#31
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I'm curious to hear the answer as well.
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There are still so many beautiful things to be said in C major... Sergei Prokofiev |
#32
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the answer is my first sentence of my previous comment....its that middy sound with rolled off (?) trebles
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#33
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Sorry Paikon, I have no idea what that means. Find a Youtube video which has someone play with the sound you're talking about.
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There are still so many beautiful things to be said in C major... Sergei Prokofiev |
#34
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Quote:
http://www.youtube.com/watch?v=THmhS44zG2s |
#35
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guitars have had a role in jazz, but nowhere near the role of brass instruments or even the piano, guitars are sort of secondary in the history of jazz.
that said, I do not believe jazz or even guitar jazz has a specific tone or timbre, jazz is more typically characterized by a swing rhythm and flatted or blue notes, complex chord structures. in terms of guitars in jazz - there are guitars in big bands basically doing a choppy type rhythm, there is bossa nova type guitar playing, then there is that soft mid range sort of bland electric archtop tone that I do not favor. Sonny Sharrock was pretty awesome since he put some edginess into his sound. but yeah there is no typical or singular traditional jazz sound or even a traditional guitar jazz sound, it's all over the map really. |
#36
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I think many view Wes Montgomery or Kenny Burrell as a 'traditional jazz tone' and I knew what you meant. Still, you can't exclude Joe Pass, Metheny, Hall, and a hundred others with a kaleidoscope of tones. So, there's probably not a single phrase to get everyone on the same page. Sometimes easier to refer to a player or to a setup.
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Spook Southern Oregon |
#37
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Quote:
I play swing on a Martin 000-28VS right now and while it sounds great on solos, for rhythm what I really need is something drier, an instrument with focus on the fundamental and with quick decay. I would say that my current guitar is actually the polar opposite of what constitutes a good jazz archtop. |
#38
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While I think the guitarist matters the most, I would want to have a nice guitar if I were to play professionally. I think the cost of building quality guitars has gotten cheaper, and there are many options available now... Some swear by Eastman and Peerless... My first serious jazzbox was Stromberg Montreux, which I picked up from a local craigslist for like $500. Nice setup, nice neck, and nice Kent Armstrong pickups. Can't complain. Yes, I would call my Stromberg a professional level guitar, while I may have hard time calling some of the lower end Artcores that.
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#39
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What I would choose for an acoustic to channel Eddie Lang is quite different than what I would show up with to an institution of higher learning to study jazz guitar.
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Spook Southern Oregon |
#40
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Yes. I understand your point. I posted another question on this forum based on the answers given here that I think more accurately reflects the question I am trying to ask.
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#41
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Food for thought:
Humbuckers weren't standard on Gibson archtops til late1957 or so. A lot of 'traditional' jazz tones are quite bright. |
#42
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My current thinking is to mount a Lollar Charlie Christian pickup on something like a Eastman AR805 (the non cutaway version with no factory pickup).
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#43
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Could sound good. Personally I'd never put a CC on a solid topped guitar. They're heavy and will really deaden the acoustic output...not to mention that the trad CC pickup involves three screws in the top...yikes!
now, jason lollar could probably make (if he doesn't already) a p90 sized blade pickup...and then that fifth avenue looks pretty darn good again. |
#44
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Quote:
I see what you are saying but even for Gibson tradition favors humbuckers since they are using them the last 55years for jazz tone |
#45
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The 1/8 notes still swing.... but the bass and guitar pretty much play 100% 1/4 notes (and thus don't really have a swinging rhythm).
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