Huddersfield Jazz Guitar Society

Newsletter No. 32 April 2014

Contents
Page

1. 2. 3. 4. 5. 6. 7. 8. 9.

Meeting Summary ... 2 Members News .. 4 Swap an Idea .. 6 Membership ............ 8 Gig List 10 Reviews 11 Of Interest . 12 Tuition 15 Sales/Wants/Trades . 18

10. Charts . 25

Celebrating the art and craft of jazz guitar

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1.

Meeting Summary

Hi Jazz Guitar Fans,

For our second meeting at the Rat we arranged the performers against the front wall to facilitate better visibility for all. And, despite some initial issues with the sound quality, this worked out far better. As usual, the night kicked off with Tom Prior, playing a gypsy style musette: Under Paris Skies. Tom handled the interesting changes from minor to major with great aplomb, capturing a true Parisienne flavour. Tom was then joined by Darren for Cherokee played at an uncharacteristically moderate pace, Tom taking the head and Darren the accompaniment. Robin Thomas then took Toms place to play Moonglow. Once again Darren played the accompaniment while Robin took the head and first solo. This was followed by The Nearness of You again with Robin taking the head and first solo. This settled well after a time with Robin playing very nicely mixing block chords with single-line work. Next up was Tim on classical guitar to play the Armstrong/Morton tune, Wild Man Blues. Colin and Darren followed with Up a Lazy River featuring the vocals of Robin Fowler and solos by Colin and Darren. This was followed by Colin and Darren playing the Charlie Parker blues, Blues for Alice. This, very tricky head, was

admirably played by Colin, who also took the first solo.

HJGS resident, and most experienced, duo of Dave and Chris then gave a delightful performance of The Shadow of Your Smile, How my Heart Swings and Mean to Me. After the interval, Adrian and Stephen Frazer started with All Blues and Autumn

Leaves. Both players were battling with recently acquired guitars, but the sound and groove settles well by the second tune.

Adam was then joined by Darren for a rendition of Satin Doll, followed by a funky version of Watermelon Man. New member Stephen Frakes was joined by Martin Chung for a rocked-out, loud and totally improvised, funky twelve bar blues. As usual, representing the more soulful side of things were Jez and Martin, who began their set with God Bless the Child; Jez on the head and first solo which was really in Eric Gale, Cornell Dupree territory. By contrast Martins solo relied much more on string bends. Their second tune Mercy Mercy was more of an arrangement which was both very effective and extremely well played, if again, heavily dependent on string bends bringing their set closer to rock genres than jazz. This brought the proceedings nicely to an end and everyone was reminded that the next meeting night would be a Charlie Parker night!

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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.

My Conti Experience
By Adam Hinchliffe While online one day I discovered a jazz guitarist called Robert Conti and was absolutely blown away by his playing. If you havent heard him yet I recommend listening to him perform Cherokee or Bluesette on YouTube, which is where I discovered him. I learned that he taught jazz guitar via DVD and not long after became a student of his. The Conti method gets you started very quickly. From the first day, I was playing lines and making music. Robert Conti also has books about how and why his ideas work (the Source code books); although for the most part his DVDs simply show you how to play the lines. As you are playing them over a specific tune you see what kind of chords the lines work over, though many times knowing the key is enough for these ideas to work. The end verdict of whether or not a line works in a certain situation is simply whether or not, to your eyes, the line works well. His approach is very lick based, though jazz players call them lines. I feel this is a great place to start because all the scales in the world could not help me invent my own jazz licks out of nowhere. It was also exactly the same when I started playing Rock and Blues, learning my favourite licks. Another thing I learnt from studying with Conti is a system of major seventh chords that help navigate the neck.

It is always a blast learning the solos, and then the real work comes when you reapply (and sometimes reinvent) them for a tune you are learning. Every month I begin to feel more comfortable playing jazz on the guitar and I feel that is no small feat, but Robert Conti has made it a lot easier for me. His method seems to split jazz forums down the middle; some of those people say you should never copy another players ideas. However, anyone who has ever studied Wes Montgomerys initial learning process will know this, the bulk of his early learning was a method of simply playing jazz. He copied all the Charlie Christian licks he could. I feel his method is a very effective way to start playing jazz (or any music) is to actually copy an idea note for note, nuance for nuance.

