HAL LEONARD

CLASSIC BLUES JAM SESSION CD GUITAR TABLATURE Riviera Paradise-STEVIE RAY VAUGHAN-Hide Away ERIC CLAPTON

CLASSIC BLUES JAM SESSION FOR GUITAR. CD TABLATURE

BOOK FOR GUITAR WOTH JAMTRAX, AND TABLATURE.

INTRODUCTION
Each title in the Total Accuracy Jam Session series is a powerful learning
tool, that will not only help you to extend your stockpile of licks and fills, but
has been carefully designed to help develop the improvisational skills of the
individual. A combination of the professional quality backing tracks on the
CD,and the accurate printed transcriptions in the book, will provide a basis
for exciting play along.
Each track represents an important classic in this history of blues guitar.
Use the transcriptions in the book to play along with the band on the CD. For
songs containing multiple guitar parts, we have added rhythm guitar to
allow one guitarist to accurately recreate the track.
The backing tracks can also provide a basis for your own improvisation. Try
to change or adapt any of the licks or solos in some way to give them your
own musical identity. Extend these ideas by playing them in different keys
and positions; what you like you can keep, what you don't you can discard.
Use the Jam Sessions as a form of study, but most importantly have fun and
experiment with your own ideas.

TOTAL ACCURACY
Professional Guitar Workshops
PLAY-ALONG TRACKS

YOUR TURN TO BURN with the hottest BAND IN TOWN!

Crank up your amp and go for it! Play lead guitar 'live' with our pro-session band! These book/CD packs include:
• 90 licks you can immediately plug in and play • Tips on solo construction, phrasing, scales, string bending, and vibrato
• CD includes over 60 minutes with full band backing tracks • Standard notation and tablature

TOTAL BLUES FOR GUITAR JAM SESSION
Features tracks in the style of Stevie Ray Vaughan,
Eric Clapton, Robben Ford, JiIni Hendrix, B.B. King
and more.
00695151 Book/CD Pack

ULTIMATE BLUES JAM SESSION FOR GUITAR
Features tracks in the style of Stevie Ray Vaughan,
Eric Clapton, Robben Ford, Jimi Hendrix, B.B. King
and more.
00695152 Book/CD Pack

CLASSIC ROCK JAM SESSION FOR GUITAR
This book/CD pack includes full backing tracks with
stereo options for 11 complete songs, including:
Paranoid (Black Sabbath) • Sweet Home Alabama
(Lynyrd Skynyrd) • More Than a FeeliIlg (Boston) •
Black Magic Woman (Santana) • and more!
00695110 Book/CD Pack

JAM WITH RITCHIE BLACKMORE
Includes superb quality, live recorded backing tracks
plus transcriptions to: Smoke on the Water • Black
Night • Highway Star • and more.
00695299 Book/CD Pack

ACOUSTIC ROCK GUITAR JAM SESSION
Authentic transcriptions and jam tracks for 10 complete
songs, including: The Best of My Love (Eagles) •
Fire and Rain Oames Taylor) • Tears in Heaven (Eric
Clapton) • Yesterday (The Beatles) • and more.
00695112 Book/CD Pack

CLASSIC BLUES JAM SESSION
Authentic transcriptions and jam tracks for 9 complete
songs: Riviera Paradise (Stevie Ray Vaughan) •
Rock Me Baby (B.B. King) • Still Got the Blues (Gary
Moore) • Hideaway (Eric Clapton) • and more.
00695111 Book/CD Pack

JAM WITH GARY MOORE
Jam \vith a super band with these transcriptions and
excellent backing tracks to: Still Got the Blues •
Walking by Myself • The Loner • Oh Pretty Woman •
and more.
00695300 Book/CD Pack

Prices, contents, and availability subject to change without notice.
Basi senza preascolto:
Series: Guitar Jams Series
Medium: Softcover with CD
Artist: Various
Play along with 9 of the greatest Blues guitar songs ever!!! This book and CD pack contains authentic transcriptions and jam tracks for nine complete songs. Each piece chosen to represent an important classic in blues history. 72 pages
Songs incl:

Confidence Man, JEFF HEALEY
Cross Road Blues (Crossroads), CREAM
Hide Away, ERIC CLAPTON
I'm Your Hoochie Coochie Man, ERIC CLAPTON
Life Without You, STEVIE RAY VAUGHAN
Riviera Paradise, STEVIE RAY VAUGHAN
Rock Me Baby, B.B. KING
Still Got The Blues, GARY MOORE
The Healer, JOHN LEE HOOKER 

