RSS Big band music http://www.swingunlimitedbigband.co.uk/ Big band music Sun, 26 Feb 2017 14:15:14 +0000 en daily 1 Smooth Jazz UK KJAZZ Radio UK broadcast a primarily ‘Smooth Jazz’ format but we have the tag line Smooth Jazz & More. “More” means we also play music from the following genres R&B, Chill, Blues, New Age, Jazz and Ambient. As ...

KJAZZ Radio UK broadcast a primarily ‘Smooth Jazz’ format but we have the tag line Smooth Jazz & More. “More” means we also play music from the following genres R&B, Chill, Blues, New Age, Jazz and Ambient. As KJAZZ Radio UK is a free service to musicians promoting only excellent great indie. music, we are very particular about the musicians we add to our roster. We accept only a small percentage of the songs submitted to us. KJAZZ Radio UK encourages you to not take any rejections personally. Please use the contact page to register your interest in joining and include a link to your music so we can review and get in touch if we like what we hear. Who knows you might be invited to join. Genres were interested in hearing from artists, and record labels about: Smooth Jazz, Adult Contemporary, Ambient, Soul, Blues, New Age, Ambient, Instrumental, Easy Listening, R&B, Chillout Grooves. Effectively KJAZZ Radio UK offers a free ‘Promotion for Music Exchange’. In return for the Musician supplying 1-3 mp3’s royalty free KJAZZ Radio UK will… Promote your music for free through KJAZZ UK and social media. Put the song/s into its broadcast stream, promoting the musician when used. NO CHARGE Add musician and song details to the KJAZZ Radio UK website including: NO CHARGE! Provide a dedicated musicians page when (5 songs or more are accepted) and a listing on the ‘Musicians‘ section. (Your page could act as your web presence if you wish and we will update content when requested and supplied at NO CHARGE! Note as of 2016 at our discretion we will not be providing a web page for new musicians that have less than 5 songs accepted. However new for 2016 we will accept single song submissions and credit you when played and add you to relevant listings and make an external link to your site. Then if you submit more music later that is accepted, once you reach 5 songs, KJAZZ UK will provide the content as described above. Links to where your music can be purchased will be promoted and included. NO CHARGE! For select artists and at our discretion we will also create a You Tube video using the song to further publicize you. NO CHARGE! We are aware other sites charge for similar services. You will not be charged. Were not motivated by a quick buck at the musicians expense we do this because we love music. So what is the catch? Well we would request for those joining that they link to us on our website. All music must be original and no cover songs are currently (knowingly) accepted unless the musician has received permission granting KJAZZ Radio UK the right to play the song royalty free. If any dispute is raised that copyright has been infringed and it is proven, the musician or band will be deleted from KJAZZ Radio UK. Note: Submitting unsolicited CD’s or MP3’s does not mean they will be listened to or receive promotion. Physical CD’s should be sent to… KJAZZ Radio UK, Marchant House, West Sussex, UK, RH13 9GH. Note: No music will be returned whether used or not.

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http://www.swingunlimitedbigband.co.uk/SmoothJazz/smooth-jazz-uk http://www.swingunlimitedbigband.co.uk/SmoothJazz/smooth-jazz-uk Sun, 26 Feb 2017 14:15:00 +0000
Undercover Boss Utah Jazz Greg Miller, ceo of the Larry H. Miller Group of Companies, may be 6-foot-4. But it was no slam dunk when the co-owner of the Utah Jazz took to the basketball court that bears the signature of his late father and became ...

