)

"THE LEGENDARY LENNY BREAU...NOW!" 1979 SOUND HOLE (LP)

"LENNY BREAU" 1979 DIRECT-DISK LABS/1999 ADELPHI-GENES (LP,CD)

"FIVE O'CLOCK BELLS" 1979 ADELPHI/1987 GENES (LP,CD)

"MO' BREAU" 1981 ADELPHI/1987 GENES (LP,CD)

"WHEN LIGHTN' STRIKES" 1984 TUDOR/2005 ART OF LIFE (LP,CD)

"LEGACY" 1983 RELAXED RABBIT (LP)

"QUIETUDE" 1985 ELECTRIC MUSE (LP)

"LAST SESSIONS" 1988 GENES (LP,CD)

"CABIN FEVER" 1997 GUITARCHIVES (CD)

"BOY WONDER" 1998 GUITARCHIVES (CD)

"LIVE AT DONTE'S" 2000 STRING JAZZ (CD)

"THE HALLMARK SESSIONS" 2003 ART OF LIFE (CD)

"SWINGIN' ON A SEVEN-STRING" 2005 ART OF LIFE (CD)

LENNY BREAU TRIO

"LENNY BREAU TRIO" 1985 ADELPHI (LP)

LENNY BREAU, CHET ATKINS

"STANDARD BRANDS" 1981 RCA/1994 ONE WAY (LP,CD)

LENNY BREAU & RICHARD COTTEN

"PICKIN' COTTEN" 2001 GUITARCHIVES (CD)

LENNY BREAU, TAL FARLOW

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"CHANCE MEETING" 1997 GUITARCHIVES (CD)

LENNY BREAU, BRAD TERRY

"THE LIVING ROOM TAPES-VOL. 1" 1988 LIVINGROOM/1988 MHS (LP,CD)

"THE LIVING ROOM TAPES-VOL. 2" 1990 MHS (CD)

"THE COMPLETE LIVING ROOM TAPES" 2003 ART OF LIFE (TWO CD SET)

LENNY BREAU, DAVE YOUNG

"LIVE AT BOURBON ST." 1995 GUITARCHIVES (CD)

LENNY BREAU, DON FRANCKS, EON HENSTRIDGE

"AT THE PURPLE ONION" 2004 ART OF LIFE (CD)

BUDDY EMMONS WITH LENNY BREAU

"MINORS ALOUD" 1978 FLYING FISH/2005 ART OF LIFE (LP,CD)

Books

One Long Tune: The Life and Music of Lenny Breau by Ron Forbes-Roberts

Instructional Book

Fingerstyle Jazz by John Knowles (Mel Bay)

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Lennys Playing Style

There were so many incredible facets to Lenny

s playing that it would take a considerable book toeven scratch the surface. Personally, one of the most fascinating things I think he does is to createseemingly independent and rhythmic comping gures whilst soloing, similar to how a pianist would.Lenny was heavily inuenced by Bill Evans and I would imagine this was one of the techniquesgleaned from listening to Bill s playing.

Many of the comped chords Lenny uses are implied, often using only the essential notes of thechords. The two most important notes in any chord are the 3rd and the 7th. Here is how these twonotes can be used to outline the harmony of a blues progression in C.

Lenny uses this to great effect in a blues. Notice how he adds these notes rhythmically in andamongst the improvised lines. The B natural over the F7 create a lydian dominant sound althoughLenny is probably thinking of this as a b5th alternated with the natural 5th. The 5th is a commonlyaltered note. He also uses motifs, repeated gures that he develops throughout the solo.

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4. 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.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 LazdinsValve/Solid-State amp and Effect pedal repairs. Discount available.

Phone: +44 (0) 7716 460 163 Email: [email protected]

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

Phone: +44 (0) 1924 361550 Email: [email protected]

Mac Amplification www.mac-amps.com Amplifier + Pedal repairs Phone : 07716 860676

Email: [email protected]

Mundo Music Gear www.mundomusicgear.co.uk An ergonometric revolution for guitarists

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http://www.mundomusicgear.co.uk/mailto:[email protected]://www.mac-amps.com/mailto:[email protected]://www.westf.demon.co.uk/mailto:[email protected]://www.fouldsmusic.co.uk/http://www.frailers.com/http://www.amplifiercoversonline.com/http://www.guitarrepairer.com/http://www.the-music-room.com/http://www.gtrguitars.co.uk/http://www.electromusic.co.uk/http://www.bulldogpickups.com/


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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

Publicity, joint treasurer, website/facebook and developmentDarren Dutson Bromley

Ensembles, 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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MeetingsThe 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 providea 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!

