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Huddersfield Jazz Guitar Society

Newsletter No. 37 September 2014

Contents
Page
1. Meeting Summary ... 2
2. Members News .. 5
3. Swap an Idea ... 6
4. Membership .......... 11
5. Gig List .. 13
6. Reviews .... 14
7. Of Interest . 15
8. Tuition . 16
9. Sales/Wants/Trades . 18
10. Charts . 25
11. The lighter side of music..26






Celebrating the art and craft of jazz guitar
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1. Meeting Summary
Hi Jazz Guitar Fans,
Im amazed, what started one afternoon in a pub as a bit of a moan, over a pint, about
the parlous state of jazz, and jazz guitar in particular, and ended with the throw away why
dont guys you do something has just started its fourth year. A big thank you to everyone,
players and guests alike, who have helped make this the success it is.
The August Players Night saw yet another fantastic turnout for the society; lets
hope that the word is spreading. For one thing, any extra funds that can be raised can be
used to fund further concerts and promotions. Ian and Adrian are on a guitar playing holiday
in the USA for a month later this year and will certainly be on the lookout for future guests.
Remember, also, that being up-north we have a slight disadvantage, in that booking players
from down-south i.e. Matt Chandler, Jim Mullen, Nigel Price, Phil Robson et al, always
incurs the additional cost of travel. It is helpful, therefore, to have a good body of members
as we do not, as yet, attract any funding from elsewhere!
Anyway, back to the August session. As ever,
the evening began with Tom Prior joined by Larry Van
Kriedt for a spontaneously composed Blues in F both
players played well and appeared to be egging each
other on to literally, go for it!





Next up were three of the Idle Guits (Mini
Guits?), who played a ragtimy Breeze from
Alabama before being joined by Dave
Vangelderen for John Pizzarellis Seven on Charlie, his tribute to Charlie Christian, with a
play on words from the Christian/Benny Goodman classic Seven Come Eleven. Daves
regular duet partner was away on holiday and, consequently, Dave seemed to be having a
ball by joining in with all kinds of things. Its really nice to see HJGS members so
comfortable with one another that they are able to do this.
Darren and Robin then played Moonglow, at
an uncharacteristically brisk tempo. It did, however,
swing along very nicely. They then played the
Django perennial Nuages led in the main by Robin.
Apart from a couple of times, when they became out
of sync., with the changes this also went well and as
it is one of those tunes (like Hoagy Carmichaels
Georgia) that almost everyone plays different chord
changes to, it is hardly surprising that there were
occasional clashes.
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Newcomers Pete and Jan, sporting classical,
nylon stringed, instruments, played two effectively
arranged tunes: The Pink Panther and Stardust.
The later effortlessly segued into Polka Dots and
Moonbeams which worked well, at a brighter pace
than usual, but, consequently, was closer in tempo
to the original.
Next, bassist Charles finally got his chance to
play a Stevie Wonder tune when he teamed up with
Darren to play Lately! Darren was then joined by
Adam for an unusual reading of So What, in which Adam played the bass line, of the call and
response head, a couple of octaves above the norm. They followed this with Jobims One
Note Samba which brought the first half of the evening
to a close.
Following the usual, raffle and catch-
up, interval the Idle Guits took to the stage
with a cast of thousands! Perhaps in anticipation of the next Gershwin night, or perhaps
because they had had another month to rehearse its tricky rhythms, they played Gershwins
Fascinatin Rhythm. In contrast, Cleo aided by Ian and Darren sang a bluesy rendition of
Black Coffee. Dave Vangelderen and Darren then played the Charles Mingus classic
Nostalgia in Times Square, which worked very well on two guitars, and Body and Soul.
As usual, this later stage of the evening, Martin and Jez treated us to Manha de
Carnival and I Wish I Knew How it Would Feel
to be Free. Superb playing all round, with some
very Mullenesque hammer-ons in Jezs solos.
Darren was then up for his final appearance of
the night to back Adrian and Ian on Wes
Montgomereys 4 on 6.
Adrian remained to accompany newcomer
Dave Allen on All the Things You Are. Another
great evening was brought to a close by Ian and
Stephen Frazier, who played the Minnie Ripperton
classic Lovin You.
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Dont forget the next meeting, Tuesday 3
rd
Sep is a concert. There will be some limited
opportunity for playing. At the moment we are looking at a schedule of: -
8:30 9:15 Start and society players. Please be prepared to play, if
chosen, no more than 2 short tunes.
9:30 10:30 ish Concert
10:30ish end decided on the night
Entrance fee is 3 members. 6 non-members.