Price: €19,99
€19,99

CHRISTIAN CHARLIE THE BEST OF GUITAR SIGNATURE LICKS CD TABLATURE SPARTITI CHITARRA METODO

CHRISTIAN CHARLIE, THE BEST OF. LICKS. CD TAB.
A Step-by-Step Breakdown of the Styles and Techniques of the Father of Modern Jazz Guitar

Series: Signature Licks
Book & CD Package - TAB
Artist: Charlie Christian
Arranger: Wolf Marshall
Explore the riffs, solos and sounds of the original electric jazz guitar virtuoso with this comprehensive book/CD pack! Wolf Marshall uses excerpts from 15 of Christian's classics to demonstrate his groundbreaking techniques, including: Air Mail Special -Benny's Bugle -Good Enough to Keep (Air Mail Special) -Grand Slam -Honeysuckle Rose -I've Found a New Baby (I Found a New Baby) -Seven Come Eleven -Shivers - Solo Flight -Stardust -Wholly Cats, and more. Includes an introduction and foreword, and a Charlie Christian biography and axology. 64 pages.
Songlist:
Table of contents
A Smooth One
Air Mail Special
Benny's Bugle
Gone With 'What' Wind
Good Enough To Keep (Air Mail Special)
Grand Slam
Honeysuckle Rose
I've Found A New Baby (I Found A New Baby)
Seven Come Eleven
Shivers
Six Appeal
Solo Flight
Stardust
Till Tom Special
Wholly Cats

Price: €29,99
€29,99

DI MEOLA AL CIELO E TERRA GUITAR SHEET MUSIC BOOK SPARTITI LIBRO CHITARRA HAL LEONARD

DI MEOLA AL, CIELO E TERRA. SHEET MUSIC BOOK FOR GUITAR.

CHORDS AND STANDARD NOTATION.

 

 
Price: €99,99
€99,99

DI MEOLA AL McLAUGHLIN PACO DE LUCIA FRIDAY NIGHT SAN FRANCISCO-Mediterranean Sundance-BOOK

DI MEOLA AL, JOHN McLAUGHLIN, PACO DE LUCIA, FRIDAY NIGHT IN SAN FRANCISCO. Questo irripetibile concerto del 5 dicembre 1980, ha aperto le strade al genere spanish-jazz-acustico.

Al Di Meola, Paco De Lucia: Mediterranean Sundance/Rio Ancho;

Al Di Meola, John McLaughlin: Short Tales Of The Black Forest;

Paco De Lucia, John McLaughlin: Frevo Rasgado;

Al Di Meola, Paco De Lucia, John McLaughlin: Fantasia Suite; Paco De Lucia, Al Di Meola, John McLaughlin: Guardian Angel.

Trascrizione di ogni chitarra.

Series: Guitar Book
Artist: Al Di Meola
Artist: John McLaughlin
Artist: Paco Delucia

 

"Latin rhythms are the most interesting rhythms in the world," opines Al Di Meola, "and to write them you have to be able to play them." And Di Meola can certainly play them. The master altenate-picker and fusion pioneer has carried on a multi-decade love affair with the music of Spain and Central and South America while simultaneously leaving his imprint on the jazz and rock worlds. His two latest releases are The Guitar Trio with Paco de Lucia and John McLaughlin, and Di Meola Plays Piazzolla, a tribute to the great Argentinean tango composer Astor Piazzolla. Both albums are rich in Latin influences, and Di Meola has devoted his musical life to absorbing the subtle stylistic nuances of the various genres within his own playing. "Almost everything I do I kind of analyze to be some kind of percussion or drum pattern," says Di Meola. "I'm particularly interested in what's known as the 'clavé' rhythm. That's essential in Latin music, and some people just can't do it. But you'll hear Latin musicians say, 'Oh, he plays good clavé.' clavé is sometimes referred to as a rhythm, hut mostly in salsa music. When you play against the clavé, you're playing against the time, and that's what I do a lot when 1 play rhythmically on a guitar. We refer to clavé as the quarter note." A great example of this can be found in Di Meola's song "Beyond The Mirage," from The Guitar Trio (see Ex. 1). The opening arpeggios are composed in a classic clavé rhythm. "All three guitars tune the 6th string down to a low D," says Di Meola. "I use a little bit of my Roland GR synth in there, so you can hear that real low tone of a fretless bass sound."