2014 meetings

Nov 4 th - Players nightDec 2 nd - Showcase

Workshop/seminarsPlease 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 thedot .~~~~~~~~~~~~~~~~~~~~~~~~~~

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http://www.ossett-brewery.co.uk/Pubs/HuddersfieldDistrict/tabid/1612/Default.aspx


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5. Gig List October

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 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 2 nd Nov Jon Taylor with the Groove DawgsFri 7 th Nov Sam Dunn. The Cellar Bar Rainhall rd, Barnodswick 9pmFri 14 th Nov The Gary Boyle Quartet. The Cellar Bar Rainhall rd,

Barnodswick 9pmFri 14 th Nov Harrogate Brasserie, Darren Dutson Bromley, TinaFeatherstone, Keith Jevons.

Sun 16 th Nov Workshop and gig with Adrian Ingram, Paul Baxter andDarren Dutson Bromley. Yorkshire Music School and TheTerrace, Saltaire. 01274 595954

Fri 21 st Nov Neil C Young &Helen Livsey. The Cellar Bar Rainhall rd,Barnodswick 9pm

27 th Nov Jazz at Jeremys Boat House, Brighouse. 7pm28 th Nov The Manouchetones. The Cellar Bar Rainhall rd,

Barnodswick 9pmSun 7 th Dec Jazz Dawgs Xmas Party

Live Jazz every Sunday and Tuesday at The Railway, Stockport

74-76 Wellington Road North, Stockport SK4 1HFTel 0161 477 36809-11pm free admission

Wakefield Jazz

Wakefield jazz have made an offer of a discount on their normal entryprice, if we can block book tickets. We believe the cut-off point is 10 tickets,which reduces the entry cost to 10 (normally 14).http://www.wakefieldjazz.org

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http://www.wakefieldjazz.org/


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6. Reviews!"#$%&' " )*$+,- #$%&'. /,'01$223 43553''33

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;1-.- *.- )6*30*)/' 27*8-.) *.6?3+ 01- @.7&34063UV*77*)UW6.0 I6.01 *.-* *3+ 01-8*77 *22-*.-+ 06 A- ?)&34 01-)- 2&'(): #&33& G 2&'( >6. 86?. )2-'&E'.-X?&.-


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The Bucky Pizzarelli Trio

Three For All (featuring John Pizzarelli and Ed Laub) Chesky Records 2014

This recording is a delightfully intimate meeting ofthree very accomplished jazz guitarists and whilethe repertoire doesn't stray from the familiar andthe interpretations are far from groundbreakingthis selection is performed with the care and skillyou would expect from players of this calibre.

For anyone new to jazz guitar John 'Bucky'Pizzarelli was born in 1926 and became aprofessional guitarist at the age of 17. In hisseventy-one year career he has always remainedat the forefront of jazz having played with such

luminaries as Benny Goodman, Stephane Grappelli and Les Paul as well as been amember of Johnny Carson's Tonight Show Band. He has also performed forPresidents Ronald Reagan and Bill Clinton at the White House. On this album he is

joined by his son John, an equally brilliant guitarist who has forged a successfulcareer as a singer, guitarist and band leader having released many albums under hisown name and appeared as a guest on many more including those of Sir PaulMcCartney, James Taylor and Rosemary Clooney. Guitarist Ed Laub completes thetrio. Ed, a New Jersey based guitarist and singer is Bucky's current musical partnerand collaborator. Together they travel to all the major cities in the US, playing in clubs,concert venues and jazz festivals. All About Jazz Magazine said, Pizzarelli is thecomplete jazz musician and Laub complements him perfectly!

The album is based largely on improvised arrangements of well-known standardsperformed on acoustic guitars. It was recorded using a binaural recording method as

part of Chesky Records new Binaural+ Series. Binaural recording uses twomicrophones, arranged with the intent to create a 3-D stereo sound sensation for thelistener of actually being in the room with the performers or instruments. Binauralrecording is usually intended for replay using headphones and whilst Chesky Recordsclaim that it 'sounds great' on speakers, it does sound clear, the best listeningexperience still seems to be through headphones. As an instrument, the acousticguitar can at times be a little unforgiving and the recording method picks up everybuzz, squeak and fret noise but what the playing at times lacks in precision it morethan makes up for in enthusiasm, good taste and musicianship.

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The album begins with the three guitarists improvising simultaneously over thechanges to All The Things You Are before settling into the theme and some well-

judged and tasteful improvisation. We are then lead through a familiar path of classicsfrom the sublime 'Snowfall' to the wonderfully energetic 'Stomping at the Savoy' to thetasteful Bix Beiderbecke tune 'In The. Dark'. There are thirteen tracks on the albumand each selection is played with skill and care but for me it is the feeling that theplayers are have a great deal of fun which comes across as one of its most appealingqualities.

Despite Bucky been eighty-eight his playing is as sharp as ever with some masterfulchord and chord melody improvisation contrasting beautifully with John's deft singlenote work. Not to say that Bucky is a slouch when it comes to single note work, as heis inventive as ever with tasteful lines prevailing throughout.

