Huddersfield Jazz Guitar Society

Newsletter No. 58 June & July 2016

Contents
Page

1.

Meeting Summary

2.

Members News

3.

Swap an Idea

4.

Membership

5.

Gig List

6.

Reviews

7.

Of Interest

8.

Tuition

9.

Sales/Wants/Trades

10. Charts

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18

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11. The lighter side of music

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12. Services

13. 2016 Guitar Festival

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Celebrating the art and craft of jazz guitar

1

1.

Meeting Summary

Hi Jazz Guitar Fans,

Well, the last couple of months have been very busy both preparing for the festival
and various gigging trips so, unusually this newsletter will combine the May and June
meetings. This is also the last newsletter before the festival so it will also feature all
of the festival news and artist reviews in our dedicated festival section.

May 2016 Roundup

The meeting began promptly with a performance by Darren, Kathy Dyson and double bass player
Adrian. The trio began with All The Things You Are
followed by the lovely bossa How Insensitive.
After a brief substitution where Ben took Adrian's
place the trio played Just Friends. After taking solos
in the conventional way all three players then
preceded to scat sing fours la George Benson.

Dave and Chris were next up. The usual duo paring
was augmented by the inclusion of Adrian on double
bass. They began with Night and Day, this contained
quite a chromatic solo from Dave which effectively
outlined the changes. Next was a swinging version of
the Dave Brubeck Classic In Your Own Sweet Way
with some strong playing from Adrian who drove the
tune and some nice soloing from all parties. The final
tune in the selection was Joy Spring, a tricky tune
well executed by the trio.

Larry and Ben were next in line. They began

with On Green Dolphin Street, complete with a
modal style intro and outro and a really fine
solo from Ben. This was followed by All Blues
and finally Lady is a Tramp. This contained
some nice chord melody playing from Larry.
After the solos Larry sang the song complete
with some interesting interjections from Ben
and assistance from Kathy in the audience.

After the break Ian, Darren and Ben played a couple of

jazz waltzs. They began with Sometime Ago followed
by the very difficult Pat Metheny piece Farmers Trust.

As a complete contrast Steve played and sang Sitting

on the Dock Of The Bay by Otis Reading before a
massed ensemble of Jez, Darren, Kathy, Charles, Ian
and Dave brought the evening to a conclusion with
How High The Moon.

June 2016 Round Up.

This month there were no committee members present due to three of them being in
The Hague and Martin was celebrating his first wedding anniversary. It was a rather quiet night
with only a handful of members in attendance, Dave Allen, Phil, Colin and Charles but it was
by all accounts a productive and fruitful evening with a lot of playing.
Here is an account kindly provided by Charles of what went on.
Colin, Dave and Phil began with the lovely ballad Laura followed by Jordu and How High The
Moon.
Charles then joined on bass and Phil switched to guitar for Spring is Here, Heres That Rainy
Day, Corcovado and All The Things You Are. The evening was rounded off with Blue Bossa.
It all sounds like a lot of fun and many thanks to Dave and Charles for organizing the evening
and providing the opportunity for people to play.

Feb
Mar
Apr
May
Jun
Jul
Aug
Sep
Oct
Nov
Dec

Wave - AC Jobim
Take the A Train Ellington/Strayhorn
There will Never Be Another You - Harry Warren
How High The Moon Morgan Lewis
Satin Doll - Ellington
Out of Nowhere - Johnny Green
Bernies Tune - Bernie Miller
Manha de Carnival - Luiz Bonfa
Billies Bounce - Charlie Parker
Dont Get Around Much Anymore - Ellington
Rhythm-a-ning - Thelonious Monk

A copy of the real book changes will be included in the Charts section of the
newsletter.

A new menu item has been added to the newsletter item 13

2016 Guitar Festival. Here you find details and news of the
festival.
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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.

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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.

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

Mac Amplification

Phone: +44 (0) 1924 361550

Email: andrew@westf.demon.co.uk

www.mac-amps.com
Phone: 07716 860676
Email: repairs@mac-amps.com

Amplifier + Pedal repairs

Mundo Music Gear

www.mundomusicgear.co.uk

An ergonometric revolution for guitarists

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
Newsletter, education, website/facebook and development
Adrian Ingram
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, 40 Chapel Hill, Huddersfield Road, HD1 3EB

http://www.ossett-brewery.co.uk/pubs/rat-and-ratchet-huddersfield
Remember the society needs YOUR views and input so, if you want to provide a
short introduction/discourse for a tune yourself or make any suggestions for a tune,
please speak to a committee member. We have already had some other 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!

