The Jazz Guitar Chord Dictionary
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  1. #101

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    Disappointed that nobody noticed the sire archtop to Carlton's left!


    Namm '24-carlton-jpg

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  3. #102

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    here's carlton playing the sire archtop. Sounds a lot like a metheny guitar.


  4. #103

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    Quote Originally Posted by jzucker
    i dunno man, a $6k guitar with plastic binding doesn't do much for me..
    I totally agree, at a certain price I start looking for really well done multi ply or wood binding. And in the pickup? Seems a bit forced to me.

    The black I don’t mind so much, love Vinnie's black L5 for instance.

  5. #104

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    Quote Originally Posted by Hammertone
    Not much happening in the archtop world to be seen at NAMM. Sad, but makes sense, given that hollow archtop guitars are teeny percentage of guitar sales. Prototypes of the Metheny CC model were on display over in Ibanez land, locked in their holders. Cheap little laminated guitar w/a CC pickup.
    Whoa that's cool! Given the 'prototype' moniker is this something they're planning on releasing or is it still just within the realm of possibility? There are surprisingly few CC factory equipped guitars on the market.

  6. #105

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    If Sire is getting into the archtop arena, and if they price it far below the competition, hopefully it will encourage more players to venture into the jazz arena.

    Ibanez and Eastman have certainly done their part, building good quality archtops at comparatively low prices.

  7. #106

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    Quote Originally Posted by Gitfiddler
    If Sire is getting into the archtop arena, and if they price it far below the competition, hopefully it will encourage more players to venture into the jazz arena.

    Ibanez and Eastman have certainly done their part, building good quality archtops at comparatively low prices.
    The one difference I see between my sire bass and some of the cheaper ibanez products is that the hardware and pickups are top notch. No need to change anything. Whereas the Ibanez LGB30 had a pickguard bracket that was made with such cheap metal that when I received it. it was flatted almost to the guitar. I was surprised it didn't tear out of the wood but I was able to easily bend it back into position without any tools. The switches and pots all feel really cheap. The sire is on par with an American fender in terms of parts quality. I don't feel the need to change a thing, and while most guitars don't have a preamp to compare, the preamp in the sire is head and shoulders better than those of the lower quality basses that ibanez is making in china or korea.

  8. #107

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    Quote Originally Posted by Oscar67
    A new and kind of different hollowbody from Collings.

    Eastman launches the D’Ambrosio series of solidbodies, some of which might be of interest to jazzers (such as the Tele clone with CC pickup). Handmade in California, not China. I’m curious to see how much extra quality those offer in exchange for the extra money.
    I happily own a Collings acoustic (and have owned several others), but that black hollowbody is hideous.

  9. #108

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    Quote Originally Posted by Jim Soloway
    Given the elegance and quality of some of Collings' guitars, I'm willing to cut them a LOT of slack on their hyperbole. Are their guitars worth the money? That depends on both your wealth and your priorities. I play a tricked out Mexican Mustang so obviously I'm not willing to spend that kind of money but I have to say I have really enjoyed playing their guitars and even just looking at their guitars when I've had the opportunity. When I look at detail work like I see in this photo, I can certainly see why others would be more willing than me. That's more than just hype. (And the particular guitar being discussed has both some stunning cosmetic details, much of which are based on the use of the binding. coupled with a 24 1/8 scale length, a feature I would be willing to pay for).

    Attachment 108306
    I own a superb Collings D3, and have owned several other acoustics from them over the last 16 years. But their never-ending price increases over the last 3 years have (for me) put them in the "not worth it" category now in terms of new guitars. Their new prices are just stupid. At least used ones can be found at somewhat reasonable prices, mostly via individual sellers.

  10. #109

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    Quote Originally Posted by jzucker
    here's carlton playing the sire archtop. Sounds a lot like a metheny guitar.

    Where are the guy's who insist Larry is not a jazz guitarist?

  11. #110

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    Quote Originally Posted by nyc chaz
    Where are the guy's who insist Larry is not a jazz guitarist?
    Who says that? He studied with Joe pass!

  12. #111

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    Quote Originally Posted by jzucker
    Who says that? He studied with Joe pass!
    There was a thread on Carlton in the Player section where guys were dubious about him being a jazz guitarist which i totally disagreed with.