It can often be difcult to play effectively in a guitar trio; there can be conict with the

rhythmic gures and clashes with chord voicings. Here we have three of the mostexperienced rhythm guitarists in the business and this is a master class inaccompaniment, even when the guitars are playing similar gures there seems to becohesiveness with no real conict of ideas. Ed describes this as The charm of thisalbum is that both `john and learned from Bucky, and our technique, touch, chordvoicing and the voice of the guitar are so similar, they blend.

The playing on the album has it's feet planted rmly in a traditional style, Melodic andtasteful, it doesn't rely on studio trickery, speed or effects, this is a celebration of great

music performed on the guitar with the three players bouncing ideas of each otherwithout trying to outdo one another and it is this honest approach which makes it avery appealing album and one I would certainly recommend.

V*..-3 V?0)63 \.6


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7. Of Interest

Found anything on the web or heard of something which may interest our members, thenthis 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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Web Siteswww.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

http://www.guitarbytes.co.uk/podcasts/

(Check out Darrens podcasts)

www.jazzonthetube.com

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http://www.jazzonthetube.com/http://www.guitarbytes.co.uk/podcasts/http://www.darrendutsonbromley.com/http://jamieholroydguitar.com/http://www.joefinn.net/html/jazz_guitar_almanac.htmlhttp://jazzguitarscene.wordpress.com/http://www.jazzdawgs.co.uk/http://www.adrianingram.com/http://www.mambo-amp.co.uk/http://www.meetup.com/londonjazzguitarsociety/http://www.treforowen.com/index.php?id=38http://www.southjazzguitar.org/http://cheadlejazzguitarclub.wordpress.com/


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Roni Ben-Hur

Been a Jazz Guitarist in the Big Apple

Here is a piece kindly written for the newsletter by the wonderful guitarist Roni

Ben-Hur. Based in New York Roni has earned a well deserved reputation as amusician and educator, renowned for his golden tone, improvisational brillianceand compositional lyricism. Jazz guitar star Russell Malone said of Roni:"Everything Roni does is beautiful. He has the magic touch."

In October I had the great pleasure of being in the UKas part of the North Wales International Jazz GuitarWeekend. I was invited by Trefor Owen and Maureen

Hopkins, who do a fabulous job. I met lots of wonderfulpeople, and luckily, I also met Darren Dutson-Bromleyand Adrian Ingram. We even got a chance to playtogether, which was a treat. Darren asked that I writesomething for this newsletter, and I couldn't pass on theopportunity to connect with all of you. Thank you,Darren, for asking.

There is lots to talk about in regards to jazz guitar, sochoosing my topic was not easy. What I would like to

talk about is the experience of being a jazz guitarist onthe New York scene. From all my travels, and I've been around, I always comeback to New York with a renewed appreciation to the jazz life here. There arethings here that you won't find anywhere else, namely the abundance of greatplayers. Great, is an understatement, in somecases. And to make things more interesting, somuch incredible talent keeps pouring in to the Big

Apple, so you are always ready to be surprised byyoung brilliant players. In this environment, tostay in the game, you always have to be at the top

of your game. Here are a few things that I think ofas I work on keeping myself relevant in this greatcity.

-Playing clean, that means that all the notes andchord I play are clear, clean, sweet sounding, and,which is very important, swing. To do that I makesure that I practice playing every day, meaning Ipick a song, and play on it for a long while, as if Iwas on a gig. Doing that regularly keeps you

oiled, so to speak, and makes your playingsmooth, and clean.

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-Know the repertoire, there are thousands of songs in the jazz repertoire, and it isvery important to know as many of them as possible without the need of looking atmusic. A pro is considered one who can play almost any tune someone calls.Bringing a fake book, or any kind of lead sheet to a gig is frowned upon, unless

you are playing original music or obscure repertoire. I always made it a priority to

learn and memorize songs. If someone calls a tune Idon't know on a gig, I make sure I know it the nexttime (unless it's a tune I don't like). I also spent agreat deal of time learning tunes from recordings,which prepared me to learn tunes on the spot, so ifsomeone calls a song I don't know, I am able to learnit after one or two choruses, most of the time.

-Tell a story, nothing will set you apart more thenbeing yourself, and telling your story. It is very

important to me to be honest and true when I play(when I don't play, it important to me, too) and just tellmy take on the song we are playing without trying tobe someone else, compete with someone else, or tryto out do anyone. Just be myself. That's the best aperson can be.

-Have a sound, which is part of being yourself. When getting ready to play on agig, I give myself the time I need to get my sound together. I have a clear idea ofwhat I want to sound like, and I insist on getting that sound in every room. Most ofthe time I succeed. It might take making adjustment in the amp and/or guitar, andsometime it might mean making adjustments in how I play. The goal is to get thesound I love, and what guide me is what I hear, not see or think.