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Howard Alden gig

We recently received news from Howard that all of the available gig dates for his next tour of the UK in May are booked. This is, of course, great news for Howard but not so good for us. He is back again in Oct/Nov and he promises to give us plenty of warning so that we can, hopefully, invite him back.

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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 we have a contribution from Adrian.

The Coltrane Turnaround a different viewpoint

Rather than think of these changes as a stacked augmented tonic chord and resulting empiricism, I prefer to visualise this sequence as a 5 I VI II V, which may be drawn upon at any point e.g. II, V, II V I, V I , etc. As a complete I VI II V, it works beautifully, and is much used , as a turnaround. Chord I, being the tonic chord, is the release, providing a stable starting point or a final resolution, from the tension of the 5 V chord. Consequently, the I chord remains unaltered, although it may be coloured by extensions (6th, 9th, maj 7th etc.). maj7th Thus, in the key of C major, the I chord will ALWAYS be a C, usually from the family, e.g. C, Cmaj7, C6, C6/9, Cmaj9 etc. The VI, II and the V, however are substituted with their 5s:

VI II V

Ami7 = E7 (5 of VI) Dmi7 = A7 (5 of II) G7 = D7 (5 of V)

By adding the I, we now have the basis of the Coltrane turnaround:

Original

Cmaj7 A-7 Cmaj7 E7

D-7 A7

G7 D7

Cmaj7 Cmaj7 Cmaj7 Cmaj7

Substitute

Practise this in every key using a variety of chord shapes. Finally, changing the

5 of II from a dom7 to a maj7 (Amaj7) and lowering the 5th of the 5 of the Vs dom 7th chord (D75), results in a pedal G note, stabilizing the entire progression. This is
commonly used. Hear it for example, on the turnarounds of Wes Montgomerys West Coast Blues.

And, here is a single-line phrase that a lot of players like to use over this turnaround:

Again, move this pattern through the keys!

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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 10% off guitar repairs/setups www.guitarrepairer.com

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 10% discount (see feature later in this newsletter)

Phone: +44 (0) 1924 361550 Email: andrew@westf.demon.co.uk

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
Mar 4th Apr 1st May 6th Jun 3rd` Jul 1st Aug 5th Sep 2nd Oct 7th Nov 4th Dec 2nd - Players night - Parker night - Poss Guest or Players night - Gershwin night

- 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 - April

Adrian Ingram/Rod Mason with Groove Indigo, Hare & Hounds, Rothwell Adrian Ingram/Darren Dutson Bromley, Strays, Newark; 6:00 9:00 Blues Station Adrian Ingram/Terry Kenyon, Head of Steam, Huddersfield Groove Indigo (Adrian Ingram,James Robinson, Ian Rose) Harewood House Pub, Harewood, 3:00pm Swing of Things, The Parish Pump, Huddersfield

Mon 7th Fri 11th Mon 14th Sat 26th Sun 30th

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 6th April Sun 4th May Anita Lee Ian & Margaret Benton + Chris Harrison

Live Jazz every Sunday and Tuesday at The Railway

74-76 Wellington Road North, Stockport SK4 1HF Tel 0161 477 3680 9-11pm free admission Dates for April June 2014 include the following : April 8th - Paul Hartley Quintet with George Galway (tenor /flute) and Mike Burns (trumpet) April 22nd Helena Sommerfield Quartet with Steve Hawkins (guitar) April 29th - Paul Hartley Quartet with John Hallam (saxes/clarinet) May 13th - Paul Hartley Quartet with Mike Hall (tenor) May 27th - Paul Hartley Quartet with Paul Kilvington (piano) June 24th - Paul Hartley Quartet with Andzrej Baranek (piano) PS A couple of additional dates that might be of interest : Paul Hartley / George Galway/ Ken Marley jazz trio appear at the Olive & Vine Restaurant, 846 Wilmslow Road, Didsbury M20 2RN on Sunday 13th April 6-8pm Paul Hartley Quartet with Andzrej Baranek (piano) appear at Woodhouses Jazz Club, 62 Medlock Road, Woodhouses M35 9WN on June 23rd 9-11pm

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6.

