LIBRO CON CD

POP/ROCK GUITAR PLAY-ALONG VOL.4 CD TABLATURE CHITARRA LIBRO SPARTITI BASI BACKING TRACKS

The Guitar Play-Along Series will assist you in learning to play your favorite songs quickly and easily. Just follow the tab, listen to the CD to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. 8 songs, including:

-Breakdown (Tom Petty)
-Crazy Little Thing Called Love (Queen)
-Hit Me with Your Best Shot (Pat Benatar)
-I Want You to Want Me
-Lights (Journey)
-R.O.C.K. in the U.S.A. (A Salute to 60's Rock)
-Summer of '69 (Bryan Adams)
-What I like About You (the Romantics)

Price: €23,99
€23,99

BEBOP BLUES BY COREY CHRISTIANSEN BOOK CD GUITARR TABLATURE SPARTITI CHITARRA

BEBOP BLUES. 29 tracce audio, 80 pagine. CD TABLATURE

Price: €39,99
€39,99

101 MUST KNOW JAZZ LICKS CD GUITAR TABLATURE SWING-PRE-BOP-BEBOP-HARD BOP-COOL JAZZ-CHORD

101 MUST KNOW JAZZ LICKS. CD TABLATURE

A Quick, Easy Reference for All Guitarists
Series: Guitar Educational
Format: Softcover with CD - TAB
Author: Wolf Marshall

Now you can add authentic jazz feel and flavor to your playing! Here are 101 definitive licks, plus a demonstration CD, from every major jazz guitar style, neatly organized into easy-to-use categories. They're all here: swing and pre-bop, bebop, post-bop modern jazz, hard bop and cool jazz, modal jazz, soul jazz and postmodern jazz. Includes an introduction by Wolf Marshall, tips for using the book and CD, and a listing of suggested recordings.

Inventory #HL 00695433
ISBN: 9780634013713
UPC: 073999315271
Width: 9.0"
Length: 12.0"
48 pages

 

Jazz is a musical language with a variety of dialects. To speak jazz on the guitar with authenticity
and eloquence requires more than finger dexterity, a facile mind, or a creative impulse. It requires
a sense of tradition and a seemingly endless well of ideas. In non-literary cultures, the act of communication
and the art of conversation are learned through what is known linguistically as "oral
tradition"-a practice passed down from generation to generation by listening, imitating, mastering,
and ultimately reinterpreting with personal expression. So it is with jazz. The great jazz players
of history have, largely by ear, studied, absorbed, and reassembled the contributions of their
forebears. Picture George Benson repeating Charlie Parker licks until they were part of his vocabulary.
Or imagine Barney Kesselstruggling to get Charlie Christian's phrases under his fingers. Pat
Martino memorized and reinterpreted Johnny Smith's and Howard Roberts' signature licks to formulate
his own innovative style. Joe Passemulated and respun the stylings of great jazz wind and
piano players. And new voices like RussellMalone, Ron Affif, and Jimmy Bruno currently lead
today's straight-ahead movement with inspired reinventions of Wes Montgomery, John Coltrane,
and Hank Garland. The process largely entails the learning and mastery of specific phrases, or
licks, that are akin to sentences in a spoken language. This can be a daunting task considering the
vast number of musicians and styles in the genre.
Enter 101 Must-Know Jazz Licks. This book is a lexicon of essential phrases in a wide variety of
styles within the jazz genre. Each lick is a self-contained phrase with a central idea or focal point
and is an indispensable piece of the jazz vocabulary. The 101 licks are presented in rough chronological
order beginning with the late 1930sand continuing to the present. If you're already a jazz
guitar aficionado, this book may revive some delightful memories and inspire you to take your
current playing down some familiar old paths. If you're coming to this guide with an interest that
outweighs your knowledge of the jazz genre, expect to be taken on a trip through musical
Americana, with a soundtrack to match, from which you will emerge a more conversant and passionate
player.
-Wolf Marshall