I hope this is of interest to you, and maybe even helpful. It's nothing more then mypersonal outlook of having a career in New York City. If you like, you can checkout out my recordings, and my instructional materials on my web site. I wish youthe best, and I look forward to an opportunity to meet you.

http://www.ronibenhur.com

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http://www.ronibenhur.com/


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Here is an article sent to us from our friend in Australia, Ian Macgregor. Ian is oneof the founders of The Jazz Guitar Society Of Western Australia. Ian and Gary Leeactively promote and jazz guitar in Perth and have managed to bring some of thefinest jazz guitarists to Australia including Joe Pass, Martin Taylor, Barney Kessel,Herb Ellis, Charlie Byrd, Peter Leitch and Emily Remler etc. Ian also produces a12 page bi-monthly newsletter which helps promote interest in jazz guitar.

An Interview/Conversation with TommyEmmanuel (part 1)by Ian Macgregor, Mike Slaven & Hank Marvin

While visiting Perth as part of a national tour to celebrate 50 years in show businesswith his brother Phil, our honorary member Tommy Emmanuel took time out to give usthis interview. I invited along JGSWA committee member Mike Slaven, a longtime fanof Tommys and our Patron Hank Marvin who was a big inuence in the early part ofTommys career. We all had a great time, it was part interview and general guitar talk.

Mike : There is something deeply personal about your music that communicatesstrongly to non guitar players as well as guitar players, for example the tune ThoseWho Wait Will Stay Close to Me. What do you draw on when you develop tunes likethis.

Tommy : Well you hit the nail right on the head because its not about guitar playing,its all about emotions, and thats the way I reach people through my music. I dontthink about trying to impress with my skills or any of that stuff. I try to write to write thebest songs I can from a real place. So the inspiration has to be real, and thats why asongwriter waits patiently for something to happen to give you the inspiration to write.Whether its where you are, the people you meet, or something that happens to you,and songs like Those Who Wait stay close to you, and youre right, they come froma very deep place, and a very real experience. I dont know how else to explain it, im

just following my own instincts when I write music, and I try to write music that is notguitar based, I just try to write the best music I can, and I alway try to think that Imwriting for a singer, and that gives me that kind of melodic edge that my musics

accessible, its not too clever. Theres a clever writer in my brain, but theres a soulfulwriter in my heart. The two of them have to be both satisfying somehow. so I just try towrite the best songs I can, thats the bottom line. I never try to write something that Ithink will impress somebody, I couldnt care less.

Mike : Ive got friends who Ive shared your music with and they have been moved totears by the beauty of many of your pieces, and Im very proud of that.

Tommy : Well there you go. I feel the same way when I watch a great actor work or agreat artist paint or whaterver, I can be incredibly moved by it. Its nothing that theyvedone or said, Its just by them doing what they do.Thats the magic of a gift, thats how

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the gift reaches out and touches people. Were just the vehicle, we have to remain anempty vessel, so whatever can ow through us, is allowed to ow through us. Themoment the ego comes in - EGO stands for Edging God Out. If we get rid of that and

just remain the vessel, thats when all the power happens. you have to say, its notme, Im at your service, and thats how I operate.

Ian : Can you tell me about your current tour with your brother Phil, and what we canexpect at tonights concert.

Tommy : Well were celebrating 50 years of professional playing and the show has alittle bit of everything in it and were trying to start off right back in our childhood. Wedo a tribute to the Shadows of course, no show would be complete without that,because it was probably the most important start that two young kids could get. All ofa sudden there was great

music to play thanks to Hank (Marvin) and Bruce (Welch). A lot of the songs are fromthe Terra Firma CD, and we each do our individual stuff as well. The wonderfull thingI like about this show is that were bringing in the next generation. Phils daughterJessie has won the APRA songwriter of the year award for an unsigned artist this yearand she sings and plays her own songs. Her and Phil play stuff together as well,father and daughter. Its really nice to see that. And then we bring her back out at theend of the show just to really cap it off. So Its a wonderful thing and I get to playthings from my Determination CD, so Im playing electric as well as acoustic in theshow, So the shows got a bit of everything. The band are the original guys on bassand drums Kevin Murphy and Robby Little, my original bass player and drummer, and

we have another guitar player Simon Hosford and a keyboard player Ashley Crick.When I came here for my album Cant Get Enough in l997 those were the two guyson guitar and keyboards. So Ive got two guys from the old band and two from thenew and Its worked out really well.

Ian : You and Phil wont be wearing short pants when you do the early stuff will you.

