One of the best investments I ever made was a $9.99/month subscription to Spotify. It has virtually everything I could ever want to listen to (except Zappa) and I can stream it on my phone when I'm out. They have some good "stations" too. 

Yeah, I definitely need to spotify myself up at some point but you know... the weird thing is I actually NEVER listen to music for pleasure anymore. I'm not sure what the deal is with that but I just don't. It's like it bugs me. I spend the whole time deconstructing the harmony/melody, the performance, the production values, etc. It's almost tiresome. I do however have a massive catalog of music imprinted directly into my brain. Something reminds me of a tune and it plays back in my mind as if I were listening to it through headphones and I twist it around into all sorts of freaky ways to amuse myself.
 
Whatever, I'm weird.
 
Anyway, I have memorized all 26 chords from the Baker tut (well I already knew a few of the obvious ones) and have them under my fingers as well even if the changes are still a little difficult. Now I'll hammer through all the exercises and probably type everything into my notes so I can manipulate, rearrange and dissect everything how I need to. Should be interesting. Already creating progressions in my mind.
 
Cheers.

Beeps it is interesting that you are not listening to music so much because it is actually the very thing to do. We did it at the start and it was the very thing that got us into music in the first place. I was lucky enough to learn the art of extended Hi Fi listening where we took in whole sides of albums without any interruption or disturbances. Try doing that these days. It is quite hard to set up now for some reason. But I was able to do it then. Something younger people cannot do now.
 
Being able to enjoy a music experience is only a state of mind and you can switch off all the analysis stuff and just let it hit you and wash over you and you can take it all in for what it is as a whole.
 
I teach post production mixing for TV as one of the things I do. This involves precise mixing of dialogue, music and effects etc.. When I go to the movies if I am not careful I will be analysing the soundtrack mixes. Then one could easily miss something in the film. I switch off to all that and just focus on the film or the music if I am just listening to music.
 
I have been going to a lot of Jazz gigs live lately mainly because my son is a great Jazz drummer and he is playing with some real heavy weights here in Australia. It is exciting to hear him in that situation. The music gets pretty complicated at times and one could get engaged in trying to work it out, but no you have to forget that and just take it in. Let the melodies and the music carry you. Don't fight it so much. Go with it. Enjoy it.
 
Same thing with hearing Chick Corea and Return to Forever. One could analyse the gear being used, the PA, the mix, the breakdown of the music etc. Better to not waste any energy on it. I just sat back and got into it and listened to it as it was intended to be heard. It soared into the heavens and was breath taking. That is what I remember of that gig. Nothing technical.
 
It is OK to listen to a nice Jazz guitarist though and listen to what is going on there. After all many Jazz guitarists have done the same. The ability to listen inside a mix and hear individual things is also a skill and very handy. Listen to the root notes of the bass. Spells out the progression. Listen to the chord voicings above to get the chords and also how they are voiced. Then in a nice solo you might hear a nice line against a chord so you put into your DAW and slow it right down keeping on pitch and write out the notes. But if you go to a Jazz gig then switch all that detailed listening off and learn to hear it all as a complete whole

I feel like I have to force myself to listen to music these days....like I have no motivation to, but then when I actually do listen I really enjoy it. Spotify has been great for this because it's introduced me to loads of fresh new music that I would have never found otherwise. You really have to start diving into the underground of the internet because the traditional ways of discovering new music when we were kids, i.e. the TV and radio, are just so full of vacuous shrink wrapped crap these days. 
 
I think half my problem is that when I was younger, my enjoyment of music became so tied up with the consumption of weed. I was an everyday smoker and kicking back with a joint and some music was just so much part of my daily life. I stopped smoking a few years ago (and drinking too for that matter) and so I really need to revert back to my pre-intoxicant years, like when I was a young teen and could quite happily immerse myself in music for hours without so much as a sip of booze. 

In the Micky Baker book, I came to realize pretty quickly that some of those chords are hard to play simply due to the "reach" required to play the notes on the frets indicated. Example:  Page 2 / chord #7 / Gmaj7   ..... not impossible but certainly a challenge without really long fingers and a flexible hand. And that's not the only one.... just the first.
 
I have another chord book that shows multiple variations of any given chord, played in numerous positions and locations on the neck.... so if the chord is difficult to fret properly in one location, odds are that a different inversion, on a different location on the neck will be easier.  Of course, the same chord in different locations/inversions will have a different tone, color, and feel to it.....even though it's the same chord fundamentally. 
 
All a part of the fun and beauty of playing guitar.
 
 
ADD: BTW: this book is available on AMAZON for about $7..... quite a deal.  http://www.amazon.com/Mickey-Bakers-Complete-Course-Guitar/dp/0825652804/ref=sr_1_1?ie=UTF8&qid=1381148103&sr=8-1&keywords=mickey+baker+jazz+guitar
 
As far a is it still copyrighted.....?  Without a doubt....YES!  Copyrights last a very long time.

