LONG ISLAND GUITAR SHOW Kind of a bust this year?
phill...@excite.com
bar..wilkins, Elf, Bertoncini he was especially great..he really can
play a tune.
But, the show was small, not a lot of variety, and its REALLY a LONG
way out on Long Island.
Does it seem to anyone else that all the builders are making guitars
from the same cookie cutter? There are only a few that can really get
some designs goin...Steve Anderson, Mortoro, Manzer...but Steve and
Linda skipped the show this year. Gary only had 4 or 5 guitars with
him. Seems like it was really scaled down.
What was your experience? I dont think im gonna take the trip from
Philly anymore....plus it was depressing to see Rick Derringer hawking
'fret protectors"....a step up from pocket protectors.
What was that about? No good guitar clinics or anything this time.
so...Are guitar shows dying?
Anyone actually buy or order anything?
Love to hear back.
Leggs
A.Most
<phill...@excite.com>Philly anymore....plus it was depressing to see Rick
Derringer hawking
'fret protectors"....a step up from pocket protectors.
that's funny!
Rick Del Savio
favorite Pop Rock idol, Rick Derringer. (I'm not kiddin', I loved this
guys playing when I was 17.) He didn't seem quite as excited to be
meeting me as I was him. There were many empty booths. My great Jazz
moment was watching Vic Juris play at Bill Comins booth. Got to speak
with him, praise his work. Anyway, perhaps the show needs some fresh
blood in the Jazz Bar. Great players they have, but many of the same for
years in a row now. I shot plenty of digital so we'll upload photos to
my site this week. Got to meet Ken Willinger, SKrohn, Joe Finn, and Jeff
Lemond all rmmgj people. More thoughts on this event no doubt to come.
Great topic you posted. RDS
--
Jazz Guitarist/Educator
Check out lessons and original music @
http://www.rickdelsavio.com
ade...@optonline.net
I'm from NJ and I didn't go this year. I've been there the last 5
shows or so but after making the trek all the way out there last year,
I didn't feel it was worth it. They really should consider someplace
closer. I think the distance is keeping people away. If you're not a LI
resident it's really a long way to travel.
Andy D.
joemont...@hotmail.com
Rick Del Savio wrote:
> Well, I just spent two days there and *my* highlight was meeting my
> favorite Pop Rock idol, Rick Derringer. (I'm not kiddin', I loved
this
> guys playing when I was 17.)
Me too...I loved his slide playing on Steely Dan's "Show Biz Kids."
And wasn't he the Hang on Sloopy guy?
JM
PS What exactly are fret protectors anyway?
A.Most
"Rick Del Savio" <rain...@optonline.net> wrote in message
news:4290FEFC...@optonline.net...
> Well, I just spent two days there and *my* highlight was meeting my
> favorite Pop Rock idol, Rick Derringer. (I'm not kiddin', I loved this
> guys playing when I was 17.)
I had an Alex guitar when I lived in Massapequa. Remember Alex of 48th
Street? Anyway, it was a Rick Derringer model & when it was time to pick it
up my main concern was that they got rid of the Rick Derenger engraved Truss
Rod Cover plate. It was funny, that was all I cared about on that guitar -
losing his name...but yeah Johnny Winter Live & Edgar Winter's Roadwork was
great.
Rick Del Savio
guy. But also with Johnny AND Edgar Winter, Cindy Lauper, film work,
lots of production credits. His site has the Fret savers, bio, credits
(loads of them) RDS
Rick Del Savio
Roll record. His guitar playing covered many styles well, to say nothing
of his songwriting and production chops.
Jeff Lange
> *my* highlight was
the Jazz Select booth .. What, I wasn't a highlight?
FYI: The show was not a bust for me but certainly lack-luster for the
attendees, I'm sure. Things are changing.
Jeff Lange
www.JazzSelect.com
"Rick Del Savio" <rain...@optonline.net> wrote in message
news:4290FEFC...@optonline.net...
get...@gmail.com
says, the 10 dollar a day admission is peanuts for the amount of great
live jazz guitar playing you get to experience.
