Roger Edison Jazz Rhythm Guitar - Help

[srs]

Thanks for filling in the blanks on the titles of the 7 jazz progressions. Progressions 6&7 are handled much differently than 1 through 5. There isn't a direct tie to chord grids or bass string#/fret# to provide the reader with the Mr. Edison's intended chord selection. How have other users of this book worked successfully through progressions 6&7 without these prompts?
Thanks

[monk]

Thanks for filling in the blanks on the titles of the 7 jazz progressions. Progressions 6&7 are handled much differently than 1 through 5. There isn't a direct tie to chord grids or bass string#/fret# to provide the reader with the Mr. Edison's intended chord selection. How have other users of this book worked successfully through progressions 6&7 without these prompts?
Thanks

By the time students have worked their way through page 55, learning the examples and exercises, they should be able to choose which voicing or voicings to use. If you have internalized pages 1 through 55, you should be prepared to tackle the last nine pages. Once the student has arrived at this point, he or she should have enough experience with the information to make informed choices of what to play. There are options but those options are your choice.

Self-study books of this type are written with the intent that as one works through the material they will reach a point where the "training wheels" come off. If you've given pages 1 through 55 their due diligence, you should start applying what you've learned. If you've skipped through the book to get to the "juicy stuff", go back to page 1 and do the work. If you have applied yourself to this material, then trust in yourself and start playing.

Regards,
Jerome

[MarkRhodes]

Monk is wise. Heed his words.

[mpleach]

Good question and good answer. What led me to find this thread and get involved with it was being drawn back yet again to Edison's book and realising more than I had before how much I had simply endgained and cherry-picked what Monk terms the 'juicy stuff' (like progression 5) without paying attention to the logic of the lessons. This time, I have been able to rapidly work through all the material and filled in a lot of missing gaps and can see exactly what Monk suggests must be Edison's intentions for the last two progressions. What I've realised this time round is how good Edison's book is. Coming to it from Randy Vincent's Three-Note Voicings and Beyond it's possible to see that Edison was suggesting the same kind of tools in a more economical form years before. It just seems that you need to 'know stuff' to realise the value of what he's getting at!

[monk]

Once again I need to correct some misinformation that I've posted here.

In an earlier post, I said that Roger Edison had lived Chicago and played with Jethro Burns after Homer Haynes died. In fact, the guitarist who briefly played with Jethro at that time was Ken Eidson. The similar last names and the passage of led me to make an incorrect connection.

However, further research into the current availability of Roger Edison's books has led me to a couple of webpages that state that Roger Edison was a pseudonym used by prolific guitarist/author/arranger Dan Fox who edited the seminal The Art of the Jazz Guitar Charley (sic) Christian in 1964 for Regent Music Corp.

According to an article in the Tampa newspaper, Mr. Fox is retired, living in Florida and arranging for a big band in the Tampa Bay area.

Dan Fox and the Rhythm Kings have a blast with 1920s jazz | Things to do in Tampa Bay | Tampa Bay Times