2016 meetings Details may change

Jul 5th
- Tune in Focus/Seminar / Players night
July 22 to 24th Huddersfield Jazz Guitar Society Summer Festival
Aug 2nd
- TBA
th
Sep 6
- Tune in Focus/Seminar / Players night
th
Oct 4
- TBA
Nov 1st
- Tune in Focus/Seminar / Players night
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Dec 6th`

- AGM / Players night

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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Gig List July

5.

Got a Gig then let us know

Huddersfield Jazz Guitar Society - Jazz Guitar Festival, Rat & Ratchet
Fri 22nd

Gypsy Jazz night featuring Gary Potter + Remi Harris,

8:30pm

Sat 23rd

Val Bonnetti & Cristiano Da Ros 1:00pm

Charlie Christian Centenary Celebration featuring Alan
Barnes, Sam Dunn & Jamie Taylor and the Charlie Christian
Collective. 8:30 pm

Sun 24th

Pat Sprakes 1:00pm

Soho Nights featuring Terry Smith with Paul Baxter and
Paul Smith and Adrian Ingrams Cookbook. 8:30pm

Grove Jazz
The Jazz Dawgs host a regular monthly gig every 1st Sunday (4:00pm
7:00pm) at the Grove, Huddersfield.
The Dawgs 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: Jun 12th

Guest Jon Taylor (Jons birthday gig)

*************

The Railway, Stockport

Live Jazz every Sunday and Tuesday
74-76 Wellington Road North, Stockport SK4 1HF
Tel 0161 477 3680
9-11pm free admission

Dear All here are the forthcoming July 2016 dates at the Railway ....plenty of
guitar interest this month (5th, 12th, 19th, 24th, 26th and 31st!)

Sun 3rd George King Trio

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Tues 5th Steve Oakes Band featuring Paul Kilvington

Sun 10th Freddie Garner Quartet
Tues 12th Paul Hartley Quartet featuring Suzanne Mott
Sun 17th Dean Masser Quartet
Tues 19th Uli Elbracht Quartet
Sun 24th Jonny Ford/Harry Maund Quintet
Tues 26th Paul Hartley Quartet featuring Mike Hope
Sun 31st Trefor Owen Trio

*************

Wakefield Jazz
Wakefield jazz have made an offer of a discount on their normal entry price, if
we can block book tickets. We believe the cut-off point is 10 tickets, which
reduces the entry cost to 10 (normally 14).
*************

*************
*************

*************

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From Dave Faulkner (the Cheadle jazz guitar club).

I wondered if anyone in the HJGS would be interested in my friend B.D.Lenz and his band who are on
tour in July. B.D is a very talented guitarist and features an excellent 3 piece band. His style is best described as
Jazz-Rock/Jazz-Funk but hes equally at home with standards such as Solaris as with jazz-rock material such as
John Schofields Chank. He tends to vary what he does depending on the venue and audience (the latter video
link is to a recording my son made at Granvilles in Stone).
The 8th of July date he will be appearing with my own blues band The Vice Bishops at our regular venue in
Doveridge.

Wed 6 July Granvilles Brasserie + Music Bar - Stone

Thurs 7 July The Boycott Arms Claverley, Wolverhampton
Fri 8 July Doveridge Village Club Doveridge, Asbourne
Sat 9 July The Lighthouse Walmer, Deal
Sun 10 July Jazz East at The Alex Felixstowe, Suffolk
Mon 11 July The Daffodil- Cheltenham
Tues 12 July The Wig and Pen, Northampton.
Wed 13 July Hawkes House Thornbury, Bristol
Thurs 14 July Joe's Bar and Grill Oxford
Fri 15 July The Pelican Club Nottingham
Sun 17 July Seven Jazz in Chapel Allerton, Leeds LS7
Sun 17 July Blakey's Cafe Bar Newcastle-Under-Lyme
Mon 18 July The Bell Inn Bath
Tues 19 July The Bustard Inn South Rauceby, Lincolnshire
Wed 20 July Jazz After Dark London
Thurs 21 July Linden House Stansted
Fri 22 July The Navigation, Stoke Bruerne
Sat 23 July The Verdict Cafe & Bar Brighton
Sun 24 July Summertown Wine Cafe Summertown
Mon 25 July Clifford Arms Shaldon, South Devon
Wed 27 July Theoc House Tewkesbury
Thanks,
Dave

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6.

