One person's take on the "best" 100 jazz recordings:

_http://www.telegraph.co.uk/culture/music/6515486/100-Best-Jazz-Recordings.h
tml_
(http://www.telegraph.co.uk/culture/music/6515486/100-Best-Jazz-Recordings.html)

I don't have any idea who Martin Gayford is, maybe one of our
members in the UK can shed some light?

Cheers,
JV




[Non-text portions of this message have been removed]

No, I think the Registry of Guitar Tutors are a bit weak in their requirements
for reading skills (and repertoire) compared to the rival British exam boards in
the UK relevant to electric or "non-classical" guitar (which are the RGT,
Rockschool - requiring stronger reading skills but still from combined tab and
traditional notation I think - and Trinity Guildhall - with their plectrum
guitar exams - requiring reading skills from traditional notation).  In their
defence, I would say the RGT require more technical stuff like scales,
arpeggios, chords, etc than the other guys for similar grades (probably
including the various classical guitar grade exams).

By the way, the RGT electric guitar grades cover most of the arpeggios required
for the RGT bass guitar grades and may be of more interest to most guitar
players.  (I am currently trying for RGT electric guitar grades myself and may
try for the Trinity Guildhall grades in the future - with the latter providing a
target to improve my sight reading skills.  My reading skills are quite
poor...),

William

Very sad to hear. His recordings with Tony Scott were some of my
favorite things he did.
Another record he made "Piano and Pen" featured Jimmy Raney on one side
and Chuck Wayne on the other.
RIP Dick.

Those mushrooms from the 60s must be kicking in, you guys
are going real far afield here...

That said, I highly recommend the documentary "Crumb", which
is about American cartoonist Robert "R." Crumb.  He certainly comes
from an "interesting" family, to say the least.

Cheers,
JV

Juan Vega


In a message dated 11/12/2009 12:02:33 P.M. Pacific Standard Time,
ron45@... writes:

My Mom  is in a jar.




[Non-text portions of this message have been removed]

My Mom is in a jar.

Ron
Living and playing outside the box.

http://www.myspace.com/ron45becker

On Nov 11, 2009, at 3:59 PM, Bob Hansmann wrote:

> Hi ron,
> > Interesting family.
>
> Yes. They keep their mother on a cot underneath the floor boards. But,
> hey - doesn't everybody?
>
> best,
> Bobby
>
>



[Non-text portions of this message have been removed]

I'm with you on that one. I won't even try to look at text presented
like that. Grey on black is another one used by a forum I
visited......once. White on black... terrible.

Ron
Living and playing outside the box.

http://www.myspace.com/ron45becker

On Nov 11, 2009, at 1:49 PM, Angelo wrote:

> Just a suggestion: The dark blue text on a black background doesn't
> really
> work for me... When I come across those types of color schemes, I
> don't even
> bother to try to read them... From the looks of the content, you
> will be
> having older folks who will have the same problem..
>
> [Non-text portions of this message have been removed]
>
>



[Non-text portions of this message have been removed]

> I have a seven-year-old daughter and five year-old son, both of whom
> can read basic chords and melody on the grand staff without hesitation....

And there ya have it.  :-)

best,
Bobby

I have a seven-year-old daughter and five year-old son, both of whom can read
basic chords and melody on the grand staff without hesitation. What's more
neither of them remember a time when they could not read music, because I
started them learning when they were two and a half!  :-)

Ciao,

Dub

Thanks Jay,



I say if you want the girls in the audience to

"Kum-Bay-You"



Get in touch with your finger sensitivity



Dave Woods



   _____

From: jazz_guitar@yahoogroups.com [mailto:jazz_guitar@yahoogroups.com] On
Behalf Of Jay Mitchell
Sent: Thursday, November 12, 2009 11:02 AM
To: jazz_guitar@yahoogroups.com
Subject: Re: [jazz_guitar] Re: Playing Speed and relaxation





Dave Woods wrote:

> Such as it is, I have my take on this subject on my website.

