Series: Signature Licks Guitar

Format: Softcover with CD - TAB

Author: Andrew DuBrock

Artist: Bon Jovi


Examine the riffs & solos of guitar great Richie Sambora, who gives Bon Jovi its signature sound. Includes these hits in notes & tab: 

Song List:

Bad Medicine

Born To Be My Baby

Have A Nice Day

I'll Be There For You

In And Out Of Love

It's My Life

Keep The Faith

Lay Your Hands On Me

Livin' On A Prayer


Wanted Dead Or Alive

You Give Love A Bad Name


Width: 9.0"

Length: 12.0"

80 pages

Price: €29,99


B.B. KING, BLUES LEGEND. A Step-by-Step Breakdown of His Guitar Styles and Techniques. CD TABLATURE

B.B.'s Boogie
Blue Shadows
Everyday I Have The Blues
Help The Poor
How Blue Can You Get
It's My Own Fault Darlin'
Just Like A Woman
Please Accept My Love
Shake It Up And Go
So Excited
Woke Up This Morning


B.B. King - Blues Legend

A Step-by-Step Breakdown of His Guitar Styles and Techniques
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist: B.B. King
Author: Dave Rubin

Learn the guitar licks that made B.B. the undisputed King of the Blues! Dave Rubin teaches 12 signature tunes: B.B.'s Boogie • Blue Shadows • Everyday I Have the Blues • Help the Poor • How Blue Can You Get • It's My Own Fault Darlin' • Just like a Woman • Lucille • Please Accept My Love • Shake It Up and Go • So Excited • Woke Up This Morning.

Width: 9.0"
Length: 12.0"
48 pages

Price: €29,99

STERN MIKE Guitar Styles & Techniques of a Jazz-Fusion Signature Licks CD TABLATURE SPARTITI


Mike Stern, A Step-By-Step Breakdown of the Guitar Styles & Techniques of a Jazz-Fusion Pioneer

Serie: Signature Licks Guitar

Formato: Softcover with CD - TABLATURE
Autore: Joe Charupakorn
Artista: Mike Stern

Scopri la magia di un asso di chitarra Mike Stern con l'edizione speciale di Assoli d'Autore che includono le interviste e le lezioni con Stern, informazini esclusive sull'attrezzatura, l'analisi approfondita di 14 titoli e in più un CD audio con tutti  gli esempi musicali del libro. Le canzoni sono: After You • Jigsaw • Like Someone in Love • One Liners • Play •Sunnyside • Swunk • There Is No Greater Love • Tipatina's • Wing and a Prayer • e altre.

Larghezza: 9.0"
Lunghezza: 12.0"
128 pagine


After Blood, Sweat & Tears, Stern returned to Boston and played with saxophonist

Jerry Bergonzi (who he met through his teacher, the late Charlie Banacos). He also took

over Bill Frisell's spot in trumpeter Tiger Okoshi's Tiger's Baku, a band that Frisell helped

put together. In 1979, Stern landed his next big gig, with drummer Billy Cobham. During

a gig with Cobham at the now-defunct Bottom Line in New York City, Miles Davis (at the

suggestion of saxophonist Bill Evans) came to check out Stern. He liked what he heard

and Stern got the ultra high-profile gig for Davis's 1981 comeback tour. It was a major

milestone in Stern's career, and one that catapulted him into jazz stardom.

Stern played on three Miles Davis albums: The Man With the Horn, which featured a

burning solo on the first cut "Fat Time" (named in Stern's honor for both his great timefeel

and his at-the-time, corpulent physique); We Want Miles, a great live album; and Star

People, which also featured guitarist John Scofield, who was recruited as a second guitarist

because of Stern's then drug and alcohol problem. Having gradually become unreliable,

Davis ultimately let Stern go, to sober up.

During this time, Stern reconnected with Jaco Pastorius, playing in his Word of Mouth

band. They also played together nonstop when Stern lived above 55 Grand Street, a New

York City jazz club they played at since its inception (not to be confused with the 55 Bar

on Christopher Street, where Stern currently plays twice a week when he's in town). Jaco

wound up crashing at Stern's pad and the two were inseparable, playing at all hours of

the day and blowing lines over changes. Alas, they were also doing "white lines" to the

point of losing control. Stern checked into rehab, and in 1985, the cleaned-up guitarist

rejoined the Miles Davis band. Pastorius, however, never cleaned up. The drugs and alcohol

had severely impacted his mental state and behavior for the worse, and in 1987, during

an altercation with a bouncer outside a nightclub in Florida, he was tragically beaten

to death.