Introduction
This volume is designed for all guitarists. Arranged for quick, easy reference, it contains 101 stylistic
phrases, commonly known as "Iicks"-those essential, self-contained instrumental figures utilized
by the great masters. Licks are part and parcel of the jazz tradition and the jazz experience.
Charlie Parker used 'em, so did John Coltrane and Wes Montgomery, and so does virtually every
player on the current scene. Licks are short, meaningful passagesskillfully tucked into tunes and
riffs, and laced through the improvised solos of the repertory. The audience may not hear them
or even be aware of them, but they can always be felt. A well-turned lick can make the difference
between a cold, mechanical statement and a communicative, engaging performance; and
the right lick driven by the energy and conviction of a seasoned player can bring the audience to
its feet.
Now you can add an authentic jazz feel and flavor to your playing. Here are 101 definitive licks
from every major jazz guitar style neatly organized into easy-to-use categories. They're all here:
swing jazz, pre-bop, bebop, hard bop, modal jazz, cool jazz, soul jazz, postmodern jazz, free jazz,
chord licks, and more. Browse to your heart's content, and feel free to tap into the feeling of
each lick that speaks to you. As you do, you'll be taking that vital first step of reinvention that
connects you to the spirit and the essenceof America's most emotional and transcendent
art music.


Tips for Using this Book and CD
1. Play these licks allover the fingerboard. If a lick is positioned at the eighth fret, move it down
to the third fret and play it in that area; you will notice that the string feel, tension, and fret
distances have a bearing on how the lick feels. Then move it up chromatically as a drill, playing
it in every position from the third to the seventeenth fret. This will depend on the range of
your guitar's fingerboard. Note the key changes as you move the licks to different positions.
2. Put several licks into the same key. For example, if a lick is presented in C and another is in G,
place them both into C, and then into G. This is the musical equivalent of using all your linguistic
phrases in one conversation.
3. Take that collection of phrases into various keys. Once you have grouped a number of licks into
the same key, move that grouping to new positions.
4. Make notes, mental or written, about the feel of each lick. Your visceral, emotional reaction to
a lick is part of the ad-lib selection processwhen improvising. This processcould involve forming
a visual image of the lick's physical shape-how it sits on the fingerboard.
5. Add at least one new lick per week to your vocabulary. Memorize and use it in your current
musical situation-playing with a band, adding it to an existing solo or song, or when jamming
with your friends.

About the Recording
Each lick is played twice on the accompanying audio: first at the normal tempo and then, after a
two-and-a-half-second pause, at a slower tempo.
Licks 1-98 are found at the corresponding CD counter numbers. Licks99, 100, and 101 are presented
as a single track on number 99. Within that counter number (99), use the following time codes
to find the three licks: Lick 99 occurs at 0:00, Lick 100 occurs at 0:45, and Lick 101 at 1:04.
These licks were played using authentic Gibson archtop electric guitars and miked amplifiers
including vintage Gibson and Fender tube amps and modern Polytone amps. The sounds, settings,
and particular instruments are cited in the accompanying performance notes.


TF=Target figure. This three-note melody pattern typically approaches a selected (tar-
get) tone by beginning on its upper neighbor, jumping to its lower neighbor, and then
moving to the target. See Lick 20.
VLF=Voice leading figure. A specific four-note pattern endemic to bebop and modern
jazz styles. The all-important figure involves approaching a particular note first from a
half step above and then from below (always by two half steps in succession).See
Lick 20.
SUB=Substitution. This refers to an alternate scale or melody substituted for a primary
relationship. It is followed by a scale or chord name, such as "SUB Abm" (AI, minor
instead of a more typical Bbl scale or harmony). See Lick 27.
Q: and A:=Question and answer phrases.The "call-and-response" procedure is an
important aspect of applying licks to form a larger melody structure.
Every lick is defined by an overall context; this can be a "basic scale" or "basic tonality." Most jazz
licks are defined by their harmonic setting and use a variety of scalesto convey melodic motion
through chord changes. In this case,a single basic scale would not be a sufficient label and could
present an incomplete and erroneous picture. Melodies such as these are labeled as having a
"basic tonality" though they are comprised of single notes as in Lick 10. Many jazz licks have a
plural harmonic application. For example, Lick 1 can be thought of as originating from either the
AI, major scale or the AI, Mixolydian mode (dominant seventh sound) as it does not contain the
crucial seventh in its melody. Similarly, Lick 5 has a plural application and could be used over an
FmGor Bb9chord background.
A suggested tempo is provided for each lick-Fast Swing, Moderately, Slowly (Rubato), etc.-to
further guide you in applying these phrases in your music. All licks marked with a swing feel
(Fast Swing, Moderate Swing, etc.) are to be perceived as occuring against a triplet feel background
and are generally to be played with swing eighth-note rhythm. This means that each twoeighth-
note rhythm unit is to be played as a quarter-eighth grouping of an eighth-note triplet

