ACCORDI - PENTAGRAMMA - TABLATURE / CHORDS - STANDARD NOTATION - TABLATURE

MONTGOMERY WES, THE EARLY YEARS. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO DI MUSICA JAZZ CON CD.

LIBRO DI SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E TABLATURE.

The artistry exhibited by Wes Montgomery ultimately led to a redefinition of jazz guitar. These transcriptions from Wes' landmark early recorded work capture him in contrasting settings and roles as a sideman, leader and with various group configurations. All solos were carefully transcribed in notation and tablature from Wes' original Riverside recordings. Selections include: Scrambled Eggs; Compulsion; Terrain; Ursula; Lolita; Tune Up; Says You; Delirium; and No Hard Feelings.

Compulsion by Harold Land
Delirium by Harold Land
Lolita by Barry Harris
No Hard Feelings by Buddy Montgomery
Says You by Sam Jones
Scrambled Eggs by Sam Jones
Terrain by Harold Land
Tune Up by Miles Davis
Ursula by Harold Land

Wes Montgomery
Born in Indianapolis, Indiana March 6, 1925
Died June 15, 1968
Wes Montgomery was a guitarist who developed an incredibly personal style.
He was influenced greatly in his early years by the driving single line jazz guitar solos
of Charlie Christian. Later, tenor saxophonist John Coltrane had tremendous influence
on him. Wes Montgomery possessed a great ear and got one of his first" gigs" playing
Charlie Christian solos by ear with a jazz combo. It was later said that his ear was good
enough to allow him to remember and embellish any piece, no matter how intricate,
after hearing it only once.
Wes Montgomery's style was so unique it can still be recognized by listening to
only a measure or two of one of his solos. Tobegin with, he played with his right hand
thumb. The story goes that he developed this technique trying to practice softly so as
not to disturb his neighbors. His thumb technique was unbelievably adept, amazing in
the words of some observers. This thumb technique gave his playing a warm, gentle
timbre. Thus, when listening to Wes, you would hear wonderfully bluesy, "be-bop"
phrases laid out in a warm, lyrically intimate manner.
Perhaps the most identifiable aspect of his style, however, was his "funky",
virtuosic use of octaves. Many great jazz guitarists have since emulated this stylistic
technique but it was pioneered by Wes Montgomery. He proved that rapid and extended
solos in octaves could be executed technically and musically. While many
others have copied this technique, few seem to obtain Wes' warm, earthy, tone.
Wes' career took a big jump when famed alto saxophonist ,Cannonball Adderly
heard him at an after-hours jazz club in Indianapolis called the Missile Room. A phone
call from Adderly set things in motion and not long after, Wes was signed to a record
contract with Riverside. He later recorded on the Verve and A & M labels. His was the
dominant voice in jazz guitar in the 1960s. His plaudits included winning the Downbeat,
Billboard and Playboy jazz guitar polls. He was awarded a Grammy for his solo
rendition of the song, "Gain' Out Of My Head." Time and Newsweek ran stories on him.
He played with many if not most of the great jazz sidemen of his era.
We are honored to present this collection of some of Wes Montgomery's early
recorded solos from the Riverside collection. We highly recommend the companion
cassette. Also available is an additional printed collection of some of his finest recorded
solos titled Wes Montgomery/Jazz Guitar Artistry.

Notes From the Transcriber
This collection of transcribed performances is a sampling from the early recorded
work of Wes Montgomery on the Riverside label. Wes signed on with Riverside in the
autumn of 1959and remained with the label through 1963.
These transcriptions capture Wes in contrasting settings and roles; as sideman,
leader and with various group configurations. As a sideman, Wes improvised concisely,
offering exactly suitable, to-the-point solos. On his own recordings, he was more
expansive, developing his solos over a number of choruses with utmost craft.
The artistry exhibited by Wes was ultimately to lead to the redefinition of jazz
guitar. His influence has, and continues to reach the oncoming generations of guitarists
within, and outside the jazz world. Being on the faculty of Berklee College of Music for
several years, I have seen first hand how the music of Wes Montgomery continues to
inspire guitarists in pursuit of excellence. Even those not versed in jazz get excited
about Wes' playing because it simply feels so good.
When working with these transcriptions, keep the recordings close at hand and
refer to them continually. What can be communicated on the printed page is limited,
but your listening to the recordings will help to make the written notes come to life.
A word about the tablature fingerings. When deciding fingerings I considered
the following factors:
1. Playability - Where does the particular phrase lie well on the fingerboard?
2. Harmonic relation - What chord shape or shapes does this phrase imply?
3. Timbre - Does the timbre clearly indicate which string a note was played on?
I have not presumed, nor do I intend to imply, where every note was originally
played by these fingerings. My intention is to provide fingerings that work well with
this music. Due to the nature of the guitar, I also recommend practicing phrases in at
least one other area of the fingerboard.