Reviews

Following on from our review of luthier Daniel Slaman. He has told us that he is doing a complete make-over of his workshop, as a consequence he is holding a sale of guitars. The details can be found at: -

www.newvintageguitars.com/clearance-sale-2014.html
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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

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Here is a new guitar strap/support we came across at a recent guitar show. It looked very impressive.

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Most jazz guitars have magnetic pickups and jazz guitarists often have strong views as to which type or make of pickup provides them with their favoured sound. Many players will take the trouble to fit replacement pickups in order to find the ideal sound for their taste. There is a wide choice available. However for the player who requires a true acoustic tone for their style of playing, Hot Club for example, all too often the choice is limited to a microphone (mic) on a stand or an under saddle transducer. The worst case scenario is when the guitarist has to borrow whatever mic comes with the house P.A., point it at the instrument and hope for the best! If the player is lucky, the mic will be one designed for instruments rather than the more common vocal mic, (an SM58 is great for vocals but its frequency response and proximity effect which are designed to enhance vocals make it less than ideal for instruments), and of course the stand mic requires the guitarist to maintain a constant distance between the instrument and the mic (posture issues). The under saddle transducer produces a distinctive electro -acoustic sound. This is because it feels the structural vibrations of the instrument rather than hearing the sound waves transmitted through the air, as our ears do. Extensive eq correction is often required in order to produce an acceptable sound and even then it is not a true acoustic sound.

Microvox offers a solution to many problems of reproducing a true acoustic sound. The system consists of a dedicated power supply (NB it is not a preamp) and a miniature flat response condenser mic. The mic element is housed in a small black aluminium block and faces down onto the instrument. It attaches to the instrument by means of a Velcro pad. This method of fixing isolates the mic from unwanted structural vibration and ensures the mic is a fixed and constant distance from the sound source.
Any pickup device is the first link in the amplification chain. Microvox system mics ensure that this first crucial link is as faithful to the true sound as possible. Members of HJGS will receive a 10% discount on all Microvox products from Westfield Music in Wakefield. Contact details: -

Website Email Tel.

www.westf.demon.co.uk Andrew@westf.demon.co.uk +44 (0) 1924 361550

The recommended Microvox for acoustic guitar is M400 with either PSU.

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8.

Tuition

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Also from Jamie Holroyd: Registry of Guitar Tutors (RGT) Jazz Guitar Diplomas
I'd also like to mention the new RGT Jazz Guitar Performance Diplomas that I have been helping private students prepare for. These are ideal for those looking for certification in jazz guitar performance, but dont want to go the traditional University route. I have had a great experience with them so far with my students, and they are accredited by the London College of Music a cost only a small fraction of what a traditional university course does. From the RGT website The Diplomas focus on developing the technical skills and theory needed by guitarists playing a broad range of jazz styles. The exam content includes improvisation and rhythm playing, as well as a performance element that enables the guitarist to demonstrate their preferred style of jazz playing whether that be classic jazz tunes such as those of Django Reinhardt and Wes Montgomery or tracks by more contemporary players such as Pat Metheny and John Scofield. There are four levels of Jazz Guitar Performance Diploma available:

Diploma Of The London College Of Music - DipLCM Associate Of The London College Of Music - ALCM

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Licentiate Of The London College Of Music - LLCM Fellowship Of The London College Of Music - FLCM

Each diploma provides guitarists with the opportunity to gain an internationally recognised professional qualification and to develop their jazz playing skills to an advanced level. The Diplomas are awarded by London College of Music Exams and are accredited by the University of West London. To view more information please go to: http://www.rgt.org/exams/jazz-guitar-performance-diploma.php

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Heres a message from a friend of ours Mike Gellar: Hi Adrian and Ian, Just read the article about HJGS. Good to read about you two! 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. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

21st NORTH WALES INTERNATIONAL JAZZ GUITAR WEEKEND

May 9th - 11th 2014
GLYNDWR UNIVERSITY Mold Road, Wrexham, Wales, LL11 2AW North Wales Jazz: Now celebrating fifteen years of international jazz guitar events in Wrexham.