Reviews

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 long
overdue 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 fine CDs 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 different
settings, 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 the evidence
of these two ACTONE CDs remains so to this day. It is interesting to note the subtle changes
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 using
a tiny 15 watt, Fender Pro Junior amplifier and this is the signature tone he produces on both
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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 of pianist
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!
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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

The Wirral Jazz Guitar Society.

Sadly, we have received new from Robin Thomas that the Wirral Jazz Guitar Society is no
more. Thanks go to Robin for at least trying to further our mutual cause.

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

Web Sites
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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A couple of messages from Branco Stoysin

Hello HJGS crew and Sunny greetings,
Trust all is well and that you're ready for the Spring...Wonder if you've got my NEWS email sent
earlier and if you could mention my new music book (with included album) in your next
newsletter and what and Who this release celebrates. No Tesla no jazz guitar, nowhere to plug
our beloved amps too, no...no...no...
BIG NEWS: ALONE, the new music book, with included the ultimate solo-guitar acclaimed
album, by Branco Stoysin, is out now. Here's the promo-video, please watch in full, 3:23 of
concise enlightenment (and you'll hear almost entire track Aurora Tesla from the album). The
link:
https://www.youtube.com/watch?v=pR3ewqz-8Pk
The book is dedicated to Nikola Tesla, marking 160 years since the birth of Tesla and 120 years
since the birth of modern civilization, The Niagara Falls and harnessing of Teslas AC Polyphase
System, the sole event that propelled the world to where it is today. A segment from the book:
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Every pylon everywhere in the world carries Teslas blood, the electricity, to lighten your
existence. Tesla made all the rolling world around us possible yet largely remains unknown and
denied, and knowledge about Him forbidden! This is inhumane.
To purchase the book (CD album included), the link:
http://www.brancostoysin.co.uk/apps/webstore/products/show/6776447
Tribute page on Nikola Tesla, the link:
http://www.brancostoysin.co.uk/nikolateslageniusofelectricity.htm
CONCERT: I will be promoting my new music book with a solo-guitar concert titled From Serbia
With Love (not a part of James Bond series :>), at prestigious Dillington Classical Guitar
Festival, in beautiful Somerset, on the 4th of August, joined by the festival director Peter Rueffer
on two tunes at the end, and the following day will also perform my So Lovely tune, written for
8 guitars, with whole classical guitar orchestra. The link:
http://www.dillington.com/events/concerts/8/the-22nd-dillington-classical-guitar-festival/813/
If you wish to find out more about this very special music book release/project please read this
press release, it's an interesting read, the link:
http://www.brancostoysin.co.uk/ALONE_book_PRESS_RELEASE.pdf
My Jazz Guitar 3 classes at one-and-only City Lit started 17th April, Sunday's at 11 am,
2hours lessons,
http://www.citylit.ac.uk/courses/jazz-guitar-3/me714-1516
Thank You.
Bestest wishes.
Branco Stoysin "A musical journey to warm the soul" Sarah Ward, Jazz FM.
Sun Recordings, London. http://www.brancostoysin.co.uk for CDs, DVDs, Music Books and
much more.
Discography & Audio clips:
http://www.brancostoysin.co.uk/discographyaudioclips.htm
Live shows on You Tube (numerous choice, solo-guitar, trio, Radio interviews etc.):
http://www.brancostoysin.co.uk/hearuslivevideos.htm
The new music book "ALONE" marks 160 years since the birth of Nikola Tesla
and 120 years since the birth of modern civilisation.
Video for the "ALONE" new music book:
https://www.youtube.com/watch?v=pR3ewqz-8Pk
Video for the album "ALONE":
https://www.youtube.com/watch?v=6Bf5Zfz07iU&list=UUvR6hNC-zLhdYG-tbsLthsQ
Video for the "Lily of the Valley" music book:
https://www.youtube.com/watch?v=sXJSdFsQuO4&list=UUvR6hNC-zLhdYG-tbsLthsQ
Video for the art photography slide show portfolio (watch while you listen to a full solo
guitar track, a real treat!):
https://www.youtube.com/watch?v=nBQQpII9_a0
Branco's art photography:
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http://www.brancostoysin.co.uk/artgalleryphotographs.htm
Here's a Special offer/Competition (please forward to those who may be interested):
To celebrate 160 years since the birth of Nikola Tesla and 120 years since the birth of modern
civilisation (The Niagara Falls and harnessing of Tesla's AC Polyphase System, the sole vent that
prpelled the world to where it's today) Branco Stoysin's Sun Recordings label offer a free CD of
your choice, from our discography, with every purchased music book "ALONE" (with included CD
album "Alone") dedicated to Tesla. All you need to do is to name the 6 appliances/things, all made
possible by Tesla, which sounds you can hear in the promo video for the book, and write them in
the box provided when ordering the book (with the title of your choice of a free CD) or sent us an
email with these details. To watch the video for the book the link:
https://www.youtube.com/watch?v=pR3ewqz-8Pk
To purchase the book (CD album "Alone" included) link:
http://www.brancostoysin.co.uk/apps/webstore/products/show/6776447
Cheers.
Branco