The picking pattern is not strictly alternating, but designed to fit over the specific string spread. Di Meola composed the picking pattern as much as the notes themselves. You must perform the pick strokes a certain way to achieve the proper ,"hythm. "The first note you hit is on the 6th string, the second note is on the high E string, the third on the D string, and so on," explains Di Meola. "So there's a lot of skipping around. It's down, up, down, up, up, up. But you have to do it this way or the rhythm won't sound just right. And if it's off a hair, the feel is ruined."

At this brisk tempo (q=200), it's quite a challenge to execute pattens accurately. But that's not the most difficult aspect of the passage, according to Di Meola: "It's more the rhythm that's going to mess people up. And what people need to get into is experimenting more with different rhythms, and keeping all of that locked into the clavé time." The rhythm and the placement of the accents brings to mind anothe," Latin-jazz standard, "Spain," by Chick Corea. "The whole thing in 'Spain' is the way those accents fall," says Di Meola. "It's off of the clavé without the clavé moving that will determine whether it's working or not. What 1love about Chick is that he writes and plays with so much clavé. I'm really drawn to his ability to use that in composition and playing." As a fitting homage to Corea-who helped launch Di Meola's career by hiring ti,e teenage,' to play in his band Return To Forever -Paco, John, and Al perform "Spain" as an encore. Note how close the rhythm and accents are in the opening of "Spain" to Di Meola's own tune. The difference is that "Spain" is melodic and "Mirage" is rhythmic. Both carry the clavé rhythm within their notes, and both capture the essence of Latin music. "The important tiling is the rhythm," stresses Di Meola. "Withont that you have nothing. Whether it's 'Spain' or 'Beyond The Mirage' or whatever, the rhythm is everything."


Artist Transcriptions 21st Century Publications This famous trio of acoustic guitarists is captured live in this matching folio to the Grammy Award-winning album from a live concert in San Francisco. The book contains full transcriptions of every tune 96 pages. including:

Mediterranean Sundance/Rio Ancho
Fantasia Suite (Al Di Meola)
Frevo Rasgado
Guardian Angel
Short Tales Black Forest

Price: €17,99
€17,99

AL DI MEOLA PICKING TECHNIQUES ELEGANT GYPSY-EGYPTIAN-PASSION GRACE & FIRE TABLATURE LIBRO

 

DI MEOLA AL, PICKING TECHNIQUES. Vari esempi di alternate picking. 32 pagine senza TABLATURE

Al Di Meola's Picking Techniques
Series: Instructional
Publisher: 21st Century Publications
Artist: Al Di Meola

An insightful and helpful book written by Di Meola on his own personal technique of guitar playing. Includes exercises and excerpts from his music, which act as a step-by-step guide to help the guitar student play better. 32 pages

Produced: John Cerullo
Inventory #HL 00604044
ISBN: 9780793510184
UPC: 073999040449
Width: 9.0"
Length: 12.0"
32 pages

My main purpose in writing this book on picking technique is to help guitar players develop speed and accuracy in their playing while developing their own musical goal. By doing this, the guitarist is better able to hear, play and write creatively for the guitar. Many of today's guitar players, particularly rock guitar players, are limiting themselves. By not learning speed, accuracy, and scale work, they have no chance to develop a variety of styles, tempos or other important musical elements. In order to be an effective and creative player today, a guitarist must learn the entire fretboard in a scale-wise fashion and be able to do it with speed and accuracy. An added help would be to listen to lots of different styles of music, not just top 40. This book has been simply structured for ease of use and accessibility to every guitarist who wishes to develop his picking technique. The real secret to it all is to practice a lot and to start slowly, gradually building speed, while always playing as clearly and accurately as possible. The main thing is to work hard on repetitive rhythms-it's the only way to improve. The outline of the book follows the development of alternate picking: first single string alternating, then work on repeated upstrokes, alternate picking on adjacent strings, and finally alternate picking skipping strings. These different elements of picking and some variations will all .be demonstrated by the use of exercises, scales, folk songs, and excerpts from my own tunes. An explanation of my muting technique is also covered. The excerpts from my own music include bass lines and chord changes for anyone who wishes to play with a friend or teacher. The left hand fingerings are those suggested by the editor and not necessarily my own. Full transcriptions of the tunes used in this book can be found along with other tunes of mine in my book, Al Di Meola, Music/Words/Pictures. I hope you wotk. hard and enjoy the book.