  13. #112

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    Hi - there’s an interview with Pat saying its coming out this year and an Ibanez rep said in a video that it would be in stores in August.

  14. #113

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    Quote Originally Posted by jzucker
    Who says that? He studied with Joe pass!
    Jack, I studied Joe Pass, bought almost all of his recordings, and methods literature, and once in '72 almost attended a masterclass in the Bay area but was too broke to afford it. If someone said I didn't play jazz I would say they're full of schlitz too!
    That is funny!

  15. #114

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    Quote Originally Posted by nyc chaz
    There was a thread on Carlton in the Player section where guys were dubious about him being a jazz guitarist which i totally disagreed with.
    The nay sayers were going by the fact that Carleton did a huge amount of studio work. So did Barney Kessel, Joe Pass, Lee Ritnour, etc,etc.
    Hey, studio gigs pay the mortgage/rent.

  16. #115

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    Quote Originally Posted by O Ganso
    Hi - there’s an interview with Pat saying its coming out this year and an Ibanez rep said in a video that it would be in stores in August.
    Very interested in the price point.

  17. #116

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    Quote Originally Posted by andrew
    It seems that bringing back the world's most iconic archtop guitar after a 5 year hiatus will just have to wait because this week Gibson announced ANOTHER signature Metallica guitar.

    I get that the archtop market is small, but is the market for '80s metal signature guitars really as big as the new leaders of Gibson think it is? There's been a never-exhausted supply of them the last few years. I don't blame them for doing what they like. Heck, if I ran Gibson, I would make guitars that I wanted too (which just so happens to mean archtops).
    Thanks for the heads up!!

  18. #117

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    Quote Originally Posted by Doug B
    The nay sayers were going by the fact that Carleton did a huge amount of studio work. So did Barney Kessel, Joe Pass, Lee Ritnour, etc,etc.
    Hey, studio gigs pay the mortgage/rent.
    I think it was more the fact that he put out some smooth jazz albums and also had the ability to play other styles that bother the naysayers.The fact that Carlton was smart enough to make some cash and not need a gofundfme page in his elder years seems to bother those that have these antiquated notion's of being an artist.

  19. #118

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    Quote Originally Posted by nyc chaz
    I think it was more the fact that he put out some smooth jazz albums and also had the ability to play other styles that bother the naysayers.The fact that Carlton was smart enough to make some cash and not need a gofundfme page in his elder years seems to bother those that have these antiquated notion's of being an artist.
    This place can be harsh sometimes. I remember one guy putting me down because i mentioned in a video that I was the author of "blah blah blah" and he said that jazz shouldn't be monetized...

  20. #119

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    Quote Originally Posted by nyc chaz
    I think it was more the fact that he put out some smooth jazz albums and also had the ability to play other styles that bother the naysayers.The fact that Carlton was smart enough to make some cash and not need a gofundfme page in his elder years seems to bother those that have these antiquated notion's of being an artist.
    The folks who put him down for doing the smooth stuff probably couldn't take a convincing solo over a two chord smooth jazz vamp.

  21. #120

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    Quote Originally Posted by nyc chaz
    There was a thread on Carlton in the Player section where guys were dubious about him being a jazz guitarist which i totally disagreed with.
    That ATTYA qualifies him in my view. But, "jazz guitarist" doesn't do him justice.

  22. #121

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    Quote Originally Posted by mr. beaumont
    Yeah, that fatboy with the DeArmond is my jam.
    A guy I know has one of those (or last year's version, anyway). It sounds really good.

  23. #122

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    Quote Originally Posted by jzucker
    This place can be harsh sometimes. I remember one guy putting me down because i mentioned in a video that I was the author of "blah blah blah" and he said that jazz shouldn't be monetized...
    That person is stupid.

  24. #123

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    Quote Originally Posted by rpjazzguitar
    That ATTYA qualifies him in my view. But, "jazz guitarist" doesn't do him justice.
    Ok I'll bite lol. ATTYA ?

  25. #124

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    Quote Originally Posted by Sleeko
    Ok I'll bite lol. ATTYA ?
    All The Things You Are (the tune LC is playing in the clip from NAMM)

  26. #125

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    Quote Originally Posted by John A.
    All The Things You Are (the tune LC is playing in the clip from NAMM)
    Ah of course and thank you John. I looked at that and didn't even know where to begin.