Jazz Guitarists - V

Also during that time he studies composition at Rutgers University while doing local club dates and recording sessions at Alphs recording studio for Philly World Records. In 1984 Johnnie relocated to Los Angeles where he has been musically active in many facets such as writing, recording, scoring, performing and sound designing for TV, films and recordings. During these years he has recorded with some of today’s leading contemporary improvisers including Alex Acuna, Bennie Maupin, Vinny Golia, Wadada Leo Smith, Billy Drewes, Oscar Brashear, Andy Lester, Kermit Driscoll, Sherman Ferguson, Luis Conta, Mick Rossi and Pat Martino. At the 2000 nternational Monitor Awards in LA he was awarded the Best Sound Design Award. Now in 2001 his “Searching Souls” CD is released on Ninewinds.

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The Seven String Guitar
by Jerry Sims

History of the 7-String Jazz Guitar

(Originaly from Mal Bay Guitar Sessions)

(From Steve Herbman) - I have heard that VanEps used a .100 for his low G. This makes sense as the scale length of the Gretsch couldn't have been much longer than 25 1/2. The .080 wouldn't be enough tension I don't think. Strange thing is that D'Addario makes an .080 with a regular guitar ball end that says "VanEpps" on it with the mispelled name and all! But I do think he used a .100. VanEps was known to say the "guitarists put too damn many notes in their chords". It is true that with 4 or less notes in the voicings a more contrapuntal style becomes possible. Also having a lower bass note (G through Eb) paired with say 2 upper notes would yield a larger sound than many 4 note chords on a 6 string with standard tuning. VanEps mentions in his later books that because of the harmonic series certain notes that are not actually sounded are still perceived since they are included in the series. Example: If you sound a C note there is also a G note present as well as an E etc, etc. Interesting stuff! By the way Ted Greene never played 7 string which some people have written. He just does what VanEps does and drops the tuning down. In Ted's case he sometimes goes down a minor 3rd on each string! Another guy who plays 6 string but makes it sound a lot like 7 string is Kenny Poole from Ohio. Looking forward to seeing more of your site.

Here is a link to a Gretsch George Van Eps 7-string from 1977.

George Van Eps Books Available at SheetMusicPlus.com

	George Van Eps Harmonic Mechanisms for Guitar, Volume 1 by George Van Eps. For Guitar (All). theory & harmony. All Styles. Level: Multiple Levels. Book. Size 8.75x11.75. 328 pages. Published by Mel Bay Publications, Inc. (93667) See more info...		George Van Eps Harmonic Mechanisms for Guitar, Volume 3 by George Van Eps. For Guitar (All). theory & harmony. All Styles. Level: Intermediate-Advanced. Book. Size 8.75x11.75. 188 pages. Published by Mel Bay Publications, Inc. (93716) See more info...
	George Van Eps Harmonic Mechanisms for Guitar, Volume 2 by George Van Eps. For Guitar (All). theory & harmony. All Styles. Level: Intermediate-Advanced. Book. Size 8.75x11.75. 384 pages. Published by Mel Bay Publications, Inc. (93715) See more info...		Charles H. Chapman: George Van Eps Guitar Solos - Book/CD Performed by Charles H. Chapman, composed by George Van Eps, edited by Charles H. Chapman. For guitar. Includes guitar tablature songbook and examples CD. With guitar tablature, standard notation and chord names. Jazz. 48 pages. 8.75x11.75 inches. Published by Mel Bay Publications, Inc. (MB.94822bcd) See more info...

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During a 4 ½ year period in the Army (1942 – 1945), Al met up with pianist Page Cavanaugh. “Page and I were both in the Army band stationed in Sacramento. We also worked together in a dance band along with bassist Lloyd Pratt.” After their discharge, Viola, Page and Pratt formed the Page Cavanaugh Trio, moved to Los Angeles and soon became a very popular attraction. We recorded for RCA Victor, appeared in Five movies, toured the United States, Canada, and Europe doing theaters and clubs, such as “King Cole Room” at the Trocadero and Ciro’s. “There was a special chemistry between the three of us. Page would play an intro, I’d be right there and in less than ten minutes we’d have an arrangement. The trio was a purely instrumental group at first until our manager insisted that we sing. Our whispering unison vocals caught on with songs like ‘The Three Bears’ and ‘Walkin My Baby Back Home.’”

“The first time I met Frank Sinatra was in the late 40’s when he came in to hear the Page Cavanaugh Trio. He liked us so much that he took the Trio to New York with him to perform at the Waldorf Astoria Hotel followed by an appearance at the Steel Pier in Atlantic City". In 1949 Al quit the Trio and stayed in Los Angeles to pursue studio work as a freelance musician. During that time Al worked with some of the big bands such as Harry James, Ray Anthony, Les Brown, and Nelson Riddle. Additionally, Al did work with some jazz groups; Buddy Collette, Red Callendar, Bobby Troup, Terry Gibbs, Shelley Mann and Leroy Vinegar and continued his studies at the California Academy of Music studying classical guitar, harmony and theory. Studio work was plentiful, recording with Frank Sinatra, June Christie, Julie London, Steve Lawrence, Neil Diamond, Linda Ronstadt, Natalie Cole, Hadda Brooks and Film/TV scores like Billy Jack, Blazing Saddles, Cool Hand Luke, West Side Story, The Godfather, and Who's Afraid of Virginia Wolf.

"When I was working with Bobby Troup one of Sinatra’s buddies heard me and told me that Frank needed a guitar player. I joined Sinatra right after he did Wee Small Hours for Capitol Records around 1954-55". In 1962 as part of the Bill Miller Sextet, Al went on a ten week world tour with Sinatra. Al continued to work with Frank Sinatra on most of his recordings, television specials and his appearances in Las Vegas and Concerts. In 1973, Al accompanied him to the White House when he performed there.

“What I enjoyed most about working with Frank is that he was unpredictable. When I accompanied him, I couldn’t quite predict where he was going, which made it challenging and exciting! He always surprised me on stage. Although he wasn’t known as a jazz singer, he ad-libbed like one and wouldn’t sing a song the same way, twice. I consider myself very fortunate since he seemed to like the way I played behind him. I have traveled the world on tour with Frank Sinatra and enjoyed every minute of it.”

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