Thanks for the link, Dave. I saved it this time for future reference. The
advice in this one piece of yours has been extremely helpful to me, and I've

been putting it to use ever since you first made reference to it some time
ago. If this is too touchy-feeIy for some folks, my response is
"Kum-bay-freaking-ya." ;)

Jay





[Non-text portions of this message have been removed]

Dave Woods wrote:

> Such as it is, I have my take on this subject on my website.

Thanks for the link, Dave. I saved it this time for future reference. The
advice in this one piece of yours has been extremely helpful to me, and I've
been putting it to use ever since you first made reference to it some time
ago.  If this is too touchy-feeIy for some folks, my response is
"Kum-bay-freaking-ya." ;)

Jay

Such as it is, I have my take on this subject on my website.



http://www.jazzguitarstartingright.com/left%20hand%20right%20hand.pdf



Dave Woods

   _____



[Non-text portions of this message have been removed]

Chris,

I have a book or two (Lee Ritenour music, I believe) that had std notation and
TAB, but the TAB was written w/ rhythmic notation as well. It had stems and
flags, but where the note head would be was the fret number.  I thought that it
was a step in the right direction.  Personally, I agree w/ most of the posts
here regarding TAB vs. standard notation.  1) Standard notation is just as tough
to read on guitar as with other instruments, and 2) Systems exist (position
markings, explicit fingerings for LH and RH) to notate exactly what is intended.

I think piano music is probably at the same level of difficulty as guitar music,
if not more difficult.  Yeah, you can play the same note in several places, but
any chords you're playing usually will be within a note range covering a span of
4-5 frets, whereas the two hands on the piano can span the extremes of
close/intertwined to separated by several octaves.  With the guitar, the span of
4-5 frets narrows down the positions considerably.

With single notes, there are at most 4 places to play the same note (e.g. G 
15th fret 6th string, 10/5th, 5/4th, and open on the 3rd.) (The extreme is on a
24 fret neck, and the note E:  24/6. 19/5, 14/3, 9/3, 5/2, open/1).  Most only
have 2 or 3, so the choices are not all that extensive.  Plus, taking the notes
in context usually narrows it down further.

What would probably help the wannabes is if GuitarHero/RockBand, etc. used an
actual staff and at least showed the actual rhythm notation being used.  Even if
they kept it to a 6 line "tab like" staff, but put the actual notation in, that
would help.  Something similar to SmartMusic, but geared towards the wannabe.

-- Mike
--- In jazz_guitar@yahoogroups.com, Chris Smart <chris_s@...> wrote:
>
> JV, excellent points.
>
> Ever seen tab where the author tries to denote rhythms, putting E
> above all the eighth notes, coming up with something to show dotted
> notes, etc.?  By the time they're done, they've invented a whole
> new notation system for themselves that is just a mess!
>

Yeah, a friend of mine told me about this since she was supposed to see Lovano
play at the Berlin jazz fest but the gig got cancelled.

Speedy recovery to my favorite sax player.


Petri


--- In jazz_guitar@yahoogroups.com, "akmbirch" <akmbirch@...> wrote:
>
> Joe Lovano, fell and somehow broke both arms. Has cancelled all gigs through
the end of the year. Resting comfortably in Barcelona, after successful surgery.
Looking forward to getting back home, later this week.
>
> http://twitter.com/joelovano
>

Hi All,
The review of  my guitar trio CD" I Remember You" from Inside Jazz Magazine is
on my web site under the Press tab!
Best
Tony Hughes

[Non-text portions of this message have been removed]

Dick Katz died November 8, 2009

He has freelanced throughout much of his career, and worked in a number of
ensembles. He co-founded Milestone Records in 1966 with Orrin Keepnews.