I arrived early on Saturday to cruise the tables before the Jazz Bar
opened. I was somewhat disappointed seeing many empty tables in the
main room. I thought it was because I was early but that wasn't the
case. It doesn't look good for a show to have empty tables in the
middle of the main room.
I cruised around and checked out all the builders. Again I am really
impressed with the Comins guitars. I don't have the money to buy a hand
built guitar but if I did I would buy a Bill Comins.
What I did buy was an Intellitouch Tuner (I was in the market for one
anyway). I picked it up from Jeff Lange (Jazz Select). He had some very
nice amps, Clarus and Reazors Edge cabs and a really nice Evans I covet
(I'm still thinking about it Jeff!). Jeff was the only RMMGJ guy I saw
on Saturday (of course I didn't know who to look for anyway).
After cruising around I settled in at the Jazz Bar. Things started off
great with 2 surprise artists whos names I didn't catch as I walked in
after they started. Some swinging playing and singing. One funny song
about the state of Rhode Island. The next act just got better with Carl
Barry and Joe Giglio. It's the 2nd time I've seen Carl and Joe and
they're great players.
A duo called Aerial Acoustics came next. They're great if you dig the
kind of music they do (which is not jazz and it just doesn't swing).
They did a powerful version of "Classical Gas". Great chops but not my
cup of tea...as we say here on rmmgj.
Gene Berticini played next and that was a real treat. He plays stuff
that should noy be able to be played. How does he hear those inversions
and tensions? Impeccable nylon string jazz guitar.
Jack Wilkins, what can you say. You have to see him. He also had Carl
Barry join him. I was thinking it can't get much better than this.
Then Howard Alden came on. The guy sitting next to me said it was time
to take his gear out to the driveway, pour gasoline on it, light it and
just give up. But it inspired me, especially when Howard invvited Jack
Wilkins to play with him. This was certainly one of the highlights of
the show as far as I can tell. Awesome guitar interplay and
counterpoint. It left you breathless.
Mark Elf continued the show. I like Mark Elf but I did not enjoy this
set as much as others I have seen in the past, although the guy has
incredible single line inventions. He had the bass player sit out when
he brought out his (baritone or tenor) guitar. He admitted he had only
been messing with it for a few weeks.
Frank Vignola was scheduled to play next (and I was really looking
forward to it) but as mentioned in a previous post he forgot which day
he was supposed to play so didn't show up. Instead Larry Coryell who
was at the show was invited to play a set which he did. He came on the
stage with his shock of white hair and told everyone how the northeast
was really an epicenter of great music which he missed since moving to
Florida. Basically he was saying "I love you guys" and then kicked of
into a blues. Larry is really a great guitar player who I've never had
the opportunity to see before. He played an excellent version of In A
Sentimental Mood where he did some cool harmonic things reminiscent of
Tal Farlow. He was then joined by Steve Adelson (the Stick guy) and
they did 4 on 6.
On a final cruise through the exhibit hall I came across Ramo playing
his 8 string guitar at the Rich DiCarlo booth (man those are some nice
nylon string guitars). The 2 bottom strings on the 8 string are
fretless! Wow. It is very cool to watch him play it (and he is an
exceptional player as well). He played a lot of bossa tunes.
It was a fine day of live music.
Day 2 had me arrive with my Hofner Jazzica so I could try out the Evans
amp in the Jazz Select booth with Jeff Lange. (I really like that amp
man. My guitar sounds great through it). Sitting there playing I got a
chance to jam with another cat from the next booth. That was the only
playing time I got in but it was fun!
Wandering over to the Comins booth I was pleasantly surprised to find
Joe Finn talking to Steve Herberman and Mitch Seidman. Steve and Mitch
played a couple of tunes befor Mitch went to start off the first set at
the Jazz bar. Then Rick Stone arrived. That's the beauty of this show.
So many great players in the same spot. We shot the sh*t for a while
and then moved into the bar to see Mitch.