Greg Miller, ceo of the Larry H. Miller Group of Companies, may be 6-foot-4. But it was no slam dunk when the co-owner of the Utah Jazz took to the basketball court that bears the signature of his late father and became "Undercover Boss." Going in disguise as Mark Scott, Miller performed in front of 19, 000 Jazz fans in Energy Solutions Arena, Salt Lake City, as a member of the Mascot Dunk Team. This group of men entertains with gymnastic flips and stunts. It's the first time an NBA team has been featured on the popular television series. When he shows up for practice, team leader Matt is encouraging but tells the camera, "Mark walks out on the floor and I didn't know if he was going to be able to run, or jump or anything. I was a little bit worried he was going to get hurt." Going for the dunk A series of mats and ramps is used to propel the team members into the air and up to dunk height. Mark was instructed to hurdle off one foot and make it to the mat with an emphasis on speed. Mark couldn't even get onto the ramp his first time, and was quite uncoordinated for the first times. But Matt continues to encourage him to keep practicing although it was like watching a little kid. "I'm 47 years old. I'm way too old to be doing this, " Mark says on the side, but Matt continues to encourage him that the more he practices, the more comfortable he will get. Matt was impressed: "He stuck with it and he worked hard. He kept running down. He kept falling down and he kept doing it and that's huge right there." Finally, Mark dunks one. (Not during the game, but at least once.) Shoes and a T-shirt Meanwhile, Matt admits none of the team will get rich on the dunk team, but they do get a pair of shoes and sometimes a shirt. His annoyance is the lack of a fixed budget. The team submits one but never hears back if it's approved. There's no point of contact or clarity on the budget, he tells Mark. Mark has a 16-year-old son and a daughter who lives in Virginia. He doesn't get to spend a lot of time with them. On game day, Mark connects with the mascot who is sure will recognize him and asks to keep it mum. Going public on the court as someone who is the public face of the team is his biggest risk of being recognized. But he pulls it off. VIP game seats On the reveal, Mark thanks Matt and the team for changing his life forever. He awards Matt a chance to bring his children to a game in a VIP setting to watch them perform. He'll give $10, 000 for each child's college education, then invites the rest of the team in and invites their families to watch a game as well from a luxury suite. Then he gives them a committed $25, 000 budget to buy some jerseys and basketballs. As a result, "our family has implemented a new resource that's available to all of our employees throughout the organization that I hope will enrich lives. This show was very consistent with our family, as far as improving the operation and enriching lives. That's really what we spend most of our time doing, so it was a great fit."

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http://www.swingunlimitedbigband.co.uk/UtahJazz/undercover-boss-utah-jazz http://www.swingunlimitedbigband.co.uk/UtahJazz/undercover-boss-utah-jazz Sat, 29 Oct 2016 01:00:00 +0000
Jazz Guitar chord melody arrangements Learning how to play chord melody arrangements is something that many jazz guitarists strive for in their practice room. While many of us want to play arrangements in the style of our favorite players, we often don’t know where ...

Learning how to play chord melody arrangements is something that many jazz guitarists strive for in their practice room. While many of us want to play arrangements in the style of our favorite players, we often don’t know where to start or how to work out a chord melody to fit our current technical abilities on the instrument. In this article, you will learn how to make fingerstyle jazz guitar arrangements from a variety of angles and harmonic approaches, allowing players of all abilities and experience levels to learn and build authentic-sounding chord melody arrangements on the guitar. By learning to adapt a melody into the upper register of the guitar, add chords between and below each phrase of the tune, and combine both of these techniques, you will be able to find a chord melody approach that suits both your tastes and current technical ability on the instrument. So grab your axe, pull out your favorite tune, and get ready to build your own cool-sounding jazz-guitar chord melody arrangement that you can bring to your next jazz gig. Melody Lines One of the most important items when working out a chord melody is the placement of the melody line on the fretboard. Many leadsheets will write out a tune’s melody in the lower octave of the guitar, placing it on the 4th, 5th and 6th strings of the instrument. While this may be a desired range for a single-note melody, it is very tricky to add chords around a melody line that is in the low register of the guitar. Therefore, the first step is to learn to play the melody on the top two strings, bringing it to a higher range in order to add chords below the melody line. By placing the melody on the top-two strings as much as possible, you will free up 4 strings below the line to add chord shapes to your arrangement. Here is an example of a melody line written out over the first four-bars to the jazz standard “Autumn Leaves.” For copyright purposes the melody is different from the original tune, but you can use the same technique with this, or any jazz tune you are working on in the practice room. Now that you’ve checked out the melody line in the lower octave of the guitar, you can learn it one-octave higher on the top-two strings in order to free up space on the neck and add chords below some or all of these melody notes. Here is an example of a fingering for this melody line on the top two-strings. When learning a melody in this fashion, you might find that several plausible fingerings present themselves on the top-two strings. Therefore, feel free to experiment with different fingerings until you find one that is comfortable and sits well under your fingers for any melody you learn with this approach. Once you have learned this melody line in this higher position, you’re ready to start adding chords in between phrases, as well as under some or all of the melody notes, in order to create your very own chord melody arrangement of the tune. Two-Hand Chord Melodies I refer to this first harmonization technique as the “two-hand” technique, because it tends to mimic the sound and approach of two hands on the piano, with one hand playing the melody line and the other playing the chords between each phrase of the melody. The crux of this approach to building chord melodies is that you play the single-note line as written. Then, when you have space between phrases, you fill it in with a chord or two in order to bring in a harmonic texture to your melody line. You can choose any chord shape or type that you want when adding voicings between the melody line, as long as they fit the written chords or a logical substitution for those chords. One thing to keep in mind is that it is much easier to place the chords close to the melody notes you just played or are about to play. If you have to jump more than 3-4 frets to play any chord voicing, it might pull you out of position for the melody line, or cause you to miss the chord you were reaching for as the jump pulled you out of position. Here is an example of chord voicings being added in between our melody line to “Autumn Leaves, ” where the chords have been placed in close proximity to the melody line at all times in order to allow for a smooth transition between chords and melody. Listen & Play As you can see and hear, this approach is fairly simple, you are just adding chords in between phrases in order to comp for yourself in a similar fashion to a pianist playing chords between melodic lines. But, the result is a full-sounding arrangement that is easy to play and sounds good at the same time. The two-hand approach to arranging chord melodies can act as a nice introduction to this style of playing, or add a new texture and variation to your chord melody playing as a whole. After you have checked out this example arrangement, try applying this technique to a tune like “Autumn Leaves, ” “Summertime” or “Stella by Starlight” to begin building your own chord melody arrangements in a similar style. Harmonizing Ends of Phrases Once you have checked out the two-hand approach to building chord melodies, you can move on to exploring full and partial harmonizations of the melody line by adding chords below any given melody. This is a popular approach to building chord melody arrangements, adding chords below melody notes and playing both at the same time. But, one mistake many guitarists make when first learning this approach is that they dive right in, add chords below every note in the melody, get frustrated when it’s difficult to get under their fingers and end up walking away from what might have been a very cool arrangement. In order to avoid this type of scenario, and come up with a cool-sounding chord melody arrangement at the same time, you can begin by adding just one chord to the last note of each phrase in the melody. This approach allows you to bring an element of harmony to your chord melody lines, while not being too technically demanding and causing practice-room frustration at the same time.

