Epiphone amplifier jazz

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Content:

• Epiphone: 140 Years
• The Best Jazz Guitar Strings (Types & Brands)
• Epiphone Zephyr Deluxe Regent (1951) Archtop Jazz Guitar
• Robot or human?
• Vintage Epiphone guitar amps
• Grant Green’s Gear
• Jazz guitar
• NAMM 2021: The best guitar, pedal and amp releases this year
• 60’s Epiphone Sorrento for jazz
• The Les Paul Guitar Can Play Jazz (Here’s Why!)

WATCH RELATED VIDEO: Epiphone Les Paul Standard - Jazz - How does it sound ?

Epiphone: 140 Years

The term jazz guitar may refer to either a type of electric guitar or to the variety of guitar playing styles used in the various genres which are commonly termed " jazz ". The jazz-type guitar was born as a result of using electric amplification to increase the volume of conventional acoustic guitars. Conceived in the early s, the electric guitar became a necessity as jazz musicians sought to amplify their sound to be heard over loud big bands. When guitarists in big bands only had acoustic guitars, all they could do was play chords ; they could not play solos because the acoustic guitar is not a loud instrument.

Once guitarists switched from acoustic guitar to semi-acoustic guitar and began using guitar amplifiers , it made the guitar much easier to hear, which enabled guitarists to play guitar solos. Jazz guitar had an important influence on jazz in the beginning of the twentieth century. Although the earliest guitars used in jazz were acoustic and acoustic guitars are still sometimes used in jazz, most jazz guitarists since the s have performed on an electrically amplified guitar or electric guitar.

Traditionally, jazz electric guitarists use an archtop with a relatively broad hollow sound-box, violin-style f-holes , a " floating bridge ", and a magnetic pickup. Solid body guitars, mass-produced since the early s, are also used. Jazz guitar playing styles include " comping " with jazz chord voicings and in some cases walking bass lines and "blowing" improvising over jazz chord progressions with jazz-style phrasing and ornaments.

Comping refers to playing chords underneath a song's melody or another musician's solo improvisations. The stringed, chord-playing rhythm can be heard in groups which included military band-style instruments such as brass, saxes, clarinets, and drums, such as early jazz groups. As the acoustic guitar became a more popular instrument in the early 20th century, guitar-makers began building louder guitars which would be useful in a wider range of settings.

By the s, the guitar began to displace the banjo as the primary chordal rhythm instrument in jazz music, because the guitar could be used to voice chords of greater harmonic complexity, and it had a somewhat more muted tone that blended well with the upright bass , which, by this time, had almost completely replaced the tuba as the dominant bass instrument in jazz music.

During the late s and through the s—the heyday of big band jazz and swing music —the guitar was an important rhythm section instrument. Some guitarists, such as Freddie Green of Count Basie 's band, developed a guitar-specific style of accompaniment. Few of the big bands, however, featured amplified guitar solos, which were done instead in the small combo context.

It was not until the large-scale emergence of small combo jazz in the post-WWII period that the guitar took off as a versatile instrument, which was used both in the rhythm section and as a featured melodic instrument and solo improviser. Improved electric guitars such as Gibson's ES released in , gave players a larger variety of tonal options. In the s through the s, players such as Wes Montgomery , Joe Pass , and Jim Hall laid the foundation of what is now known as "jazz guitar" playing.

As jazz-rock fusion emerged in the early s, many players switched to the more rock-oriented solid body guitars. Younger jazz musicians rode the surge of eclectic popular genres such as blues, rock, and funk to reach new audiences. Guitarists in the fusion realm fused the post-bop harmonic and melodic language of musicians such as John Coltrane , McCoy Tyner , Ornette Coleman , and Miles Davis with a hard-edged and usually very loud rock tone created by guitarists such as Cream's Eric Clapton who had redefined the sound of the guitar for those unfamiliar with the black blues players of Chicago and, before that, the Delta region of the Mississippi upon whom his style was based.

King and others that was fluid, with heavy finger vibratos, string bending, and speed through powerful Marshall amplifiers. Fusion players such as John McLaughlin adopted the fluid, powerful sound of rock guitarists such as Clapton and Jimi Hendrix. McLaughlin was a master innovator, incorporating hard jazz with the new sounds of Clapton, Hendrix, Beck and others.

McLaughlin later formed the Mahavishnu Orchestra, an historically important fusion band that played to sold out venues in the early s and as a result, produced an endless progeny of fusion guitarist. Like the rock-blues icons that preceded them, fusion guitarists usually played their solid body instruments through stadium rock-style amplification, and signal processing "effects" such as simulated distortion, wah-wah, octave splitters, compression, and flange pedals.