After getting these licks under your fingers, try taking them apart by playing them in pieces,
inside out and backwards. Each lick can be thought of as having several melodic or harmonic
"cells" of varied sizes in its structure. Eachcell is akin to a thought or group of words in a sentence.
These can be grafted to other cells from other licks to form new phrases.This processof
developing original music from fragments is a viable strategy for building a new musical statements
of your own.
Finally, once you have grasped the essentials of these licks, begin your own investigations. To this
end, a list of suggested recordings is offered in the back pages of this volume. Pick your favorite
jazz improvisations, and listen for these devices at work in the music of the great players. Be on
the lookout for imitative procedures and sequential activity in melodies and riffs, question-andanswer
phrases, harmonic extensions and alterations, unique turnarounds, and other thematic
development strategies. This sort of listening and thinking opens the door to a deeper understanding
and assimilation of the jazz language.


About the Author
Wolf Marshall is the pre-eminent guitar educator-performer of our time. The founder
and original editor-in-chief of GuitarOne magazine, he is a highly respected and prolific
author and columnist who has been an influential force in music education since the early
1980s.Wolf has worked closely with Hal Leonard Corporation for the past decade,
authoring such highly acclaimed multimedia books asThe Guitar Style of Stevie Ray
Vaughan, Stevie Ray Vaughan, Blues Guitar Classics, The Beatles Favorites, The Beatles Hits,
The Rolling Stones, The Best of Carlos Santana, Guitar Instrumental Hits, Steve Vai: Alien Love
Secrets, Eric Clapton Unplugged, Eric Johnson, The Guitars of Elvis, Aerosmith 1973-1979 and Aerosmith 1979-1998, Acoustic Guitar of the '60s and '70s, Acoustic Guitar of the '80s and '90s, Mark Knopfler, The Best of Queen, The Best of Cream, and many more. His eight-volume seriesThe Wolf Marshall Guitar Method and Power Studies established new standards for modern guitar pedagogy in the early 1990s,as did his Guitar Jammin' authentic song books.
In 101 Must-Know Jazz Licks, and its predecessor 101 Must-Know Blues Licks, Wolf directs his
encyclopedic knowledge of modern guitar music at a unique series designed to improve the
vocabulary of all guitarists. The list of his credits is immense and can be found at his web site:


Swing and Pre-Bop
This group comes from the swing era of the late 1930sand early 1940s.Jazz was at
the height of its popularity in this period. Swing was a dance-oriented jazz style played predominately
in ballrooms by big bands of fourteen or more musicians. The music's harmony centered
around mildly dissonant chords like major and minor triads with added sixths, dominant sevenths,
and dominant ninths. These harmonies supported largely diatonic melodies set in riff-dominated
jazz tunes, 12-bar blues structures, and 32-bar pop tunes.
Swing's leading guitarist was Charlie Christian, who combined elements of earlier classicjazz traditions
as well as blues licks from the southern states and horn licks borrowed from wind players
like Lester Young and Roy Eldridge. The practice of emulating and adapting "horn licks" (largely
from saxophone and trumpet) has been a mainstay of jazz guitar since Christian's time. Christian's
pioneering use of the newly-designed Gibson Electric-Spanish (ES)guitar established the role of
the electric guitarist in jazz. Prior to his appearance, jazz guitarists were mainly confined to
strumming in the rhythm section or forced to play in smaller all-string combos such as Django
Reinhardt's Hot Club quintet.
Christian's work with the Benny Goodman Sextet set the standard for early combos that included
electric guitar. Jazz, blues, and pop guitarists who followed in the 1940swere under the spell of
Charlie Christian and sought to emulate his sound and style. In swing and pre-bop, this included
Oscar Moore, Barney Kessel,AI Casey,Herb Ellis, and others. Sweepingly influential, Christian's
licks were also heard in the subsequent wave of jump blues guitarists and early rock 'n' roll players.
Identifiers of the swing style include an eighth-note-dominated horn-like phrasing, extensive
use of the sixth degree of the scale and chromatic passing tones, blues riffs, and a strong swing
rhythm feel.
To maintain sonic authenticity, I played these licks on my Gibson ES-175/CCwith heavy-gauge
strings. This instrument is equipped with the early Gibson bar pickup (dubbed the "Charlie
Christian pickup") in the neck position. The volume and tone controls were both set at 8. The guitar
was played through a vintage 1952 Gibson GA-75 amp with one 15-inch speaker. The tone of
the amp was set for a warm and moderately clean sound with a hint of tube overdrive; in this
case,treble and bassat the midway point and the volume at just below halfway. This sound is
generally the norm for early jazz guitar, circa 1940s-1950s.
+Basic Scale: Ab Major/Mixolydian
Fast Swing Ab(6)