Tommy : We ditched the short pants and bow tie look. (laughs)

Mike : Ive been listening to your latest CD Little By Little and have been blown

away it. Its really such a different album, I havent heard anything like it before, but Ican hear a lot of different aspects of your playing coming together and so beautifullybalanced. Youve used world class musicians like Doyle Dykes and Victor Wooten.Was this a project album, was this something you hadin mind for a while, becausethis is different to the other stuff that youve done.

Tommy : That album came out of a burning desire to make it, and when I got into thestudio the rst time, I was not very well, I had a real high blood pressure and I had totake it easy for a while and I was trying medicines, and I recorded a lot of the stuff thatI had written, and I listened back to it a couple of months later and none of it was anygood. It was all too slow and it took me a while to get well. Once I started feeling great

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again I said Im going to re-do everything. I actually recorded the album twice, so thesecond time was the one that I released.

Mike : The way youve arranged the tracks, everything seems to be very thoughtfuland just comes together so beautifully and the way that youve done for exampleHaba Na Haba twice and Moon River on disc one that has this lovely jazzy bluesyfeel to it and with Rick Price singing it, thats sensational.

Tommy : The Moon River instrumental version was not planned the same as theGuitar Boogie jam that followed, that was not planned. What happened was I gotVictor and J.D. and Darryl the percussion player in the studio and they worked so welltogether that after we had done Haba Na Haba and some of the other hings I saidhave a lisen to this and I played a bit of Moon River for them and they just found thisgroove, for I wanted in some way a vehicle for Victor to take a little solo . So we wentinto Moon River with that really unusual feel and I said lets roll the tape , lets record

it, dont practise it, play it. So we did, we played it one time down and thats whatmade it onto the record. The same with Guitar Boogie. I said come on lets have a jam on this , you just follow me. So we did and we played it once and there it is, youknow.I hadnt done that for a long long time. The last album, the Only album,Endless Road and The Mystery they were all made in a couple of afternoons.Everything was just straight down because I was too busy to spend time . But withthis album when I knew I had to re-do everything again , I put a week aside, I said Imnot doing anything else but going into the studio to do that. Im really glad I didbecause in the meantime I wrote Halfway Home which is the rst track and that wasreally important to me to have that song on the album. Then in the middle of a tour Iwrote The Trails which is the Indian sounding song. I knew that had to go on theretoo so I kept stopping the progress of the album coming out by writing more songs.So it ended up being what it is, i didnt plan it to be a double album, but it had to beone, and then the songs that ended up there were meant to be there. It was a greatexperience recording that album.

Ian : Very good value too at $19 for the double album.

Tommy : Yes 24 songs. Mr. & Mrs. Sony have a better price.Im really happy becauseI re-signed with Sony for two albums.Next year Im going to do my rst Christmasalbum.

L to R : Ian Macgregor, Tommy Emmanuel & Mike SlavenIan : I noticed on Guitar boogie it sounds a lot more jazzy

than some of your previous versions.

Tommy : Oh yeah, I just felt free to y my kite. I never feel Ive got a certain market toaim at and I cant be too jazz or whatever, I never think that way. Just because it wasa jam I thought, Ill just let it y, a lot of good fun stuff in there.

Ian : Thats what jazz is all about.

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Tommy : Thats right, freedom of expression.

Ian : I noticed Perth is the last date on your tour before you take a break forChristmas and continue your tour in January. Are you spending your break in Australiaor heading home to Nashville.

Tommy : No I was actually going to head to England to be with my children but I dontknow whether Ill be able to make it with things closed down due to the snow. I may

end up being forced to stay here for Christmas. (laughs)

Ian : Thats terrible.

Tommy : Well it will be wonderful from the point of view that it will be better weatherthan England, but I desperately want to be with my kids. My eldest daughter is 22 andshe ew the nest last year, so she lives in Marlow up near Windsor. My youngest

daughter Angelina has just started high school this year, so I really want to see them.If I have to be in Australia Ill probably y up and be with my brother and sister.

Mike : This question refers to your CD Happy Hour with Jim Nichols and specicallyto your arrangement of When I Grow Too Old to Dream merging into Ill See You inMy Dreams its stunning playing, is this something you worked out with Jim or arethey tunes that were in your mind that you just brought together.

Tommy : That album was a bunch of demos of us sitting around playing. it was not adeliberate lets make an album project. We were in Germany on tour and we went to

my friend Henno Althoffs house and we set up mikes and I said lets record somesongs and have a bit of fun. So thats how it came about. Ill See You in My Dreamsis one of my favourte tunes by Isham Jones and Gus Kahn. When I Grow Too Old ToDream , I got the idea for that song from a guitarist called Duck Baker, and Duckplayed that song really beautifully and I said what are you doing there, and heshowed me his chords, so I totally stole that off him and I made it into my ownarrangement. When we were going to do our CD (with Jim Nichols) i said how about Ido a little introduction of When I Grow Too Old To Dream , it was just a littlespontaneous idea and I think it worked pretty well. The song Happy Hour I had

written on that trip as well, and that was just a little demo that I did in the studio andthat ended up on the album.