Since his tenure with Miles Davis, Stern has gone on to perform and record with

Michael Brecker, the Brecker Brothers, Bob Berg (with whom he co-led the Mike Stern/

Bob Berg band), Jaco Pastorius's Word of Mouth band, Steps Ahead, David Sanborn, Joe

Henderson, George Coleman, Ron Carter, Jim Hall, and Pat Martino, among others.

Stern has also recorded numerous solo albums-the first being Neesh, in 1983, which

was recorded for Trio (a Japanese label), right after Stern first left Miles Davis's band. It

was recently re-released, but only in Japan (on Absord Music Japan). In 1986, Stern

signed a deal with Atlantic Records and recorded Upside Downside. This marked the

beginning of a 15-year association with Atlantic Records that spawned ten albums and

three Grammy nominations. In 2004, with the demise of the jazz department at Atlantic

Records, Stern recorded his first album for ESC Records, These Times (now available on

BHM Records). In 2006 Stern moved to Heads Up International Records for his release

Who Let the Cats Out?, which garnered Stern a fourth Grammy nomination. A live DVD,

Live-New Morning The Paris Concert was also released in 2006, by independent

German label, lnakustik. This DVD featured Richard Bona, Dennis Chambers, and Bob

Franceschini. In 2009, a sequel to Live-New Morning The Paris Concert was released

and features Tom Kennedy, Dave Weckl, and Bob Franceschini. Big Neighborhood,

Stern's most explosive guitar album to date, was also released in 2009 and featured virtuoso

guitarists Steve Vai and Eric Johnson, among others. Stern's earlier Atlantic recordings,

with the exception of Play and Voices (which are still available through Warner

Music), are now distributed by Wounded Bird Records, a CD-only re-issue label.

Despite Stern's enormous status as a world-renowned jazz-fusion guitar virtuoso, his

prodigious technical abilities (which he seamlessly combines with a heartfelt lyricism),

and his impressive history onstage with countless jazz legends, Stern is a humble and

grounded musician whose sole mission is to constantly grow as a player. "The more I

know, the less I know" is one of Stern's favorite quotes, and it is indicative of his approach

to music, as a neverending quest.

For this Signature Licks edition we have enlisted Mike Stern as a consultant. He offers

not only unique analytical and historical insight for each selection but also a special private

lesson, to help you understand the theory behind his burnin' lines. And indirectly,

large portions of the information in this book have been gathered over the years, during

my studies with Stem and om itnessing countless live shows.



What was the first jazz solo that had an impact on you?

Well that's a hard question because my mom used to playa lot of jazz records so I always

heard jazz around the house. I started playing when I was 12, but I was 17 when I started

getting more into jazz. I guess it was something off a Miles Davis record. One of the

first records I used to scope was Herbie Hancock's Maiden Voyage. That was one of the

first albums that I checked out and tried to play along with. At the time, I was listening to

more blues, rock, and Motown, and playing along by ear.

When you played along with Maiden Voyage, were you soloing over it or were you

trying to play the actual parts?

I was doing a little bit of both-the actual parts and the solos.

Do you remember the first solo you transcribed?

Yeah, it was a Joe Pass solo. I picked a blues because it's an easy form and Joe's solo

had a lot of inside bebop. It was a medium swing, not a real fast tempo.

Did he playa lot of sixteenth notes in the solo?

He was playing a lot of eighth notes, just a lot of really cool bebop lines. Joe was a very

clear, inside player in a lot of ways. He didn't go outside the key too much, and it was very

clear what he did when he did go out, the way he outlined it. He was amazing like that.

There was a lot of bebop vocabulary; he used to play with Oscar Peterson. It took me

about three weeks to transcribe the solo. I had to slow the record player down, which

almost ruined the record. Finally I taped it and finished the rest. Later on I showed it to

some people and they said most of it was wrong [laughs]. But doing it myself was amazingly


After you learned the solo did you take licks from it and use them in your own playing?

A little bit, and some of the phrasing, too. It's like when you read a book or short storyyou

don't memorize every word; you just take certain things away from it and then enough

of the remaining information goes unconsciously into your brain, or in the case of music,

into your ear. Over time, if you take from enough different solos from different people, you

don't sound like just one guy.