Al Di Meola

CONTENTS

Foreword
MutingTechnique
Alternate Picking
Right Hand Position
Articulation
Alternate Picking on Single String
Alternate Picking on Adjacent Strings
Alternate Picking on Single and Adjacent Strings
Alternate Picking on Easy Skips
Alternate Picking on Chords
Summary of Technique. Learned So Far
Alternate Picking on Melodic Skips
Alternate Picking on Scales, Skips, and Chord.
More Advanced Alternate Picking on Adjacent Strings
Further Skips with Step-WileBrew
Double Note Picking
"Tarantella" Revilited
Chordal Strumming
Excerpt from "PASSION, GRACE & FIRE" TABLATURE GUITAR I AL, GUITAR II PACO - TABLATURE

ESEMPI DA :

CASINO'
ELEGANT GYPSY SUITE
RACE WITH DEVIL ON SPANISH WIGHWAY
EGYPTIAN DANZA
ELECTRIC RENDEZVOUS

Price: €15,99
€15,99

AL DI MEOLA MUSIC WORD PICTURES Artist Transcriptions LIBRO Guitar TABLATURE CHITARRA PACO

DI MEOLA AL, MUSIC WORD & PICTURES.

Series: Transcribed
Artist: Al Di Meola

A collection of Al's greatest, complete with biography, discography, and complete description of Al's special techniques. 144 pages.

Al Di's Dream Theme FOR GUITAR AND BASS
Casino FOR GUITAR AND BASS
Dinner Music Of The Gods FOR GUITAR AND BASS
Egyptian Danza FOR GUITAR AND BASS
Electric Rendezvous FOR 2 GUITARS AND BASS
Elegant Gypsy Suite FOR GUITAR AND BASS
Lady Of Rome, Sister Of Brazil FOR 2 GUITARS
Land Of The Midnight Sun FOR GUITAR AND BASS
Midnight Tango FOR GUITAR AND BASS
Morning Fire FOR GUITAR AND BASS
Race W/Devil On Spanish Highway FOR GUITAR AND BASS
Ritmo De La Noche FOR GUITAR AND BASS
Passion, Grace & Fire FOR 2 GUITARS TABLATURE, PACO de LUCIA and AL DI MEOLA

Price: €21,99
€21,99

JAZZ GUITAR CHORD MELODIES Hal Leonard CD TABLATURE CHITARRA LIBRO SPARTITI

JAZZ GUITAR CHORD MELODIES. CD TAB.
12 Titoli: body and soul -black Orpheus -satin doll -all the things you are -bluesette -how insensitive (insensatez) moonlight in Vermont -my foolish heart -my one and only love -my romance -once I loved (amor em paz) -there will never be another you.

This book/CD pack includes complete solo performances of 12 terrific standards. The arrangements are performance level and range in difficulty from intermediate to advanced. 64 pages

Table of contents
All The Things You Are
Black Orpheus
Bluesette
Body And Soul
How Insensitive (Insensatez)
Moonlight In Vermont
My Foolish Heart
My One And Only Love
My Romance
Once I Loved (Amor Em Paz) (Love In Peace)
Satin Doll
There Will Never Be Another You

Price: €25,99
€25,99

JAZZIZ CHRONICLES: THE GUITARISTS. A COLLECTION OF INTERVIEWS & FEATURES FROM THE AWARD-WINNING MAGAZINE (Book/CD)

 

JAZZIZ CHRONICLES GUITAR. Interviste a: George Benson, Les Paul, Herb Ellis, Larry Coryell, Sonny Sharrock, Al Di Meola, Bill Frisell, Pat Martino, John Scofield, Jim Hall, Pat Metheny, Wes Montgomery, Lee Ritenour, Kenny Burrell, Joe Pass and a host of others. Discover the history of the jazz guitar and enjoy JAZZIZ's top picks from its second talent search on the companion CD - Brian Hughes, Michael Gulezian, Rick Zunigar, Randy Bernsen, James Vincent, Dave Lowrey, George Simon, John Paul, Dave Onderdonk, Dave Occipinti, Bill Mize and Christopher Cortez. Includes great photos throughout. Non contiene pagine di musica. CD