Mitch has a very cool sound happening with his (I think) 18" Monteleone
guitar. He strings it with bronze strings which really give an unusual
jazz treatment. He plays beautifully and did a smoking version of
Jordu, one of my favorite bop tunes.
Following Mitch was the ever funny and wildly talented friend to rmmgj
Jimmy Bruno, playing his Sadowsky model. The guitar did sound lush. I
don't know, maybe I don't know what I'm talking about but I see Jimmy
as the Joe Pass of our generation...and he's gone beyond Joe bringing
in influences of rock, funk, classical and soul, all as a soloist. It
is remarkable. He did a take on Miss Jones that was stunning.
Randy Johnston followed with a set of soulful jazz. He's another
monster player with chops to spare. He was joined by Richard Goldstein
(any relation Joey?) who teaches at a university in Connecticut. It was
fine music from start to finish.
The next grouping was Ray Matuza, Joe Carbone and Peter Rogine. I've
seen this grouping before and it is a fun set. These guys definately
enjoy themselves when they play. It was at this point that I met Rick
Del Salvio (Jeff Lange introduced me) so we got talking and I didn't
pay as much attention to the music. I then spotted Jeff DeMond (Who I
met at the Jazz Summit at the national guitar workshop last year). So
we made our way over to his table, where SKrohn was also sitting, as
well as Steve from this group (who's last name I didn't catch). Joe
Finn also joined us at this point.
We then watched Joe Beck who is an outstanding guitarist. I had never
seen him before. These guys just continue to amaze me. At one point Joe
Finn looked at me and asked "Are those real chords?". Each set just
blows you away again and again. Joe Beck was then joined by Doug
Proper. They closed out the set beautifully.
Mike Coppolla (instead of Trefor Owen who was scheduled next) came on
with an 11 string DeCava guitar. As described in another post it was
remarkable. Again not my cup of tea but truly an amazing thing to see.
Lastly was Rick Stone who was joined by Steve Haberman. This was one of
my favorite sets. They are both great players. Rick plays with such
emotion and lyricism. Each note played is meaningful. They played some
music from his record which was really nice. I was hoping to get to see
Steve play (and I'm glad I did). He also is someone who finds real
beauty in the lines that he plays, with a modern twist that I really
like.
It was fun to see the faces behind the names of some of the cats on
this group. I wish I'd had a chance to jam with some of them but that
will have to wait till the next opportunity. Overall a good musical
experience even though the exhibit itself was somewhat lacking. I agree
that it would be nice to see some other faces on stage at the jazz bar.
Peter Bernstein, Roni Ben Hur, Doug Wamble, there are a lot of
excellent players around the northeast. I'd love to see Vic Juris (I
saw him there but didn't see him play). I just picked up his CD and it
is very good. I recommend it.
I still plan to come back next year. The best $20 you'll spend on live
music ever.
Ken Willinger
http://homepage.mac.com/getken/guitar
Jeff DeMond
though, was catching up with Ken Willinger and Scott Krohn, and meeting Rick
Del Savio, Joe Finn and a couple of the other guys who make their way about
this newsgroup. I arrived on Sunday to catch the last few tunes of Jimmy
Bruno's set and most of what Ken reported after that. I particlulary
enjoyed Joe Beck and Doug Proper's set. I've become partial to the more
lyrical, thoughtful and less-chops-heavy approach, since there's more than
enough of that around, and Doug and Joe were up to the task. (That's also
what puts Gene Bertoncini at the top of my list - always.)
I agree that this venue is sub-par at best. First, it's a million miles
from everywhere (sorry guys from the Island!). Worse, though, is that the
layout is like a dental convention. Nobody had any quiet or private space -
just booth after packed booth. It sounded like Sam Ash on a Saturday
afternoon in there. No place to try to listen to handmade guitars or high
fi amps. Manzer, Moll and Buscarino were absent, as well as others (though
not because of the venue, per se; they had conflicts). I don't know where
they would have put them anyway.
I'd like to see the show move to a classier spot - not upstairs from an ice
skating rink! That's not snobbery (though it might be old age setting in!).