For a long time now, I've been more into copping piano and saxophone solos. But

when I was first transcribing, it was guitar because it was my own instrument-and that

was hard enough. But like I said, transcribing lines for myself was really helpful; I got a lot

more out of it that way than from reading it from a book.

Were you writing out the solos?

Yeah, I wrote them down. Then I'd read through it, not so much to cop licks but more like

reading a magazine or a short book, where you might remember a couple of phrases and

quote from it-you don't memorize every word. Some people go too far and memorize the

whole solo, but the idea is to learn how to phrase unconsciously and then twist it around

your own way, as a kind of springboard for your own ideas. That way you get a vocabulary

in a certain style; for instance, if you want to work on your bebop vocabulary, you do

a lot of bebop players. I did a bunch of guitar players at first-Joe Pass, Jim Hall, Wes

Montgomery, George Benson-and then I got into horn players.


After You - Mike Stern - 1986
Jigsaw - Mike Stern - 1989
Like Someone In Love - Words: Johnny Burke, Music: Jimmy Van Heusen - 1944
Odds Or Evens - Mike Stern - 1991
One Liners - Mike Stern - 1997
Play - Mike Stern - 1999
Showbiz - Mike Stern - 1996
Sunnyside - Mike Stern - 1996
Swunk - Mike Stern - 1994
That's What You Think - Mike Stern - 1997
There Is No Greater Love - Words: Marty Symes, Music: Isham Jones - 1936
Tipatina's - Mike Stern - 1999
Upside Downside - Mike Stern - 1986
Wing And A Prayer - Mike Stern - 1996

Price: €29,99


BLUES GUITAR CLASSICS. Wolf M. Vi è mai capitato di non riconoscere una canzone quando l'avete sentita suonare da Eric Clapton o Gary Moore? In questo libro c'è uno studio su 10 blues songs con personalità a confronto diretto. Albert King e Gary Moore, Lee Hooker, B.B. King e Albert King (i due Re) e Otis Rush, Robben Ford e B.B. king, e Muddy Waters, Clapton e Freddie King, Mike Bloomfield e Jimi Hendrix, Buddy Guy e T-bone Walker, S.R.V. e Slim, altri. CD TAB.

Series: Signature Licks Guitar
Publisher: Signature Licks
Format: Softcover with CD
Author : Wolf Marshall

Learn to play 11 classics, including: Everyday (I Have the Blues) - Hideaway - I'm Your Hoochie Coochie Man - Killing Floor - T-Bone Shuffle - Texas Flood - The Things That I Used to Do , and more.

Song List:
As The Years Go Passing By
Boogie Chillen No. 2
Everyday I Have The Blues
Help The Poor
Hide Away
'm Your Hoochie Coochie Man
Killing Floor
T-Bone Shuffle
Texas Flood
The Things That I Used To Do

80 pages

Price: €19,99


The Best of Buddy Guy - 2nd Edition

A Step-by-Step Breakdown of His Guitar Styles and Techniques
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist: Buddy Guy
Arranger: Dave Rubin

This updated book/CD pack will teach you to play the trademark riffs and solos from 16 songs by the legendary Buddy Guy: Buddy's Blues (Buddy's Boogie) • Damn Right, I've Got the Blues • Dedication to the Late T-Bone Walker • Five Long Years • I Smell a Rat • Just Teasin' • Mary Had a Little Lamb • Midnight Train • My Time After Awhile • Stick Around • You've Been Gone Too Long • and more. Includes CD demo tracks.

Width: 9.0"
Length: 12.0"
96 pages

Buddy's Blues (Buddy's Boogie)

Damn Right, I've Got The Blues
Dedication To The Late T-Bone Walker
First Time I Met The Blues
Five Long Years
I Smell A Rat
Just Teasin'
Man Of Many Words
Mary Had A Little Lamb
Midnight Train
My Time After Awhile
Rememberin' Stevie
She Suits Me To A Tee
She's A Superstar
She's Out There Somewhere
Stick Around
You've Been Gone Too Long

Price: €23,99




B.B. King - The Definitive Collection
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist: B.B. King
Author: Wolf Marshall

Learn the trademark styles and techniques of the most celebrated guitarist in blues! This book/CD pack by Wolf Marshall is a breakdown of B.B. King's guitar style, sound and techniques, with a brief history and lessons for each piece. Covers 16 signature blues tunes, including: Beautician blues -cryin' won't help you -don't answer the door -five long years -just like a woman -paying the cost to be the boss -please love me -riding with the king -rock me baby -sweet little angel -sweet sixteen -three o'clock blues -the thrill is gone -why I sing the blues -you done lost your good thing now -you upset me baby. 

