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Originally Posted by Gitfiddler
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08-21-2019 09:38 AM
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Originally Posted by Woody Sound
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Originally Posted by Thoughtfree
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Originally Posted by mr. beaumont
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Originally Posted by Woody Sound
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The debbil wants you to trade your 335 for a Tele.
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The are many varieties within the jazz family. I'm old school as anyone. Nonetheless, here's a favorite of mine. It doesn't have the wide dimensions of a large archtop, but it works.
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Originally Posted by Marty Grass
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Larry Carlton started it in the 70s. No one played a 335 before he became popular as a studio player back then. Everyone said, "I'm gonna be a studio player like Carlton, and play with Steely Dan, Michael franks, etc..
If we string anyone up, I say let's start with Larry Carlton. Everything should take care of itself if we get rid of him.
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For me, it was this guy. But it was Larry Carlton and his clones , who inspired me to wreck my 1960 ES 345 by installing a brass nut, bridge and higher output pickups.
Cream - Crossroads (Farewell Concert - Extended Edition) (5 of 11) - YouTube
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Originally Posted by sgcim
Justin Hayward (moodies) Ritchie Blackmore (Deep Purple) Alvin Lee (TYA) Clapton.
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Alvin Lee !
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Hank Garland kept playing it so they eventually had to give him a signature guitar just to make him stop
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Originally Posted by rabbit
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Originally Posted by average joe
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Originally Posted by rob taft
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Originally Posted by sgosnell
Originally Posted by Woody Sound
I almost turned down the blonde 355 because of the Bigsby, but it turned out to be one of my favorites and for about a year I used it for all my non-jazz gigs. I learned two things during that period: I really enjoyed the Bigsby, and it was time to find smaller and lighter guitars for stand-up gigs.
Originally Posted by Jimmy Mack
Danny W.
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Uh, Larry Carlton was not the first. There were lots of players using a 335-style guitar back in the day, especially Chuck Berry, Roy Orbison and Grant Green. I think Lee Ritenour started out on a 335 as well. And of course the rock guys.
McLaughlin also used a 335 for awhile in the 70’s.
In terms of popularity re’ jazz at least there’s little question Mr. 335 has popularized that guitar more than anyone. Ironic that his most famous solo, Kid Charlemagne, is performed on a Tele.
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Originally Posted by Doctor Jeff
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Originally Posted by Doctor Jeff
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Lucille.
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Originally Posted by Doctor Jeff
The Story Behind The : Larry Carlton's sessions with Steely Dan and Joni Mitchell
"A few words on Larry Carlton’s celebrated guitar tone are in order. We start with the amp. Remembering that session, he also recalled: 'I can’t remember why but I decided to take my little Tweed Deluxe with my 335 and that became my lead sound with Steely Dan.'”
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These are broad stroke comments. History often is best understood that way.
There were archtops for decades that were essentially tuned percussion instruments.
Pickups were added and solo guitar became a thing. This rapidly led to the dedicated electric guitar, which allowed loud solos.
Innovation went rampant. There were different types of pickups, bridges, and circuits. The vibrato was another that emulated the Hawaiian lap steel and the pedal steel effects. These made the electric guitar a distinct species.
The Gibson semi-hollows, especially the 355, commonly had Bigsbys on them in the 1950s and early 1960s. These semis also might have stereo, Varitones, and gold hardware. The era had cars with big fins. It was a time in which "more was more". Everything was put on these instruments to add to the glory of them. The Bigsby plant was next door to Gibson in Kalamazoo, not by coincidence. The 355 had a lot of real estate on its top to fill. A large gold Bigsby took up that space. The Maestro didn't need all of the tailpiece gold to function.
The smaller solid bodies were also guilded in the high end models. The more gold, the better.
My point is that function wasn't the only factor driving design. Bigsbys were cheap for Gibson to install and, for many, added to the visual appeal. Look at the competition at the time.
Now we are more practical and less garish.
For those of you old enough to have gone through the era when the wah wah and fuzz tone pedals were introduced, you'll recall how grossly overused these were. The first artistic use of the wah wah came years later with Jimi Hendrix. The Bigsby also went through that roll out where it was overdone in the 50s and early 60s. Now it is expected to be used sparingly.
So the original topic was about the 335 and jazz. Step back and ask the foundational question, what is jazz? Can it include an electric instrument like the Hammond B3 with Leslie speakers? There's some weird, non-traditional jazz sounds. How about quarter tones?
Push it more toward the present, 40 years ago. Did Jaco and his band play Jazz? I think so.
This conversation is about lumpers vs. splitters, traditionalists vs. innovators, small vs. big tent. It's all fun.
The big question is whether this is where jazz goes to die, on some obscure planet and in the hands of humanoids.
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Originally Posted by jorgemg1984
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Originally Posted by Marty Grass
Getting hung up on rhythms when transcribing
Today, 11:59 AM in Ear Training, Transcribing & Reading