 

Contents
Introduction
Tips for Using this Book and CD
About the Recording
Lick Analysis and the Lick Legend
SWING and PRE-BOP
BEBOP
Bird: Charlie Parker
Post-Parker Bop Guitar
POST-BOPMODERN JAZZ
Trane: John Coltrane
HARD BOP and COOL JAZZ
MODAL JAZZ
SOULJAZZ
POSTMODERN JAZZ
JAZZ CHORD LICKS
Suggested Recordings
About the Author
Guitar Notation Legend

Price: €21,99
€21,99

BYRD CHARLIE BLUES SONATA & JAZZ STANDARDS FOR GUITAR BOOK CD TABLATURE LIBRO CHITARRA METODO

BYRD CHARLIE, BLUES SONATA & JAZZ STANDARDS FOR GUITAR. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA JAZZ CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Price: €99,99
€99,99

COLTRANE JOHN-ESSENTIAL JAZZ LINES IN THE STYLE OF BOOK CD LIBRO SPARTITI CHITARRA

COLTRANE JOHN, ESSENTIAL JAZZ LINES IN THE STYLE OF. CD TAB.

by Corey Christiansen & Kim Bock

Product Description:
Saxophonist John Coltrane was one of the most innovative, creative, and influential jazz artists of the 20th Century. Both stylistically and harmonically, he opened doors for others to follow. This book will focus on the first period of Coltrane's career, when he was with Miles Davis, and the jazz vocabulary he used. First, to help the student better understand Coltrane's bebop style of improvising, the authors discuss the use of guide tones, bebop scales, three to flat nine, targeting, and other techniques. Then the text presents numerous one-, two-, and three-measure jazz lines in Coltrane's style in notation and tablature grouped by the harmony over which they can be used. The accompanying play-along CD provides the rhythm parts for each section, including a track for each section that modulates through the cycle of fourths, helping you master the phrases in all keys. By combining various lines, musicians will be able to mix and match numerous combinations of these lines to play over ii-V-I progressions, turnarounds, and other harmonic situations. Incorporate these essential jazz lines into your vocabulary and you will be able to create your own lines in the style of John Coltrane.

Contents:

