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Hi Jazz Guitar Fans,
We wish all of our members and friends a very
Happy and Melodic New Year
~~~~~~~~~~~~~~~~~~~~~~~~~~
As with last years December Showcase, the Jazz Dawgs kicked off each
set. For their first spot they chose to play without a bass player, thereby providing
ample opportunity for Ian to stretch out with his 7 string Eastman archtop. They
began with Adrians 6/8 arrangement of Summertime which features his Wes
influenced style, replete with octaves and block chords. Adrian, of course, played
his usual Telecaster, which was thickened by the sound of his signature Matamp!
Their second tune Sweet Sue was a vocal feature, interspersed with short twin-
guitar passages for which the Jazz Dawgs are famous!
Next up was Robin Thomas, replete with Strat and no effects. Thank you
Robin for entering the spirit of what HJGS is all about. Second up, and to a
growing audience, Robin was understandably a little nervous. As you all know,
from our earlier solo guitar night, playing on your own to a discerning crowd,
when you are a little shaky (nervous) is very, very hard. Robin began with The
Nearness of You, which he followed with Out of Nowhere. Nerves had
somewhat abated and Robin settled down to play, more comfortably, for his final
tune: Duke Ellingtons, perennial, Caravan. This was rather fast and technically
much more demanding than his previous pieces, so it was good that his
composure was more settled. Well done Robin.
Following several minutes to setup and re-arrange amps/seating etc., the Idle
Guits took to the stage, led by committee member Darren Dutson Bromley. They
played Dont Get Around Much Anymore, Griegs Norwegian Dance, Georgia,
Jingle Bell Rock and When Im 64, the latter featuring banjo! We let that one pass
as Christmas is the season of goodwill to all (which I was told, had to include
banjoists). Their careful, studied, playing is a joy to hear and Darren must be
congratulated on producing arrangements which are inclusive of all sight reading
levels and technical ability. Bassist Phil Kampen, a more than able guitar player in
his own right, is also providing very effective arrangements for the Guits.
The last spot, before the interval, was taken by Tom Prior, playing a tasty
cherry red Guild Capri (CE100D) from the early sixties. Tom produced a lovely fat
sound for Nuages and Stompin at the Savoy, both of which were full of Toms
usual twists and turns. He is a very creative player and you never know whats
coming next. He might dart between frantic, Djangoesque, chromatics and
flamenco like tremolos to boogie woogie bass lines and Chuck Berry licks within a
2
half chorus! He was asked about his eclectic approach on one occasion to which
he replied I never know whats coming next!, as was aptly demonstrated by his
choice of third tune, a Chet Atkins influenced, fingerpicking, version of St Louis
Tickle. For his final choice: Train Blues, Tom was joined by Ian, whose 7 string
provide a big, full, sound for Toms eccentric soloing. Between them their solos
seemed to span the entire history of jazz guitar, which brought the first half of the
evening to an artist conclusion.
Following refreshment and raffles, the Jazz Dawgs played Benny
Goodmans Slipped Disc a Chicago style reading of the slow blues; Going Down
Slow and the 1940s classic Jersey
Bounce. This was a tasty, and varied, set
beefed up, this time, by Phil Kampens juicy
double bass playing.
(This was also the time when we remembered
we had cameras with us and started taking
pictures. Apologies to everyone in the first set.)
The Dawgs were followed by HJGSs own
permanent jazz guitar duo: Dave
Vangelderen and Chris Brown. Their set
included Green Dolphin Street,
Sometime Ago and Anthropology.
This well-chosen set featured some nice
contrasts, especially in the wistful, three-
time, reading of Sometime Ago.

Adam Hinchliffe was next up with
unaccompanied versions of Let It Be Me
and Moon River. Adam has made real
headway over this past year and, it appears that, he is avidly listening to as many
jazz guitarists as he possibly can. This is certainly evident in his increasingly
authentic sound and feel.
Relative newcomer to HJGS Stephen Fraser, joined once more by our
redoubtable 7 string exponent, Ian and bassist Phil played Gone With The Wind
and Things Aint What They Used To Be (aka Time Is A Wasting). Both
3
players soloed with Stephen taking the
heads. Things, a 12 bar jazz blues
developed with some interesting
exchanges which alternated between 2s
and 4s, was that one planned lads?
Once again a really successful
night was concluded on a high with the
feelingful playing of Jez Platt and Martin
Chung. They played a funky blues

called Half-life the bossa nova, Wave
and an interesting Roy Hargrove tune
called, Strasbourg Saint Denis; the
latter was principally a feature for Jez
who, forgive the expression, played his
ass-off on this one. As ever, the duo
played great, with the usual fiery
pyrotechnics from Martin and soulful
pinched, bent and glissd notes from Jez.
Thanks to all concerned, with special thanks to GTR for supplying the great
raffle prizes once again, Darren for the PA system, Enzo for the lights, Ian and
Adrian for the back line amps and last but by no means least the staff at the Head
of Steam for looking after us so well. It was a very entertaining and enriching
evening of Jazz Guitar in many of its guises.
Heres to next year, and seasonal best wishes to everyone!

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

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!
4
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.

Diary of a Seven String Virgin
A blow by blow account of getting to grips (sic) with the 7 string guitar.
Ian Wroe
Month 3. Still not happy with the strings so am trying 13s tape wound with 80 thou
on the bass.
Went back to playing 6 string and got, initially, terribly confused. It sorted
itself out very quickly but gave me food for thought.
Gigged with the 7 string and it felt much more comfortable. Im going to
have to make my mind up pretty soon.
Month 4. Have made my mind up.
I now have some very nice 6 string guitars for sale.
To be continuedoccasionally
~~~~~~~~~~~~~~~~~~~~~~~~~~
Congratulations to committee member Adrian Ingram,
for his inclusion in the recent publication, The Great Jazz
Guitarists, The Ultimate Guide by Scott Yanow (Backbeat
Books). Congratulations also to other overlooked Brits. - Dave
Cliff, Robin Nolan and Mike Walker for also gaining inclusion.
Congrats to Adrian also, for a
very successful week in The Hague,
where he played a series of well-
received gigs with fellow jazz
guitarists Axel Hagen and Daniel
Nicholas.
5