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http://www.swingunlimitedbigband.co.uk/JazzGuitar/jazz-guitar-chord-melody-arrangements http://www.swingunlimitedbigband.co.uk/JazzGuitar/jazz-guitar-chord-melody-arrangements Sun, 08 May 2016 14:03:00 +0000
New Orleans Jazz Calendar No matter what your interests are there's always something to do in NOLA. Browse events in the coming months. From regular musical gigs to farmer's markets to dancing, see all the events happening every week in New Orleans ...

No matter what your interests are there's always something to do in NOLA. Browse events in the coming months. From regular musical gigs to farmer's markets to dancing, see all the events happening every week in New Orleans. BROWSE EVENTS BY CATEGORY New Orleans has a festival for everything. Come celebrate life with us at events highlighting our unique music, food and multicultural heritage. Throughout history, New Orleans has been a major center for the arts. Whether you are looking for theatre, dance, music or visual arts, we've got it. Football, basketball, golf, baseball, running, horse racing... If you're sporty, we've got something for you year-round. Get the LOCAL Perspective! Get travel tips, find hidden gems, and get insider information from the Official New Orleans Newsletter Please enter a valid email address Thank You For Signing Up! You are now subscribed to our New Orleans e-newsletter and we'll send you the news each month. You can unsubscribe at any time directly from any mailing. Thanks again for your interest in New Orleans and best wishes for a memorable visit! NEVER MISS A BEAT!

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http://www.swingunlimitedbigband.co.uk/NewOrleansJazz/new-orleans-jazz-calendar http://www.swingunlimitedbigband.co.uk/NewOrleansJazz/new-orleans-jazz-calendar Fri, 27 Jan 2017 13:33:00 +0000
New Orleans Jazz hat I must confess, it's become a bit of a tradition for me to buy a hat every year at the festival. (Please, don't tell my husband...) Some of the best finds, in my opinion, are by the Congo Square Stage, but there are plenty of ...