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2. Members News
Call for Membership Participation
We have had a few successful, I believe, examinations/investigations of
members favourite tunes. If you feel you could do a similar job please let me know.
Send an email to huddjazzguitsoc@gmail.com or chat to any of the committee at the
next meeting.
Remember the HJGS exists for the benefit(s) of its members, so we need to
hear from YOU: good, bad, indifferent, news, views, gossip, ideas, viewpoints, gigs,
sales wants, swaps etc, etc!
Please keep us informed of any jazz guitar related gigs, events, sales or other
item of interest, so that we can pass information on to other members. HJGS needs
to develop its wider network as an important forum for jazz guitar related information
and information exchange, so that we may all benefit from the collective wisdom and
uncoordinated information that undoubtedly exists amongst fans and connoisseurs.

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3. Swap an Idea
This column appears to be popular so we will keep it for the time being. But,
and this is an important but we do NEED YOUR CONTRIBUTIONS for this to be
successful. Contributions please to huddjazzguitsoc@gmail.com.
This month Darren continues his mini series looking at influential guitarists.
Tal Farlow
Darren Dutson Bromley

Continuing with our series on players who have helped define the sound of the modern jazz
guitar we next move to Tal Farlow. As a player, these days his name isn't necessarily on
everybody's lips, jazz guitar, to many, is Joe Pass, Django Reinhardt, Jim Hall, Pat Metheny.
Tals importance and output however shouldn't be
underestimated, he was a formidable player and
anyone unfamiliar with his recordings should search
them out.

Tal Farlow began playing the guitar seriously in his
early twenties and like so many other guitarists was
influenced by Charlie Christian. He taught himself
how to play all of Charlie Christian's solos by
listening to Benny Goodman records. So great was
his abilities and dedication he was performing professionally not long after. Interestingly it is
often claimed that Tal didnt take up the guitar until he was twenty-one and he began playing
professionally less than a year later. Whilst this is a nice story it isnt necessarily true. Here is
what Tal says in an early interview for guitarist magazine.
"My dad had a guitar for as long as I can remember, real small; he strung up a mandolin for
me, tuned in the same intervals as the top four strings of the guitar, and I played on that for a
while. Then, when I grew a little bit, I started to play on the guitar. By then my hands were so
large that I could negotiate the extra two strings with my thumb. So I got into playing with two
different experiences: first with the four strings and then with the six.
I wasn't fascinated by the music of the area that I lived in; it was
called hill-billy then, and I guess it was the forerunner of country
and western music. Tunes that are standards now: some of them
were written during that time, tunes by Cole Porter, Jerome Kern,
Gershwin, etc. I didn't have any instruction at all; though I guess
my father must have shown me the basic first position chords. But
he played a different kind of music on the guitar, mostly reels and
jigs. I always got a good feeling from discovering chord
progressions and being able to work them out. I think I must have
heard Carl Kress, Dick McDonough, Eddie Lang, Lonnie Johnson,
but I don't remember their names from then. A lot of musicians
used to use different names but kept the same initials, they did this
so that they could make records but still safeguard their contract
with their main label.
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After a stint with the Marjorie Hyams band Tal joined the Red Norvo Trio in 1949 and it was here
he began to develop recognition in the jazz world. He had unusually large hands and an ability
to play rapid runs and phrases giving rise to the nickname Octopus. After a stint with Artie
Shaw in 1953 Tal decided to form his own band. It was at this time when he recorded a number
of albums under his own name and cemented his reputation as one of the all time great
guitarists.
After being named best guitarist in the Down Beat critics' poll in 1956, 1957 and 1958, Tal
surprisingly retired from recording and touring and settled in New Jersey, returning to his
original occupation of sign painter. He continued to play in local clubs around Seabright and
made one recording.
It was the Concord Jazz label that brought Tal out of retirement in the mid 1970s to make a
series of recordings that share equal importance as the ones he recorded in the 1950s. It is
these two sets of recordings that offer a unique glimpse into the incredible style of this
amazing guitarist. He was also profiled in the documentary film, Talmage Farlow, made in
1980/81.
Farlow died of cancer at Memorial Sloan-Kettering Cancer Center in New York City on July
25, 1998, at the age of 77