Committee member Ian Wroe has just joined an elite group of
Buscarino players which includes Russell Malone, John Pizzarelli
and Gene Bertoncini, by purchasing a beautiful Buscarino Monarch
7 string archtop.
~~~~~~~~~~~~~~~~~~~~~~~~~~
Member Jamie Holroyd has sent us
information about an important new book.
Following Adrians Billy Bean review in last
month's newsletter, I thought it may interest the
society to know that a Billy Bean book was
recently published.
Unfortunately the book is only available from the states and the
shipping is quite expensive at 15 per single order.
However, the shipping is no more than $35 (21.26) when 3-8 copies are purchased at once.
So if there was enough interest maybe we could make one large order and save on the shipping
cost?
http://www.midoriyamapublishing.com/billy-bean-the-life-and-music-of-a-jazz-guitar/
Until now, jazz guitarist Billy Bean was a musician whose contributions to his art remained
largely unknown. Billy Bean: The Life and Music of a Jazz Legend chronicles the career of one
of the finest jazz guitarists ever to have played. Drawing from over a decade of research,
including interviews with Bean himself, as well as his family, friends, and musicians, Seth
Greenberg provides a detailed portrait of the introverted guitarist. Much more than a
documentation of Bean's professional career, the book explores his personal struggles with
alcoholism and changes in the music scene.
The book is divided into two volumes. Volume 1 contains all of the biographical and musical
analyses. Volume 2 presents all of Bean's autographed manuscripts given to Greenberg in
2007. Within these manuscripts are lessons taken from the late-jazz guru Dennis Sandole,
Bean's transcriptions and arrangements of pieces from the standard jazz and classical
repertoire, and several of Bean's original compositions. Each autograph manuscript has a
corresponding transcription to clarify the many ambiguities presented by the original
autographs.
~~~~~~~~~~~~~~~~~~~~~~~~~~
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.
6
~~~~~~~~~~~~~~~~~~~~~~~~~~

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
10% discount (see feature later in this newsletter)
Phone: +44 (0) 1924 361550
Email: andrew@westf.demon.co.uk


Vinyl Tap have been removed from the list as they have decided that they will no
longer offer any discount on new cds and discount by negotiation on second-hand
cds. As a consequence we feel we can no longer include them.
7
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

~~~~~~~~~~~~~~~~~~~~~~~~~~
Gigs

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 5
th
Jan John Taylor
Sun 2
nd
Feb Jam/Ian Wroes birthday bash
Sun 2
nd
Mar Robin Sunflower

Monday night jazz at The Head of Steam
January
6
th
TBA
13
th
TBA
20
th
TBA
27
rd
TBA

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


Other Jazz Guitar Clubs/Societies
(We are 1 of only 4 jazz guitar societies in England)
8
Here are a few links: -
http://cheadlejazzguitarclub.wordpress.com/
http://www.southjazzguitar.org ------- Note new website address
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
Meetings
The first Tuesday of the month at The Head of Steam: Huddersfield Railway Station
(see http://www.theheadofsteam.co.uk/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!
2014 meetings
Jan 7th - Players night
Feb 4
th
- Ellington night