A COLLECTION OF INTERVIEWS & FEATURES FROM THE AWARD-WINNING MAGAZINE

Foreword
What isJazz?
One day, not so long ago, I was flying from Florida to New York, listening to my Walkman. A gentleman sitting next to me on the plane asked what I was listening to. "Jazz," I replied. "I hate jazz," he said. A while later, I offered him my headphones, which he willingly donned. He listened for a moment. "Oh, but I like this," he said, loud enough to hear himself over the music.
Jazz means different things to different people. 20years ago, I came up with the concept and the name for my magazine - JAZZIZ- in response to this realization. I thought it would be worthwhile to eliminate some of the forbidding barriers that seem to surround jazz and that keep people from entering the inner sanctums of the jazz world. I recognized that the first problem most people have with jazz is figuring out exactly what it is. And that's forbidding. Most people want everything in their lives to be firmly and reliably defined, including their music. People are uncomfortable entering a world without apparent solidity, a world, that is, where nothing is clearly defined. Well,that's jazz: an ever-changing world that always manages to elude the best efforts to contain and define it. After publishing JAZZIZfor20 years, convincing people to overcome their fear of an uncertain and unpredictable music remains a difficult barrier to overcome. Still, I'm certain there's a huge potential audience for jazz out there. The bulk of that audience, I contend, harbors a less-than-satisfactory idea of what this art form is all about. The rich heritage of jazz begins with the musicians who forged a new musical language from fragments of old and disparate forms. Where the story of jazz ends is anybody's guess, as new young artists continue to emerge, invigorating and extending the music's vital legacy. For20 years, we've featured, interviewed, reviewed, profiled, and celebrated jazz artists, from the most popular to the most undeservedly obscure. Our JAZZIZ Chronicles book series - produced in conjunction with the fine folks at Cherry Lane - takes some of our best pieces, categorized by instrument, and presents them in single compilations. Essentially, these books chronicle our own contributions to the history of jazz, which basically amount to offering our insights into the talent behind the real contributors. Jazz is rich because it has so many great stories to tell. At JAZZIZ, we've always kept a sharp eye on the current scene. But we've also been mindful of the music's vivid past, as well as its promising future. The CDthat accompanies this book underscores the latter point. Over the years, we've conducted talent searches that were judged by some of the brightest names in jazz. With the CD,we present the winners to you. Think of them as a glimpse of the future history of jazz. We hope you enjoy. Michael Fagien Publisher and Editor-in-Chief JAZZIZ Magazine


RITENOUR
seven and was a precocious, young player with an ear for jazz, classical, and pop music. He studied feverishly, taking lessons from such jazz heroes as Joe Pass, Howard Roberts, Barnie KesselI, and Kenny BurrelI. But the teacher to whom he credits his first burst of inspiration was the late Duke Miller, head of the guitar department at USC. A studious sort, Ritenour pursued guitar at USC partly because the great classical guitarist Christopher Parkening was there as a teacher. He had already taken private lessons from the American virtuoso when Parkening lived in the ValIey,in Studio City - not far from the Baked Potato. "I remember going over for lessons sometimes and Pepé Romero, from the Romeros [legendary family of classical virtuosi], would show up and Àngel [Romero] would show up in his pink Cadillac. There was anice, serious amount of musicians - heavy guitar players – floating around in those days. I got very serious about the classical guitar, but I was no Christopher Parkening. My weight was still toward the electric guitar." In fact, Ritenour's interest in classical guitar was eclipsed by his growing passion for jazz and, specificalIy, the inspiration he felt in hearing – and copping licks from - Wes Montgomery. Still, it was more than just technique that a young Ritenour admired. "Ofthe guitar players, Wes was the first one who crossed over into more of a pop area in a contemporary field," he points out. "He had that sound that permeated things and is still as viable today as it was in 1960." Long before Ritenour did, Montgomery took criticism for his pop ventures. Says Rit, "Alot of the records of his that Creed Taylor produced were highly arranged and showed some terrific arranging and guitar playing. But they were recording simple pop songs, and a lot of them had almost syrupy arrangements. He definitely got a lot of flak. Unfortunately, he got so much flak for doing those commerciai records that people began to miss that he was, indeed, the greatest jazz guitarist of the 20th century. He just had that magic. My father took me to hear Wes at the Lighthouse in Redondo Beach when I was 16,and I was sitting about 10 feet away. l'Il never forget it." Ritenour also remembers being wowed by early exposure to the Mahavishnu Orchestra, who he saw at the Roxy as a big-eared teenager. By the time Ritenour kicked off his own career as a leader, settling into the Baked Potato and turning out albums, he was locked into the funk-intlected groove going around town. But his interpretation was lent clarity by his own welI-developed sound and was fortified with trace elements of the edgier stuff he heard in Mahavishnu. They called him Captain Fingers, the title of his second album. It's easy to forget, now, how marginai this more pop-oriented, L.A.branch of jazz-rock was in the 1970Smarketplace, before NACradio was a gleam in anyone's eye. Ritenour recalIs, "When I handed in my first record to Epic in 1976, I remember I gave it to the A&Rwoman and she said 'What is this? What is this called and what are we going to do with it?'" He laughs. "She just wanted to give it back. I knew I was in trouble right then. There was no radio, and there was no support from the record companies. "That's why Dave Grusin and Larry Rosen started GRPrecords. They were completely frustrated that there was no sounding board, no outlet for this kind of sound. There was no doubt that the Crusaders, with Larry Carlton and Joe Sample, were the cutting edge of this sound. Tom Scott was in there, and certainly Lee Ritenour and Dave Grusin. Dave had a big influence on a lot of people," Ritenour says, "more so than most people know because he's always been such a subtle creator. I realIy have to cite Dave as the biggest influence for my producer and arranger chops." You can hear that influence in Ritenour's streamlined productions. A second wave of marketable energy entered Ritenour's story in 1991. He teamed up with Bob ...