Tals Guitar

The Gibson Tal Farlow model was first released in 1962. It has
a body that is reminiscent of the popular ES-5 in its basic
dimensions, but from there it departs in its own unique way. Its
trademark faux-scroll rounded cutaway (Farlows own design),
upside-down J-200 fingerboard inlays, double-crown headstock
inlays, and Tal Farlow trapeze tailpiece with inlaid rosewood
block set it apart from any other archtop Gibson had ever
created. This unusual signature model has always been rare
and only 215 examples were produced between 1962-69. Due
to poor sales and a lack of popular interest, the Tal Farlow
model lasted only five years (1962-1967)

Gibsons Custom Shop now
makes the Tal Farlow in the
exact image of the original,
down to the enlarged five-
point pickguard and the
Farlow scroll cutaway,
creatednow as thenby
curling the binding into the body at the cutaway to create the impression of a mandolin-like
scroll. Its a full-sized archtop at 17 wide and, more comfortable than other models of its day,
3 deep. As preferred by many jazz guitarists, including Farlow, the ES rounded neck profile
is made to a 25 1/2 scale length, with a 1 11/16 nut width. The model also features multi-ply
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binding on the bodys top and back, single-ply white binding on the fingerboard, headstock,
and f-holes, and is available in vintage sunburst and viceroy brown. Fully acoustic, the Tal
Farlow model is also fully electric with two set-in humbucking pickups with individual volume
and tone controls and a three-way selector switch. It has a floating rosewood bridge base
carrying an ABR-1 tune-o-matic bridge.

Selected Discography

The Tal Farlow Quartet (1954; Blue Note)
The Tal Farlow Album (1954; Norgran)
Autumn In New York (1954; Verve)
The Artistry of Tal Farlow (1955; Norgran)
The Interpretations of Tal Farlow (1955; Norgran)
A Recital by Tal Farlow (1955; Norgran)
Swing Guitars (1955; Norgran)
Poppin' and Burnin' (1955; Verve)
Guitar Player (1974; Prestige)
Tal (1956; Norgran)
Fuerst Set (1956; Xanadu Records)
Second Set (1956; Xanadu)
Metronome All-Stars, 1956 Verve MGV 8030
The Swinging Guitar of Tal Farlow (1957; Verve)
This is Tal Farlow (1958; Verve)
The Guitar Artistry of Tal Farlow (1960; Verve)
Tal Farlow Plays the Music of Harold Arlen (1960; Verve)
The Return of Tal Farlow (1969; Prestige Records)
Trinity (1976; CBS Sony)
A Sign of the Times (1977; Concord)
Tal Farlow '78 (1978; Concord)
On Stage (1981; Concord)
Chromatic Palette (1981; Concord)
Cookin' on all Burners (1983; Concord)
The Legendary Tal Farlow (1985; Concord)
All Strings Attached (1987; JazzVisions)
Standards Recital (1993; FD Music)
Project G-5: A Tribute to Wes Montgomery (1993; Evidence Records)
Jazz Masters 41 Tal Farlow (1995; Verve)
Tal Farlow (1996; Giants of Jazz)
Chance Meeting (1997; Guitarchives Tal Farlow & Lenny Breau - Music from the
Soundtrack of Talmage Farlow.)
Live at the Public Theatre (2000; Productions A-Propos The Tal Farlow Trio (with
Tommy Flanagan & Red Mitchell - Music from the Soundtrack of Talmage Farlow.)
Tal Farlow's Finest Hour (2001; Verve)
Tal's Blues (2002; Past Perfect)
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Tal Farlow Complete 1956 Private Recordings (Definitive
Recordings DRCD 11263)
Two Guys with Guitars (2004; Frozen Sky Records)
The Complete Verve Tal Farlow Sessions (2004; Mosaic)

With Sonny Criss
Up, Up and Away (Prestige, 1967)


There is a book by Shane Hill called Tal Farlow: J azz Guitarist
published by Razzamajazz Publications, 1987

A documentary was made about Tal called Talmage Farlow. It
has some footage of him playing with the late Lenny Breau. It is
worth searching this out and is currently available as a DVD.