Mar 4
th
- Poss Guest or Players night
Apr 1
st
- Parker night
May 6
th
- Poss Guest or Players night
Jun 3
rd`
- Gershwin night
Jul 1
st

Aug 5
th

Sep 2
nd

Oct 7
th

Nov 4
th

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.
Of Interest, News and Reviews
Found anything on the web or heard of something which may interest our members, then
this is the place for it.
9
Late November and early December sadly saw the passing of three great jazz
musicians Chico Hamilton, Jim Hall and Stan Tracey. Of particular interest to us is
the guitarist Jim Hall, he is remembered by committee members Adrian Ingram and
Darren Dutson Bromley.

Jim Hall Dec 4
th
1930 Dec 10
th
2013

By Adrian Ingram

Jim Hall was regarded, by many, as the poet of jazz guitar, as a painter, a story-teller;
a composer, who incidentally happened to play the guitar. In critiques, and interviews, the
metaphors were plentiful, along the lines of his instrument was his palette or paint brush,
and the tune, or harmonic vehicle, was his blank canvas

Hall was a careful, considered player, never given over to pyrotechnical displays,
attention- seeking dissonances or electronic trickery. His approach was gentle, delicate and
supremely melodic. In many ways Hall was always the sideman. Why? Because his sense of
empathy never allowed him to put his ego above the music, hence, his playing, whether
soloing or comping, was a true sharing of the moment and always profoundly supportive.
Consider his work with Paul Desmond, Bill Evans, Art Farmer and Sonny Rollins; all
masterpieces in the art of jazz guitar. Yet, none of the work was iconoclastic, from either a
technical or musical standpoint. The playing was, however, never short of perfect, being
totally appropriate and breathtakingly beautiful.

Above all, Jim Hall was consistently creative, an inventive and unpredictable player
whose music, like that of fellow jazz guitarist Wes Montgomery, unfolded with an inevitable
predictability which, nevertheless, grew from myriad, skilful, twists and turns. Halls
compositional approach began to form during the mid 50s when, whilst with Chico Hamilton
(who coincidentally died only a few days before Hall), he realised that his technical limitations
meant that he would never ever be another Tal Farlow, so he needed to tread his own path,
(my paraphrase but Halls sentiment).
















10
Compare his playing on Hamiltons Live at the Strollers (Fresh Sound FSR 2245)
from 1955 with his playing on The Complete Jazz Guitar (Essential Jazz Classics EJC
55494) from 1957, and you will hear the genesis of Halls journey to Jazz guitar profundity.
In two short years Halls approach had morphed from a bop-ish, early Howard Roberts style
(Roberts was Halls predecessor in the group) to an embryonic Jim Hall style, which was,
even then, edging towards the unhurried, more considered, approach which ultimately was to
become his trademark.

I spent some time working with Jim on a jazz guitar Summer School (Hull, England)
and found him to be a perfect gentleman with a warm, easy-going personality. He was also
extremely perceptive, not only about music, but also lifes comprehensive details as well as
ambient surroundings. On outstretching my right arm to shake hands, on or first meeting, he
said I see youre still playing some classical guitar! In a split second he had observed that
the fingernails were longer on my right hand than my left!!!

Like Bill Evans, Paul Desmond and Stan Getz, Jim Hall was a real master of the
understatement, and it was this approach which, ultimately, earned him a position in the roll-
call of all time Jazz Greats.

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

A Tribute to Jim Hall

By Darren Dutson Bromley

















The brilliant jazz guitarist Jim Hall died on 10th December 2013 aged 83. Jim was a poet on
the guitar, the quiet revolutionary who embodied meaning into every note. He was a
composer, arranger, improviser and a true artist and we are blessed he chose the guitar with
which to express his craft.

Jim along with Charlie Christian, Joe Pass, Wes Montgomery, Barney Kessel and Johnny
Smith created the blue print for the modern jazz guitar style and influenced all the preceding
generations of jazz guitarists.

11
Pat Metheny said of him "Jim is the father of modern jazz guitar, to me he is the guy who
invented a conception that has allowed the guitar to function in a lot of musical situations that
just weren't thought of as a possibility prior to his emergence as a player. He reinvented what
the guitar could be as a jazz instrument, Jim transcends the instrument, the meaning behind
the notes is what speaks to people."

