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If you click on this link and scroll down to "Listen" then hit the arrow to go to the second recording you can hear Julian Lage improvising on Steve Miller's Centura that's at the MET.
https://www.metmuseum.org/art/collection/search/506807?searchField=All&sortBy=Relevance&wh o=D%27Aquisto+James%24James+D%27Aquisto&ft=*&a mp;offset=0&rpp=20&pos=1
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07-06-2021 07:38 PM
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Well ... yes, this is def. an acoustic/non-amplified guitar but the absolute ABSENCE of any fingernoise lead me to think that a) he used flatwound strings and b)
makes me wonder whether he would actually use flats on his solid-wood D'Aquisto model(s) ... ? The tone is not really deep and resonant, the highs are somewhat restrained and which exact guitar could he have used there actually ? Still a mystery to me ....
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Dave Baney was a great player on the Cincinnati and Chicago scenes. I sadly couldn't find any good pictures on the internet, but heard him many times on the late 80's - early 90's Chicago scene, sounding wonderful on his Jim Hall style D'Aquisto.
As far as D'A 'inspired' instruments, when I hit the NY scene in the mid-90's, Jim Hall introduced a young me to young luthier Stephen Marchione, he thought we could build our careers together like he did with Jimmy....
PK
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Love the tone & playing of Emily Remler on her Borys:
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Wow! Now I know why this guitarist I knew started grumbling, "First it was Joe Pass, now I gotta worry about Emily Remler?
Originally Posted by helios
Forget it, I'm givin' up!"
I feel the same way, and she's playing the same guitar as mine, so I can't even make any excuses!"
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Funny thing about Emily, a drummer friend went to Berklee when she did and says she couldn't play her way out of a paper bag back then.
Guess she got better.....
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I think she talks about this on one of her instruction videos, as I recall she says she shut herself away for a few months with a metronome and a tape recorder, and practised 24/7 until she could play all the changes and keep good time.
Originally Posted by wintermoon
Sounds a bit like that account of Charlie Parker initially not sounding too good, then he went away for the summer and practised 15 hours a day or something, then came back a completely different player and blew everyone away.
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^ & deciding to move to New Orleans & play everywhere she could seems to have worked out...
Originally Posted by grahambop
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And when Rbt. Johnson was starting out, seeing Son House play, he would play Son's guitar while Son was taking a break. Returning from break, Son would be greeted with complaints that RJ was stinking the joint up. He had to admonish young Bob to cut that out.
Originally Posted by grahambop
Starting out, I sucked real bad. after years of assiduous study, I still suck, but less notceably. Not so much i don't get paid.
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Yeah, she was a very driven person after, and/or at Berklee, and she was driven to be a better jazz player, not to be famous.
Originally Posted by wintermoon
She'd play with anyone that she could learn from. She played and/or studied with two guys I know who were fairly obscure. Herb Ellis was so impressed with her that he helped her out with her career.
Living with Coryell was a big mistake.



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