Here is a brief summary of the transcribed music.
Wes Montgomery - guitar
All tracks
Scrambled Eggs
Nat Adderly - cornet (leader)
Sam Jones - bass
Bobby Timmons - piano
Louis Hayes - drums
recorded January 27, 1960

Scrambled Eggs is from Nat Adderley's highly successful Work
Song album. The Bobby Timmons composition is a bass feature for
Sam Jones who solos during the head breaks. 1have included these
bass breaks in the transcription as a matter of interest. For the
Scrambled Eggs melody, Wes plays octave unison with the cornet.
Taking the last solo for one chorus, Wes appears to be drawing from
the melody by using a great deal of chromaticism in his solo lines.
This technique, that is associated with the bebop jazz style, is characterized
by the resolution of single or double chromatics to chord
tones from above and/ or below.
Compulsion
Joe Gordon - trumpet
Harold Land - tenor sax (leader)
Barry Harris - piano
Sam Jones - bass
Louis Hayes - drums
recorded May 17, 1960

From Harold Land's West Coast Blues LP,Compulsion begins
with trademark octaves from Wes. On the head and solos of his
band mates, Wes shares comping duties with Barry Harris. The A
section of Compulsion has a 1mto IVm chord change that leads to
descending lydian chord structures. Wes takes the second solo and
on his two choruses, skillfully plays through the most active harmonic
segments, melodically weaving through the changes. On the
lydian segments, Wes transposes short musical fragments in parallel
motion with the chord structures. His use of thirds on the final
bridge should also be noted.

METHENY PAT, BRIGHT SIZE LIFE. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA PER CHITARRA ROCK JAZZ FUSION. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

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

METHENY PAT, QUESTION AND ANSWER. TABLATURE

LIBRO DI MUSICA, SPERTITI PER CHITARRA CON TABLATURE. 

Series: Guitar Recorded Version TABLATURE
Note-for-note transcriptions with tab, in a handwritten jazz-style font and supervised by Metheny himself. Includes all the songs from this 1989 album that the All Music Guide describes as "nine tracks of sheer jazz joy," calling Pat's playing "modernistic, highly fluid, almost liquid lightning." 144 pages

Songlist:

All The Things You Are
Change Of Heart
H & H
Law Years
Never Too Far Away
Old Folks
Question & Answer
Solar
Three Flights Up

MASTER ANTHOLOGY OF JAZZ GUITAR SOLOS VOL.2. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

LIBRO DI MUSICA JAZZ CON CD .

SPARTITI PER CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLATURE .  

Product Description:
Mel Bay's Master Anthology of Jazz Guitar Solos Volume Two presents 11 challenging tunes, improvised solos and solo guitar arrangements designed to enhance the repertoire of the intermediate to advanced jazz guitarist. Some of the world's finest jazz guitarists are represented, including Chris Buzzelli, Corey Christiansen, Mark Elf, Jim Farquar, Dave Frackenpohl, Barry Greene, Randy Johnston, Bill Purse, Dave Stryker, Frank Vignola, and Craig Wagner. All of the pieces are in both standard notation and tablature with a biographical sketch of each performer. A companion stereo CD is included, making this an ideal sourcebook for serious students and professionals alike.