The Jazz Style of Tal Farlow, The
Elements of Bebop Guitar,
ROCHINSKI STEVE -
Published by 1994 Hall Leonard
Publishing, 1994




Tals Playing Style
Here is an excerpt from an interview with Tal that was published in Guitar Magazine in
December '81 and January '82. Tal was, at that time touring the UK with Red Norvo. Here he
discusses who and what influenced his playing style.
So, as soon as I left school, I started at the sign shop for about two dollars a week. After
working there for a few years, when I was competent enough to sell my work, my boss let me
work at night. This allowed me to listen to the radio and hear what they called remotes - outside
broadcasts of the big bands of the day. I heard bands like Artie Shaw, Jimmy and Tommy
Dorsey, and Benny Goodman. It was then that I first heard Charlie Christian playing. I bought
all the records he made with Benny Goodman and had a standing order for any new ones that
came out. Listening to them, I started to copy the solos by relating what he was playing to the
chords that I knew - he seemed to play pretty firmly in chord positions. My interpretation of
what he did was that he spelt out certain chords: 9th and 6ths that I was playing in chord style.
From these I was able to work out his choruses note for note; and in that way I got a little
insight into why he played certain things in some places and how they related to the harmonic
flow. Sometime later I heard the piano playing of Art Tatum - he would make little harmonic
changes to a song in order to get his jazz phrases to fit better. This fired my interest in
restructuring harmony to get the feeling of the jazz concept. I also discovered Lester Young,
who was playing with the Count Basie Band. Listening to him, I heard similar phrases to those
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played by Charlie Christian and came to the conclusion - I don't know if it's correct but I believe
that it is - that Charlie was listening pretty sharply to Lester's solos. So I did the same, and
learnt quite a few of them. His style was really effective, but also not too complicated. Then I
heard Coleman Hawkins. He explored the changes a little more thoroughly than Lester did -
Lester sort of floated on top of the chord changes and stuck nearer to the tunes. Of course, all
that sort of thing fascinated me a lot.
The example Ive chosen to illustrate Tals playing style is a chord melody introduction to the
song Like Someone in Love. This is on the album The Swinging Guitar of Tal Farlow.
Interestingly the albums Autumn in New York, The Swinging Guitar of Tal Farlow and This
is Tal Farlow have been released on one CD that is available from Amazon for 8 as a hard
copy (much cheaper for a download). These albums are an excellent addition to any jazz
guitarists collection and are highly recommended.
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4. Membership
Some memberships are now falling due for renewal, remember membership
lasts for a full 12 months from the paid up month and the following benefits are
only available to current paid up members.
The following deals have been negotiated for members on production of a current
membership card: -
Bulldog Pickups (Huddersfield) www.bulldogpickups.com
15% off all pickups and repairs/rewinds.
ElectroMusic (Doncaster) www.electromusic.co.uk
Variable discount depending on the item(s) purchased.
GTR (Huddersfield) www.gtrguitars.co.uk
10% discount on strings and accessories.
The Music Room (Cleckheaton) www.the-music-room.com
Variable discount depending on the item(s) purchased.
Matt Ryan www.guitarrepairer.com
10% off guitar repairs/setups
AmplifierCoversOnline.com www.amplifiercoversonline.com
Customised Equipment Covers On Demand
Frailers www.frailers.com
Variable discount depending on the item(s) purchased.


Foulds Guitars - Derby www.fouldsmusic.co.uk
Variable discount depending on the item(s) purchased.

