How much of the REH Hotline series have you got?

Discussion in 'Playing and Technique' started by Clifford-D, Nov 23, 2017.


  1. Clifford-D

    Clifford-D Member

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    These skinny books of 35 or so pages. Somewhere around 20 of them in the series. To me these books felt like a killer day at GIT. And it was.

    I have from the original series;
    Fusion Don Mock
    Hot Licks Don Mock
    Melodic Chord Phrases Ron Eschete
    Jazz Jackie King
    Chord Connection Dave Eastlee
    Artful Arpeggios Don Mock
    Rock Keith Wyatt
    Jazz Rock Steve Freeman
    Rock Rhyrhm Terence Elliott
    Blues Robben Ford
    Fingerstyle Blues David Ferguson

    Then I have the very earliest and rare;
    Chord Scale Relationships Kato
    Solo Chords Roger Hutchinson
    Modes Roger Hutchinson Don Mock
    Triadic Energy Lenny Carlson

    And I have more early stuff that isn't in its place. Plus I have lots of later publications by Ford and others.

    I can easily say that my REH collection is the biggest series of books that I have.
    They were a unique concept in books back then, imo they wrote the book on how later books would present their layout.

    What books do you have?
     
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  2. Mooselake

    Mooselake Member

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    None, except years ago a friend loaned me the Robben Ford one for a couple weeks. I don't remember much about it to be honest. I do like the Muscian's Institute books I've come across, maybe they derive somewhat from REH. (was REH associated with GIT?)
     
  3. misterturtlehead

    misterturtlehead Member

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    I have 21st Century Intervallic Designs by Joe Diorio.
     
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  4. derekd

    derekd Supporting Member

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    Good question. I have so much of that stuff, but most of it is sitting out in the garage in a plastic tub.

    I've had a few of Mock's stuff, Robben and Diorio. I don't recall what else from that series.
     
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  5. jomac

    jomac Member

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    Iv'e got Rock Rhythm by Terrence Elliot complete with cassette tape. Should really dig it out again and do a refresher course.
    Also got Modern Country Licks by Steve Trovato and Jerome Arnold, no cassette. Got a few good ideas from this one over the years.
     
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  6. Neer

    Neer Member

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    I have/had a Martino, Diorio, Freeman, Mock
     
  7. StevenA

    StevenA Member

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    Wasn't Bebop Bible-Les Wise REH?
     
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  8. ned7flat5

    ned7flat5 Member

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    I've accumulated a huge library of guitar instruction books I bought at every opportunity in the 70s/80s before someone else did, such was the competition for access to hard to get instructional material Down Under.

    The REH books were a welcome breakthrough in presenting a focused selection of an artist's techniques - the Robben Ford solo I learned note for note and much of it has remained with me (at a jazz gig yesterday, I thought to myself -"that's that Robben Ford lick again"). The Pat Martino Jazz Hotline book was/is a bit "tougher".

    I finally got around to working on the Les Wise "Inner Jazz" book (I'd had it for at least twenty years "unread") and to my surprise it succinctly covered the precise topic I was studying - playing over dominants - that's all it is about - the concepts were largely beyond me back then but last month I'd pretty much digested its singular content in a well spent half an hour. My advice would be to go through your old books and find what content finally resonates with you now.

    The next book from the shelf I intend to tackle is TEN published by GIT.
     
  9. Elektrik_SIxx

    Elektrik_SIxx Member

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    First one I got was Robben Ford, then Steve Freeman, Don Mock and Pat Martino.
     
  10. Tag

    Tag Gold Supporting Member

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    I have books/videos by Martino, Pass, Ford, Mock, Diorio, Hall, Coryell, Benson and a few others. Not sure what series they belong to. Fun to watch, but I never felt I learned all that much from them. :huh
     
  11. Neer

    Neer Member

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    Well, maybe you didn't learn a system, but I'm sure in some way these items may have given you some food for thought. Sometimes a lesson will inspire me to turn it off and run in my own direction with something, as if a catalyst. If I can get one concept from any learning material, than I think it was worth it.

