The Jazz Guitar Chord Dictionary
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  1. #26

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    So the answer is (IMO) use whatever you want! It won't make a big difference. It is more about how you play than what type of guitar you play.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    There is a broad spectrum, or perhaps a continuum, these days between the traditionally classical and the traditionally flamenco. There are "hybrid" guitars that blend characteristics of both archetypes. The best modern builders know how to finesse the bracing and bridge setup to achieve the player's desired characteristics.

    I play such a hybrid. It's a flamenco with a cedar top, cypress back and sides (blanca), set up for low action, but braced for a more open and overtone-rich sound. It excels at bossa and jazz playing, which is one of the things I asked the luthier to do for me when I had it built a few years ago.

    Fact is that while bossa is thought of as "warm," jazz proper is much easier to play on a low action nylon string with a quick response and not so many deep ringing overtones. That's a flamenco guitar.

    Joao Gilberto is most well known for playing a Di Giorgio Tarrega model, a Brazilian made classical guitar near the top of that company's line of mostly lesser quality partial-laminate instruments.
    Last edited by rpguitar; 12-28-2014 at 01:22 PM.

  4. #28

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    Quote Originally Posted by rpguitar
    Fact is that while bossa is thought of as "warm," jazz proper is much easier to play on a low action nylon string with a quick response and not so many deep ringing overtones. That's a flamenco guitar.
    That makes sense. But I guess there is a spectrum here from rich tonality and warm, but more difficult to play, to easy to play, but sacrifice in some tone. I understand that with the newer guitars the sacrifice isn't as great as it used to be. I know in the classical there is some contention about double tops not being as tonally rich as traditionally braced guitars but they are proving that they sometimes are equally if not more rich in tone. I had not considered the evolution in guitars.

  5. #29
    destinytot Guest
    Great comment by rpguitar (about hybrid construction) - that explains a lot about why I'm happier using a second-hand (and rather beat-up) Camps flamenco CE-800 than the fancy, nylon-strung 'electro-acoustic' (?) Ovation I had a when I first started playing in public.

    And rpguitar's maxim says it all - Gear don't mean a thing if ya can't make it sing.

    I taught myself to play by imitating João Gilberto. I find his particular genius is in marrying his innovative guitar playing with wonderful singing that shows - if proof were needed - that Beauty is universal.

    For me, what distinguishes great singers is not their 'instrument(s)' but their phrasing. I see Louis Armstrong, Peggy Lee, Billie Holiday, Chet Baker, Frank Sinatra - and others I could mention - as Time Lords, whose singing is rhythmically and prosodically 'sound'.

    I put João Gilberto next to Nat 'King' Cole; firstly because playing an instrument while singing puts them in decisive control of the inside-outward flow of music from the body to the listener, and secondly because both have a rare subtlety to the their sound that is hypnotic and Zen-like in its Beauty.

    I've come to realise that these qualities don't defy close scrutiny or careful study, and that technical results can be measured and, with practice, reproduced on whatever instrument one happens to have.

    I've had a decent LR Baggs p/u fitted to my Camps - the previous owner fitted a Fishman which I din't like at all- and the sound through the preamp of my RE200 amp is surprisingly good to my ears.... but I much prefer using a condenser mic.

    I still sing and play several of João Gilberto's classics, but mostly so I can practise 'hearing (and responding)' by improvising vocal harmony and singing counterpoint with like-minded friends.

    (There are some great players and teachers here, but I'd like to try and give something back to this forum by sharing what I've picked up about the João Gilberto guitar style with anyone to whom this might be of interest. Please feel to PM or post here.)
    Last edited by destinytot; 12-28-2014 at 11:13 AM. Reason: spelling and punctuation

  6. #30

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    Personally I'd love to hear it, destinytot, and posting for all to see would be better than a PM in my opinion.

    João's playing is so understated and "perfect" for the style (which of course he partly invented) that it sometimes goes unnoticed as mere background music. But it is hardly simple; it is his soft tone, perfectly relaxed rhythm, and clever voice leading that makes him so brilliant.

    I too play numerous Jobim, Valle, and Veloso tunes... I just wish I had such a sublime ability to sing and play simultaneously as João does.

    BTW my guitar was built by Danish luthier Anders Eliasson in 2008. He lives in Granada, Spain.

  7. #31

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    Quote Originally Posted by rpguitar
    Joao Gilberto is most well known for playing a Giannini Tarrega model ...
    Actually it's a Di Giorgio Tarrega model, not a Giannini!

    Portuguese only, sorry ... O violão de João Gilberto

  8. #32

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    Quote Originally Posted by CarlosCampos
    Actually it's a Di Giorgio Tarrega model, not a Giannini!
    God, yes of course and I absolutely knew that but my brain misfired. (Post corrected) Thanks!

  9. #33

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    ^Ok!

    According to the article, today he uses a Ignacio Fleta guitar. His Di Giorgio had a crash, was fixed but never sounded the same. Also JG use LaBella's 850B strings. His guitar has no electronics, he prefer the AKG 414 condenser microphones and the expertise of Ken Kondo, his preferred sound engineer.

    Personally, for bossa, I use a custom made guitar by luthier Emanuel Carvalho, made of Brazilian rosewood laminated on bottom and sides and solid Canadian Cedar top.

    https://www.flickr.com/photos/carlos...7627384932419/

  10. #34
    destinytot Guest
    Quote Originally Posted by rpguitar
    Personally I'd love to hear it, destinytot, and posting for all to see would be better than a PM in my opinion.

    João's playing is so understated and "perfect" for the style (which of course he partly invented) that it sometimes goes unnoticed as mere background music. But it is hardly simple; it is his soft tone, perfectly relaxed rhythm, and clever voice leading that makes him so brilliant.

    I too play numerous Jobim, Valle, and Veloso tunes... I just wish I had such a sublime ability to sing and play simultaneously as João does.

    BTW my guitar was built by Danish luthier Anders Eliasson in 2008. He lives in Granada, Spain.
    I live in Valencia, but I know Granada reasonably well (and have friends there).

    I'm posting an example from a live performance that was recorded on VHS in the UK - which dates it! There was a lot of supportive listening going on from fine and sensitive musicians, making it possible to play that guitar acoustically.

    Tomorrow I'll make a little tutorial video to post here as an introduction to playing in this style. Should I cover singing while playing (as well as the guitar style)?

  11. #35

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    Astrud & Emily.

  12. #36
    destinytot Guest
    GIRL FROM IPANEMA with the same great band plus Anthony Kerr on vibes, and recorded live on a little stage at London's Pizza on the Park (before it became a hotel).

    https://soundcloud.com/mike-mckoy-2/descarga-download-girl-from

  13. #37

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    Neither. Get D'Addario ball-ended nylon strings amd futz with those for a while.