The Amp Shack Contact Andrew Lazdins
Valve/Solid-State amp and Effect pedal repairs. Discount available.
Phone: +44 (0) 7716 460 163
Email: theampshack@gmail.com

MicroVox www.westf.demon.co.uk
Acoustic instrument mics. 10% discount
Phone: +44 (0) 1924 361550
Email: andrew@westf.demon.co.uk

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

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

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We are actively pursuing other supplier/retailers and will let you know as soon as we
confirm them. Remember also that we welcome your suggestions re the future
direction of HJGS. Please get in touch.
Committee
Martin Chung
Publicity, joint treasurer, website/facebook and development

Darren Dutson Bromley
Ensembles, education, website/facebook and development

Adrian Ingram
Newsletter, education, international liaison and development

Ian Wroe
Host, joint treasurer, artiste relations, events and development

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Meetings
The first Tuesday of the month at The Rat & Ratchet, Huddersfield (see
http://www.ossett-brewery.co.uk/Pubs/HuddersfieldDistrict/tabid/1612/Default.aspx)
Remember the society needs YOUR views and input so, if you want to provide
a short introduction/discourse for a tune yourself or make any suggestions for a tune,
please speak to a committee member. We have already had some other interesting
ideas put forward which we are looking into. YOUR ideas are both vital and welcome.
It is YOUR society and the committee is there entirely on YOUR behalf. Please,
please get involved if you can!
2014 meetings
Sep 2
nd
- Guest night (Matt Chandler) 8:00pm prompt.
Oct 7
th
- Cole Porter Night
Nov 4
th
- Players night
Dec 2
nd
- Showcase
Workshop/seminars
Please note that in order to ensure an effective combination of complete
workshop and some time for playing, these sessions will commence at 8:30 on the
dot.
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5. Gig List September

Mon 1
st
Groove Indigo with Adrian Ingram and Stuart Macdonald, The Hare &
Hounds, Rothwell, 8:30pm
Fri 19
th
The Phil Robson Organ Trio, Wakefield Jazz (see below)
Sun 21
st
Jazz Dawgs, Woods, Chapel Allerton
Thurs 25th Jeremy's at the Boathouse, Wharf St, Brighouse HD6 1PP
Darren Dutson Bromley, Ric Armstrong (guitars) and David Hogan (sax)
7.30pm free entry.
Sun 28
th
Jazz Dawgs, Chesterfield Jazz Club
Oct 3
rd
Nigel Price Trio with Alex Garnet (see below)

New Jazz Gig

The Jazz Dawgs will be hosting a regular monthly gig every 1st Sunday
(4:00pm 7:00pm) at the Grove, Huddersfield.
The Dawgs will feature different guest(s) each month interspersed with the
occasional jam session in which anyone can play, (please bear in mind, however,
that it is a jam session and not an open mic!).
The Grove is considered by many to be the best pub in the area, it certainly
has the greatest variety of real ales! The roster so far is: -

Sun 7
th
Sept Robin Sunflower
Sun 5
th
Oct Petes Birthday Bash

Live Jazz every Sunday and Tuesday at The Railway, Stockport

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

Wakefield Jazz

Wakefield jazz have made an offer of a discount on their normal entry
price, if we can block book tickets. A number of you have already expressed
interest in the Phil Robson gig. We believe the cut-off point is 10 tickets, which
reduces the entry cost to 10 (normally 14).
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6. Reviews
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7. Of Interest
Found anything on the web or heard of something which may interest our members, then
this is the place for it.
Other Jazz Guitar Clubs/Societies
(We are 1 of only 4 jazz guitar societies in England)
Here are a few links: -
http://cheadlejazzguitarclub.wordpress.com/
http://www.southjazzguitar.org
http://www.treforowen.com/index.php?id=38
http://www.meetup.com/LondonJazzGuitarSociety/
http://members.iinet.net.au/~jgswa/index.htm Jazz Guitar Society of Western
Australia
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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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8. Tuition

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Registry of Guitar Tutors (RGT) Jazz Guitar Diplomas
http://www.rgt.org/exams/jazz-guitar-performance-diploma.php
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Members of the HJGS might be interested in my Mike's Master Classes site

http://www.facebook.com/l/oAQEEZSvnAQEDO9yz8ulke0KlHpG_MbjrMPH2gGIY
NfqJpw/www.mikesmasterclasses.com

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

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22nd NORTH WALES INTERNATIONAL JAZZ GUITAR WEEKEND
OCTOBER 10th - 12th 2014, GLYNDWR UNIVERSITY
Mold Road, Wrexham, Wales, LL11 2AW
North Wales Jazz: Now celebrating fifteen years of international jazz guitar events in
Wrexham.
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IMPROVE YOUR JAZZ GUITAR SKILLS AT THIS GREAT VALUE WEEKEND!
Only 99! (90 Concession)
Call +44 (0)1745 812260 to enrol and for further info or see
www.northwalesjazz.org.uk and download the enrolment form.
Five 2 hour workshops with internationally renowned tutors.
GUEST TUTOR
RONI BEN-HUR

www.ronibenhur.com
RESIDENT TUTOR TREFOR OWEN

www.treforowen.com
Group A:
Hands-on tuition sessions, i.e. for students who wish to learn in a playing situation.