I must confess, it's become a bit of a tradition for me to buy a hat every year at the festival. (Please, don't tell my husband...) Some of the best finds, in my opinion, are by the Congo Square Stage, but there are plenty of treasures to be found at the Contemporary Craft booths, too. Many festival hats are adorned with colorful flair, like feathers and pins. Artist Oscar Donahue's works can be seen on many hats around the Fair Grounds. We caught up with Oscar of New Orleans at a booth by the Congo Square Stage, as well, but you can find him most days in the French Market in the French Quarter. Oscar Donahue, known to many as Oscar of New Orleans, creates colorful pins seen on many hats at Jazz Fest. Grace Wilson, NOLA.com | The Time-Picayune Do you have a festival hat to share with the NOLA.com community? Perhaps you purchased it at Jazz Fest? Or maybe you made a special hat just for the occasion? Do you have a special Jazz Fest hat that you wear every year? Share your festive hat with us! Here's how to share them:

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http://www.swingunlimitedbigband.co.uk/NewOrleansJazz/new-orleans-jazz-hat http://www.swingunlimitedbigband.co.uk/NewOrleansJazz/new-orleans-jazz-hat Wed, 16 Apr 2014 15:49:00 +0000
Rehoboth Beach Jazz Festival NOTE : All information on this page is subject to change. Please refer to this page often. Tickets for the Rehoboth Beach Jazz Festival will go on sale Sunday, May 1, 2016 at 12:00am ET unless otherwise noted on this page. There ...

NOTE : All information on this page is subject to change. Please refer to this page often. Tickets for the Rehoboth Beach Jazz Festival will go on sale Sunday, May 1, 2016 at 12:00am ET unless otherwise noted on this page. There are 4 opportunities to purchase tickets for the festival.(1) online through rehobothjazz.com, (2) online through TIX.COM and (3) phone orders through TIX.COM and (4) box office sales. The easiest way to purchase tickets is to purchase them online. Beginning Sunday, May 1 at 12:00am ET, tickets may be purchased through our website or TIX.COM. Seats will be assigned at the time of purchase and tickets will be available to print immediately. There is a service charge of $3.00 - $5.75 per ticket (based upon ticket price) through either website. NOTE: This purchase method offers e-tickets ONLY. Patrons purchasing e-tickets will receive an e-mail receipt confirming their purchase with instructions on how to print your ticket(s). Purchase Tickets by Phone Tickets may be ordered by phone beginning May 1 at 12:00am ET through TIX.COM. To place a phone order, call 800.595.4849. TIX.COM phone charges a service charge of $4.50 - $7.25 per ticket (based upon ticket price). Operators are available 24 hours a day, 7 days a week. You will be instructed to receive your tickets through e-mail. Purchase Tickets In-Person Tickets may be purchased in-person during the week of the Jazz Festival beginning Thursday, October 13. Please refer to the locations and times listed below. The box office accepts Discover, Master Card and VISA, as well as cash. There is a $3.00 - $5.75 per ticket service charge. • Dates, times and locations will be announced May 1, 2016! Ticket Refunds All sales are final. No refunds or exchanges. As a courtesy to our Guests, on premise ticket agents, the day of a show, will attempt to sell unused tickets as time provides with no guarantee of unused tickets being sold.

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http://www.swingunlimitedbigband.co.uk/JazzFestival/rehoboth-beach-jazz-festival http://www.swingunlimitedbigband.co.uk/JazzFestival/rehoboth-beach-jazz-festival Mon, 23 Jan 2017 13:13:00 +0000
Best Jazz blues songs Many of us studying blues guitar with Keith Wyatt know that blues came out of the African American experience of working in the fields and singing in church. The Mississippi delta was a well-spring for the blues. As many African ...