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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

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

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

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.

A message from Jamie Taylor

I have a number of teaching products on sale at www.mikesmasterclasses.com
which might be of some interest to the members. Anyone who subscribes to Mikes
site receives my Rhythm Changes class for free (about 90 mins worth, plus PDF
booklet) with no obligation to buy anything, and Im always very happy to answer any
queries that arise for people off the back of any of these products.

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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
THREE editions and will be deleted unless specifically resent.
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July16

Eastman AR810CE

Carved solid spruce top, carved solid maple back and sides with Ebony
bridge, tailpiece, pickguard and fretboard. Classic Venetian cutaway,
floating pickup design. 1000 ONO

Joel Felleck 07990 649814

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May16

1961 Guild X-500 archtop, with original case

Something of a rarity, this - pure Moonlight In Vermont era Johnny Smith
or, if your prefer, "Cookbook/Uptown"-era George Benson. The serial
number and the DeArmond pickups would indicate that it was made in
1961. Based on appearance, the finish may not be as old as the guitar itself,
but someone has made a lovely job of this at some stage nevertheless. The
hardware and case are all original, and it has a pair of DeArmond single
coils, which sound a bit like P-90s and are generally considered to be the
best of the various pickups Guild fitted in this era. I will sell it with its
original Gretsch-made Melita bridge, although the one currently fitted is
a rather more practical Tune-O-Matic design. Im loathe to put the Melita
bridge back on because whilst that may be the original, the guitar actually
plays much better with the replacement. Indeed, it really is a players
guitar, with a lovely consistent sound and low action; a vintage instrument
that just asks to be played and gigged. For a guitar of its age, its in very
good condition, with just a couple of little dings. Its main blemish is actually
a birth-defect, I think - there are some splash marks beneath the lacquer
on the top, which are more visible in some lights than others - have a look
at the photos in the Dropbox link below. The frets have just been dressed
and the electrics thoroughly checked out and cleaned up.
Price: 1600 with original hard case.
Ive attached a couple of pics here: https://www.dropbox.com/sh/ll887la49k7o08h/AABIuTDWsEAsvsBOU21rhWU1a?dl=0
Contact Jamie Taylor
Email: j.taylor.791@hotmail.com
Mobile: 07787 194140.
-------------------------------------------------------------------------------------------------------------------------Godin 5th Avenue Kingpin
Cognac Burst
Has Gibson P90 installed (original Godin P90 included)
Has a padded carry bag

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May16

Altamira M01 Gypsy Jazz Oval hole

fitted with internal factory-fitted microphone system
includes hard case

Both guitars are immaculate - as good as new.

Contact
Larry Van Kriedt
www.jazzbacks.com
www.soulbacks.com

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A message from Roy Sainsbury

Brian Jones, my guitar student and good friend has these guitars available for hire at an
absurdly low rate, i.e. from 35 per month. I am hiring a 1959 Gibson L4c from him at
present.
Here is a list of guitars currently available to your members22

Apr16

Gibson es 175 with P90, c1953

Epiphone Triumph with DeArmond 1000
Ibanez Howard Roberts, c 1978
Epiphone Riviera
Knight Arena, Small archtop
Knight 16" archtop
Schwartz 18"
Eastman AR403
Gibson lap steel with Charlie Christian pickup
Rialto, Beautiful British hand carved archtop with Rialto single coil floating pickup
Vintage Ibanez Joe Pass JP20
Knight JSS 16"
Guild A300, like Artist Award, with DeArmond1100
Moondog Grand Auditorium, Superb Flat Top, built in pickup
Call Roy Sainsbury, 01902 845246 or 07866 430826 to arrange to visit Brian in Codsall, WV8,
to try a selection of instruments at your leisure.
These guitars are also for sale in addition to being available for rental

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.

