Monday, 28 February 2011


How much would you need to dish out for this great condition classic pedal?? Find out at the end of the post!! (This is definately not for the players!)

Here's the blurb from the seller


1973 Colorsound Overdriver!
100% Original in Excellent Condition! Looks GREAT, Sounds AMAZING!
Worldwide S&H!

For your consideration is this vintage 1973 Colorsound Overdriver overdrive/distortion/boost guitar pedal. Nearly identical to the rare late-1960s Colorsound Power Boost, this is the amazing pedal made famous by Jeff Beck on "Blow by Blow." This skinny, gun metal gray, box produces the most lyrical and musical distortion/overdrive tone ever achieved. It has since been copied and reissued, but nothing sounds as good as the original. Don't miss this rare opportunity to buy a Colorsound Overdriver worthy of both a display case and a solo on your next recording.

As mentioned, the elusive Colorsound Power Boost was made for a very limited time, and it seems it was replaced with the Overdriver in the early 1970s. The Power Boost enjoys a reputation as being one of David Gilmours secret weapons, in fact, he supposedly owns a size-able collection of those made in 1969.

The Overdriver is every bit as good as the Power Boost, and it sounds unbelievably great. It also serves a unique function, in that, it is not quite as precocious as a similar era ToneBender fuzz, nor is it as subdued as an Ibanez Tube Screamer. And it doesn't really fit in between: it is something quite different.

-It produces singing sustain without limiting dynamics with compression, offers grainy overdrive without too much sizzle and splatter, and is able to achieve both an intimate tonal enhancement all the way to a fury of textured musical fluff.

This pedal is in very excellent all original condition. There are no modifications, no repairs, and no issues. The interior of the box is stamped "13 SEP 1973," and the pots and caps are also dated 1973.

(All photos are of the actual item!)

All auctions now include a Certificate of Authenticity issued by Vintage Gear Hollywood, including: make, model, serial#, notes, and current replacement/retail value! (A $35 value)

Good luck, and remember that this auction includes FREE shipping within the Continental US, and cheap Worldwide shipping!

Sold For: US $1,199.99

Sunday, 27 February 2011

POST # 509 MYSTERY CASE # 27 "WHO" am I ???

G'day Guitar Eureka Detectives!

You are given 10 clues to the identity of this mystery person , see how many clues you require to guess the correct answer, have fun!

1. I was born on September 3, 1934 and died from heart failure on December 28, 1976, age forty two.

2. My first band in the 50's was the Every Hour Blues Boys, with guitarist Jimmy Lee Robinson and drummer Sonny Scott. In 1952, while employed at the steel mill, I occasionally worked as a sideman with such bands as the Little Sonny Cooper Band and Earl Payton's Blues Cats.

3. In 1956 I cut my first record as a leader, for El-Bee Records. The A-side was a duet with a Margaret Whitfield, "Country Boy,",[11] and the B-side was a vocal. Both tracks feature the guitar of Robert Lockwood, Jr., who during these same years was also adding rhythm backing and fills to Little Walter's records.

4. I was repeatedly rejected in auditions for the South Side's Chess Records, the complaint was that I sang too much like B.B. King.

5. I was nicknamed "the Texas Cannonball."

6. I have an intuitive style, often creating guitar parts with vocal nuances, I achieved this by using the open string sound associated with Texas blues and the raw, screaming tones of West Side Chicago blues. I was one of the first bluesmen to have a multi-racial backing band onstage with me at live performances.

7. In my early career I played a gold top Gibson Les Paul with P-90 pickups through a Gibson GA-40 amplifier, later moving on to Gibson ES-345 guitars.

8. I played using a plastic thumb pick and a metal index-finger pick to achieve an aggressive finger attack, a style I learned from Jimmy Rogers.

9. I recorded my debut single for Federal Records on August 26, 1960: "Have You Ever Loved a Woman" backed with "You've Got to Love Her with a Feeling" on the same recording date I also cut the instrumental "Hide Away," which the next year reached #5 on the R&B Charts and #29 on the Pop Singles Chart.

10. I went on to influence the likes of Eric Clapton, Mick Taylor, Stevie Ray Vaughan, and Lonnie Mack, among many others.

I am ?????????????????????????


Saturday, 26 February 2011


Hello Guitar Eureka readers!