Many of us studying blues guitar with Keith Wyatt know that blues came out of the African American experience of working in the fields and singing in church. The Mississippi delta was a well-spring for the blues. As many African American folks migrated to large cities, Chicago became a Mecca for early blues musicians. Here are ten classic blues guitar songs that reflect that journey. Robert Johnson – "Cross Road Blues" There is not much known about the life of Robert Johnson while he was still alive, although the music he left us with has grown to mythic proportions. Robert Johnson is well-known now because so many other famous musicians have picked up his music. If you listen to the original version here you’ll hear a slow tempo finger picking, slide acoustic guitar style. Check out the video below to hear Keith Wyatt’s great, up tempo version! B.B. King – "The Thrill is Gone" This is a 1970 version. B.B. was not a flashy player but he was the “king” of call and response and subtle phrasing. T-Bone Walker – "Stormy Monday" “The eagle flies on Friday and Saturday I go out to play…” What a great blues song! In this version, there is a piano and horns so T-Bone’s riffs and solo play off the band. Robert Johnson – "Sweet Home Chicago" When we think of "Sweet Home Chicago", we might think of Buddy Guy's great version as seen below. The above acoustic version is a classic example of the Robert Johnson boogie shuffle Keith teaches in his online lessons. Muddy Waters – "Got My Mojo Workin" ArtistWorks students taking harmonica lessons with Howard Levy will enjoy this as it’s all about the harmonica player in this 1960’s video. This is classic blues style where the guitar supports the singer and the harmonica leads. Leadbelly – "House of the Rising Sun" Most of us probably first heard the Animals cover version in the 1960’s. In the original version, there is some confusion about who is singing but the acoustic guitar acts as the backing band. In the Animal’s version, the guitar player “introduces” the song then plays rhythm and backs the organ. Howlin’ Wolf – "Little Red Rooster" Here is another song that most of us probably first heard when the Rolling Stones covered it. In both versions, the slide guitar is accenting the song while the drummer and bass player keep the rhythm and back beat going. Roy Orbison – "Mean Woman Blues" You can see Roy Orbison playing the boogie shuffle that Keith teaches in open position in this version. Can you figure out the key? Ray Charles – "What’d I Say" “What’d I Say” is classified as “Rhythm and Blues” but in this version (Junior Wells) the guitar player is playing the rhythm and melody that Ray Charles plays on the piano. You can hear the original below: Hank Ballard – "Look at Little Sister" Many of us have probably not heard this Hank Ballard version which has horns and piano. In Stevie Ray Vaughn’s version, he and his electric piano player carry the song without horns—and Stevie doesn’t really play “horn riffs” as Keith has shown us. Stevie does use the boogie shuffle in open position though. I got into playing guitar many years ago in high school through surf music and rock and roll. Life took over with three years in the army, college and then a career. Over the years, I fooled around with the guitar but never got better. I’ve always been drawn to blues and jazz. I started thinking about taking lessons and found ArtistWorks and Keith Wyatt’s blues guitar school. Keith is a serious musician who has been playing a long time. He is also a great teacher and patient with students – especially students like me who are studying the fundamentals. ArtistWorks presents the blues guitar lessons in a great online format – I login to see the lessons, practice and then submit a video to Keith. Usually within a day or so, Keith posts a video critique of my playing the lesson. Submitting your first video to a great guitarist like Keith can be a little intimidating but Keith is straight forward and offers suggestions for improvement. I plan on studying with Keith throughout his curriculum and then I hope to later begin studying jazz guitar as well.

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http://www.swingunlimitedbigband.co.uk/BestJazz/best-jazz-blues-songs http://www.swingunlimitedbigband.co.uk/BestJazz/best-jazz-blues-songs Fri, 10 Feb 2017 14:03:00 +0000
All that Jazz Bye Bye Life All that work. All that glitter. All that pain. All that love. All that crazy rhythm. All that jazz. Trivia The character of Davis Newman (Cliff Gorman) was based on Dustin Hoffman who had played the title role in Bob Fosse's ...

All that work. All that glitter. All that pain. All that love. All that crazy rhythm. All that jazz. Trivia The character of Davis Newman (Cliff Gorman) was based on Dustin Hoffman who had played the title role in Bob Fosse's earlier film Lenny (1974). Gorman had initially portrayed Lenny Bruce in the original Broadway run of the play from which the film was adapted, but was passed over in favor of Hoffman for the film version. See more » Goofs In a closeup of back of Joe's head during Bye Bye Love number, a large strip of Scotch tape is inexplicably running across back of his head. See more » Quotes Joe Gideon: No, nothing I ever do is good enough. Not beautiful enough, it's not funny enough, it's not deep enough, it's not anything enough. Now, when I see a rose, that's perfect. I mean, that's perfect. I want to look up to God and say, "How the hell did you do that? And why the hell can't I do that?" Angelique: Now that's probably one of your better con lines. Joe Gideon: Yeah, it is. But that doesn't mean I don't mean it. See more » Crazy Credits There are no opening credits, only the company credits and the title, which resembles revolving Broadway lights. See more » Connections Referenced in Saturday Night Live: Burt Reynolds/Anne Murray (1980) See more » Soundtracks Concert in G (uncredited) Concerto alla rustica, for strings & continuo in G major, RV 151 1. Presto Music by Antonio Vivaldi Played often in the score See more »

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http://www.swingunlimitedbigband.co.uk/AllThatJazz/all-that-jazz-bye-bye-life http://www.swingunlimitedbigband.co.uk/AllThatJazz/all-that-jazz-bye-bye-life Mon, 16 May 2016 14:54:00 +0000
Jazz Guitar exercises One of the most common questions I get from my students and readers is, “I know what jazz chords to study, but how to I practice them in a practical, musical way?” To help answer this question, I’ve put together an exercise ...