 

AL DI MEOLA
"My connection with Astor was due to the fact that we were both Italian and we'd had extremely similar experiences. Napoli, where mine and Astor's families hail trom, is the artisti c center of Italy. AlI the great painters and musicians and singers are fram there. The arts still thrive there to this day. Piazzolla said the origins of tango are in Napoli. The sound of the accordion is very much a symbol of that region. You feel in the sentimentality of his music and even the melancholy atmosphere it creates that this comes fram a person of the motherland." Di Meola's own upbringing also fed into his development. Bom and raised in Bergenfield, New Jersey, a teenaged Albert Di Meola would often cut classes to make the train in time for the first set at a popular Manhattan salsa club. Drawn to the rhythmic tension of the clave, he was soon inspired to play the drums. The guitar of Larry CoryelI was an even greater fascination, and Di Meola quickly progressed through lessons with local guitar teacher Bob Aswanian. Enrolling at Berklee, Di Meola shared a three-room apartment where he spent alI his time practicing ("I got the closet to practice in; I smelled like mothbalIs for two years"). A tape of a drug-warped gig reached Chick Corea, and a 19-year-old Di Meola was soon the guitar star of a quartet perched on the cutting edge of jazz. "I carne onto the scene so young. I had a lot of developing to do quite fast to be in that kind of company," says Di Meola. "I had to leam to stay afloat. If you want to get better as a musician, surround yourself with guys who will kick your butto That band was like the dream band of alI time for a guitarist. Nothing carne close." Di Meola telIs an unusual tale of how he gamered that fateful position with Return to Forever. "I didn't replace Bill Connors. I replaced Earl Klugh, who was the replacement for Bill Connors. I went to an early show expecting to see Bill Connors and out comes this guy wearing a little golf cap with a little beany on top, and he had on this Playboy bunny tee-shirt. What is this? It was definitely out of context. I knew that was my chance. "A friend of mine gave Chick a tape of me playing on New Year's Eve with Barry Miles at some club called Richard's Lounge in New Jersey. l've never been into drugs, but that night I did a hit of mescaline, and that put me on a different planet. That tape got me the job with Chick." Along with Piazzolla and Corea ("Theme of the Mothership" gets the Grange and Blue treatment), Di Meola cites Brazilian artists like Milton Nascimento, Caetano Veloso, and Egberto Gismonti as influences on his current work. "Less and less it's guitarists that influence me," he says, "more musicians like Astor and Milton Nascimento. I had met Milton in Brazil in 1974.I had absorbed a lot of that music long before a lot of people had ever heard of him." Di Meola wrote a 1992Musician article entitled "Why Has Music Become WalIpaper?" In other publications, he has scorned, name by name, the major label producers who tumed a deaf ear to his soonto- be-successful Kiss My Axe album. An artist with less girth could have become a footnote by now, but Di Meola has not only prospered against the odds, he's triumphed, as Grange and Blue clearly shows. And Di Meola still envisions a national radio culture where music is foremost - not false demographics or advertising dollars. Di Meola believes in the mixed bag. "With radio in the 199°5, there shouldn't be any problem with having a format where Hendrix follows Joshua Redman. Then Sting and Peter Gabriel and Joni MitchelI, even k.d. lang and Kenny G can work. I can't believe there isn't a huge listening audience for a format with real music. It doesn't have to be a nostalgie blast; it's music that works."