Mark Elfhas been on the Jazz scene for over 30 years. He was born in Queens, New York in 1949 and started playing the Guitar at the age of 11. He has played and or recorded with the Jazz Giants: Dizzy Gillespie, Clark Terry, Jimmy Heath & the Heath Bros., Wynton Marsalis & Jon Hendricks just to name a few. His first professional Jazz performance occurred around 1971 as a sideman at the Club Barron in Harlem, New York with Gloria Coleman and Etta Jones. This performance was a double bill with the George Benson Quintet. During the 1970's he toured with Lou Donaldson, Jimmy McGriff, Groove Holmes & Charles Earland and recorded a number of albums with them. He recorded his flrst album as a sideman with Jimmy McGriff & Groove Holmes in 1973 on the Groove Merchant Record label called "Giants of the Organ Come Together". In the late 1970's Mark worked with Junior Cook and Bill Hardman in New York City and also recorded with them on the Muse Label. In the 1980' s he toured Europe with Dizzy Gillespie, Clark Terry and other Jazz Luminaries and also recorded his flrst album as a leader in 1986 called the Mark Elf Trio Volume 1. In 1988 he recorded his second album as a leader ''The Eternal Triangle with Hank Jones, Jimmy Heath, Ray Drummond and Ben Riley. This album would be released in 1996 on Mark's Jen Bay Record Label. In 1993, Mark landed his fIrst overseas record deal with The Alerce Record Label and ''The Mark Elf Trio" was recorded in Santiago, Chile. This recording was marketed to radio in 1996 and went to #7 on The Gavin Jazz Chart. In 1995, Mark recorded for Telarc on the Jon Hendricks CD, Boppin' at The Blue Note with, Wynton Marsalis, Benny Golson, Al Grey & Red Holloway. This recording went to # 1 and opened up some radio doors just before the Alerce recording released in 1996. After forming his own record company in 1995, Jen Bay Records, he stunned the record industry with hit recordings on Jazz Radio. From 1996 to 2000 all seven of his recordings had flnished in the top ten on National Jazz Radio with flve of them going to #1 consecutively from 1997 to 2000! In 1996 he joined the Jimmy Heath band and also worked with the Heath Bros. During this time The Eternal Triangle was released and it went to #4 on The Gavin Jazz Chart. He recorded As We Were Saying with the Heath Bros. for Concord in 1997. This same year Mark's third recording as a leader, A Minor Scramble was released. This was the second for his own company and it hit #1 on The Gavin Jazz Chart. This was the flrst of 5 consecutive Chart Toppers! The other four were 1998 - Trickynometry (#1), 1999 - New York Cats (# 1) and 2000 - Over The Airwaves & Live At Smalls (# I)! From 1970 to the present, Mark has taught guitar and theory at independent studios, colleges and universities in the USA and abroad. His clinics are recognized as some of the fmest in the world as attested to by Clark Terry who hired Mark to teach at several of his jazz camps in the 1980' s and 1990's. Clark says, "The students love his no nonsense practical approach. He's a great clinician." Beside owning his own successful record label he also owns his own publishing company. He is sought after for his lectures on How To Succeed As An INDIE.

Frank Vignola is considered to be among the top rank of guitarists on the music scene today. Born on December 30, 1965, in Long Island, New York, he began playing guitar at the age of five. As his proficiency grew, he spent many hours listening to the music of legendary guitarists; Django Reinhardt, Joe Pass, and Johnny Smith. Frank not only gained a spiritual sort of inspiration from these guitarist's recordings, he also made an intricate study of the complexities of these guitar masters styles, slowing down his records to analyze many a solo. Frank's first teacher was his father, a semiprofessional banjo player. Later, Frank became the star pupil of guitarist Jimmy George, who was one of the original Dion and the Belmonts. At age 12, Frank took up the tenor banjo and swiftly burst upon the music scene in a way that would portend many of the accolades and milestones to come in his career as a jazz guitarist. Though obviously steeped in the traditional schools ofjazz, especially in the formative years, Frank would ultimately take inspiration from a wide arc of the musical spectrum. Guitarists such as Django, Charlie Christian, Wes Montgomery and Lonnie Johnson are obvious influences, but one might be surprised to learn that rocker Jimi Hendrix has also received the close scrutiny of Frank' s ear. Louis Armstrong, Lester Young, Thelonius Monk, Charlie Parker, Sonny Stitt, Antonio Carlos Jobim, Thad Jones and Duke Ellington have all had inspirational impact on the music of Frank Vignola. While still in his teens, Frank experienced the most effective music education possible-right on the bandstand as a working musician. Soon named among the top ranked musicians in New York, Frank performed and toured with such headliners as Max Morath and Leon Redbone. At age 23, he decided to lead his own group and formed his version of the famed Quintet of the Hot Club of France. Their debut at the New York cabaret, Michael's Pub, was a smash success and launched his career as a guitarist 'in the spotlight.' Tours of Europe, recording sessions, and an exclusive recording contract with the Concord Jazz label would all follow in short succession in a few short years. Frank would perform and/or record with such varied artists as Chet Atkins, Madonna, Jon Faddis, Woody Allen, Ringo Starr, Manhattan Transfer, Frank Wess, Elvin Jones, Lionel Hampton and countless legends from the golden age of jazz. Currently, Frank Vignola is the guitarist with the Mark O'Conner Trio' s tribute to Stephane Grappelli and also performs every Monday night with the Les Paul Trio at the Iridium in New York City. Frank is also the new guitarist in John Lewis' new group "Evolution".

