If I wanted info on Gretsch stuff I’d contact Tavo Vega Garcia. He seems to be the guy most in tune with that sound. I need to contact him about which of his pedals interact well with P-90s. So far I just have the Jr Barnyard and love it. Works great with single coils of any variety as far as I can tell.
Nobody talking about gear? What’s this world coming to? For the past couple years I haven’t had a lot of time for playing but that hasn’t stopped my gear addiction. I think the only guitars I haven’t subjected to the “buy and try cycle” in relation to old school swing/jump is maybe a Les Paul with p-90s or a Epi Riviera with mini humbuckers. I’ve found that just about any guitar will get close though if ya stick a Jr Barnyard pedal in the mix. Now I just have to get good at playing! Guitars not for sale at this point are my ’61 Guild CE-100, ’62 Gibson cherry red ES-330, and recently purchased Rutters tele with TK pickups. Guitars possibly selling soon because I plan on going mobile in the near future are an all original ’53 blonde ES-175, Danocaster whiteguard Esquire, Blonde late 50’s or early 60’s Harmony H-62 similar to the one Kid Ramos plays and in great shape, 50’a Kay Value Leader with single pickup like the one Lonnie Johnson played, 1932 Epi Masterbilt Triumph acoustic archtop, Robert Cray strat converted to soft tail. Next week selling a players grade 1960 cherry red ES-345. It’ll be on the Gear Page.It’s gotten out of hand and just no time to play and maintain em all. Sure has been fun though. I play acoustic mostly on a ’54 Gibson J-50 and ’33 Martin 0-17 and still consider myself to be in transition as an electric player. Always working on Tommy’s lessons, Charlie Christian related stuff, and recently Joe Carr’s western swing books.
I forget to mention that I have a ’59 Jensen P15 smooth cone speaker sitting around that I want to try with a Quilter mini amp. May take a few months due to moving but I’ll post my thoughts on that one.
I too haven’t seen many big amps from that era. I think it there a low volume requirement back in those days. Drummers kept the beat and piano with horns aren’t really that loud. It was all about the song and the singer had to be clearly heard. I’m playing at home mostly with a Guild CE-100 with Franz pickups thru one of 3 amps.
A fender pro jr with very small cab and 10″ stock speaker. Howls like the dickens if I get too close. Had to buy a longer cord to get across the room and away from it. A ’41 Gibson EH-185; lots less less feedback with same guitar and similar amp setting. A ZT lunchbox (solid state) with no feedback on any setting or distance and position from the amp. I’m ready to go with solid state(Quilter) with vintage speaker(s) mounted in separate cab next. Moving to North Carolina in 2 months and hope to find more guys or gals to jam with so need a rig that suits both at home and playing out without the feedback issues. Will also be rededicating toward playing more and wood shedding. Hey, this is what retirement is all about, right? Keep going with this subject!
This is gold. Awesome job putting that together! More, oncore! lol
The part where he discussed “The Pressures of Recording” starting on page 26 was pretty good. A little whiskey to lube things up. He didn’t leave anything out of this. I give him an A+. His rhythm guitar and chord analysis was pretty good too. I had to find the song on youtube as I hadn’t heard this tune before. Thanks for sharing.
Yeah I like Pat Hare tone on Sun Records too. Looking forward to his demo coming out but it may focus on Gretsch guitars. He’s a huge fan. I like to hear them, just don’t play them. Hope he gets some fender single coil and P-90 examples in there. Seems like everybody from the Junior Barnard era favored Charlie Christian pickups so it would be interesting to hear some of that too using this pedal. I messaged him about price. Not cheap but it’s handmade and developed. Come to think of it, it would be nice if you did a review Tommy, lol.
Thanks Tommy, I think that’s right about the B string notch on the CC pickup. Someone (I’ve forgotten who) offers a notched version to order. I’ll probably stick with the Aviator 8 for now as I’m sure it’ll cover most bases for me. Wish I could find one used. They must be good. People seem to hang on to them. I found a short article about his gear setup and it has a little history on Junior and also some good licks to fool around with. Craner was right about the volume pedal which he used so that he could react quickly when called on to solo. I guess Tavo, with Nocturne, has a “Junior Barnyard” pedal in the works. Should be interesting to hear what that’s about when he introduces it.
Hey Mark, I got the Kessel and Barnes methods from Tommy. Not too sure where he got them. I’m pretty sure they’re excerpts of the full method because they’re short. The Barnes estate sells his method. Expensive though. http://georgebarneslegacy.com/george-barnes-the-methods/
Hey Mark, Last night I started delving into the Herb Ellis Swing Blues book which I’ve had laying around for a couple of months (after you reminded me of it with your post) and revisited a thread I’d Briefly seen a while back on the Jazz Guitar online forum. Discovered you’re the moderator for that. Just wanted to say, good job on that. Makes me want to start digging in.
As a side note: Craner mentioned the alterations and that’s where I had problems with Tommy’s lessons. Slowly getting a handle on it. Where was that root note again? Ya gotta keep it in mind to locate the right intervals you need and my mind isn’t what it used to be after years of abuse. I’ve just played folk, blues, and ragtime with limited chord knowledge. Having to think about this stuff is good for the brain.
That’s a great question Mark. I feel that this is one of those subjects that the more info you have access to, the more confusing it gets. As far as I can tell it’s all CAGED because CAGED isn’t really a system. It’s just there and will never change. It can be reinterpreted and therein lies the problem.
I looked at the F-D-A roadmap and after a while could see that it’s just a shorted version of CAGED. For example the C structure lies between the D and A structure by adding 2 notes on the D and A strings. The G structure can be found between the A and F structures by adding 2 notes on the A and low E strings. The E structure can be found directly over the F structure by adding 2 notes on the A and E strings.
Ellis method is really good but even that might add a little confusion to the mix when working with CAGED because it’s a system of the most useful “shapes” with scales and arpeggios over them. This is similar to the book “Swing to Bop” where Stan Ayeroff details all the “forms” used by Charlie Christian.
The Barney Kessel method uses 4 shapes which is really just a version of CAGED. C-Bflat(bar chord)-G-F and then proceeds to get really intricate on fingering requirements to navigate soloing over the chord shapes.
The George Barnes method is almost identical to Kessels .It’ll be good to hear what Tommy’s take on this is.
He’s going to have one hell of an ebay fee bill if it actually sells.
Thanks Tommy, I’ll look into the El Toro records stuff too. Yeah that’s what gets me is the fact he was a teenager and doing that stuff. At that age I was playing “Gloria” wrong with a garage band.
Thanks Craner. That’s a must have for me so I just ordered the cd used from Barnes and Noble for about 16 bucks shipped. There’s a good podcast with Barnes’s Broonzy stuff on there. Pretty sure it’s posted here on this forum somewhere. He had a way of phrasing that’s recognizable as his playing. Thanks again.