They also simply turned up to full volume in order to create natural overdrive such as the blues rock players. By the early s, the radical experiments of early s-era fusion gave way to a more radio-friendly sounds of smooth jazz. During the s, a neo-traditional school of jazz sought to reconnect with the past. In keeping with such an aesthetic, young guitarists of this era sought a clean and round tone, and they often played traditional hollow-body arch-top guitars without electronic effects, frequently through vacuum tube amplifiers.

As players such as Bobby Broom , Peter Bernstein , Howard Alden , Russell Malone , and Mark Whitfield revived the sounds of traditional jazz guitar, there was also a resurgence of archtop luthierie guitar-making. By the early s many small independent luthiers began making archtop guitars.

In the s, jazz guitar playing continues to change. Some guitarists incorporate a Latin jazz influence, acid jazz -style dance club music uses samples from Wes Montgomery , and guitarists such as Bill Frisell continue to defy categorization.

While jazz can be played on any type of guitar, from an acoustic instrument to a solid-bodied electric guitar such as a Fender Stratocaster, the full-depth archtop guitar has become known as the prototypical "jazz guitar. The electric guitar is plugged into a guitar amplifier to make it sound loud enough for performance.

Guitar amplifiers have equalizer controls that allow the guitarist to change the tone of the instrument, by emphasizing or de-emphasizing certain frequency bands. The use of reverb effects , often included in guitar amplifiers, has long been part of the jazz guitar sound. Particularly since the s jazz fusion era, some jazz guitarists have also used effects pedals such as overdrive pedals , chorus pedals and wah pedals. The earliest guitars used in jazz were acoustic, later superseded by a typical electric configuration of two humbucking pickups.

In the s, there was a resurgence of interest among jazz guitarists in acoustic archtop guitars with floating pickups. The original acoustic archtop guitars were designed to enhance volume: for that reason they were constructed for use with relatively heavy guitar strings.

Even after electrification became the norm, jazz guitarists continued to fit strings of 0. The characteristic arched top can be made of a solid piece of wood that is carved into the arched shape, or a piece of laminated wood essentially a type of plywood that is pressed into shape. Spruce is often used for tops, and maple for backs.

Archtop guitars can be mass-produced, such as the Ibanez Artcore series , or handmade by luthiers such as Robert Benedetto. Jazz rhythm guitar often consists of very textural, odd-meter playing that includes generous use of exotic, difficult-to-fret chords. Jazz guitarists may play chords "ahead" of the beat, by playing the chord a swung eighth note before the actual chord change.

Chords are not generally played in a repetitive rhythmic fashion, like a rock rhythm guitarist would play. Jazz guitarists use their knowledge of harmony and jazz theory to create jazz chord "voicings," which emphasize the 3rd and 7th notes of the chord. Some more sophisticated chord voicings also include the 9th, 11th, and 13th notes of the chord.

In some modern jazz styles, dominant 7th chords in a tune may contain altered 9ths either flattened by a semitone, which is called a "flat 9th", or sharpened by a semitone, which is called a "sharp 9th" ; 11ths sharpened by a semitone, which is called a "sharp 11th" ; 13ths typically flattened by a semitone, which is called a "flat 13th". As well, they need to learn about chord transformations e.

Some jazz guitarists use their knowledge of jazz scales and chords to provide a walking bass -style accompaniment. Jazz guitarists learn to perform these chords over the range of different chord progressions used in jazz, such as the ubiquitous ii-V-I progression, the jazz-style blues progression which, in contrast to a blues-style 12 bar progression, may have two or more chord changes per bar the minor jazz-style blues form, the I-vi-ii-V based " rhythm changes " progression, and the variety of modulation-rich chord progressions used in jazz ballads, and jazz standards.

Guitarists may also learn to use the chord types, strumming styles, and effects pedals e. Jazz guitarists integrate the basic building blocks of scales and arpeggio patterns into balanced rhythmic and melodic phrases that make up a cohesive solo.

Jazz guitarists often try to imbue their melodic phrasing with the sense of natural breathing and legato phrasing used by horn players such as saxophone players.

As well, a jazz guitarists' solo improvisations have to have a rhythmic drive and "timefeel" that creates a sense of " swing " and "groove. Another aspect of the jazz guitar style is the use of stylistically appropriate ornaments, such as grace notes, slides, and muted notes.