FRISELL
Frisell decided to try something entirely different. He gathered together three acoustic players – a trumpeter, Ron Miles; a trombonist, Curtis Fowlkes; and a violinist, Eyvind Kang - and no rhythm section at all. "I didn't want to just get another drummer, and then always be thinking, 'Oh, Iwonder what Joey would be doing.' So the quartet was kind of perfect. 'I just won't have any bass or drums.''' Since all three of the other players were essentially lead voices, Frisell was constrained to build the role of "rhythm section" into the arrangements or act as bass-and-drums himself. This may sound terribly limiting, but the best art often arises in response to odd or severe limitations; Frisell's new quartet ended up making the music he had been refining openly since 1993'sHave a Little Faith better, perhaps, than any previous configuration. The 1996 album Quartet, with its fresh vision and odd make-up, may well be the best solo record he's made. Another project that presented itself around this time was the brainchild of Frisell's record company, Nonesuch. One imagines most players walk in dread of the moment when the suits say, "Hey, listen, we've got a great idea ..." It's usually a money thing - at best, a mixed blessing; more often, painfully obvious or obviously wrong. Here's the germ of the idea: People keep saying that Frisell has this traditional American-music thing going, that he has this country sound coming through. Why not take that idea head on, surround him with a bunch of great bluegrass players and see what kind of music comes out of the cross-pollination? Frisell liked the idea immediately, and the universe (through his label and network of musician friends) conspired to make it happen. So a month after recording Quartet, a time when he could have been enjoying a well-deserved break, he was back in the studio with vocalist Robin Holcomb, doing the preliminary recordings for this other album (eventually to be called Nashville). They recorded a number of tunes, and three of them - Neil Young's "One of These Days," Hazel Dickens' odd gospel gem "Will Jesus Wash the Bloodstains From YourHands?," and Skeeter Davis' "End of the World" - made it onto the final, mostly instrumental, recording. It was another year before Frisell could get all the other musicians together, but the result is something lovely and rare. It's not so much Bill Frisell doing country or bluegrass as it is bluegrass springing up in a space cleared by Frisell the composer, then tended by Frisell the guitarist. Frisell's Nashville is no place in particular, certainly not the center of commercial country music. Rather, the recording comes across as a postcard from some wistful utopia, the perfect home you never had but long for nonetheless. The pace and ambiance ofNashville is very comfortable. It sounds not pat, by any means, but like it had a good chance to ripen before the mics and recorders were turned on. The narrative of its development, you might think, could be this: Frisell takes some time to let the idea percolate, gradually writes some tunes for the personnel he has selected or imagines, picks the best, lets the others settle out, structures some fairly detailed arrangements, then pulls everybody together for rehearsals; finally, the whole crew rolls into the studio, and they perform their most gorgeous versions of the music they are already well familiar with. That scenario could hardly be further from the truth. In fact, Nashville was yet another of Frisell's launches into the unknown, another instance in which he set himself in the arms of Music (and great musicians) and trusted in his instincts and abilities to pull disparate voices together into something coherent and compelling. "The second thing someone will say about my playing is that there's this country influence," says Frisell, "but I never really played the real thing. ...

Table of
Contents
BADI ASSAD - The Girl from Ipanema She's Not
By Mark Holston

KENNY BURRELL - Soaring with the Mystics
By Steve Matteo

CRAIG CHAQUICO - The Four Corners Converge
By Jonathan Widran

LARRY CORYELL - Call and Response -
An Interview with Larry Coryell
By Lucy Tauss

STEVE KHAN - Catching a Wave
By Mike Bieber

PAT METHENY - In Search of Pat Metheny
By Josef Woodard

MARC RIBOT - Swimming Upstream to Cuba 22
By Josef Woodard

LEE RITENOUR - Captain Fingers ...
and the Fully Baked Potato 24
By Josef Woodard

JOHN SCOFIELD - Defender of the Groove 29
By Tom Moon

JOE MORRIS - Melodic Morris Code 34
By Sam Prestianni

PAT MARTINO - Real Time 37
By Josef Woodard

BILL FRISELL - On the Road to Bill Frisell 42
By William Stephenson

WILLIE NELSON - You Were Always on My Mind 47
By Bill Milkowski

JIM HALL - Why They All Want to Play
with Jim Hall.