@Jeff... Yeah, I am kind of being a naughty boy by not forcing myself to listen to more stuff but it's a matter of time. I can't really focus on anything else when I'm listening to tunes and I have a LOT of stuff to do (especially after losing the bulk of yet another year's productivity due to ye another move). Also I kind of have weird take on things where I don't want my creativity to be influenced too much one way or the other. When I was first starting out I actually avoided learning theory or going much beyond learning songs I absolutely had to. I wanted to dig into my own head and come up with a style that was purely pulled out of my own bum. In many ways it worked out well because I'm a pretty unique player when I just go free form. Then again since I started really digging into theory about en years ago I realized that much of what I had sequestered myself from could have been quite useful. Still I retain a bit of that staunch wannabe "purist" mentality so when I learn stuff I try to absorb the fundamentals and take  them in my own direction for a while until I know I have enough of my own licks and ideas before letting other artists influence me. I'm also kind of taking the same approach with my engineering studies/efforts. I don't really like the idea of using reference tracks to emulate other styles... at least not yet. I've got a pretty good ear and I know what I like (and others seem to appreciate what little I've done in the past having next to know real knowledge about engineering principals). My main goal now is to really learn how to achieve big studio clarity which I'm starting to understand the science of and apply that to my own angle on how I think this should sound. I will however have to get into emulating other styles of mixes if I intend take on clients. Like if they say "I want it to sound like THIS" and hand me a CD I wouldn't be a very professional not being able to at least make the attempt for them. For now though I'm only working on my own stuff so I have the freedom to experiment. I just need to lock myself in the studio room and get down to it but I do want to get this jazz theory under my belt. Being a Canadian and having entities like the CBC and various grant agencies at my disposal I may be able to cut some instrumental albums and get some airplay. I need money so if I can put out some stuff and let it float around making me some royalty money and perhaps driving some CD sales I might be able be a little less worried/hungry all the time.

@sharke... I do end up enjoying it for the most part when I actually force myself but I also find that stuff that I thought was AMAZING before has lost a lot of its intrigue. Like I said I start dissecting it all and the mystery is gone. I also find so much music these days to be horribly contrived. Even stuff that people guarantee me is really fresh and interesting. Then other times things that others find kind of cliche or boring or just plain horrific I get into. It also doesn't help that I don't really get into "bands" anymore but more into specific songs. Listening to a whole album just gets boring or even annoying to me and I have spend a chunk of time creating a playlist for that day so I don't drive myself up the wall. And my tastes vary wildly from day to day. Add to that I haven't ripped my massive music collection (which I've pretty much listened to to death and is gonna take FOREVER to get onto my computer) and I don't have the cash to go buying music or signing up for things like spotify (as sad as that may sound and I REFUSE to illegally torrent music) I end up just saying "Screw it... I'll make my own damned music".
 
I do however pull stuff up on youtube from time to time if I've got an earworm that refuses to be satiated or the track embedded in my mind has become corrupted and needs refreshing. Not very often though.

@Guitarhacker... Yup. That was indeed a tricky one even with my super lanky hands and all the stretching exercises I do. Not sure how someone with smaller hands could pull it off. I've pretty much got that one now because it is based on the movable 7th I've been using since I first learned Purple Haze when I was like 13 years old. My main issue at this point though are the stranger forms and quickly switching between them. If I ring out the lower notes while I let my fingers fall into place for the higher ones I can make the changes quickly and it does have a jazz sound (bom-DANK) but obviously I'm trying to play them straight. Mostly a finger memory issue which is why I'm playing them all in sequence as shown and now that I've started looking at the provided exercises below it should become second nature rather quickly. My disability does cause some problems though as it makes it so my muscles don't develop as quickly as others and even playing stuff I know tends to wrench my back so new and difficult patterns really screw me up. In fact I was going to do laundry today but I've had to forget that plan due to some pain caused by the practicing on these I've been doing and the crummy damp weather over the past few days. That's why I'm here blathering instead of doing something useful. Can risk being laid up for a week when I've got stuff to do outside of the house. Cheers.

Beeps
 
http://www.jazzbooks.com/mm5/#
 
Clifford

I think sometimes jazz chord notation gets way to complex especially in fake books because they try to include every note in the melody especially if the note is on the beat. This doesn't take into consideration the idea of non-harmonic tones... passing tones, appropriators, anticipations, neighbor tones and so on. So you get these wild things like #13th which is really just a passing tone in the melody.
 
I think all progressions can be pretty much notated with just major, minor, suspension, adding 7ths and maybe 9ths sharped or flatted.   Everything else is just style. 
 
John