Each subgenre or era of jazz has different ornaments that are part of the style of that subgenre or era. Jazz guitarists usually learn the appropriate ornamenting styles by listening to prominent recordings from a given style or jazz era.

Some jazz guitarists also borrow ornamentation techniques from other jazz instruments, such as Wes Montgomery 's borrowing of playing melodies in parallel octaves, which is a jazz piano technique. Jazz guitarists also have to learn how to add in passing tones, use "guide tones" and chord tones from the chord progression to structure their improvisations.

In the s and s, with jazz-rock fusion guitar playing, jazz guitarists incorporated rock guitar soloing approaches, such as riff -based soloing and usage of pentatonic and blues scale patterns. Some guitarists used Jimi Hendrix -influenced distortion and wah-wah effects to get a sustained, heavy tone, or even used rapid-fire guitar shredding techniques, such as tapping and tremolo bar bending. Guitarist Al Di Meola , who started his career with Return to Forever in , was one of the first guitarists to perform in a " shred " style, a technique later used in rock and heavy metal playing.

Di Meola used alternate-picking to perform very rapid sequences of notes in his solos. When jazz guitar players improvise , they use the scales, modes, and arpeggios associated with the chords in a tune's chord progression. The approach to improvising has changed since the earliest eras of jazz guitar. During the Swing era, many soloists improvised "by ear" by embellishing the melody with ornaments and passing notes.

However, during the bebop era, the rapid tempo and complicated chord progressions made it increasingly harder to play "by ear. A source of melodic ideas for improvisation is transcribing improvised solos from recordings. This provides jazz guitarists with a source of "licks", melodic phrases and ideas they incorporate either intact or in variations, and is an established way of learning from the previous generations of players. In jazz big bands , popular during the s and s, the guitarist is considered an integral part of the rhythm section guitar, drums and bass.

They usually played a regular four strums to the bar, although an amount of harmonic improvisation is possible. Freddie Green , guitarist in the Count Basie orchestra, was a noted exponent of this style. The harmonies are often minimal; for instance, the root note is often omitted on the assumption that it will be supplied by the bassist.

When jazz guitarists play chords underneath a song's melody or another musician's solo improvisations, it is called " comping ", short for "accompanying". The accompanying style in most jazz styles differs from the way chordal instruments accompany in many popular styles of music.

In many popular styles of music, such as rock and pop, the rhythm guitarist usually performs the chords in rhythmic fashion which sets out the beat or groove of a tune. In contrast, in many modern jazz styles within smaller, the guitarist plays much more sparsely, intermingling periodic chords and delicate voicings into pauses in the melody or solo, and using periods of silence. Jazz guitarists commonly use a wide variety of inversions when comping, rather than only using standard voicings.

In this style, the guitarist aims to render an entire song — harmony, melody and bass — in something like the way a classical guitarist or pianist can. Chord roots cannot be left to the bassist in this style. Chords themselves can be used sparsely or more densely, depending on both the individual player and his or her arrangement of a particular piece. In the sparse style, a full chord is often played only at the beginning of a melodic phrase.

A third approach is to maintain a steady, busy bass-line, like a New Orleans pianist. Here, no more than two or three notes are played at a time, and the full harmony is indicated by arpeggiation. Exponents of this style often come from a country , folk or ragtime background, such as Chet Atkins , although it is also sometimes employed by straight-ahead jazz practitioners, for instance Martin Taylor.

Chord-melody is often played with a plectrum see Tal Farlow , George Benson and others ; whereas fingerstyle , as practised by Joe Pass , George van Eps , Ted Greene , Robert Conti , Lenny Breau or hybrid picking as practised by Ed Bickert , Laszlo Sirsom and others allows for a more complex, polyphonic approach to unaccompanied soloing.

Charlie Christian and Django Reinhardt are generally held to have initiated the use of the guitar to play melodies and improvisations over other instruments, the former using an early form of amplification, the latter playing forcefully on an acoustic guitar.

Over the years, jazz guitarists have been able to solo in standard jazz idioms, such as bebop , cool jazz and so on, while in also absorbing influences from rock guitarists, such as the use of electronic effects. Jazz guitarists are not limited to single note improvisation.

When working with accompaniment, chord solos are created by improvising chords harmony and melody simultaneously, usually in the upper register on strings 1,2,3 and 4. Wes Montgomery was noted for playing successive choruses in single notes, then octaves and finally a chord solo - this can be heard in his improvisation on the standard Lover Man Oh, Where Can You Be?