Inventory #HL 00695635

ISBN: 9780634030574
UPC: 073999209907
Width: 9.0"
Length: 12.0"
64 pages

The credentials that establish B.B. King as the King of the Blues are voluminous and indisputable. He is the music's elder statesman, its most visible global ambassador, and an all-important hero and role model to generations of musicians everywhere. Riley B. "B.B." King came on the scene at a time when electric guitar playing was in its infancy. He picked up the gauntlet thrown down by T-Bone Walker in the late 1940s and went on to redefine blues guitar for all time. He built a highly distinctive single-note style which codified the techniques of string bending and finger vibrato. Furthermore, he was among the first to effectively harness the power and tone of a distorted amplifier for its sustain and vocal quality. These factors epitomize the electric guitar in the modern era and remain part and parcel of virtually every contemporary guitar style. Today B.B.'s music is essential listening in all sectors of modern guitar. Countless aspiring players from Buddy Guy, Otis Rush, and Mike Bloomfield to Eric Clapton, Jimi Hendrix, Carlos Santana, Mark Knopfler, and Stevie Ray Vaughan have transplanted King's licks into their repertory or been influenced by his slinky phrasing, as will tomorrow' s guitar stars. In my teenage years I followed my heroes' leads and spent hundreds of hours listening to and assimilating B.B.'s sounds with rewarding results. It is an illuminating and invaluable experience for all guitarists. To this end the following volume is offered. This definitive B.B. King collection is the first guitar signature licks book/CD to fully explore his music and playing style. It is offered as an introduction, a detailed hands-on study, and a tribute to the great blues master. Enjoy.

The titles in this volume came from the following recordings:

KING OF THE BLUES. (Box set: MCA) 'Three 0' Clock Blues," "Rock Me Baby," "Don't Answer the Door," "Paying the Cost To Be the Boss," "Why I Sing the Blues," "The Thrill Is Gone"

SINGIN' THE BLUESfTHE BLUES (FlairNirgin Records) "Please Love Me," "Sweet Little Angel," "Cryin' Won't Help You"

THE BEST OF B.B. KING, Volume 1. (FlairNirgin Records) "Beautician Blues," "Five Long Years"
MY KINO OF BLUES. (EM I-Capitol Special Markets) "You Done Lost Your Good Thing Now"
WHY I SING THE BLUES. (MCA) "Sweet Sixteen"
RIDING WITH THE KING, B.B. King and Eric Clapton. (Reprise) "Riding With the King"

(All instruments from the collection of the author) A Gibson devotee from the beginning, B.B. King first played hollow-body archtop electric guitars. Various photos from the 1950s have pictured him with an ES-5 with P-90s, a Byrdland with Alnico Vs, and an ES-175D with humbuckers. B.B. acquired his first semi-hollow, an ES-335, in 1958 and was seen with a dot-neck 335 at his momentous 1962 ABC-Bluesway recording debut. By the mid 1960s King was playing the luxurious ES-355. This model became his favorite guitar for two decades. The Gibson B.B. King "Lucille" was introduced in 1980 as the B.B. King Custom. Based on the 355, "Lucille" officially joined the fold in 1988 as the flagship of Gibson's semi-hollow line. It features an ebony fingerboard with block inlay markers, fancy multiple binding around the body and headstock, gold-plated hardware, stereo circuitry with two output jacks, and a six-position Varitone switch. B.B.'s personal refinements on the signature instrument include a fine-tuner TP-6 tailpiece, a semi-hollow body without soundholes in an ebony finish, and the name "Lucille" inlayed on the head. "Lucille" delivers the definitive B.B. King tone, allowing the player to fully mix neck and bridge pickups in the center position, an option not available on most Gibson twin-pickup guitars. Listen for yourself. My "Lucille" is heard on most tracks of the accompanying audio. Pictured in the backline is one of the favorite Fender tube amps used by B.B. during the 1960s: a 2x12 Twin-Reverb. B.B. switched to Gibson Lab Series L5 2x12 solid-state amps sometime in the 1970s. He continues to use these and reissue Fender '65 Twin-Reverbs to the present. B.B. strings Lucille with a Gibson B.B. King heavy bottom- light top 10-54 string set and prefers a medium-stiff Gibson pick.

