Editorial

So who noticed?  Yes, we've changed our name.  After some debate around various alternatives, we had, I think, near universal agreement to change the Southampton to Southern.

The majority of members do not come from Southampton, and to call it the Southampton Jazz Guitar Society many felt could give the impression that it was a rather parochial organisation, and only open to Southampton dwellers (and we don't even meet in Southampton!).  Anyway, we'll still be the SJGS to most people.

Readers' Letters

From Mark Bassey, via Derek Ayling

Derek,

So, finally - a more comprehensive (and I hope comprehensible) reply.

(EDITOR :the reply is to a request for more information about a possible workshop Mark has expressed interest in running for the SJGS)

The email you sent me from way back, about doing a workshop for the Jazz Guitar Club, suggested looking at "how to play together, or in a band".  In a typical jazz group there is usually no more than one guitar (occasionally two as in the 'hot club" style) and the main issues are 'comping' (providing chordal accompaniment) and 'soloing'.  There's also the question of having guitar and piano in the same group; it can be difficult to make this sound good where both instruments are playing chords at the same time (if rhythms and chord voicings are not carefully chosen the result can be quite chaotic).  It would be quite hard for me to address these topics in any depth without having a complete band with full rhythm section.  My guess is I'll be working with a group of guitarists (4? 6? 8? more? I don't know) and perhaps someone who might play bass guitar, or play a bass line on guitar.  I think to introduce other instruments might make things more complicated (though not impossible).?

Here are some areas we could look at:

1) soloing, in particular, single line playing - also, using chords and maybe octaves to create variety and build tension

2) comping, different styles (swing, Latin), with and without bass, responding to the soloist?

3) playing bass lines (a highly valuable skill)

With these topics in mind, groups of 2 or 3 at a time could take it in turns to play, interspersed with all my pearls of wisdom and witty anecdotes .  .  .

I will of course have my trombone and can play along as desired.

How does this all sound?  I've attached a reasonably up-to-date biog which you can use as you wish.

Mark Bassey

Jazz UK : So Much Guitar article

Jazz UK is the grassroots news journal of the UK jazz community with a print-run of over 30,000.    The magazine is not aimed solely at specialists, but seeks to spread appreciation of the music, and to expand the opportunities for its performers.   

Distributed FREE to hundreds of clubs, pubs, concert halls, colleges, shops and libraries thoughout the UK, Jazz UK also operates a subscription scheme.    It is committed to securing appropriate recognition for UK jazz musicians, and fostering a healthy jazz scene

Jazz UK seeks to help players, promoters and the general public share the beauty of Jazz, and make it widely recognised as a vital cultural force of this century.

I mention this, because the September/October 2006 issue has a very interesting article entitled 'So Much Guitar', in which four contemporary UK players Mike Outram, Pete Oxley, Deirdre Cartwright, and Justin Quinn discuss the UK jazz guitar scene, and everything from influences to string guages. 

Mike and Pete have guested at the SJGS, and I think Deirdre (of Rock School fame, but also a fine jazz player) would make a good guest for us too, next year.

A lot of good sense is talked, and some astute observations made.  A recommended read, therefore, for all members.