John Coltrane
The Style of John Coltrane
Jazz Language
Guide Tones
Bebop Scales
Mixolydian Bebop
Major Bebop
Minor Bebop
Scalar Patterns
3-9
Augmented Dominant
Playing the Upper-Structure of Chords
Targeting
Substitutions
John Coltrane's Style
Summary
Minor Chord Material
Track 1: Tuning
Track 2: Minor Chord Vamp
Track 3: Minor Moving in Fourths
Dominant Seventh Chord Material
Track 4: Dominant Seventh Vamp
Track 5: Dominant Seventh Moving in Fourths
One Measure ii-V (Short ii-V) Material
Track 6: Short ii-V Vamp
Track 7: Short ii-V Moving in Fourths
Two Measure ii-V (Long ii-V) Material
Track 8: Long ii-V Vamp
Track 9: Long ii-V Moving in Fourths
Major (I) Chord Material
Track 10: Major Vamp
Track 11: Major Moving in Fourths
Minor ii-V Material
Track 12: Minor ii-V Vamp
Track 13: Minor ii-V Moving in Fourths
Play Along Recordings
Track 14: Short ii-V-I Vamp
Track 15: Short ii-V-I Moving in Fourths
Track 16: Long ii-V-I Vamp
Track 17: Long ii-V-I Moving in Fourths
Track 18: Minor ii-V-i Vamp
Track 19: Minor ii-V-i Moving in Fourths
Turnarounds
Track 20: Turnaround Vamp
Track 21: Turnaround Moving in Fourths
Creating Solos
Track 22: Creating Solos
Track 23: Progression Similar to Pent Up House
Coltrane Changes/Giant Steps
Practicing Coltrane Changes
Track 24: Long ii-V-I with Coltrane Changes Vamp
Track 25: Long ii-V-I with Coltrane Changes Moving in Fourths
Track 26: Eight Measure Giant Steps Vamp
Track 27: Progression Similar to Giant Steps
Superimposing the Coltrane Changes
Track 28: Blues for a Giant
Track 29: Snap Shots
Conclusion
Selected Discography
About the Authors

Price: €26,99
€26,99

COOL BLUES & HOT JAZZ GUITAR Adrian Ingram CD TABLATURE CHITARRA LIBRO SPARTITO METHOD

COOL BLUES & HOT JAZZ GUITAR. Adrian Ingram. Esercizi, titoli. CD TABLTURE

Cool Blues & Hot Jazz has been written to introduce the most valuable jazz guitar techniques and present them in a clear and concise way with the beginning jazz guitarist in mind and for players with a rock or blues background. This tutorial covers an innovative combination of ideas and music to introduce you to the playing of great jazz and blues players such as Wes Montgomery, Joe Pass, Pat Martino, Kenny Burrell, Robben Ford, Duke Robillard, Larry Carlton and many others.
Whatever your level, or interest, Cool Blues & Hot Jazz breaks down the barriers to the normally confusing world of jazz. It will teach you step by step the most important (yet seldom explained) guitar techniques in an easily accessible but thorough way.

STAGES IN THE LEARNING CYCLE
Each lesson has been divided into three separate sections to help clarify the learning process:

STAGE 1.
The LESSON contains information you will need to know for the assignment, together with further material for clarification and future reference.

STAGE 2.
The ASSIGNMENT is where you will play along with the c.d.; where you take IIfrom the page to the guitar!

STAGE 3.
The CROSS-REFERENCING of what has been learnt in the assignment, with the information given in the lesson, completes the learnig cycle.

Contents:
Introduction .
Tuning Notes .
Notation Guide .
Chords and Scale Reference .
Lesson 1: The Dominant Seventh chord forms and substitutions.
Lesson 2: The Jazz / Blues Progression .
Lesson 3: "Minorizing" the Dominant .
Lesson 4: "Minorization" & Single-Line Soloing .
Lesson 5: Jazz Phrases .
Lesson 6: Single-Note Soloing on a Minorized Blues. Scale and arpeggio substitutions.
Lesson 7: The Tone-Below Principle .
Lesson 8: Coda:Putting it all Together . Cool Blues & Hot Jazz .
 

Price: €49,99
€49,99

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

COMPLETE BOOK OF JAZZ GUITAR LINES & PHRASES Sid Jacobs CD TABLATURE LIBRO SPARTITI

COMPLETE BOOK OF JAZZ GUITAR LINES & PHRASES. Jacobs. CD TAB.

Product Description:
An important addition to the improvising jazz guitarist's library, this thoughtful blend of text and musical examples focuses on the vocabulary of modern jazz and some of the applications of modern harmony. With examples written in standard notation and tablature, Jacobs offers instruction on bebop style phrases, playing fourths, inside-outside playing, pentatonic, whole-tone and symmetrical scales, slash chords, polychords, hip lines, fingerings and much more. The companion CD presents the material in the text played with chord accompaniment.