Group B:
Tuition sessions for students who need help in basic skills.
Saturday evening concert (May10th - 8.30pm) featuring the course tutors plus guests.
Wide choice of reasonably priced accommodation available in Wrexham and the
surrounding area.
Registered Charity No. 508519 President: Martin Taylor MBE.

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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 HJ GS 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. All current
ads will be removed from next months newsletter unless we receive
notification from advertisers.
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Sep14
2001 Heritage Eagle TDC. This is effectively a Thinline
L5. Excellent low action and lovely sound, complete
with Heritage
Case...1,800





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Very Rare Buscarino Starlight Classical guitar. The ultimate stage friendly classical, two
pickup 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 ianmwroe@virginmedia.com : Phone 01484 453707
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Sep14
Aria big body jazzer, vgc, light scratch on top
bout should polish out, this is the Korean model
and is far superior to the current Chinese ones,
comes with an old 60,s style case, great condition
and player,
..375








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





Contact Pat Lamb
Email guitarcollective@hotmail.com Web guitarcollective.co.uk
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Sep14











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 Aug14
condition as seen in photo's. The new reissue is $9,995.
I am asking 3250.


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



























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






















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





Roland VGA3. Combo 200.





Contact Tom James 07972580332.

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Knight 16in. body, Cosomini C.C. pick up ex condition. 1500. Aug14


Contact Barrie Glen on 01740 644282 / barrieglen@yahoo.co.uk.

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Aug14
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I am sending you some photos of a Chinese 7 string which I want to sell. I only want
500 for it. The quality
is as good as top flight
instruments. I spent
quite a bit getting it set
up and upgrading fittings
and pu., which is a Bare
Knuckle Black Hawk.
Excellent for 7 string
because of the defined
bass response. It is semi hollow and Les Paul
size. I thought you might know someone who is interested in 7
string and wants to try it but without spending a fortune.


Contact Tony Marshall on morestrings7@msn.com
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Aug14
Early 80s Yamaha AE 1200, solid top ebony
fretboard and gold hardware. With original hard
shell case. Yamahas version of the 17 Gibson
L5CES, very playable & great value. Martin
Taylor played this model for several years as
did Tommy Tedesco and Phil Robson.
850
will consider trades against a Guild archtop or
Polytone amp


SOLD
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1964 Gibson ES330TD sunburst with hard shell fitted
case. Think Grant Green, Emily Remler and Terry
Smith!
2,250 ovno,
trades considered



Pickup and tortoishell bound pickguard from top of
the line Guild Artist Award archtop. Should fit any
acoustic archtop.
75
(I was quoted 110 to have a similar pickguard alone
made for my L5).
Contact Adrian Ingram on 01484 314529 or
adrian@jazzdawgs.co.uk
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Heres a message from Dan at Foulds Guitars

I'm running short of jazz guitars again! I've still got a bigger stock than most but
decent jazzers between 300 and 1500 I'm selling everything I get so if you
have any members that would like to move any unwanted guitars on we may be
able to help.

Of course I am happy to offer a deal on goods for members, they just need to
mention when enquiring.
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Trades
Wants
1. small amp : Polytone (any model considered); Musicman RD50
(1x10 or 1x12)

2. Yamaha jazz guitar model AE1200, AE1200s AE2000 etc. cash or
possible PX
SOLD
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3. Guild jazz guitars
If you have of know the whereabouts of any of the above please contact Adrian
Ingram adrian@jazzdawgs.co.uk

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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: -
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Did you hear about the guitarist who locked his keys in his car? He had to
break the window to get the bass player out.

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A young child says to his mother, "Mom, when I grow up I'd like to be
a jazz guitarist." She replies, "Dont be silly dear, you know you can't do
both."
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Huddersfield Jazz Guitar Society
Contact huddjazzguitsoc@gmail.com
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Cheers
Ian