Here's a new series of posts I have cooked up, inspired by Down Beat Magazine's classic "Blindfold Test"; where prominent musicians are asked their thoughts upon hearing a record without prior knowledge of the personnel and the recording.

Here you will hear 1 chorus or more of the solo , see you can tell the artist and the song / changes to the tune!

Click YOUTUBE to hear the song.


POST # 507 Chet Atkins on a few of his favourate players

Yeah, I remember telling [fiddle player] Mark O’Connor that he’s about the only person around that I’d pay to go see. It was true. I’d seen him on TV or something, and he just knocked me over, the way he played. Right now, Leo Kottke, I’d pay to see him, Michael Hedges, I worked with him the other day. He was on a show I was on. People like Doyle Dykes, who is just an amazing finger picker, I think. Mostly because they’ve all got something really different going, and I enjoy that. Pat Bergeson, who works with me some, I think he’s a wonderful player. Got more licks!

Friday, 25 February 2011

POST # 506 EBAY PRICE GUIDE : Vintage 1984 Carvin V220 Electric Guitar w/ Case V220T

How much would you shell out for a vintage 1984 hard rock/metal machine from Carvin?? Find out at the end of the post!

Here's the blurb from the seller.

Vintage 1984 Carvin V220 Electric Guitar w/ Case V220T

For sale today is a vintage Carvin electric guitar. This is a V220 and the serial number 13300 dates it to 1984 the first year these guitars where made. Loaded with the original pickups and electronics this thing screams, great tone. Kahler is a "D.S. Pat Apll'd For" locking tremolo also a first for '84. The guitars body is made of maple and it has birds eyes all over VERY COOL, some belt rash to the back of this guitar. Comes with original hard case.

Sold For: US $800.00

Thursday, 24 February 2011

POST # 505 B B King on Earl Hooker

Earl Hooker was the best slide guitarist I ever heard. To me he is the greatest. He always knew exactly what he was doing. For instance, take a truck driver. I used to drive trucks, too. You tell him to park next to the curb, and he knows exactly where to put the rig. That’s how Earl Hooker played.

Wednesday, 23 February 2011


How much would you have to pay for this old jazz guitar stand-by??? Find out at the end of the post! Here's the blurb from the seller.


This series of amplifiers (MINI-BRUTE) were the favorite of many famous jazz guitarist over the years. I have owned and played through this one for about 10 years. It has never let me down and earned me a pile of bread!
If you are a jazz guitarist or know one just ask them and they will tell you about this wonderful little amp. This one still plays perfectly including the reverb unit. I bought it slightly used and played it in the recording studio and as a practice amp. It was never taken out to the clubs and is still in practically showroom condition. I know many amplifier manufactures have tried to duplicate or better this amp but I don't know of any that can reliably say they have. I am finally getting to old to play properly and have retired. You get what you see in the photo's. I am starting it low with no reserve. I sincerely hope it goes to someone who is skilled enough to appreciate it.

Winning bid: US $322.00

Tuesday, 22 February 2011

POST # 503 Jimmy Page on Developing His Style

I wasn’t really playing anything properly. I just knew a few bits of solos and things, not much. I just kept getting records and learning that way. It was the obvious influences at the beginning, Scotty Moore, James Burton, Cliff Gallup—he was Gene Vincent’s guitarist—Johnny Weeks, later and those seemed to be the most sustaining influences until I began to hear blues guitarists Elmore James, B.B. King, and people like that. Basically, that was the start: a mixture between rock and blues.

Then I stretched out a lot more, and I started doing studio work. I had to branch out, and I did. I might do three sessions a day: a film in the morning, and then there’d be something like a rock band, and then maybe a folk one in the evening. I didn’t know what was coming! But it was a really good disciplinary area to work in, the studio. And it also gave me a chance to develop all of the different styles.

Monday, 21 February 2011

POST # 502 Shawn Lane on the Greatest of all Western Musician

All by ear. I love Bach, I listened to him for 25 years, all my life, so I never get tired of Bach. And to learn Bach and play it is such a joy, even if no one ever hears it, just to play it sitting alone at home it makes you feel good, it's like a form of meditation. You can play it over and over and never get tired of it, it's a miracle. Bach I think is the greatest of all western musicians. Probably most people come to that conclusion. (laughs)

Sunday, 20 February 2011


Advertised as "the most advanced flanger available today" back in the 70's it had became a classic, see how much it sold for at the end of the post!!