Ian : Considering that you dont read music, you must have a good ear and a hugeinternal repertoir.

Tommy : Well I guess when I learn a new song I use repetition to remembereverything, and so once Ive learned it, Ive learned it. God willing Ill be able tocontinue doing that, if my grey cells hold out. I can remember songs from a long timeago, I have a pretty good memory. I can remember stupid things like, seeing someone

I havent seen in 20 years and saying, the last time I saw you, you hada blue shirt on.I can remember stuff like that, I dont know why. My brother Phil is like that, he can

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remember my phone number from l978. his memory works in a similar way withgures.

Ian : I think that the more tunes you learn, you internalise changes and you nd thatthey happen in lots of different tunes, so you can just hear where its going.

Tommy : You just use whatever resources you have. I dont want to be a person thatrelys on putting music in front of me to play something, I cant imagine that. But alsoat the same time, Id love to be able to read. Think of how much more music I couldlearn, but it just doesnt work for me.

Ian : You can play other peoples music immediately if you can read.

Tommy : I think that learning the way I learned I was forced to learn that when I hearda song I heard the patterns in it. The verse comes round, thats what the versesounds like, theres the chorus and theres the verse again, and I recognised the

patterns in it. I saw it in a simple way. which has really helped me no end.

Mike : I often listen to your l979 Out of Nowhere CD , even as a young man yourlines and sense of harmony and composition skills were so well developed. Were youever frustrated nding other musicians you could really work with and relate to.

Tommy : Well, I havent heard that album in a long long time, i was just trying to dothe best I could with whatever knowledge I had at the time. I dont think I had a goodknowledge compared to what I have now, but I still love to play those tunes. for me itwas always difcult to nd other musicians, especially with an attitude of - lets justplay and have fun together. Most people were very competetive and I didnt get that atall, because to me music isnt a contact sport, its a spiritual experience and we alllearn off each other whether people like to admit it or not. We all steal from each otherand thats how music gets handed on. In those days there were people that I reallyadmired who were much more skilled than I was, that I got to hang around with andpick their brains, and I was always like a sponge around people.There were pianoplayers who said, oh here he comes again, what do you want now kind of thing. Theywould play something and I would say whats that, and thats how I learned. thankfullythere were a few generous people with their knowledge and skills who handed things

on to me. Its another reason why I always do classes and take workshops when Itravel, it gives me a chance to hand something on to other people.

Mike : I think there was great humour in that music with things like Roly Poly.

Tommy : I think I quoted (sings song) ah yes thats a Johnny Gimbel quote. I playedwith Johnny a few times, hes really old now, but he still plays great. When he playsthe mandolin it just kills me , its beautiful. I met all those guys because of Chet Atkins.Chet was the conduit, everybody knew Chet.

Ian : Your international career certainly took off when you left Australia. I rememberMartin Taylor telling me that when you rst arrived in the UK he invited you to play at

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one of his concerts. Was this a big boost for you internationally.

Tommy : Well it was the rst thing I played when I got to England, Martin is a greatmate of mine, he was the rst person to call me. He knew that nobody knew me inBritain, and he was working with Bill Wyman and the Rhythm Kings at that time. soMartin rang me and he said Im playing at Windsor Arts Centre, come down and playa tune, and I said OK. So I brought my little amp down and plugged in and in thesecond set he introduced me and I thought we were going to play together and he

just put his guitar down and walked off . So he left me out there on my own which waswonderful. so I played a few tunes and the crowd went wild, women threw babies inthe air and boom. It was that night that the Windsor Art Centre said to me, we want toput you on here yourself and we think we can really do something.

So I got in the local paper there and all that kind of stuff and I lled the Art Centremyself. Its doesnt seat a lot of people, something like 250, but it was a good start.

My start in Britain really happened because Martin played Bill Wyman a video of meplaying a Merle Travis tune, and Bill Wyman is a major Merle Travis fan, and he calledme and he said, here, come and play with us. So I got the call from the old guv,Bill. That tour went so well, I was playing to about a thousand people a night andnobody knew me. I came out to play about 20 minutes before the Rhythm Kings, andI threw everything I had at those people and they just loved it. I rang my agent andsaid book me back in all the towns Ive just been as soon as possible, and we did. Westarted out with like 300 seaters, then we moved to 600 and now I play BridgewaterHall in Manchester with 2000 seats and we ll it. That was in l998.

(we are just joined by Hank Marvin)

Tommy : Hank, when your DVD came out in 2002 I immediately went out and boughtit, and I so loved it. Bruce (Welch) and I caught up in Suave in Italy and I played allyour bits and he played all his bits, it was great.

Mike : Thats on YouTube.