One of the most common questions I get from my students and readers is, “I know what jazz chords to study, but how to I practice them in a practical, musical way?” To help answer this question, I’ve put together an exercise that uses all the inversions of any chords you are learning, while playing them in a common chord progression at the same time. In this lesson, you will learn how to practice Drop 2 and Drop 3 chords in all inversions, applied to a major ii-V-I chord progression to keep these shapes practical and musical in your woodshedding. I’ve provided examples for one string set of each chord shape, Drop 2 and 3, but feel free to apply this exercise to any string set your are working on in your jazz guitar studies. I’ve also written out each example in the key of C, so to take this exercise further, make sure to work these shapes together in all 12 keys around the fretboard in order to get an in-depth understanding of how they lay on the neck of the guitar. The Jazz Guitar Chord Exercise The exercise is a fairly straightforward concept, but applying it to the fretboard can take some time and effort in the practice room. Here is the exercise: 01. Pick a chord shape such as Drop 2 02. Pick a string set, top four strings for example 03. Play the root position iim7 chord, such as Dm7 04. Move to the closest V7 chord, G7 in this case, without moving your hand if possible 05. From there, move to the closest Cmaj7 chord without moving your hand 06. Repeat but start on the next inversion of iim7, Dm7 in this key 07. Repeat until you’ve covered all four inversions of the iim7 chord and the closest V7 and Imaj7 chords from those four shapes. That’s it. Pretty simple, but playing and memorizing these shapes in four areas on the neck can take some time in the woodshed. So, let’s take this exercise and see how it lays on the fretboard in the next section of this lesson. Drop 2 Chord Exercises Now that you understand what the exercise is, let’s take it to the fretboard, beginning with Drop 2 chords on the top four strings. You will begin with a root position Dm7 chord, moving to the closest G7 chord, and finally landing on the closest Cmaj7 chord from there. I’ve written the inversion under each chord so you can memorize that movement as well, which will make it easier to transfer this exercise to other string sets and keys in your practicing. Now, you’ll move on to the first inversion Dm7 chord, with the other chords being as close to that initial chord as possible. Next, you are playing a second inversion Dm7 chord and following on to the closest G7 and Cmaj7 chords from that initial shape on the fretboard. Lastly, here is a third inversion Dm7 chord that then leads to the closest G7 and Cmaj7 chords from there. Drop 3 Chord Exercises To help you take this exercise to another common jazz chord shape, here are four examples of applying this idea to Drop 3 chords on the 6th-string root groupings. Again, you can take these shapes to other keys on the sixth-string root, as well as apply them to other string sets for Drop 3 chords as you expand on them in your studies.

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http://www.swingunlimitedbigband.co.uk/JazzGuitar/jazz-guitar-exercises http://www.swingunlimitedbigband.co.uk/JazzGuitar/jazz-guitar-exercises Mon, 26 Sep 2016 23:02:00 +0000
Used Fender Jazz Bass Just in on Aug. 27, 2015 we have here a 1967 Fender Jazz bass all original but the brass nut, someone filed the last 2 frets on the high end practically flat. We opened it up and can tell it had never been apart so it really is ...

Just in on Aug. 27, 2015 we have here a 1967 Fender Jazz bass all original but the brass nut, someone filed the last 2 frets on the high end practically flat. We opened it up and can tell it had never been apart so it really is all original again except the replaced brass nut. Has dings and dents as shown, it is a consignment for an estate from a lady that here husband passed. Selling as is non original case but old hard shell case. You can make us an offer but we do not have much room on it. We are getting $68.50 shipping. That will just about cover the shipping then the insurance. International buyers be aware shipping could be $400 and up on international. Now on international buyers we could disassemble the neck from body ship it with no case and get it down to a much smaller size and save a lot in shipping at that rate maybe as low as $150 shipping with out case. We just restrung it with flatwound Rotosounds Product Specs Condition: Very good Make: Fender Model: jazz Finish: 3 Color Sunburst Categories: 4-String, Vintage (pre-1980) Year: 1967 Made In: United States Model: USED1967JAZZ Manufacturer: USED MERCH. Retail Price: $6, 799.99

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http://www.swingunlimitedbigband.co.uk/FenderJazzBass/used-fender-jazz-bass http://www.swingunlimitedbigband.co.uk/FenderJazzBass/used-fender-jazz-bass Thu, 03 Dec 2015 14:48:00 +0000