I first discovered Jim Hall at Bradford record library around 1980. As an impressionable and
admittedly quite a bizarre teenager I had just discovered Barney Kessel and Joe Pass and I
was now working my way through the record library armed with Maurice Summerfield's book,
'The Jazz Guitar: Its Evolution, Players and Personalities' as my guide. I used to tape each of
my discoveries onto a Maxell C90 ferric oxide cassette, all labelled in exactly the same way.
Sadly the tapes have long gone but thankfully I now have CD versions of virtually all the
albums I taped.

My first Jim Hall discovery was the 1957 recording
Jazz Guitar', the first to feature Jim as leader and one
I constantly return to as one of my favourites. A little
rough around the edges this sees Jim playing with
quite a bright, acoustic guitar tone. Packed with
skillfully played lines and crafted, clever phrasing this
is a really good introduction to Jim's playing and a
hint at what was to come.

'Undercurrent' is another favourite, an album
recorded with Bill Evans in 1963. This album shows
two musicians playing so eloquently it seems almost
like a conversation between lifelong friends. I listen to
this album a lot but I never hear it as an album of two
musicians jamming over a bunch of standards, one
playing a supporting role while the other solos. This is an album where both players have
equal footing throughout and together they create and shape the music as one and it doesn't
come much better than this.

Jim seems to thrive in a duo setting and in his career performed and recorded with a number
of notable jazz luminaries including Bob Brookmeyer, Ron Carter and Pat Metheny. I bought
the album 'With Basses' when I was playing in a guitar/bass duo and needed guidance. Ron
Carter and Jim are clearly on top form on this recording with melodies, licks and phrases
been passed effortlessly between them both. The recording with Pat Metheny shows another
side to Jim's playing, a playful adventurous side and one certainly not afraid to take risks.

Power of Three with Wayne Shorter and Michel Petrucciani is another notable album.
Recorded live at the Montreux Jazz Festival in 1986, it features Petrucciani playing several
duets with Jim, as well as performances as a trio. When I first bought this album I listened to
it every morning for a month and it is still a companion on car journeys.

I could go on listing Jim Hall albums as he has such an extensive discography but these are
my personal favourites and ones that have had an impact on me as a player. I am however
going to mention one more, 'Concerto'. The personnel on this album are a jazz lover's
dreams come true. Paul Desmond - saxophone, Chet Baker - trumpet, Roland Hanna -
piano, Ron Carter - bass and Steve Gadd - drums creating along with Jim one of the highest
profile line-ups ever recorded. This is ensemble playing of the highest order demonstrating
great group sensitivity and interplay and giving precedence to mood and atmosphere over
powerhouse soloing.

12
Not only was Jim an innovative guitarist, but he also earned critical acclaim for his skills as a
composer and arranger. The first formal recognition came in 1997 when Jim won the New
York Jazz Critics Circle Award for Best Jazz Composer/Arranger. His pieces for string, brass,
and vocal ensembles can be heard on his Textures and By Arrangement recordings. His
original composition, Quartet Plus Four, a piece for jazz quartet augmented by the Zapolski
string quartet, was debuted in Denmark during the concert and ceremony where he was
awarded the coveted Jazzpar Prize, and later released on CD.

In 2004, he joined the Baltimore Symphony to debut his concerto for guitar and orchestra,
commissioned by Towson University in Maryland for The First World Guitar Congress. The
title of the work, Peace Movement, is indicative of Jims desire to contribute to world peace
through his music. He viewed music as a way of bonding people together and crossing
barriers, be they barriers of geography, ideology, religion, or other discriminations.

In January of 2006, the French Minister of Culture and Communication knighted him. In
bestowing the medallion of Chevalier dans lOrdre des Arts et des Lettres (Knight in the
Order of Arts and Letters), Kareen Rispal, Cultural Counsellor of the Embassy of France
said, We honour you, Jim Hall, for expanding the musical universe, for your innovations and
contributions to musical expression. We salute your ongoing experimentation which has
been known countless times to bring people around the world together.

It is fitting to bring this tribute to a conclusion with a quote from Peter Bernstein, the last
person Jim worked with:

"He will be missed, but left us so much to learn from as a musician and person. He
was such a thoughtful and empathetic person and these qualities were expressed with
such beauty and individuality in his playing. His aesthetic was so unique in that it
embodied meaning in every note His subtlety, nuance, and great expression were
his alone: a true original, identifiable from one of those well-chosen notes. Jim Hall
was a poet who played the guitar."