Here's the blurb from the seller:


Up for auction my A/DA Flanger. I bought this flanger new back in late 70's to be used with my bass guitar. I rarely used it then and have not used it since early 80's. It has been in my closet until just the last few weeks when I noticed there was an interest in these great flangers. The unit is in good condition, has the original power cord and hasn't been damaged.

Winning bid: US $222.50

Saturday, 19 February 2011

Friday, 18 February 2011

POST # 499 Chet Atkins on how he Practiced.

I always just played ’til I got tired, two or three hours, put it down
and then maybe not play for two or three days. That’s the way I always did it. I
guess that is a way to work up really great technique, just practice scales over and
over, but that was somewhat boring to me, and I never did it. I would practice a lick
for half a day, ’til I got it (laughing) like all guitar players. I’d live with a guitar, you know, and take it with me everywhere. I’d sit and have lunch with a guitar in my lap.

Thursday, 17 February 2011

POST # 498 MYSTERY CASE # 26 "WHAT" am I ????

G'day Guitar Eureka Detectives!

You are given 10 clues to the identity of this mystery object , see how many clues you require to guess the correct answer, have fun!

1. I was introduced in 1961.

2. Pete Townshend used me during the Live at Leeds era.

3. I was one of the first models to sport the Maestro Vibrola.

4. There are 'Walnut' versions of me made in the late 70's and early 80's.

5. I was advertised as having the "fastest neck in the world" due to my slender neck profile and virtually non-existent heel.

6. Yamaha had to renamed one of their most popular models when my company objected to the similar name of their model and me.

7. I am infamous for being "neck heavy".

8. Models produced between 1961 and 1965 have the original small pickguard; in 1966 the guitar was redesigned slightly with a different neck joint, and the modern larger semi-symmetrical "batwing" pickguard first appeared in 1967.

9. I generally have a solid mahogany body, My 24.75" scale mahogany neck joins the body at the 19th fret.

10. Eric Clapton played a version of me with custom paint job known as the "Fool" guitar.

I am the ???????????????



I have two humbucking pickups and a Tune-O-Matic bridge.

A famous 6 / 12 string double neck version was based on my shape.

Wednesday, 16 February 2011

POST # 497 George Barnes on being a session player

Good heavens, I did a ton of recording dates! In 1935, I started recording with the top black blues artists of that time. I made over one hundred blues records with fellows like Big Bill Broonzy, Blind John Davis, and a host of other bluesmen. I was the only white musician on these dates. Hughes Panassie, the French author of the jazz book, Le Jazz Hot, came out with a discography which included me as "the great Negro blues guitar player from Chicago." I did all kinds of recording dates. But I got even more involved with recordings when I moved to New York in 1951.

Between 1951 and now, I have recorded 23 albums under my own name. From 1953 to 1961, I recorded 61 albums with the Three Suns alone. From 1961 to the present, I have recorded with practically every bigname singing star from Frank Sinatra to Bing Crosby, Patti Page, and loads more. It would be very difficult to find a singing star I haven't recorded with. They tell me down at the union, that I have recorded more than any other person in their contract file. I don't know how many recording dates I've done, but one day I intend to add them up. I know the number is well into the thousands.

It is probably because I am totally involved with all aspects of music. Not only am I a guitarist, but an arranger, conductor, and recording engineer, with years of knowledge and experience behind me. I've also developed ways of accompanying artists that enhances and enriches their music. You have to know how a singer phrases so your accompaniment does not conflict. As an arranger, I have a whole different set of ears from someone who is just a guitarist. I have a better knowledge of what to play and what not to play.

Tuesday, 15 February 2011

POST # 496 Jimmy Page on Black Mountain Side

I wasn’t totally original on that. It had been done to death in the folk clubs a lot; Annie Briggs was the first one that I heard do that riff. I was playing it as well, and then there was (English guitarist) Bert Jansch’s version. He’s the one who crystallized all the acoustic playing as afar as I’m concerned. Those first few albums of his were absolutely brilliant. And the tuning on “Black Mountain Side” is the same as “White Summer.” It’s taken a bit of battering, the Danelectro guitar, I’m afraid

Monday, 14 February 2011

POST # 495 Ebay Price Guide : Ovation GP1-Ultra GP (Guitar Paul) Ultra Hard Body

Here's a vintage Ovation solidbody guitar. Nice flame maple top! Scroll down to see how much it sold for at the bottom of the page. Here's the blurb from the seller