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.

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GUEST TUTOR HOWARD ALDEN

www.howardalden.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.

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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

As you will see, five guitars were sold from last months 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.
--------------------------------------------------------------------------------------------------------------------------Set Bulldog Stratocaster Pickups, Haydens finest, lovely sound..120 Pair Gibson P100 Pickups (From ES-135)...80 All prices are negotiable and interesting trades are welcome Contact: Ian Wroe ianmwroe@virginmedia.com --------------------------------------------------------------------------------------------------------------------------1980s Heritage Golden Eagle, near mint. Blonde, with jaw droppingly spectacular woods. Made at the original Gibson by ex-Gibson employees, who knew how to make archtops. Big reduction in price, bargain at 2,000 for quick sale no offers. Includes case and upgraded electrics.

SOLD

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Benedetto Benny small-bodied jazz guitar with AAA carved spruce top and chambered mahogany body. This high-end jazz guitar was designed by Bob as a pros instrument,

lightweight, easy to play and with the sound of a full-bodied archtop in a smaller package. He got it right, which is why Howard Alden, Jimmy Bruno and Frank Vignola all play them, I used this model for all three of my Stephan Grossman teaching vids, the Mel Bay DVD and CD with John Pisano, The dvd session in NY with Howard, Jack, Jimmy and Frank and several of my cd recordings and tuition cds. You dont see these delightful little jazz guitars for sale very often.2,000 or poss swap/px

CONTACT Adrian Ingram: Tel 01484 314529; Email adrian@jazzdawgs.co.uk --------------------------------------------------------------------------------------------------------------------------CSL Benson. As far as we can tell a prototype made for CSL (Former Ibanez Distributors) and was built in the same factory to the same quality as the early Ibanez George Benson. Only difference is here are two full size humbuckers making the guitar less susceptible to feedback and giving more options in terms of swapping pickups. OHSC and fitted with Bulldog Cool PAFS. 750

---------------------------------Yamaha SA2000 circa 1980. Very high quality 335 Killer. Just been refretted by Stuart Palmer. Original case, including instruction book and tool kit. It has been played but it has been loved, no SOLD chips, some light scratches and the usual tarnishing to gold hardware, remarkable condition for a 30+ year old guitar. 1150 ---------------------------------Gibson Les Paul R8 1958 historic reissue from 2003. Includes case and certificate. 9lb 4oz in weight. SOLD 2000 ----------------------------------

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Simon and Patrick SP6 solid spruce top electro acoustic. Signs of use. Nice tone. 195

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Roland GR33 guitar synth + pickup : 150 ono Session Rockette 30 fantastic little jazz amp : 90 ono JMP 50 1980 Marshall head : 600 Eventide Time-Factor delay/sampler/loop pedal : 220 SOLD Tone Pros locking nickel stoptail (335/ Les Paul etc) : 20 SOLD Boss digital dimension (1980s) pedal as new (Mike Stern/Sco/Metheny etc) : 80 Fender 57 USA reissue Strat. Mint with upgraded pickups...950 Contact Hayden Minett on 07967 831193 or hjm@bulldogpickups.com
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65/66 ES-335
I've hung it up on ebay for 5.5k which is very close to what I paid a few years back. I live in Mirfield approx 15 mins from Huddersfield if you or anyone else wants to come try it out. Its a 65/66 ES 355 and is in great shape.