He studied at the Peabody Institute, the Manhattan School of Music, and
Juilliard. He also took piano lessons from Teddy Wilson. In the 1950s, he joined
the house rhythm section of the Café Bohemia, and worked in the groups of Ben
Webster and Kenny Dorham, Oscar Pettiford, and, later, Carmen McRae. From 1954
to 1955, he was part of the J. J. Johnson/Kai Winding Quintet. He also worked in
Orchestra USA and participated on Benny Carter's Further Definitions album, and
worked on some of Helen Merrill's recordings. In the late 60s, he played with
Roy Eldridge and Lee Konitz. In the 1990s, he worked as a pianist and arranger
with the American Jazz Orchestra and Loren Schoenberg's big band.

Joe Lovano, fell and somehow broke both arms. Has cancelled all gigs through the
end of the year. Resting comfortably in Barcelona, after successful surgery.
Looking forward to getting back home, later this week.

http://twitter.com/joelovano

The quote as presented:

> "There is no requirement to read traditionally notated
> music as all music is written in easy-to-read TAB, as well  as
> traditional notation. CD examples are provided so you can 'listen
> and learn'."

Seems to say that the music is presented in BOTH tab AND traditional
notation.Also included are CD examples. It seemed to me that people were on
the author for not representing traditional and I was merely pointing out
that he had.
I was not placing a value judgment on tab vs. traditional notation
vs.playing by ear.

[Non-text portions of this message have been removed]

JV, excellent points.

Ever seen tab where the author tries to denote rhythms, putting E
above all the eighth notes, coming up with something to show dotted
notes, etc.?  By the time they're done, they've invented a whole
new notation system for themselves that is just a mess!

Juan,
> ...The time spent trying to figure that s**t out would be better spent
> learning to read standard
> notation, and applying it on the guitar, trust me....&c....

Barry Farber used to support immigrants keeping their native Spanish in
lieu of learning English at all. He then apologized for his error,
saying that that policy would keep them in the predominantly poorer
esoterically South American neighborhoods of the City.

This was in error also, though, in that it didn't take into account how
many actually had no greater aspirations anyway.

My point here is that most (of course, not all) of those you are
addressing with these posts really have no desire to be any good in the
first place. If they did, then learning standard notation would be the
obvious choice for them. They don't; it's not. In short, you are pissing
in the wind.

As for those who actually think they can enter the pro arena through the
world of TAB, they'll get no argument from me. "Good luck" is about all
I can come up with. Yes, some will do well by knowing several hundred
tunes, and some by being a part of a successful self-contained band. So
what?

Bottom line - If someone doesn't want to read, then there's usually a
myriad of other things of musical importance he's not interested in
either. That's the "other 95%" I referred to in an earlier post. Years
ago I had a student from Iceland, a "local hero", for all of two
lessons, during which he was more interested in telling me all that he
knew than anything else. Then he "jammed" with another student of mine,
and afterward asked me, "Bobby, how come this Dana fellow kicks my
ass?". No kidding...

Frankly, when I get a student who has been playing by ear for years and
is good, I'll do the best I can to help them improve their skills, with
or without reading. Most of those players come to me wanting to finally
learn to read, but for some it's just too late. But when I get someone
who insists on using TAB, I'm not at all interested..

I try to help others, on or off this list, who do not choose to be
willfully ignorant, as much as I can. Even if I could be of help to the
rest, they wouldn't be interested in it. My students are happily
progressing and doing well, and that's good enough for me.

I already regret responding to this thread at all....

Bobby

Yea, and in order to "decode" it, you either have to hear the song,
or have rhythmic notation along w/ the tab.  The time spent trying  to
figure that s**t out would be better spent learning to read standard
notation, and applying it on the guitar, trust me.  Not to  mention
that the tab is probably riddled with mistakes, but I s'pose people
don't care too much about that, either.  Yes, I know the Real  Book
has mistakes in it, but at least it's in a universal format, and the
mistakes can be determined by playing the notes.

Why do we guitar players insist on being so musically illiterate???
Beats the life out of me.  Oh well...