It would just be nice to hear what we all come to hear.
Nonetheless - yes, Ken, Doug Proper and Dale Unger convinced me to buy that
lovely, orphaned 16" 7-string (you could see him twisting my arm, right?).
Got it home, strung it up proper (with some heavy flatwounds, I mean), and
gave it a whirl. It's a keeper, so I hope to see you (and everybody else
here) at the National Guitar Workshop Jazz Summit this summer in
Connecticut, where we can play some and actually hear most of it!
Jeff DeMond
<phill...@excite.com> wrote in message
news:1116779590....@o13g2000cwo.googlegroups.com...
phill...@excite.com
to a place you can get a seat.
but great nonetheless....i forgot to mention one major highlight for
me...5 months ago at the philly show, i saw the new Bennedetto Bucky
Pizz model.
It was priced at Legato at 4500 dollars.
I saw it at the show on sat for 3300!!
Anyone know if it got sold?
A.Most
news:uxdke.22269$Ee6...@fe12.lga...
> Nonetheless - yes, Ken, Doug Proper and Dale Unger convinced me to buy
that
> lovely, orphaned 16" 7-string (you could see him twisting my arm, right?).
> Got it home, strung it up proper (with some heavy flatwounds, I mean), and
cool! Congrats.
GregD
Greg
"get...@gmail.com" <get...@gmail.com> wrote in
news:1116817254.4...@g47g2000cwa.googlegroups.com:
Dean
performances. For me, when Howard Alden and Jack Wilkins played "How
Deep Is the Ocean?" and "Someday My Prince Will Come," it was
memorable. The interplay worked better for me than anything I have
heard in a long time. They performed on a level and in a style that
feeds the listeners' senses intellectually, emotionally, and with a
sense of playfulness.
Slightly funny story--I was sitting at a table, eating all day (food
was good for a "faux" New Orleans joint in a kiddie entertainment
venue), next to my lady. She got up to walk around, and at that moment
Larry Coryell's party sits down at the table next to me. I got up and
moved over to the next seat to give him a little room (the seating is
pretty tight, befitting the venue), and he commented that he was
pleasantly surprised with the polite consideration in New York. I
reminded him that we were not in the City, but that such consideration
is typical among New Yorkers, even in the middle of Long Island. When
my girl gets back from her ramble, the seating arrangement is a little
crowded. She was on her good behavior, and didn't punch him out for not
moving over a little. It was a hilarious moment. By the way, my money
would have been on her to take him out in the first round.
When it was announced that Larry was playing because Frank Vignola
forgot which day he was booked for, the two other guys sitting at the
table with us asked us if "that" was Larry, heading for the stage. We
assured him that it was, and one of them said, "Wow. He's gotten really
old!"
I got very little from the showroom, as there were a total of three
left-handed instruments in the show, including a Rickenbacker
six-string, and a Warrior ... or Warlock??? ... Jimi Hendrix model
(lefty Strat body, but strung righty), and a $10,700 archtop made by a
guy from New Hampshire named Solomon. I played it, but was not really
impressed. His business card had a free pick attached, so I did not
leave the show empty handed.
My only regret is not having the opportunity to go on Sunday too.
Travelling on the Long Island Rail Road on the weekends is fairly
relaxing, and the whole trip each way was under two hours, including
the 10 minute cab ride. It takes almost as long to get to Brighton
Beach from Astoria on MTA subways.
Dean
All
Joe Finn
> bar..wilkins, Elf, Bertoncini he was especially great..he really can
> play a tune.
> But, the show was small, not a lot of variety, and its REALLY a LONG
> way out on Long Island.
> Does it seem to anyone else that all the builders are making guitars
> from the same cookie cutter? There are only a few that can really get
> some designs goin...Steve Anderson, Mortoro, Manzer...but Steve and
> Linda skipped the show this year. Gary only had 4 or 5 guitars with
> him. Seems like it was really scaled down.
> What was your experience?