Hofner HCT J17 As New As new with very heavily padded gigbag. Just 350. Many thanks Gary Webb garyjwebb@btinternet.com 20

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The Comins Jazz amp has a power attenuator...all valve 1x12...nice & light combo & built by the great amp builder George Allesandro....1,000

The Ameson 50watt is all tube & a small head... 750

The Ameson 120w is a very small transistor amp...very high quality....650

'Triggs Jazzbox the top is laminate....2,500 2,200

Schaefer 15''Jazzer3,500

For more info contact Paul Wright on: -

ptw01@btinternet.com or mob 07527 389637

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Antoria telecaster, 1970's, dark surburst green, all original, comes with soft case. good condition. 150.00 vintage strat copy, dark wood stain, 50.00 Double Bass, Antoni, professionally setup by Crinson and Gohlman, comes with soft case and stand. good condition. 380.00 Contact Andrew Lazdins
The Amp Shack The Professional Tone Breakdown Service

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

Ph: +44 (0) 7716 460 163 Email: theampshack@gmail.com --------------------------------------------------------------------------------------------------------------------------Hello HJGS, here are some photos of the gear I am thinking of selling. The Gibson L-7 is very nice and was owned by USA bluesman Duke Robillard, looking for 2250.

The Abbott Victor Burlington is a fab piece of British guitar history. Ebony neck plays better than almost anything. Made in 1940s, may have been started before WWII and finished off after, according to Frank Cambridge. So rare that I cant find another one to compare for valuation, but Id like 1500 for it.

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The Gibson BR 9 amp is late 1940s, last time I played through it I was not awestruck so it maybe needs a bit of a look at, it used to sound Golden - so maybe needs a valve or a bit of know how ? 300 as it is.

Also for the collector a J.G.Abbott senior 1928ish, round sound hole archtop, quite like the Gibson L-3 or L-4 of the late 20s, light as a feather, very nice plectrum guitar, again too rare to find a value but Id like to think 900 would be fair.

Anyone interested can call me on 07711050846. Thanks, Andrew.

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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
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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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For Sale. t.c.electronic 'G.Major' Guitar Effects Processor. Contains all the effects you will ever need all in one unit: Noise Gate/EQ/Compressor/Chorus/Flanger/Vibrato/Resonance Filter/Phaser/Tremolo/Panner/Delay/ Pitch Detune/Whammy/Pitch Shifter/Reverb-----and much more. Bought by me second hand--never used--so must go. 200

email me at: mikejazzbass@btinternet.com

--------------------------------------------------------------------------------------------------------------------------Barry Glen Has the following guitars and amp for sale. Knight 16inch body cosomini pick up ex condition. Built in 2004 by Gordon. 1,750. GUILD.A.A. 1962 found stripped of parts and finish.Gordon Wells did all the work tailpiece and bridge bought from Hans, original case in ex condition. 2,000. Contact: barrieglen@yahoo.co.uk. 01740 644282. ---------------------------------------------------------------------------------------------------------------------------

Trades Wants 1. 2. 3. 4. 5 small amp : Polytone (any model considered); Musicman RD50 (1x10 or 1x12); Peterson (Wood cab 10 speaker) AER etc Seymour Duncan alnico Pro II neck telecaster neck pickup DArmond archtop pickup, any model considered. Benedetto or Kent Armstrong (early wood finish type, not Chinese chrome or gold, metal casing) floating pickup. Any other archtop i.e. Bartolini, Lollar, etc. considered

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Yamaha jazz guitar model AE1200, AE1200s AE2000 etc. cash or possible PX against Benedetto Benny or Heritage Golden Eagle

If you have of know the whereabouts of any of the above please contact Adrian Ingram adrian@jazzdawgs.co.uk
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Gypsy jazzer (Doubling Double Bass & Rhythm Guitar) seeking fellow Gypsy jazzer's for blow. Tel. Mike on: 01663 743610. ---------------------------------------------------------------------------------------------------------~~~~~~~~~~~~~~~~~~~~~~~~~~
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10. Charts
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Huddersfield Jazz Guitar Society

Contact huddjazzguitsoc@gmail.com If you don't want to continue receiving newsletters and notices then send an email with the subject 'REMOVE' to huddjazzguitsoc@gmail.com Cheers Ian

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