HARRIET TUBMAN - Josef Woodard
Harriet Tubman: A Kinder, Gentler Skronk
By Josef Woodard

RONNY JORDAN - Ronny Jordan: Not an Acid Trip 57
By Jonathan Wid ran

JOE PASS - Joe Pass - The Logical Extension
of the Bop-Oriented Masters 59
By Scott Yanow

HERB ELLIS - Don't Take Herb Ellis for Granted 62
By Scott Yanow

AL DI MEOLA - After the Tango 65
By Ken Micallef

STEV TIBBETTS - Seductive and Inscrutable .
By Josef Woodard

The Critics Pick the First
String Guitarists .
By JAZZIZ critics

Anatomy of the Guitar & Bass .
By Scott Yanow

SONNY SHARROCK - Sonny Sharrock - Gone Too Soon .
By Hank Bordowitz

JEAN-PAUL BOURELLY - A Blues Grit Crossbred with
Hip hop and Hard bop .
By Josef Woodard

WES MONTGOMERY - Ritenour's Wes Bound for New Ears .
By Mark Holston

Historic Guitars .
By Hank Bordowitz

MIKE STERN - Mike Stern's Class Reunion .
By Josef Woodard

JEFF GOLUP - Bell-Bottom Blues .
By Jonathan Wid ran

MARC ANTOINE - Running Deep, Stretching for Miles .
By Jonathan Widran

WAYNE KRANTZ - Fed Up and Hungry
By Josef Woodard

GEORGE BENSON - The Original “G" Hits the Spot Again .
By David Okamoto

LES PAUL - Ingenious - Les Paul, Unpatented .
By Hank Bordowitz

Expanding the Universe
A Jazz Guitar Spectrum - Part 1... .
By Josef Woodard

Expanding the Universe
A Jazz Guitar Spectrum - Part II .
By Josef Woodard

35 Burnin' Up:
BRIAN HUGHES
MICHAEL GULEZIAN
RICK ZUNIGAR
RANDY BERNSEN (che ogni anno viene a suonare a Rimini)
JAMES VINCENT
DAVID LOWREY
GEORGE SIMON
JOHN PAUL
DAVE ONDERDONK
BILL MIZE
CHRISTOFER CORTEZ

JAZZIZ Presents Guitars on Fire .
By R.Dante Sawyer and Eric W. Moya

CD Jewel Case Art .
Readers Poll: The Public's
Favorite Jazz Guitarists .
Compiled by Albert W. Starkweather, Jr.
Find Your Favorite Players.
 

CD
1. Brian Hughes - Casa Magica
2. Michael Gulezian - Slugbug
3. Rick Zunigar - Rhum Boogie
4. Randy Bernsen - Hope
5. James Vincent - Peaks
6. Dave Lowrey - Bass Face
7. George Simon - Watching Angels
8. John Paul - Heads Up
9. Dave Onderdonk - Eight Is Enough
10. David OcchiNIpinti - David Leaves
11. Mill Mize - Miasma
12. Christopher Cortez - Different Samples
Produced by Michael Fagien
Special thanks to Lee Ritenour, John Patitucci, and Jim Hall
Exclusive CD available only with this book, JAZZIZ
Chronicles: The Guitarists JAZZIZMagazine

Price: €21,99
€21,99

METHENY PAT BRIGHT SIZE LIFE GUITAR RECORDED VERSIONS TABLATURE CHITARRA LIBRO SPARTITI

METHENY PAT, BRIGHT SIZE LIFE. TAB.

Note-for-note guitar transcriptions (carefully reviewed and approved by Metheny himself!) for all 8 songs from his highly acclaimed 1975 studio debut - which also features one of the earliest recordings of bass legend Jaco Pastorius. Contains jazz-style handwritten notation and tablature, a full-page photo of Metheny, and a Guitar Notation Legend. 214 Pages.

Bright Size Life
Midwestern Nights Dream
Missouri Uncompromised
Omaha Celebration
Round Trip/Broadway Blues
Sirabhorn
Uniquity Road
Unity Village

Price: €27,99
€27,99

WEATHER REPORT-BEST OF TRANSCRIBED SCORE-LIBRO-SPARTITI-

WEATHER REPORT, THE BEST OF TRANSCRIBED SCORE.

Series: Transcribed Score
Artist: Weather Report
A collection of 14 of their very best, 144 pages.
Table of contents:

8:30
A Remark You Made
Badia/Boogie Woogie Waltz Medley
Birdland
Black Market
Brown Street
Mr. Gone
Mysterious Traveller
Night Passage
Palladium
Procession
Pursuit Of The Woman W/ Feather
Sightseeing
Young And Fine

144 pages

Price: €25,99
€25,99
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