Guitar: Wolf Marshall
Drums: Mike Sandberg
Bass: Michael Della Gala
Keyboards: Ted Vaughn. John Nau plays keyboards on "Just Like A Woman"
Sax and Brass: The Roland Coltrane Orchestra

Produced by Wolf Marshall at Marshall Arts Music
Special thanks to Alex Perez, Del Breckenfeld, and Bill Cummiskey, Fender Musical Instruments.
Extra special thanks to Matt Ferguson, Paul Moses, and David Rohrer, Gibson USA.

Words and Music by 8.8. King and Jules 8ihari
Figure 1-lntro and Verse 1
"Three 0' Clock Blues" was Riley B. King's breakthrough hit and is a cornerstone of his legacy. This auspicious track has humble origins. A reworked Lowell Fulson tune, it was recorded in 1951 using portable tape equipment and the local Memphis YMCA as a makeshift studio. The resulting performance was released as an RPM single, reaching #1 on the R&B charts in 1952. "Three 0' Clock Blues" captures B.B. as an emerging blues artist in transition. It was during this period that he first named his guitar "Lucille" and was still very much under the spell of T-Bone Walker guitaristically. The phrasing, tone, and several key mannerisms clearly reflect Walker's approach. Nonetheless, this is a landmark B.B. moment marking an important evolutionary point in blues guitar history and presaging future classics like "Sweet Little Angel" and "Five Long Years." "Three 0' Clock Blues" is a smoldering slow blues in Bb.It begins with a four-measure intro entering on the V chord, a device commonly found in blues arrangements. In the verse Lucille adopts the dialoguing role, playing off vocal phrases with terse answering guitar fills typical of B.B.'s question-and-answer style. Throughout the intro and verse fills, most of B.B.'s lines are based on a mixture of the B~ Mixolydian mode (B~-C-D- E~-F-G~-Ab) and Bbminor pentatonic scale (B~-Db-E~-F-A~) resulting in a familiar juxtaposition of dominant seventh and minor sounds. The microtona! quarter-step bend, an important chromaticism of blues, is used freely in B.B.'s guitar lines, generally to color the third and seventh degrees of the scale. The prominent E note in measure 2 indicates use of the Bb Blues scale. Measures 3 and 4 contain swing lines reminiscent of Charlie Christian. In many characteristic phrases, as in measures 3, 12, and 16, the Db note acts as a C# leading tone into the 0 note, the major third of a Bb arpeggio figure. Here it is heard in two specific forms: an ascending arpeggio in measure 12 and a descending arpeggio in measure 16. The latter is a frequently-used cadence lick. Both forms remain B.B. King trademarks to the present. The slur in measure 7 is attributable to T-Bone and provides an early clue as to the genesis of a classic B.B. King lick. In the coming years B.B. often incorporated the practice of sliding into a unison tonic note on adjacent strings as a phrasing mannerism and a position-shifting tactic. It will henceforth be named The BB. Shift Lick in this volume to avoid redundancy. The tone is typical of B.B.'s sound in the early 1950s and emanates from an archtop electric guitar (probably his Gibson ES-5) with heavier strings mated to a slightly overdriven tube amp. 

Beautician Blues - Words and Music: B.B. King, Jules Bihari - 1964
Cryin' Won't Help You - Words and Music: B.B. King, Jules Bihari - 1955
Don't Answer The Door - Words and Music: B.B. King - 1995
Five Long Years - Words and Music: B.B. King - 1966
Just Like A Woman - Words and Music: B.B. King - 1966
Paying The Cost To Be The Boss - Words and Music: B.B. King - 1968
Please Love Me - Words and Music: B.B. King, Jules Bihari - 1952
Riding With The King - Words and Music: John Hiatt - 1983
Rock Me Baby - Words and Music: B.B. King, Jules Bihari - 1964
Sweet Little Angel - Words and Music: B.B. King, Jules Bihari - 1956
Sweet Sixteen - Words and Music: B.B. King, Jules Bihari - 1967
Three O'Clock Blues - Words and Music: B.B. King, Jules Bihari - 1952
The Thrill Is Gone - Words and Music: Roy Hawkins, Rick Darnell - 1951
Why I Sing The Blues - Words and Music: B.B. King - 1969
You Done Lost Your Good Thing Now - Words and Music: B.B. King, Jules Bihari - 1960
You Upset Me Baby - Words and Music: B.B. King, Jules Bihari - 1954