Product Number: 95737BCD
Format: Book/CD Set
Series: Complete
160 PAGES

Price: €31,99
€31,99

BILL EVANS THE GUITAR BOOK Sid Jacobs CD TABLATURE CHITARRA SPARTITI LIBRO Funkallero

EVANS BILL, THE GUITAR BOOK. di Sid Jacobs. Funkallero -Laurie -Letter to Evan -My Bells -Orbit -Peace Piece -Peri's Scope -Remembering the Rain -A Simple Matter of Conviction -Time Remembered -Turn Out the Stars -The Two Lonely People -Very Early -Waltz for Debby. CD TAB.

by Sid Jacobs
Series: Guitar Solo
Softcover with CD - TAB
Artist: Bill Evans
Composer: Sid Jacobs

In this book/CD pack, Musicians Institute instructor Sid Jacobs, who organized the school's Jazz Guitar elective, translates the playing of quintessential jazz pianist Bill Evans for guitarists to enjoy. Includes music, instruction and analysis of 14 Evans' pieces, all in their original keys and with full demonstration tracks on the accompaniment CD.
"Sid's marvelous transcriptions of Bill Evans' tunes for solo guitar have just raised the guitar to a new level. This is contemporary guitar at its harmonic best." Diorio

48 pages

Price: €24,99
€24,99

GERSHWIN GEORGE-THE COLLECTION FOR SOLO GUITAR-Howard Morgen-CD TABLATURE LIBRO SPARTITI

GERSHWIN, THE COLLECTION FOR SOLO GUITAR, Morgen. Contiene 16 arrangiamenti per chitarra, fra le quali Summertime, e I got rhythm. CD TAB.

George Gershwin / arr. Howard Morgen

SERIES: Jazz Masters Series
CATEGORY: Guitar Personality
FORMAT: Book & CD

Sixteen classic Gershwin standards in sophisticated solo guitar arrangements exactly as recorded by Howard Morgen. Titles
Includes the Following Selections:

Title Composer
A FOGGY DAY (IN LONDON TOWN)
GERSHWIN, GEORGE/L: GERSHWIN, IRA
BESS YOU IS MY WOMAN NOW (from "Porgy and Bess")
GERSHWIN, GEORGE/L: GERSHWIN, IRA/L: HEYWARD, DUBOSE/L: HEYWARD, DOROTHY
BUT NOT FOR ME (FROM "GIRL CRAZY")
GERSHWIN, GEORGE/L: GERSHWIN, IRA
FASCINATING RHYTHM
GERSHWIN, GEORGE (CA)/ GERSHWIN, IRA (CA)
HE LOVES AND SHE LOVES
GERSHWIN, GEORGE (CA)/ GERSHWIN, IRA (CA)
HOW LONG HAS THIS BEEN GOING ON?
GERSHWIN, GEORGE/L: GERSHWIN, IRA
I GOT RHYTHM
GERSHWIN, GEORGE/L: GERSHWIN, IRA
IT AIN'T NECESSARILY SO (FROM "PORGY & BESS")
GERSHWIN, GEORGE/L: GERSHWIN, IRA/HEYWARD, DUBOSE/HEYWARD, DOROTHY
LOVE IS HERE TO STAY
GERSHWIN, GEORGE/L: GERSHWIN, IRA
LOVE WALKED IN
GERSHWIN, GEORGE/L: GERSHWIN, IRA
MY MAN'S GONE NOW (REMAKE TAKE)
GEORGE GERSHWIN, IRA GERSHWIN, DU BOSE HEYWARD
NICE WORK IF YOU CAN GET IT (FROM "DAMSEL IN DISTRESS")
GERSHWIN, GEORGE/L: GERSHWIN, IRA
OH, LADY, BE GOOD!
GERSHWIN, GEORGE/L: GERSHWIN, IRA
SOMEONE TO WATCH OVER ME (FROM "OH, KAY!")
GERSHWIN, GEORGE/L: GERSHWIN, IRA
SUMMERTIME (FROM "PORGY AND BESS")
GERSHWIN, GEORGE/L: GERSHWIN, IRA/HEYWARD, DUBOSE/HEYWARD, DOROTHY
THEY CAN'T TAKE THAT AWAY FROM ME (FROM "SHALL WE DANCE")
GERSHWIN, GEORGE/L: GERSHWIN, IRA

Price: €33,99
€33,99
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