Monthly Motivation-Knock Out The Lights
I recently heard a Jack Hart and his Hired Hands tune named ‘Knock out the Lights (and Call the Law)’. I don’t recall ever hearing it before. The recording features a great solo by Jimmy Brant that reminded me of a musical break through I had years ago after learning his solo on Tennessee Ernie’s Rock City Boogie. It was the first time I realized you could solo over chords that the rest of the band wasn’t actually playing, especially if the rhythm section is just bass and drums. For instance, the solos in both songs are over the basic three-chord 12 bar blues form. On both solos at the ninth measure, Jimmy plays almost the same lick that’s basically a IIm7 arpeggio. Then over an altered V7 chord in the tenth measure. It’s a useful trick if you’re a wannabe jazzer like myself.
The C.A.R. Pickup
At the end of last year, I had the privilege of working on a vintage Bigsby pole piece guitar pickup for Deke Dickerson. I’m not sure where he got it but it’s going on the “Butterball Paige” guitar that is currently being restored. The work that I did required the pickup to be fully disassembled. At that time I was able to take notes on how it was constructed, accurately take all the measurements of the magnets, bobbin, base plate and aluminum housing. I think it’s obvious that I’ve been a Bigsby nut for a long time now, so with all of this information, the next logical step was to make my own reproduction of this legendary guitar pickup. Now I’m offering it for sale as the C.A.R. Pickup.
TK SMITH C.A.R. ROUTER SCHEMATIC
The first step was to make the wood patterns for the aluminum pickup housing and trim rings. (I’m offering the trim rings in two sizes at this time, a 1/8’’ flat one and a 7/16’’ raised one). Before I started I calculated how much aluminum shrinks in the casting process and added a few thousands for clean up and polishing to my measurements. I used some mahogany I had laying around to make the patterns. Then I found a source to make the magnets for me to the exact dimensions and material as the originals. All of the other parts (bobbin and base plate) I fabricate at my shop with my antique tools and somewhat hillbilly fabricating methods. The clean up and polishing of the cast aluminum pieces is also done at my shop so I can ensure a nice fit of the trim ring to the pickup housing.
It took a few months to get all this to happen but I finally got a few assembled and mounted on my Telecaster. It’s a great pickup that I’m completely happy with. Perfect for anyone playing traditional Jazz, Swing, Rockabilly, Travis picking or Blues. Mounted at the bridge position it’s perfect for that ‘’Grady Martin” sound. At the neck, it’s a great pickup for Jazz, Swing and Blues. It has that distinct hollow, wooden, almost buoyant tone that floats so well on top of what a good rhythm section is doing. Here is a quick demo of the C.A.R. Pickup at the bridge position.
Joao Erbetta-Song for Dean Martin
After 9 days straight of moving my Shop from one location to our new location, it made me very happy this morning to receive this clip from Joao. Now that the move is almost over, it’s extremely motivating for me to get back to work when players of such a high caliber enjoy using my pickups. Thanks Joao! You made my day.
Monthly Motivation-Charlie’s Dream
Anyone that has talked guitar with me knows what a huge Charlie Christian fan I am, but the motivation to play music this month is by two horn players, Buck Clayton and Lester Young with their back-to-back solos on tune called Charlie’s Dream. Although I’ve heard this song hundreds of times, I still get chills when I hear these two solos. The three laughs Buck does at 1:15 into the song kills me. Freddie Green’s on this one as well playing rhythm.