Ovation GP1-Ultra GP (Guitar Paul) Ultra Hard Body
Model 1431 with Gator Hard Case

I have my Ovation GP1-S Ultra up for auction. The previous owner did not take care of the guitar. But with a little tlc it now play's great. There is two places on the back were the mahogany body has cracked and a chip of wood is missing from the headstock. None of this affect's the sound of the guitar. The neck is true. The finish is honey sunburst. It still looks great for a 27 year old guitar. Shipping will cost $50 and i will refund the difference if it cost less than that. I will ship outside the US but it will cost $150 and refund any difference in shipping cost. Here is a great article by Big Beat on his website that will give all the info about the GP1-S. Thanks for looking and good luck bidding.

Winning bid: US $961.00

Sunday, 13 February 2011

Saturday, 12 February 2011

Friday, 11 February 2011

POST # 492 EBAY Price Guide : Mike Matthews Electro Harmonix Amplifier guitar amp 70s

Here's a rare amp with built in small stone phaser from the 70's by Electro Harmonix. See how much it sold for at the bottom of the page. Here's the blurb from the seller.

Mike Matthews Electro Harmonix Amplifier guitar amp 70s

RARE!!!! Mike Matthews Dirt Road Special made by Electro-Harmonix. Not only does it work, but it works well!
This amplifier is in excellent 100% original condition. Including the original celestion speaker. This is a really neat little amplifier that has a small stone phaser built into it. Original power cord is also included. We're not sure the exact year of this amplifier but seems to be circa early 70s.
We shop worldwide!

Winning bid: US $450.00

Thursday, 10 February 2011

POST # 491 Joe Satriani on the Death of Jimi Hendrix

“Two months after my 14th birthday, Jimi Hendrix died -- and after that I really committed myself to learning how to play guitar. The concept of him not being around anymore to make records was so horrible, and when he passed away, I didn’t know what to do. The only positive step I could take was to start playing in earnest myself -- to fill the void in my life.

Wednesday, 9 February 2011

POST # 490 Tony Bennett on Being a Singer

I have a simple life. I mean, you just give me a drum roll, they announce my name, and I come out and sing. In my job I have a contract that says I'm a singer. So I sing.

Tuesday, 8 February 2011

POST # 489 MYSTERY CASE # 25 "WHO" am I ???

G'day Guitar Eureka Detectives!

You are given 10 clues to the identity of this mystery person , see how many clues you require to guess the correct answer, have fun!

1. I was born November 6, 1966 in Illinois, USA.

2. Around 1981-82 I first contacted Mike Varney, founder of Shrapnel Records, asking for a gig with Ozzy Osbourne. At the time, Varney couldn't think why Osbourne would want a 15 year old guitarist, but after listening to my demo he changed his mind. We talked for the next 3 years, until I went to L.A. for the GIT.

3. My first band in 1985 originally comprised of me on guitar, Juan Alderete (bass), Harry Gschoesser (drums) and Jeff Martin (vocals). Where my playing was reminiscent of Yngwie Malmsteen, displaying fast-driven solos with extreme-level technique.

4. My many influences on my playing include Randy Rhoads, Eddie Van Halen, Yngwie Malmsteen, John J Kirby, Tony Iommi, Alex Lifeson, Jimmy Page, Robin Trower, Pat Travers, Judas Priest, Akira Takasaki, Steve Clark, Jimi Hendrix, Kiss, and The Ramones.

5. Guitar World magazine declared me one of 50 of the world's fastest guitarists of all time, along with Buckethead, Eddie Van Halen, and Yngwie Malmsteen.

6. Regarding amplifiers, I used A/DA preamps(A/DA MP-1) and rack effects units early in my career prior to switching to Laney amplifiers. Currently I rely on the Marshall Vintage Modern 2266c combo amps.

7. I played in my second band until the late 1990s. I left the band in 1997 to pursue a solo career, and was replaced by Richie Kotzen. We reformed in 2009 for a world tour.

8. Recently, I have been using Ibanez "Fireman" (a reversed-body Ibanez Iceman with single-coil pickups and an extra cutaway) guitars, which I designed myself. Ibanez also makes a Flanger pedal with my inputs. I also uses the Psilocybe phaser and THC chorus pedals from Home Brew Electronics.