Price: €23,99

JOHNSON ROBERT SIGNATURE LICKS Legendary Guitarist's Style Technique Dave Rubin CD TABLATURE

JOHNSON ROBERT, STYLE AND TECHNIQUE. 32-20 Blues -Come On In My Kitchen -Cross Road Blues (Crossroads) -Hell Hound On My Trail -I Believe I'll Dust My Broom -I'm A Steady Rollin' Man (Steady Rollin' Man) -If I Had Possession Over Judgment Day -Kind Hearted Woman Blues -Love In Vain Blues -Preachin' Blues (Up Jumped The Devil) -Ramblin' On My Mind -Stop Breakin' Down Blues -Sweet Home Chicago -Terraplane Blues -Walkin' Blues. CD TAB.

A Step-by-Step Breakdown of the Legendary Guitarist's Style and Technique
Series: Signature Licks Guitar
Softcover with CD - TAB
Author: Dave Rubin
Artist: Robert Johnson

Explore the music of one of the greatest acoustic bluesmen of all time with this fascinating book/CD pack. Blues expert Dave Rubin provides an introduction on Johnson's place in musical history, and extensive notes on his tunings, arrangements, fingerstyle technique and guitars. Features in-depth lessons and audio examples of 15 of his most famous songs, 64 pages

Table of contents :
Come On In My Kitchen
Cross Road Blues (Crossroads)
Hell Hound On My Trail
I Believe I'll Dust My Broom
I'm A Steady Rollin' Man (Steady Rollin' Man)
If I Had Possession Over Judgment Day
Kind Hearted Woman Blues
Love In Vain Blues
Preachin' Blues (Up Jumped The Devil)
Ramblin' On My Mind
Stop Breakin' Down Blues
Sweet Home Chicago
Terraplane Blues
32-20 Blues
Walkin' Blues

Price: €22,99

ATKINS CHET THE BEST OF Styles Techniques Father Country Guitar LIBRO CD TABLATURE Mister Sandman

ATKINS CHET, THE BEST OF Styles and Techniques of the Father of Country Guitar. CD TAB.

A Step-by-Step Breakdown of the Styles and Techniques of the Father of Country Guitar
Series: Signature Licks Guitar
Softcover with CD - TAB
Author: Chad Johnson
Artist: Chet Atkins
Learn the trademark riffs and licks behind one of the most influential recording artists of all time and one of the founders of the Nashville sound. This book/CD pack features analysis and lessons for 12 Atkins hits along with a CD featuring full demos.
72 pages