Cheers,
JV

Juan Vega


In a message dated 11/11/2009 2:58:20 P.M. Pacific Standard Time,
rmcgmn15@... writes:

Tab is  definitly NOT easy to read. It is a code and it must be  de-coded.




[Non-text portions of this message have been removed]

I think that having the option to learn by listening, or by using  tab
removes a lot of "rigor" from the program.  The way the text  reads,
reading standard notation is pretty much pushed to the end of the
line, so no, I don't think that "covers it", personally, but...

Cheers,
JV

Juan Vega


In a message dated 11/11/2009 2:42:31 P.M. Pacific Standard Time,
jamato316@... writes:

" as  well as traditional notation." Looks like that about covers it,
no?...




[Non-text portions of this message have been removed]

Hi ron,
> Interesting family.

Yes. They keep their mother on a cot underneath the floor boards. But,
hey - doesn't everybody?

best,
Bobby

Tab is definitly NOT easy to read. It is a code and it must be de-coded.




[Non-text portions of this message have been removed]

On 11/11/09, John Amato <jamato316@yahoo. com> wrote:
>
> Hey Will,
>
> "There is no requirement to read traditionally notated
> music as all music is written in easy-to-read TAB, as well  as
> traditional notation. CD examples are provided so you can 'listen
> and learn'."
>
> What's up with that????

" as well  as traditional notation." Looks like that about covers it, no?...




..... I didn't write that ... I questioned it -- because I disagree....




[Non-text portions of this message have been removed]

hi Angelo,
> " as well as traditional notation." Looks like that about covers it,
> no?...

Doesn't seem so to me. If I take out the stuff about TAB, this is what I
get:

  > "There is no requirement to read traditionally notated
  > music as all music is written.....[snip]... as well as
  > traditional notation.

Seems contradictory to me.

Does any of this really matter, though? After all, it's just one more
person trying to sell one more book on "how to play the easy way".

best,
Bobby

Just a suggestion: The dark blue text on a black background doesn't really
work for me... When I come across those types of color schemes, I don't even
bother to try to read them... From the looks of the content, you will be
having older folks who will have the same problem..

[Non-text portions of this message have been removed]

On 11/11/09, John Amato <jamato316@...> wrote:
>
> Hey Will,
>
> "There is no requirement to read traditionally notated
> music as all music is written in easy-to-read TAB, as well  as
> traditional notation. CD examples are provided so you can 'listen
> and learn'."
>
> What's up with that????

" as well  as traditional notation." Looks like that about covers it, no?...

[Non-text portions of this message have been removed]

It looks very good. Best of success with it.

best,
Bobby

Hey Will,

"There is no requirement to read traditionally notated
music as all music is written in easy-to-read TAB, as well  as
traditional notation. CD examples are provided so you can 'listen
and learn'."

What's up with that????

Cheers,
JV
................

Whoever wrote this -- is he serious?
"...no requirement to read traditionally notated music as all music is written
in easy-to-read TAB..." gotta' be kidding me!




[Non-text portions of this message have been removed]

My idea of the complete spectrum of possibilities for playing is Kenny Burrell
on one end of the spectrum and Jack Wilkins on the other.




Brian


   ----- Original Message -----
   From: JVegaTrio@...
   To: jazz_guitar@yahoogroups.com
   Sent: Wednesday, November 11, 2009 10:31 AM
   Subject: [jazz_guitar] Re: Playing Speed and relaxation



   Jack Wilkins is "not of this world", that's for sure. As Brian says,
   it's not just about speed, either. There's a lot of depth and great
   stuff in his playing, melodically, harmonically; if you can get past
   the sheer technical ability, give a real listen, you'll be glad you did...

   On the opposite end of that spectrum is someone like Jim Hall,
   who can do anything he wants to on the guitar, and approaches it
   from a completely different perspective. That's what makes our
   instrument such a cool one!

   Cheers,
   JV

   Juan Vega

   [Non-text portions of this message have been removed]





[Non-text portions of this message have been removed]