Tommy : Yes it is. I learned a lot from him actually. I learned some new chords,because I realised there was a couple of chords I was missing in Wonderful Land. C

back to Am back to C. I missed the Am all my life.

Hank : Its not like you Tommy (laughs) Were just recording a few bits of gypsy jazzstuff at the moment. Weve worked on a lot of arrangements for some of the oldDjango stuff, which weve been doing on the odd live gig, as Ian knows. It works quitewell so we thought we would immortalise them on digital media.

Tommy : Djangos music is so incredible, isnt it.

Hank : Trying to work out some of the lines is hard even with four ngers. its the right

hand technique, youve got a great right hand technique, but its slightly different, withgypsy stuff its all downstrokes. Thats never been a strong point of mine, but it has

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improved. I can now play four notes in succession (laughs). Nunzio our accordionplayer is doing some great stuff. When we started, the rst tune we did was a versionof Minor Swing, it was a bit quicker than we normally do it, and I had to completelyrethink my approach to it, I couldnt play it at that tempo comfortably. Anyway enoughof us what are you doing.

Tommy : I had a feeling that you might be doing all that stuff.

Hank : I dont do it very well, by the way, but I fool my public.

Tommy : Well Ive been fooling them for years too.

Mike : Hank, I went to your Fremantle JGSWA concert a few weeks ago and I thoughtit was great and Nunzio is a ne accordion player.

To Be Continued..

L to R : Hank, Tommy, hank's wife Carol and nunzio Mondier (accordion player in Hank's gypsy group

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8. TuitionJazz and Blues Guitar Workshop.

On Sunday 16th November Adrian Ingram and Darren Dutson Bromley will be holding aworkshop at the Yorkshire Music School in the beautiful village of Saltaire. Saltaire is a

Victorian model village within the City of Bradford Metropolitan District, by the River Aire andthe Leeds and Liverpool Canal. UNESCO has designated thevillage as a World Heritage Site.

The workshop starts at 3pm and will run for two and a half hourswith refreshmentbreaks. There willthen be a chanceto get some thingto eat before aconcert at The

Terrace, Bistro inSaltaire which starts at 7.30pm. Paul Baxterwill be joining for the concert on bass andworkshop participants are encouraged to

perform.The concertis foranyone toattend andthe entry is free. The Terrace is a French Bistro and thefood is particularly good. Booking is recommend if you areintending to eat there. The contact details are 01274533084, [email protected] and the website ishttp://www.terracecafebar.co.uk

Topics covered in the workshop will includeimprovisation, accompaniment, chord substitutionand performance survival skills. Both Adrian andDarren have a great deal of experience as teachers

and regularlyperformtogether as aduo.

As an educator Adrian has served as guitar specialistfor Birmingham Education Authority and Lecturer in

jazz and popular music at Hudderseld TechnicalCollege. Following this he taught for thirteen years assenior lecturer in jazz guitar at the prestigious LeedsCollege of Music. His books include denitive biography of jazz guitarist

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Wes Montgomery, and The Gibson L5, Its History and Players (CenterstreamPublishing). Adrian has produced a wide range of educational material e.g.Modem Jazz Guitar Technique (Hampton), Cool Blues and Hot Jazz (WarnerBros.) and a suite tracing the history of jazz guitar: Jazz Guitar Cameos (MelBay Publications, Inc.). He is also the authorised biographer of luthier RobertBenedetto.

Adrian has written countless magazine articles and columns. He was aregular columnist and consultant for Guitarist, music and is a reviews editorfor Just Jazz Guitar. He has also contributed to Classical Guitar, 20thCentury Guitar, Vintage Guitar Classics, Vintage Guitar and Guitar.

His international reputation as a player and teacher was consolidated byclinics and workshops at major festivals (New York, Arlington, Cork,Philadelphia etc.). Adrian also performs with leading jazz musicians withwhom he has made a variety of recordings, and participated in radio and TV broadcasts. He is

featured on the rst jazz guitar DVD withguitarist John Pisano Live at Wakeeld Jazz

(Mel Bay Publications, Inc./String Jazz).

Darren has been a professional guitarist andeducator since leaving college. In 1996 heworked for the Princes Trust where heperformed with both Prince Charles and JoolsHolland, which led to a number of televisionappearances.

Also working as a composer and arrangerDarren has been commissioned by the NationalMuseum of Photography Film and Television to

compose the music tothe play ElectronicColours and music

written by him has been used by Yorkshire Television. Variouscollaborations in both the jazz and classical elds have allowed Darren toperform extensively throughout the country. Recent appearances haveincluded the Edinburg Festival, Southport Jazz Festival, Didsbury JazzFestival, Birmingham Symphony Hall and Scarborough jazz festival.

