The Total Jazz Guitarist

The Total Jazz Guitarist is just one in a series of ‘how to’ books from Alfred publications. Written by Jody Fisher, a well known guitarist and music educator in Southern California, the Total Jazz Guitarist draws on Fisher’s years of experience playing in various genres and perhaps more importantly, his term of office as director of the National Guitar Workshop. Make no mistake, this is a comprehensive coverage with a well thought through clear progression of tasks and excellent diagrams.

Moving from basic time measures and “essential” chords, it soon gets to grips with scale fingerings, triads, altered chords, neighbour tones etc, before Part 2 of the volume gives you the opportunity to practice what you have (hopefully!) learnt, with a learning tunes section. The whole edition is accompanied by an invaluable CD that covers each and every lesson from start to finish and shows you how it should be done - whether you like the sound of syrupy, smooth Polytone is another matter! But this is a ‘must have’ for any jazz guitarist looking to develop their overall level of musicianship and to fine tune those jazz skills. For more info please contact This e-mail address is being protected from spambots. You need JavaScript enabled to view it

First Act Delia LE002 semi acoustic guitar (pictured right)

This US built, limited edition, semi-hollow, double cutaway, “f” hole guitar is a real treat (although it’s styling reminds me of the old Ks!). Without even plugging the Delia in, there is plenty of depth, resonance and sustain from the natural acoustics of the instrument. Coming with a premium flame maple top and Honduran mahogany back and sides rounded off by solid single white binding, the burst effect is dramatic and effective and is further enhanced by the gold hardware. The two First Act humbuckers deliver quite a punch and are similar in sound and response to the PAFs of the late 1950s – there’s a real warmth, but with a distinct edge, particularly in the lower register. The Delia has exceptional sustain characteristics, which come not only from its “set neck” construction, but also from the “string thru” body’ system.

We liked the low profile tunamatic style bridge which allows for a comfortable playing position and also the simple placing of the two “top hat” volume and one tone control – although more head would have been welcome. The flame maple “set” neck with it’s walnut centre strip and heavy white binding is cut to a deep ‘C’ profile, which will no doubt suit the more traditional player, while the ebony fingerboard resembles a slab of black marble, split up on a shorter 25” scale, with 22 jumbo frets and faced with unique hammerhead mother of pearl inlays. String action came factory set for ‘optimum’ performance however, from a purely personal standpoint I would have lowered the action by about 1mm at the 12th fret. The simple and clean headstock is a 3+3 Pompadour and carries a set of gold Grover Rotomatics. Coming in a substantial preformed and padded flight case (now essential kit) with pressed steel clasp locks, the Delia is a class act.
www.arbiter.co.uk

Coda Carbon Fibre Bass Bow

There has recently been a great deal of concern amongst bass players (and other string players) over bows being impounded along with their instruments by American customs, on the basis that they are made out of endangered tropical woods. Um! Enter the US made carbon fibre CodaBow. Lightweight, and clearly manufactured to the highest tolerances, the CodaBow makes an interesting addition to the bass players arsenal. Everything about this bow screams quality, especially the finish of the stick, the shaping and contouring of the ‘frog’ and the use of the finest stallion horsehair.

Comparing the CodaBow to the traditional Pernumbuco wood bow does throw up a few interesting anomalies and there are certain adjustments to be made in the playing style. Because of its lightweight and seemingly less flexible stick, the player has to work very hard to achieve a similar volume of sound to a comparable wooden bow. The sound that the CodaBow produced on test was thinner and colder than a wooden bow, and seems to offer less in the lower harmonics. However, there are certain instances where this may suit a particular performance. Overall, an interesting and useful addition to the bass player’s sound palette, that will presumably pass safely through any port of entry in the US.
For more info visit www.CodaBow.com or www.bandm.co.uk

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