To me this show continues to be the biggest and greatest jazz guitar event
of the year. Where else can you hear the likes of Coryell, Elf, Stone,
Herberman, Beck, Bruno, Siedman, Alden, Bertoncini, Wilkins, Vignola,
Johnston, Juris, Christiansen, Proper, Giglio, Ramo etc.? The variety and
sheer volume of music this gathering produces is simply not to be heard
elsewhere.
It's also great just to touch base with old friends and acquaintances and of
course to make new ones.
For gear heads it goes without saying that this show is hog heaven.
>
> so...Are guitar shows dying?
I would say no.
>
> Anyone actually buy or order anything?
I bought the usual new cds and guitar strings. ......joe
--
Visit me on the web www.joefinn.net
kjs
this is my first post.
I was at the show this weekend. The playing was great of course and the
reviews posted are right on. I know the guitar that phillyle is
referring to, its from the Music Zoo (Benedetto Bucky 7 in oppulent
brown), but don't know if it sold. About a month ago I played it and
ended up buying the antique burst version from them. It's my first 7
string. Since I have yet to see a review of this guitar, I will give
one. Before I do I will tell you a little about my background so you
have a frame of reference.
I gave up my pro aspirations 20 years ago. Actually put the guitar down
for 10 years. Started playing again when I ran into an old friend and I
got inspired. Plus I found a slew of Joe Pass Videos and transcriptions
that had been produced during that time that I would have killed for in
the day.
Anyway dusted off my D'Aquisto Jim Hall electric and for some reason
didn't click with the nut size and scale so I searched around and ended
up with a 1995 Gibson Wes which I really love. Went from 12 guage to 13
gauge Chromes dug in and two years later wrecked my left hand playing
JP Solo transcriptions. It took two years to heal and I have been very
careful since starting again.
Why the 7 string? Just to entertain myself. Always loved George Van
Epps and years ago went through his Solo jazz guitar book and method
and loved those tunes. Recently went through the first page of his 6
string version of Tango and incorporated the 7th string and it really
feels right. So I am going to give the 7 string a whirl.
Now the guitar.
When I first picked it up I couldn't play a thing. Could not find the
4th string with either my right or left hand. It took about a week to
get used to the 7th string. It has a very comfortable 25 inch scale
and a 2 1/6 nut which lets me easily access the 7th string. It is a
very even guitar, it has no hot spots or dead spots which means you
don't get distracted by that stuff when you play. It is pretty loud
accoustically and has a very clear somewhat bright tone when played
with a pick. I play strictly fingerstyle with no nails and that darkens
it up quite a bit. Plugged into my mini brute II it sounds great. It
seems to really be voiced for that 7th string. Sometimes my L5 would
get thin on the 1st string which would bug me. I know the tone is in
the hands, but with these hands thats what would happen.
Mostly I have been moving my 5th string voicings to the 7th string
which really fills everthing up. I also bought Buckys new solo guitar
book (with two CD's)and have worked through a couple of those tunes.
Truthfully the biggest transition for me has been trying to get used to
the pure nickel wounds that come with it. They really chewed up my
fingers, but they have a ringing tone you don't get from the chromes,
so for the moment I am staying with them. Also the fret board has no
inlays so that takes some getting used to.
Because of my hand issues I like low action. I had the frets leveled
and the action is SUPER low with no buzzing. really just amazing
action.
I paid $3600 which I really feel is a no risk price for someone who
doesn't know if the 7 is for them. Should easily be able to get my
money back if it ever came to that. To Phillyle's earlier point, I see
it on the Web for about $4,700. Not sure how it compares with a Moll or
an Unger, but I am happy with it.
pmfan57
play, as well as others. Saw Joe Finn jamming with Rick Stone at
Comin's booth. Saw Jimmy Bruno play with Dan Adler, and Dan Adler play
with Rich Bornman. And caught Jimmy Bruno's set as well as that of Rick
Stone and Steve Herberman. Both sets were great.
Saw Steve Howe purchase Jimmy Bryant bio "Fastest Guitar in the
Country" and the non-Pettinger bio of Bill Evans. In addition to
playing well, he obviously has good taste.