Trades
Wants
1.
2.

Polytone amps bought/sold/traded

Musicman RD50 110 and RD50 112 amps wanted

If you have of know the whereabouts of any of the above please contact Adrian Ingram
01484 314529 or email adrian@jazzdawgs.co.uk

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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. If you come across any joke, bon mot, cartoon,
story etc. which tickled your funny bone, then please send it in and share. Here are
this months offerings: -

*****************
In the 18th Century the Viola player was the butt of musical jokes since viola
players were considered to come from the ranks of failed violinists hence: Q. How can you tell if the viola is out of tune?
A. The bow is moving!
Q. What is the difference between a dog and a viola player?
A. The dog can stop scratching!
*****************

Send us yours!
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12. Services
The Amp Shack
The Professional Tone Breakdown Service
Ph: +44 (0) 7716 460 163
For all amp (valve and solid state) and effect
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13. 2016 Guitar Festival

This year we have added a day. The Festival starts on Friday evening with
what we hope will be an explosive gypsy jazz night.

Program July 2016

Friday 22nd
Gypsy Jazz Night
Concert 14
8:30
(HJGS members 11)

Remi Harris +
Gary Potter with
Paul Baxter (dbl bass)

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As you will see, if you have followed the posts over the last couple of
newsletters, Louis Stewart is no longer playing at the festival.
Unfortunately, he is very ill and doesnt think he will be back to full health
in time. We all send him our best wishes for a speedy recovery.
As last year, there will be performances throughout Saturday and Sunday
inside (and outside, weather permitting) with workshops running on both
Saturday and Sunday afternoon.
Tickets

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Tickets for the individual evening events are shown above. We are
looking at the possibility of discounted prices for weekend passes and will give
more information in the next newsletter.

Hotels
We have been asked about Hotels/B&Bs and we will try and compile a
list for the next newsletter, this wont be a list of recommendations, simply a list
drawn from search queries based on the pubs location. Alternatively, run your
own favourite search website using the pubs postcode - HD1 3EB.

Workshops
We have been asked about skill levels associated with the workshops,
based on last years comments, everyone got something out of them regardless
of ability.

Raffle
Once again we are holding a fabulous raffle.

GUITAR

29

You could win a

Charlie Christian
In anticipation for the Charlie Christian
celebration at our up and coming guitar
festival here is a short article about the
great man.
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 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.

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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.
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.

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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.

The Gibson EH150 guitar amp came into

existence before the Gibson ES150 (it was used for lapsteel 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)

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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)
I was working in Oklahaoma 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% down strokes, 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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The 10 most popular jazz guitars of all time

Adrian Ingram

Number 4: The 1936 1940 Gibson ES150

It could be said that the 1936-1940 ES150 is THE
most important jazz guitar of all time. It is easily as pivotal
to the development and growth of electric jazz guitar
playing as the various, Reinhardt associated, Selmers and
Maccaferris were to the Gypsy Jazz style. Just as Django
Reinhardt inspires thousands of players to adopt his choice
of instrument, one player, Charlie Christian, did the same
for the late 30s ES150!
Charlie Christian is undoubtedly the father of
modern jazz guitar and throughout his brief, but stellar,
career he almost exclusively played the ES150 and the
more elaborate (and more expensive) ES250. Most
importantly, and extremely influential, was the guitars principal feature, the clumsy, heavy
and frankly quite Heath Robinson pickup unit. However, these heavy, crude, units, with their
oversized magnets and primitive method of installation, sounded absolutely wonderful: thick,
fat, full, throaty, warm articulate and delicately responsive. Many players still feel that this
pickup, generally called either the bar-magnet pickup or, in deference to its first great
proponent, the Charlie Christian, has yet to be improved upon. Consequently, the pickup has
become as influential and important in the history of electric jazz guitar as the ES150 guitar in
itself. This is immediately evident from the sheer number of players in favour of the later stock
pickup units. There you have it, it wasnt DiMarzio and Seymour Duncan that created the trend
for swapping out pickups but Charlie Christian back in the late 30s!! Notable players to adopt
the pickups were Barney Kessel, Tal Farlow, Kenny Burrell, Hank Garland, Les Spann, Oscar
Moore, Mundell Lowe, Barry Galbraith, et al. Players who adopted the actual ES150 guitar for
a substantial time period included: Jimmy Raney, Jimmy Gourley, Ronnie Singer, Rene Thomas
and Dennis Budimir. Literally dozens of others started out with 150s and later traded up to
higher-end L5s and Super 400s or, for easier access to the upper positions, cutaway models
such as the L5 and Super 400 CES, ES300s, 350s and the extremely popular ES175 which,
incidentally, was available for a limited period (1979) with a Charlie Christian pickup.
The ES150 itself was quite a basic instrument with dot markers, nickel hardware and
simple binding. It did, however, have a carved, solid timber, top which added considerably to
the tone. It carried two controls, tone and volume and the jack-socket was situated at the
bottom of the guitar (just below the basic, trapeze style, tailpiece. It was small bodied (16
lower bout) and had the softer 24 scale length, used later on Les Pauls, 335s etc., all of which
made the ES150 a very comfortable guitar to play.
35