    I will never be a jazz player, but I will always be a jazz-influenced player. That's on me.
     
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  12. jomac

    jomac Member

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    That's usually what I get from these things too. Even years later sometimes an idea will pop out after a read through.
     
  13. jimipage

    jimipage Member

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    I had the Jennifer Batten "Two Hand Rock", after I read about her in a Mike Varney 'Spotlight' feature, GP Magazine. A year or so later, I was taking private lessons with her in Valley Arts Guitar Store in Studio City, LA. I still remember the day she told me she was no longer gonna teach cuz she just got a "huge gig."
     
  14. stratamania

    stratamania Member

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    I got given a REH Prolicks Hard Rock by Paul Hanson, I think it has about six cassettes and a booklet. I probably still have it somewhere.
     
  15. guitarjazz

    guitarjazz Member

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    Yep
     
  16. T-Money

    T-Money Member

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    I am looking for Contemporary Rock Rhythm by Terrence Elliott. Trying to get my groove back. I studied with him back in the 80’s and bought the book then, but my cassette did not survive a move to and from France.

    Terrence had great technique and rock solid time. Man, I wish that series was still available as I take up my ax after a long absence. Which study program are you liking right now?
     
  17. Clifford-D

    Clifford-D Member

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    I think what is good to do with those little skinny books, the REH series, is to simply play the whole book once a monrh for thirty years lol. Really, play it not to learn it but to just hear it. All the sounds and moves become very familiar. And something familiar often rubs off on our playing. That's what I do with those skinny books, except for Martino's Linear Expressions. That is arguably the best Martino book on the scene. It was well worth memorizing these "long line" exercises. I have the first one toally memorized. It's crazy, you can be playing a blues in a few different keys and simply plug in any chunk of the exercise into the blues and it automatically sounds like the real jazz thing. Example is the Linear Expressions first exercise is G minor, and that sounds so hip playing those lines over G7. But try the lines over F7 or C7. It's so chromatic that the tones are there to support the choice of chord. I sort of call that cheating, but the benefit is I start hearing it automatically quicker.

    I don't get this benefit from the other REH books, they are more like licks for the most part. All just as cool but lick based.
     
  18. b3l5tele

    b3l5tele Supporting Member

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    I got the Robben Ford and Pat Martino books when they came out (was that back in the 80's?). Still go back to them now and then. To the extent I can play changes over standards I owe it to what I have learned from Pat Martino. His approach to theory and organization of the fingerboard just clicked with me.
     
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  19. Clifford-D

    Clifford-D Member

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    It clicked with me too. Something very logical and forgiving is taught in that book.

    Forgiving in that the lines use chromatics so much that they sort of don't need to conform to diatonic function of moving the song in 4ths. Example is in the first 20 notes he plays in ex 1, he plays a b6 and later natural 6th and it feels like more powerful forward motion, sort of erases whether it's functionally dorian ii or aeolian vi or the V or the I. It simply becomes a matter of phrasing.

    It is possible to learn Martino's mechanics, and stlill not be able to burn in bebop. The difference with me is in practice I think all the notes and moves out as I execute, I respond with "that sounds good", I then take a bite of my sandwich and wash it down with some water,, then I play the next exercise, and so on, no pressure.

    But actual live bebop playing over tunes is like playing without being able to just take a break at whim, playing is maintaining present time to allowing inspiration to flow, without thinking, with the calmness of meditation.

    In my opinion, it's the thinking process and inner dialog that keeps me from free flowing on bebop. Getting past our brain's controloing tendancies and its inner dialog,,, can be very hard thing to do, to turn that off,, to simply just.observe all these notes that are just flowing freely through your fingers. Blues players do this all the time, and their playing sounds very connected and organic. But maintaining a place free of thinking in jazz can be very elusive to find and once you find it you're supposed to not think about it.
     
    Last edited: Feb 19, 2018

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