It would have been nice to have caught Benson at Mortoro booth like at
past shows, but what can you do? I don't think he showed up last year
either??
I was glad I got to be there Sunday. I was out of town Saturday and
wasn't sure I'd get back in time to see any of it.
Still EASILY worth the $10 admission, just for the CD discounts at the
Mel Bay booth. (Got Jimmy's, Corey's and Vic Juris' new Mel Bay CD's)
A.Most
Steve Herberman
set of music.
Steve
> The last set was by Rick Stone, Steve Herberman and my buddy Dave
> and a bass player.
> Rick played some excellent compositions of his own, along with
> "ATTYA"
> and a blues in F.
> Rick is an excellent player, very lyrical and inventive.
> Everything he played was a melodic idea, rather than what I play,
> which are moronic ideas:)
> Steve Herberman is a fucking genius, and someone here should try to
> get rid of him somehow, cause I'll never play better than this young
> mother!
> I once made the statement here that I've never heard anyone burn
> with their fingers- I guess I've got to take that statement back now.
> Then, he'd switch to a pick in the middle of his solo, and keep the
> same great flow of ideas going, with impeccable time and execution.
> My buddy Dave did his typically tasteful thing on drums, and the bass
> player did a fine job also.
> Jazz is always going to be a bust businesswise (if you don't know
> this by now, I don't know what to say) but how it was musically is the
> only thing that matters.
>
Steve Herberman
you.
Steve
Steve Herberman
again. Thanks for the kind words Joe.
Steve
"pmfan57" <jwra...@aol.com> wrote in message
news:1116871776....@z14g2000cwz.googlegroups.com...
pmfan57
Steve, Jimmy Bruno, Corey Christianson, Vic Juris. Great day. Nice
fellows all.
Nicest thing is how approachable everyone is in jazz guitar. I talk to
Jimmy, he hands me his guitar and says "tell me how you like it".
Cool.
Max Leggett
>Doh! Forgot to mention: got to meet Steve Herberman, and talk with
>Steve, Jimmy Bruno, Corey Christianson, Vic Juris. Great day. Nice
>fellows all.
>
>
>Nicest thing is how approachable everyone is in jazz guitar. I talk to
>Jimmy, he hands me his guitar and says "tell me how you like it".
That's the time to do a Townsend, look at the splinters, and remark
how it wouldn't do much damage to a Marshall stack, but to each his
own.
-------------------------------------------------------
Is it not strange that sheep's guts should hale
souls out of men's bodies?
Willie 'The Lion' Shakespeare
-------------------------------------------------------
pmfan57
anything like that.
I just watched Rock and Roll Circus, which I purchased recently, last
night. The Who did "Quick One." "My name is Ivor, I'm and Engine
Drivor." Crazy lyrics.
Joe
bob r
jwra...@aol.com wrote on 5/23/05 6:39 PM:
> I just watched Rock and Roll Circus, which I purchased recently, last
> night. The Who did "Quick One." "My name is Ivor, I'm and Engine
> Drivor." Crazy lyrics.
"We have a remedy..."
Boy, is that ever a goofy piece! I especially like the part where they're
all singing "Cellos, cellos, cellos" because Townshend had originally wanted
cellos to play the part but the record company wouldn't spring for it!
--
Bob Russell
http://www.bobrussellguitar.com
http://www.cdbaby.com/bobrussell
get...@gmail.com
Hey, I'm not as bad a typer as Jimmy Bruno!
Ken Willinger
http://homepage.mac.com/getken /guitar
JimSoloway
bunch of guitars, and generally had a wonderful time. My only regret is
that we were so busy with our own booth that I didn't really get to see
much of anything else and I didn't get to set foot in the jazz bar.
I got to spend a bit of time with Richard Bornman, Jeff Lange, and Steve
Herberman. Musically, the highlights were probably seeing Romo do his
magic and listening to Steve Herberman playing my 7-string. It definitely
sounded a lot better than when I play it.
It was a serious haul to get out there with all our stuff from Oregon, but
I'm certainly planning to be back next year.