9. I primarily uses my Ibanez signature series guitars with painted f holes.

10. I am well known for my guitar work with Racer X and Mr. Big, as well as many solo albums. I also joined Joe Satriani and John Petrucci on the 2007 G3 tour.

I am ????????????????


Monday, 7 February 2011

GARY MOORE, RIP 1952-2011

Here's Gary in his own words

The thing about playing the blues is that there’s nothing like experience. That’s my attitude. You tend to get better at it the more you learn it. The more you take away is a big part of it, too. On the “Still Got The Blues” album, I did “Pretty Woman” with Albert King. When he was leaving the studio, he turned to me and said, “You know what? Play every other lick.” It was the best thing anyone had ever said to me, like, don’t play every lick, play every other lick. It’s the simplest thing in the world, and when you think about it, it’s absolutely right. I think a lot of guitar players, in every genre, are afraid to leave space. I think this is the first album where I’ve really conquered that thing.

I’ve been doing it onstage for quite a while, but I never really got it on record before. Listen to “Trouble At Home” and “I Had A Dream”. I’ve learned not to be afraid to leave spaces. We as guitar players, and you know this as well as anyone, guitar players are scared to leave a hole, afraid they’ll fall down it or something. [Laughing] They think of leaving a space but don’t leave one long enough. When you get into the habit of leaving a big space, what happens is that you’ll eventually become comfortable, and it becomes second nature for you to do that. You’ll become a much better player for it. If you’ve got an expressive style, and can express your emotions through your guitar, and if you’ve got great tone … For example, the people out there listening to you play, especially live, they won’t be able to wait for your next note. It creates a lot of tension for the audience. I remember going to see people like Peter Green in the old days and getting that feeling, “Oh man, I can’t wait to hear that guitar.” Or just one more note, because it sounds so beautiful when he plays it. That’s a very important aspect of it. It’s all down to the feel thing. If you’ve got a feel for the blues, that’s a big part of it. But you’ve got to leave that space.

In the studio I used that Fender Vibroverb. I used a mid-sixties Vox AC30 on “Thirty Days” and the opening track, “If the Devil Made Whisky”. I used an Orange Tiny Terror. It’s a 15-watt, and it looks like a little toy. I haven’t even got the wood around it. It’s in a white metal casing with a handle, and it comes in a gig bag. It switches from 15 watts down to seven. You just whack it up. I used it with a little Marshall 2/12 hand wired cabinet on “Eyesight to the Blind”. I used my DSL Marshall 100, or 50, depending on the select, on “Have You Heard”, “Checkin’ Up On My Baby”, and stuff like that.

So, I basically used the Fender Vibroverb, the Vox AC30, and the Marshall DSL, which are my live amps, the 2000 series. I’ve actually got the very first one, the prototype, given to me before they were in the shops or anything. I’ve been using that amp for ten years now. It’s my live amp, and I haven’t really changed from that. They’ve got new ones out now, but I still prefer the DSL. Though I’ve got a few, I’ve got to get some more before they stop making them. They’re such a great amp. They’ve got a good normal channel, a lead channel as well, which I rarely use, to be honest. I kind of use the normal channel and a pedal for the gain. It has a good spring reverb in it, so when I want to go into that slow minor blues, I just whack the reverb up and it’s all there. It’s a very versatile amp. It’s very reliable, big tone. It’s a phenomenal amplifier. I use a 100-watt one of those onstage with four Celestion Vintage 30s, one top and one bottom. I started onstage using a 59 reissue, which is the old 4-input Marshall, the standard one. I’ve got it next to the other one onstage now. I switch between them. I never use both amps at once or anything like that.

I didn’t use any pedals whatsoever in the studio for this one, just guitar and amp. I kind of made that rule before I went in. I just wanted to see what I could do with the guitar and the amp. Onstage, I use T-Rex pedals. At the moment I’m using a T-Rex Moller Overdrive, Mudhoney Overdrive, and the blue one (T-Rex Alberta). I also use the Room-Mate Reverb and the Replica Delay. So I use, like, five of their pedals. They’re very nice pedals. They sound real big and very warm. They’re made in Denmark actually. The Moller Overdrive has two foot switches on it, a boost and a distortion. You can use them separately or together. The clean boost is great and the distortion is great. If you whack them both in together you get almost into a Hendrix sort of territory.

The guitars are my 59 Les Paul, a 60s 335, and a 68 Telecaster. That’s pretty much it really. I use my signature Les Paul onstage as well. I use mostly Les Pauls live.