Chet Atkins holds a place in musical history reserved for a very select few. His contributions to country music are inestimable, as is his influence on guitar players worldwide.
Simply put, country music would not be the same today if it weren't for Chet. Quite likely the most recorded instrumentalist in the history of popular music, his guitar playing has graced the records of Elvis Presley, The Everly Brothers, Hank Williams, Jerry Reed, and Les Paul, to name but a few. Originally a disciple of fingerstyle legend Merle Travis, Chefs groundbreaking guitar work throughout his recording career of over fifty years has in turn influenced the styles of such notable players as Mark Knopfler, Eric Johnson, and George Harrison. And although his virtuosity on the instrument is well acknowledged, his talents were not limited to the guitar alone. As a producer for RCA records, he is often credited as single-handedly creating the "Nashville Sound" as we know it today, fusing the twang of traditional country with a pop sensibility. His list of producer credits reads like a "who's who" in popular country music, including Patsy Cline, Waylon Jennings, Charley Pride, Elvis Presley, and Jerry Reed. He also discovered and/or signed such legendary artists as Dolly Parton, Ronnie Milsap, Willie Nelson, and Steve Wariner.
Chester Burton Atkins was born on June 20, 1924, in Luttrell, Tennessee, about twenty miles northeast of Knoxville. His first musical influence was his older brother Jim, a highly accomplished guitar player who eventually went on to play with Les Paul. Chefs parents separated when he was ten, and he moved to Georgia to live with his father, a music teacher and song leader for several traveling evangelists. At his brother's suggestion, the fiddle became Chefs first instrument, but it wasn't long before he acquired a Sears Silvertone guitar and started learning to play it. He advanced rapidly, and by the time he left high school in 1941 at age seventeen, he had made up his mind to make a career for himself in music.
Chefs sophisticated style was a tough sell at first. He held a few performance slots at various radio stations in Knoxville and eventually Cincinnati, but he was often dismissed because his style wasn't "hillbilly" enough. During this time, while working at WLW with the duo Homer and Jethro, Chet met his future wife, Leona Johnson. They married in 1946. Later that year, Atkins finally received a break when, in support of Red Foley, he made his first appearance at the Grand Ole Opry, where his ear-grabbing style was greatly appreciated. Several more radio positions followed in Virginia and Missouri, but in 1947, with the birth of his first daughter and poor job prospects, Chet moved back to Knoxville to work with Homer and Jethro at WNOX. Eventually, a tape of Chefs radio performances was sent to RCA Victor's office in Chicago and made its way to Steve Sholes, the label's head of country music. After receiving a call from Sholes, Chet moved the family to
Sholes was greatly impressed by Chefs playing and put him to work immediately; Chet was featured on nearly every recording session of 1949. Mother Maybelle and the Carter Sisters hired him a year later as a regular on the Grand Ole Opry, signaling that Chet had officially arrived in Nashville. During this time, Chefs playing wound up on records by Hank Williams ("Cold, Cold Heart" and "Jambalya"), The Louvin Brothers ("When I Stop Dreaming"), The Carlisles ("Too Old to Cut the Mustard" and "No Help Wanted"), Kitty Wells ("Release Me" and "Repenting"), and many more. When Sholes could not make the sessions because of other business, Chet was allowed to produce them himself.
By the mid-fifties, Chet was producing thirty artists a year as well as recording his own albums for RCA. His 1954 debut album, Chet Atkins and His Galloping Guitar, produced his hit instrumental version of "Mister Sandman" and included his now-classic "Country Gentleman." A signature model Gretsch guitar was developed bearing Chefs name; it eventually became a huge seller in the early sixties when George Harrison made it his guitar of choice with the Fab Four. Chet played on Elvis Presley's historic RCA debut, "Heartbreak Hotel," in 1956, and provided the famous tremoloed electric guitar part on the Everly Brothers' "All I Have to Do Is Dream." He became to country guitar what James...

Big Foot
Blue Angel
Chinatown, My Chinatown
Country Gentleman
Galloping On The Guitar
A Little Mark Musik
Mister Sandman
So Soft Your Goodbye
There'll Be Some Changes Made
Yakety Axe
You Do Something To Me

Price: €31,99


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.
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
Six Appeal
Solo Flight
Till Tom Special
Wholly Cats

Price: €29,99

MONTGOMERY WES-BEST Signature Licks Guitar CD TABLATURE besame mucho-Missile blues-SPARTITI

MONTGOMERY WES, THE BEST. Performance notes, equipment, le tecnica del pollice, biografia. Invece di suonare con il plettro, opta suonare con il polpastrello del pollice. Questa tecnica non ortodossa, affascina i chitarristi di oggi e stupisce per l'efficacia del suono caldo delle single-note. Missile blues -yesterdays -west coast blues -cariba -I¹ve grown accustomed to her face -bésame mucho (Kiss me much) -fried pies -mi cosa -four on six -misty -sundown -O.G.D. CD TAB.

Series: Signature Licks Guitar
Softcover with CD - TAB
Artist: Wes Montgomery
Author: Wolf Marshall

Explore the music of one of the greatest jazz guitarists of all time! This in-depth book/CD pack will guide you through 12 of the best-known tracks from the legendary Wes Montgomery, Features a foreword and introduction by Wolf Marshall, a discography and more.

Inventory # HAL LEONARD 00695387
ISBN: 0634009028
UPC: 73999953879
Width: 9
Length: 12
104 pages

Besame Mucho (Kiss Me Much)
Four On Six
Fried Pies
I've Grown Accustomed To Her Face
Mi Cosa
Missile Blues
West Coast Blues

Price: €31,99
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