The ES150 was not made in huge numbers as it was something of a pioneering venture.
I have owned several and seen several more over the years, I also know a few players that
currently own them. The sleeve notes on Rene Thomas fantastic album Guitar Groove
(Jazzland OJCCD 1725-2) suggest that there are no more than 4 in existence which is obviously,
as evidence suggests, incorrect. They are, however extremely rare and when asked, dealers
(those savvy enough to know what a Charlie Christian ES150 is) are likely to retort rare as
chicken lips, rare as hens teeth, rare as rocking horse droppings etc., etc. Should you get
a chance to play one, dont pass it up. If you listen to any of the recommended ES150
recordings you WILL want one!
Charlie Christian

All of Charlie Christians recordings have been

re-packaged in various forms.
Hank Garland

Jazz

Winds from a New Direction Columbia, JCS 8372

Rene Thomas Quintet

Guitar Groove Original Jazz Classics,

OJCCD-1725-2, JLP-927
Jimmy Raney

Four Classic Albums Avid Jazz, AMSC1051

Visits Paris Fresh Sounds Records, FSR-CD89

36

Stan Getz Storyville Vol 1, Roulette Jazz, Rou 1016

Tal Farlow (with Red Norvo Trio)

Move Oriole Records, Ltd RM 158

Red Norvo Vol 2 Vintage Jazz Classics,

VJC-1008-2

Bill Dillard

Vibrations Red Norvo in Hi-Fi London Records, LZ-UI4039

Dennis Budimer

Alone Together Jazz Workshop, JLP 7008

A Second Coming - Revelation records, Rev-4

(The acoustic 12 string, on the cover, isnt played on the album!!)

37

Remi Harris
Remi Harris is regarded by many as one of the UK's top up and coming young jazz guitarists. Aged
twenty-seven he has a phenomenal technique and highly developed improvisational skills. Currently
he is known as a gypsy jazz guitarist although his latest album Ninick incorporates bebop, blues and
even a Beatles tune although still under the gypsy jazz guise. Darren Dutson Bromley caught up with
Remi at the Huddersfield Jazz Guitar Society festival in the UK where he was both giving a workshop
and performing both as a duo with guitarist Caley Groves and with the Remi Harris trio.
DDB How did you become interested in playing the
guitar, and at what age?
RH I started playing guitar when I was seven, I got my
first real guitar for Christmas. My dad played a bit of
guitar. He used to learn from guitar magazines and
they'd be all dotted around the house and in the
evenings hed be watching videos like Jimi Hendrix at
Woodstock, so I was surrounded by the guitar from a
young age. I was always hearing the Beatles and all
these great guitar bands from the sixties and seventies,
Lynyrd Skynyrd and stuff like that. I used to have toy
guitars when I was three and four but then I got my first
proper guitar when I was seven.
DDB Did you have formal lessons or did your dad coach
you?
RH Lessons weren't really an option, Dad was a bit
hard up. He showed me a few chords and left me to get
on with it. Occasionally he would help me if I was stuck on something. He was self-taught and learned
through guitar magazines so he essentially showed me how to read the tablature and just left me too
it.
DDB

Do you read notation as well as tablature?

RH
Very slowly. I wouldn't say I sight-read but
I can go away and figure something out. I kind of
learned how to do it when I was around sixteen
just to get by but Ive never really practiced sightreading.
DDB

Who were your early influences?