POST # 488 B B King on Johnny Moore

Johnny Moore was Oscar Moore’s brother. When Oscar was with Nat Cole, Johnny played in a similar trio with Charles Brown, who played piano and sang. This was in the 1940s. When Charles decided to go on his own, Oscar left Nat, and joined Johnny as a duo. Then they got another singer/pianist.

After a couple of years, Oscar and Johnny split up. Oscar stopped traveling while Johnny rejoined Charles Brown. I remember seeing Oscar and Johnny playing together in Los Angeles — it was like meeting gods! Johnny used a big Super 400. He used to like to put in quite a few chord changes when he was playing — things like big, fat 9th chords. They were really modern changes, but they always fit what he was doing. He would slide into his chords sometimes, giving a good, bluesy feeling to a ballad. I think people will start talking a lot more about Johnny Moore in the future.

Sunday, 6 February 2011


How much would somebody pay for this beat up vintage 60's VOX AC-15??? Scroll to the bottom of the page to see how much it sold for. Here's the blurb from the seller.

Grey panel, early to mid 60's JMI made. Mostly stock, stock foot switch, missing luggage stand supports, non-stock 70's Celestion "Black-Backs" speakers, torn grille cloth, staining, wear/tear, some small areas of tolex rips, with Tuki padded cover, serial number 01428. Overall, a great sounding somewhat hard to find JMI Vox amp!

Winning bid: US $2,481.00

Saturday, 5 February 2011

Friday, 4 February 2011

POST # 485 Shawn Lane on Conlon Nancarrow and Frank Zappa

Sometimes it fits well in the music, but sometimes I've played on pop music gigs and played way to many notes and long inappropriate solos, but I just didn't really care esthetically what it was, I was just kinda having fun in my own little world, playing. I just maybe have an unusual look on things like that, which leads ultimately to Conlon Nancarrow, who makes this music for piano that has about 200 notes per second in it a lot of times and it's really crazy. But he was a big influence on Frank Zappa and I love Zappa records for a long time. Nancarrow had some amazing music that really turned my head around. 'The player piano studies'.

Thursday, 3 February 2011

POST # 484 EBAY PRICE GUIDE : Aria Pro2 (Matsumoku) Herb Ellis Model 175

Here's an interesting item, jazz guitarist Herb Ellis endorsed and played Aria Pro archtops before moving to Gibson. Here's a vintage example from the 70's see how much it sold for at the bottom of the page. Here's a blurb from the seller.

Japan made vintage Ari Pro II Herb Ellis Model from late 70's.

As you might know, these Japanes guitars from70's - mid80's were made in great quality with great craftsmanship.

You don't see this quality at this price range these days.

Mastumoku made guitars for Ibanez, Greco, Aria,etc...until Mid 80's.

According to serial number, this was made in '79.

This was based on ES175 but better details, like ebony fret board , avalon inlay,L5 type tailpiece...

You can see video on you tube Herb actually played this model.

This is in good shape for 30+ years old guitar. It aged nicely.

No crack or repair on neck , head stock or body. Neck joint is solid.

I'm not an original owner. Tuners are upgraded with Gover. Otherwise look original.

There is a fix hole for strap pin on the side of the neck.

Only issue is no sound in rear position. Probably just wiring or switch which can be easily fixed.

This has been in case for while ,so needs a set up, but still payable and sounds great.

Don't miss out a great opportunity to have very nice Japanes vintage guitar.

Truss rod cover is off in pic, but I'll put it back on before shipping.

Come with non original hard case in fine condition(one latch is broken).

I only ship to lower 50 states. No return,so please ask all your questions before bidding.

Thank you.

Winning bid: US $710.00

Wednesday, 2 February 2011

POST # 483 Joan Baez on Songwriting

It seems to me that those songs that have been any good, I have nothing much to do with the writing of them. The words have just crawled down my sleeve and come out on the page.

Tuesday, 1 February 2011

POST # 482 John Scofield on Learning to Play Jazz

I won’t dumb it down because I think smart people are going to get into it for what it is, and they want to know the real deal. Jazz takes strong desire, and it requires a lot of practice. Once it’s ingrained it’s like a magic trick done with mirrors. You become fluent in a certain way that’s even greater than your own understanding of how you got there. People think fluency in jazz is a big intellectual thing, but it’s actually just a lot of work. You have to do the time.

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