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This publication represents a new format in jazz education whldl"-aU6ws the- [earning Improvisor and professional , f ···1 " '" - -M' .. ~ i, .' h d"" (' to access th e b,·ene Its, 0 f stu d'ylng ciassic guitar so I'051 ,(. ost traJ~lS~c,rl:pt~on I require tnat th recororngs u'f' uOIO,($:· ne available] be searched out, purchased, and on!ly listened to since most p,layers in the developmental stages of their playing would not have the technique to pl':ay the soles up to tempo, The solos in this book are:
,
'j'

I. Played in tune; 'many old recordings have been sped up to improve fidelity, raising the pitch as mUI·'c.I, as, a whole st:e'p~.' . .- II

2. Recorded at an easy-to-play slow practice tempo. 3., Also recorded
sooner; 4~,Rec.. orded on 'modern equipment with fidelity surpassi-ng the original recordings with a, modern rhythm section. Bass and drums are rnonophonic on .both channels. Plano is, on tile right on~YI Guitar is on the left only~:W'ijth 'your "balance control" you c:an choose what, 'yIO:U want to hear.
I'

at 'a,fast tempo sUghtly slower than the original, making performance

attainable

The 5010s are arranged in progressive orderof technical difficulty. We chose performances represcntatlve of each master's contribution tOI the development 'of jazz guitar;

that are most

8, - -ne .. ·essel: This solo demonstrates his use of hard-driving melodic: development and some of the ' first string bending on record by a, jazz artist.
-':.:BS , .. '_ .ntgorne

'y: T.hIB tone of the jat,;z,gultar was forever changed Iby this ma.n s thumb while adding
..

to the post-bop vocabulary
,
,

I I d 'I' r. '"d bI'~ I hl h became unavauarb1- 'to te 'I' Ie -h 'iel_, ~s:Th ~ earty soro :lsp,laY·'$, I1fr:S'I·or:mt ante jazztalent W.'jC.'· -b 'us public as Howard persued his. pop hits, studio work and' teaching careers in the late sixties,
.'0
II ,II

,

eoge sarnes: With the use of almost every technique known to man. George uses bending, slides, and hammer-ens to create a high level of expression seldom heard on the guitar.

is from the seventies after Pat had left his 'Wes Montgornery-lnflulenced early 'playing and, Cllev'e.lope:~dhis present pclytonal-chrcmaticisrn, which is much different than the traditional jazz guitar approach. .- "
SOJOI
_..
. .

p ,., _':a,r- -in- : This :

.. .

_..

The fi'n·alform yq~usee here is. the result 0" an entire year' of worlc researching and choosing great solos, transcribing and proofreading for accuracy, countless hours of'practlcirigand recor ing. Our motive is to increase he quality of jazz guitar playing and to preserve music.whlch is..or n1ay· become "out of print," Jeff Schroedl at HalLeonard .was a big help in developing and i~pr'O\f!ngth~ book
I,

.
-

.. .

.. .

. .

.._.
:1:

_.

.. .

Up until starting t'h·,i_s·II·~p'r"ojec,t I had avoided playing other's solos thinking that my·- own unique style of p'tay'in,g would be: compromised .. fter spending a year' With thesemasters. l've noticed that I have retained my ~ original conception.of guitar music, but have acquired a techniea] depth and more tools to play my music: my way. So I now recornrnehd this SUJdy to any jazz guitarist at a~Y''' "leveL' .."
•• 1 II II •• ,. .:: ••

Special thanks t~,.. he _nne ... t rhythm section who did their homework: McGirr-bass, and also BillLittlefield-recording engineer ....- ..
II II

Jim Sodke-ksys,
..

Del Bennett-drums,

Tom

. .

.. .

.... ..

..

..

. ._

. .

.. .

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