Darrens recordings include the solo guitar CD My Romance and theRonnie Smith album Ludamus also featuring Tina May, Bosco DeOliveria, Pat Bettison and the London Session Orchestra.

Darren currently lectures in music at Bradford College and teaches guitarat the Yorkshire Music School. He has also written a book Chords,Substitution and Chord Melody and produced an online teaching resource calledGuitarBytes (www.guitarbytes.co.uk). He regularly contributes to the magazine Just Jazz Guitar.

Brunetti will also be present with a number of ampliers to try. These are Italian handmade ampliersand sound fantastic. Check out the recent reviews in Guitarist Magazine.

The workshop is for a limited number of participants and it is already lling up quickly, to reserve aplace phone the Yorkshire Music School on 01274 595954

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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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Members of the HJGS might be interested in my Mike's Master Classessite

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

- also on FB and I have a Youtube channel "mgellar" that has clips fromall of the classes on there that are available for download.

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http://www.facebook.com/l/oAQEEZSvnAQEDO9yz8ulke0KlHpG_MbjrMPH2gGIYNfqJpw/www.mikesmasterclasses.comhttp://www.rgt.org/exams/jazz-guitar-performance-diploma.php


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9. SalesPlease 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 notdeliver it.

If you want to include a picture of the sale item, or indeed item in our swap a lickcolumn, then the pictures need to be reduced in file size, preferably no more than100KB 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. Ifthey are too big they risk getting left out.

Ian

Many guitars have been sold through our monthly sales listings. If anitem is sold, as a direct consequence of an ad being seen in thenewsletter, we, the committee, would be pleased to receive a smallcontribution to HJGS funds.In order to keep the content fresh, we have decided that all ads will run forTHREE editions and will be deleted unless specifically resent. All current

ads will be removed from next months newsletter unless we receivenotification from advertisers.---------------------------------------------------------------------------------------------------------------------------

;3

2001 Heritage Eagle TDC. This is effectively a ThinlineL5. Excellent low action and lovely sound, completewith HeritageCase...1,800

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Very Rare Buscarino Starlight Classical guitar . The ultimate stage friendly classical, twopickup systems give a very natural sound at band volumes2,000

Both guitars are in excellent condition but, sadly, have only 6 strings!

Contact Ian Wroe

Email [email protected] : Phone 01484 453706

--------------------------------------------------------------------------------------------------------------------------- ;3

Aria big body jazzer , vgc, light scratch on top bout should polish out, this is the Korean modeland is far superior to the current Chinese ones,comes with an old 60,s style case, great condition

and player, ..375

Patrick Eggle Barle , with case totally stunning, ebony scratchplate and truss rod cover and highlyfigured back and sides.......................................................................................................................2250

Contact Pat Lamb

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Email [email protected] Web guitarcollective.co.uk

---------------------------------------------------------------------------------------------------------------------------;3

For sale Ibanez 2471 archtop jazz guitar. #

Rare and collectable #

2000. #

Contact Keith Jevons 07712 483403

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The Guild Artist Award is 1975 with Guild case. Very good 6*9=> condition as seen in photo's. The new reissue is $9,995.I am asking 3250.

The Knight Charlie Christian Guitar is new, with a Hiscox case.2000.

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Grimshaw G4 revelation 1950's. Refinish by Knight guitars, with gig bag. 475.

The E.Lange oval hole jazz guitar was made to special order byEastman. A one off ! Great playing and sounding guitar.Selling for 750.

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Roland VGA3. Combo 200.

Contact Tom James 07972580332.

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6*9=>

Knight 16in. body, Cosomini C.C. pick up ex condition. 1500. New Price 1250

;*7:W*.769:k*.- A763+- E3&)1


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J *< )-3+&34 86? )6 * F1&3-)- g )0.&34 91&'1 J 9*30 06 )-77: J 6378 9*30@ABB >6. &0: ;1- X?*7&08 &)*) 466+ *) 062 m&410&3)0.?6.g )0.&34 A-'*?)- 6> 01-+-E3-+ A*)) .-)263)-: J0&) )-


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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.---------------------------------------------------------------------------------------------------------------------------

TradesWants

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

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

3. Guild jazz guitarsIf you have of know the whereabouts of any of the above please contact AdrianIngram [email protected]

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11. The lighter side of Music

After all of the sweat and tears of practising/playing/hunting gigs we thought alittle humour may not come amiss. If you come across any joke, bon mot, cartoon,story etc. which tickled your funny bone, then please send it in and share. Here arethis months offerings: -

Whats the difference between a banjo and an Onion? Nobody cries when you chop up a banjo.

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12. Services

The Amp Shack The Professional Tone Breakdown Service

Ph: +44 (0) 7716 460 163Email: [email protected]

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


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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]

CheersIan
mailto:[email protected]:[email protected]

Documents

HJGS Newsletter 39 NOV14