When playing without accompaniment, jazz guitarists may create chord solos by playing bass, melody and chords, individually or simultaneously, on any or all strings - such as the work of Lenny Breau , Joe Pass , Martin Taylor and others.

The Best Jazz Guitar Strings (Types & Brands)

Besides knowing how to play jazz guitar, getting a jazz guitar tone that you are happy with is also important. Finding a sound that works with your style is important. Many of the jazz greats sound help define their style. I remember when I first began taking jazz guitar lessons when I was about 17 years old.

Epiphone Zephyr Deluxe Regent (1951) Archtop Jazz Guitar

JavaScript seems to be disabled in your browser. For the best experience on our site, be sure to turn on Javascript in your browser. Pure vintage, boutique amp design with enough volume to fill the stage. The Valve Series Standard brings Class A, all tube, hand-crafted design together with crystal clear DSP to create the ultimate vintage performance amp. But loud should still sound great and, unlike most high output amplifiers, the Standard delivers. With the same musical pre-amp as the Valve Special, it also performs with incredible clarity and control at lower volumes. Most important of all, Epiphone designed the Standard first as an amazing tube amplifier, and then added DSP that would offer seamless flexibility without intruding on tone. Choose to use it and you simply activate the DSP section, turn a knob and play. No menus, no lag times.

Robot or human?

If you have searched for a jazz guitar before and faced disappointment, this guitar has a lot more to offer. There are many different jazz guitars in the marketplace but you end up spending a lot of money on them. Epiphone is the lower-cost Gibson brand and they make exceptional guitars. Epiphone features many different types of guitars including jazz style guitars. You need a guitar that is easy as well as fun to play.

Vintage Epiphone guitar amps

Epiphone is one of American's oldest and most revered instrument makers. Since , Epiphone has made instruments for every style of popular music and in will celebrate its th anniversary. The name Epiphone evokes both history and the spirit of invention. The story behind Epiphone's improbable rise from a small family repair shop to a worldwide leader in the manufacture of quality instruments could easily be transformed into the great American novel. But this story is true.

Grant Green’s Gear

My awesome artwork of GG Excuse my lame drawing. Grant Green is one of the greatest jazz guitarists and has a very distinctive tone. He is known for his contribution to hard-bop, soul and funk and has worked with other legendary jazz musicians such as McCoy Tyner and Lee Morgan. Grant is one of my favorite guitarists and gets some awesome tone with a very basic gear setup. This article contains Amazon Affiliate links. Visit disclosure for details. Jazz guitarist back in the day usually used what was available in the studio or at a gig. Grant Green turned down the bass and treble and maxed the mid tones on his amp settings according to George Benson.

Jazz guitar

Between and they were produced alongside the slightly better known Gibson amps. They were only produced in small numbers, and neither the Epiphone or Gibson models really reached the mass acceptance of amplifiers by other companies. Modern day amplifiers by Epiphone, such as the valve junior have been far mor sucessful with regard sales.

NAMM 2021: The best guitar, pedal and amp releases this year

RELATED VIDEO: Best Jazz Amp - AER Compact 60

As guitar players, we are constantly trying to carve out our own unique sound in an effort to stand out from the crowd - and a big part of that comes from the amp we choose to play our electric guitar through. While it's true, our choice of six-string certainly influences our guitar tone greatly - as do our hands and overall technique - we would argue that our amp selection plays an equal-sized role in the quest for tone as the guitar. So, therefore, choosing the best guitar amp for your needs is not a decision to be made lightly. So, if you aren't happy with your current rig, or you're looking to buy your first amp, let us up your tone game with this guide to the best guitar amps.

60’s Epiphone Sorrento for jazz

Guitar brands big and small would descend upon Anaheim, California to show off their new guitars, pedals, amps and accessories for the year at the Winter NAMM Show, but things are different this year. The physical show in Anaheim, California has been canned this year due to safety concerns with the pandemic still raging in the US. The event, which takes place from January , will host an interactive marketplace for brands to launch products. Believe In Music Week will also broadcast hours of professional educational content and artist performances on the companion site, BelieveInMusic. Register for Believe In Music Week here. Brands big and small are still pumping out brand-new guitars, pedals and amps almost every day this month so far — you can find the best of them below. Image: Fender.

The Les Paul Guitar Can Play Jazz (Here’s Why!)

Guitar amps come in all shapes and sizes, with many options to choose from. Are you going to be jamming at home or taking the show on the road? In this guitar amp buying guide, School of Rock breaks down the basics of amps so you can find the perfect amp for your needs.