38

RH
Early influences would have been Peter Green, Jimmy Page, Jimi Hendrix. I love the Beatles and
Neil Young and Lynyrd Skynyrd, I went to see them on their Union tour when I was about nine years
old. I was also into AC/DC and Eric Clapton.
DDB I can hear those influences in your playing now. The only thing that makes sound really sound
like gypsy jazz is the guitar tone. You can hear the bebop lines and you can hear some rock lines and
Hendrix quotes, I personally think thats what makes it unique, its gypsy jazz for now rather than trying
to recreate something from the 1930s and 40s.
RH
Yes, thats it. Ive been through the phase where Ive learned loads of Django solos but Ive
always wanted to make it a melting pot of everything and not feel like Im confined to a certain playing
style.
DDB

How did you develop your improvisational style?

RH
I was into blues playing early on which is largely based on improvisation all be it different way
to jazz, you dont play through changes in the same way. Up until the age of twenty I spent a lot of
time playing rock and blues and I played in bands which would jam a lot. Although we werent
necessarily playing jazz music we were improvising so we were thinking on the same lines as a jazz
musician. It came to a point where I wanted to learn more about improvising and get out of the typical
pentatonic based playing that you do when you are a blues player so I started transcribing anything
that appealed to me.
DDB

How did you get into playing the gypsy jazz style?

RH
I had a friend who was getting into gypsy jazz and we used to jam a bit. I went to my first Samois
and then got hooked on the whole culture of it and I love the gypsy scene, its very close-knit and I
enjoyed getting to know all the people in it. I also liked the idea of leaving all the amps behind and just
going with an acoustic guitar and playing anywhere.
DDB

Which other jazz guitarists do you admire?

RH
Wes Montgomery is my favourite guitar player altogether. I also love John Scofield and
obviously Django. There are some great gypsy players like Birli Lagrne and theres the new school of
gypsy jazz in Paris which has been happening for the past ten years or so. I also love Joe Pass,
particularly the Virtuoso records.
DDB

Do you teach at all?

RH

I do, yes. Ive been teaching for quite some time now, private lessons.

DDB

What is the balance between teaching and performing?

RH
Mostly performing. I live in a rural area which is not so accessible and the nearby cities have
their own teachers. People I teach specifically want jazz guitar lessons or particularly want to have
lessons with me. I do more workshops when Im out and about.

39

DDB

Lets talk about the guitars you play?

RH
My gypsy guitar is made by Fylde and is a Selmer replica, on that I use Argentine 10 gauge
strings. I throw away the wound third and use a plain one. Ive an Ibanez arch top on which I use 11
gauge strings. I use a modelling pedal for all my electric guitar sounds, so I don't have an actual guitar
amp anymore. I do it so I can get good sounds at low volumes. Sometimes I might want the sound of a
cranked Fender amp, even with a gypsy trio. The emulation I use for the jazz is a Fender Twin and
maybe a Bass Man setting for the more bluesy side of things.
DDB

Have you any recording projects in the pipeline?

RH
Im more than halfway through recording my next record. Its been very busy this summer so
Ill probably get back to it in a month or so.
DDB

Are you recording in a studio or at home?

RH
Yes, in a studio. On this one Im playing all the guitars. Its a slightly different approach, Im
recording the lead parts first over a guide rhythm track and then playing the rhythm guitar around the
lead so I can react like a drummer would to a soloist. Most people do it the other way round but theres
no feedback, if the lead player does something you want the rhythm section to jump in on it.
DDB

Do you compose?

RH

Yes, I like to write music as much often possible.

DDB Do you write with the instrument or do you write in your head and then translate the ideas
onto the instrument?
RH
A bit of both. Without the guitar I like to think more rhythmically and imagine shapes rather
than exact notes. Ill have a rhythmic figure and shape of the melody and then Ill get the guitar and
figure out what notes work.
DDB. Have you received any advice that you think will be valuable to readers of this magazine ?
RH
A trumpet player called Roy Hargrove once said look after the music and the music will look
after you. I like that, just concentrate on you playing and let the rest happen.
DDB Final question. If you were stranded on a desert island what three jazz guitar records would
you like to have with you?
RH
Virtuoso by Joe Pass, The Incredible Jazz Guitar of Wes Montgomery and probably John
Scofields album This Meets That.
DDB

Many thanks for talking to me Remi.

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Huddersfield Jazz Guitar Society

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Cheers
Ian

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