13
Here is a new guitar strap/support we came across at a recent guitar show. It
looked very impressive.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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).
14
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 www.westf.demon.co.uk
Email Andrew@westf.demon.co.uk
Tel. +44 (0) 1924 361550

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

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
15
http://www.darrendutsonbromley.com Check out Darrens pod casts
Tuition

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Also from Jamie Holroyd: -
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
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
16
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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.
GUEST TUTOR HOWARD ALDEN RESIDENT TUTOR TREFOR OWEN
www.howardalden.com www.treforowen.com



17

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.
---------------------------------------------------------------------------------------------------------------------------
Sales
Please let me know as soon as items are sold to remove them from the list.
---------------------------------------------------------------------------------------------------------------------------
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O6 ,77)+(,:'" +0* 7)+ #?)." E?) E,6# #) "P2"+0>"6# E0#? *&0#,+ .56#?.3
..NNN350 ono
O'' 2+0-". ,+" 6"*)#0,:'" ,6( 06#"+".#06* #+,(". ,+" E"'-)>"
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.
Bargain at 3,000 for quick sale.

Includes case and
upgraded electrics.
Px considered.
18
























Musicman RD50 112, fantastic condition. The most sought-after Musicman. Small,
loud and reliable. Possibly the most useable (re sound and size) valve amp, for the jazz
player. Re-grilled and serviced at Matamp with a new upgraded celestion speaker
..550 ono

Update your Tele: Fender Custom Shop Tele pickup set. Twisted Tele neck and
Broadcaster bridge. Bargain at 50.00 for the set.

1969 Gibson L5CES. Near mint, all original with case. This is an exceptionally fine
guitar. A great player, and a fabulous jazz sound. Same colour and specifications as a
1962 model for half the money.

19




















CONTACT Adrian Ingram: Tel 01484 314529; Email adrian@jazzdawgs.co.uk
---------------------------------------------------------------------------------------------------------------------------

Roland GR33 guitar synth + pickup : 200 ono
Session Rockette 30 fantastic little jazz amp : 90 ono
JMP 50 1980 Marshall head : 600
Eventide Time-Factor delay/sampler/loop pedal : 220
Tone Pros locking nickel stoptail (335/ Les Paul etc) : 20
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
---------------------------------------------------------------------------------------------------------------------------
20

---------------------------------------------------------------------------------------------------------------------------







!"#!! %&'(("

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.

Many thanks

Gary Webb
garyjwebb@btinternet.com

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

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

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

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

21

For more info contact Paul Wright on: -
ptw01@btinternet.com or mob 07527 389637
---------------------------------------------------------------------------------------------------------------------------
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



Ph: +44 (0) 7716 460 163
Email: theampshack@gmail.com

---------------------------------------------------------------------------------------------------------------------------



Schaefer 15''Jazzer3,500
For all amp (valve and solid state)
and effect pedal repairs.
22
"#$$% "&'() *#+# ,+# -%.# /*%0%- %1 0*# 2#,+ 3 ,. 0*456452 %1 -#$$4527

8*# '49-%5 :;< 4- =#+> 54?# ,5@ A,- %A5#@ 9> B(C 9$D#-.,5 ED6# F%94$$,+@) $%%6452 1%+ GHHIJ7

8*# C99%00 K4?0%+ LD+$4520%5 4- , 1,9 /4#?# %1 L+404-* 2D40,+ *4-0%+>7 M9%5> 5#?6 /$,>- 9#00#+ 0*,5 ,$.%-0
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
407

















8*# '49-%5 LF 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 ; -% .,>9# 5##@- , =,$=# %+ , 940 %1 65%A *%A N GOJJ ,- 40 4-7














23
C$-% 1%+ 0*# ?%$$#?0%+ , &7'7C99%00 -#54%+ PQHR4-*) +%D5@ -%D5@ *%$# ,+?*0%/) SD40# $46# 0*# '49-%5 :;O %+
:;4 of the late 20s, light as a feather, very nice plectrum guitar, again too rare to find a value but Id
$46# 0% 0*456 GQJJ A%D$@ 9# 1,4+7


C5>%5# 450#+#-0#@ ?,5 ?,$$ .# %5
J<<PPJIJRTU7
8*,56-) C5@+#A7



---------------------------------------------------------------------------------------------------------------------------
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. small amp : Polytone (any model considered); Musicman RD50
(1x10 or 1x12); Peterson (Wood cab 10 speaker) AER etc
2. Seymour Duncan alnico Pro II neck telecaster neck pickup
If you have of know the whereabouts of any of the above please contact Adrian
Ingram adrian@jazzdawgs.co.uk
---------------------------------------------------------------------------------------------------------------------------
Gypsy jazzer (Doubling Double Bass & Rhythm Guitar) seeking fellow
Gypsy jazzer's for blow.
Tel. Mike on: 01663 743610.
----------------------------------------------------------------------------------------------------------



24
Charts

Here is a chart sent to us by Paul Martin (Mundo Guitar Straps). Thanks Paul

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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