Dave Stryker (3/30/57) grew up in Omaha, Nebraska and moved to New York City in 1980. After establishing himself in the local music scene, he joined organist Jack McDuffs group for two years 1984-85. When McDuff wasn't on the road (literally traveling by van all over the country) they worked a steady four-night a week gig at Dude's Lounge in Harlem. His fIrst break, this turned out to be an invaluable experience, paying his dues night after night with the soulful jazz organist. It was at Dude's Lounge that Stryker met tenor saxophonist Stanley Turrentine, who would occasionally sit in. Mter leaving McDuff, Turrentine asked Stryker to join his quintet. From 1986-1995 he played with the legendary saxophonist at all the major festivals, concert halls, and clubs throughout the world. He is featured on two Turrentine CD's (Stanley recorded Stryker's tune Sidesteppin). With Turrentine, Stryker was able to play with such jazz greats as Dizzy Gillespie and Freddie Hubbard. The ten years playing alongside the tenor legend helped Stryker realize the importance of having his own sound. (He continues to play with Stanley on occasion.) Stryker recorded his fIrst CD, First Strike (featuring Billy Hart) in 1988. Guitar on Top (featuring Mulgrew Miller and Victor Lewis) reached #13 on the Gavin Radio Chart and received 4 stars in Downbeat magazine. There have been articles in Downbeat, Guitar Player, Jazz Times, Swing Journal, and Jazz Life on Dave, and he has been awarded three jazz grants from The National Endowment For The Arts. In 1990 Dave began his association with SteepleChase Music. He has released twelve CDs on the label, including: Shades of Miles, Blue to the Bone II, All The Way, Big Room, Blue to the Bone, The Greeting, Nomad, Stardust, Full Moon, Blue Degrees, Passage, and Strikezone. Early on Stryker realized that as much as he loved playing standards and the jazz repertoire he had to have something of his own to give to the music. He feels that his writing combined with his playing is what shapes his musical expression. He has recorded and published over flfty of his own compositions. Eighteen of those compositions (from the flrst flve SteepleChase CD's) are compiled in the book: The Music of Dave Stryker (SteepleChase Music). Some of the other artists who have recorded his music are: Stanley Turrentine, Kevin Mahogany, Victor Lewis, and Steve Slagle. He is currently a featured member of vocalist Kevin Mahogany's working band, having written and arranged music for his Warner Bros. release Another Time, Another Place. Recent gigs have included Europe, Japan, Brazil, Poland and Carnegie Hall. He also works with Blue Note saxophonist Javon Jackson and pianist Eliane Elias. He has appeared on over twenty CD's as a sideman. As a producer, Stryker compiled the CD The Guitar Artistry of Billy Rogers which is the only existing record of the brilliant jazz playing of the late underground legend who was his friend, former teacher and member of the Crusaders. He also co-produced with partner Jim Eigo A Tribute to Grant Green on Evidence Music and is currently involved in producing some new releases. 

Product Number: 99554BCD
Format: Book/CD Set
ISBN: 0786660716
UPC: 796279076661
ISBN13: 9780786660711
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 5/15/2001

Format: Book/CD Set

Song Title: Composer/Source:
Eso Si Que Es - Chris Buzzelli
Got Milk? - Corey Christiansen
Guitar On Top - Dave Stryker
It Happened To Me - Barry Greene
Lenny's Song - Jim Farquar
Pat + Wes - Randy Johnston
Rain Forest - Bill Purse
Spiders - Craig Wagner
Tide Pool - Dave Frackenpohl
Trickynometry - Mark Elf
Vignette #1 - Frank Vignola

L'ESPRIT MANOUCHE. GIPSY GUITAR. ROMANE and Derek SEBASTIAN. Périple au pays de la guitare jazz 

LIBRO DI MUSICA PER CHITARRA CON CD E TABLATURE

336 Pagine, 14 titoli completi di accordi, linee melodiche; arpeggi e scale diminuite, ritmi swing, il voicing e l'armonia, 98 midi files sul CD, partiture complete con contrabbasso di "valse à Django" di Reinhardt, e altri due pezzi. CD TABLATURE

Song Title: Composer/Source:
Arc-En-Ciel Romane
Chassés Croisés Derek Sébastian
Dans Le Regard De Laura Romane
Destinée Romane
Gypsy Fire Romane
Jo's Remake Romane
Manège Romane
Monticello Romane
My Foolish Heart arr. by Romane & Derel Sébastian
Ombre Romane
Pour Trois Pas Romane
Swing For Ninine Romane
Valsa à Patrimonio Romane
Valse à Django Django Reinhardt

This massive book offers a comprehensive study of the Gypsy jazz or Manouche guitar style as perceived by French guitarists Derek Sebastian and Romane, two of the finest modern day practitioners of the Django Reinhardt style.

Each of the book’s thirty-six progressive chapters consists of four parts: A.) Technique developed through exercises, chord progressions/diagrams, and illustrations of fingerboard positions; B.) A harmony lesson with leads in the Manouche style; C.) Soloing techniques based on the harmonic structure of a given theme; and D.) Self-testing materials with answers provided at the close of the book.

The companion CD for L’Espirit Manouche is unique in that it provides 98 play-along MIDI files that exactly parallel the order of the exercises, examples and pieces in the book as well as audio tracks of excerpts from eighteen Romane favorites from the Gypsy jazz repertoire. The MIDI tracks, which can be accessed via most audio players on PC or Macintosh computers, allow the student to play along with both short phrases and extensive rhythm tracks- at any desired tempo; The audio tracks on the companion disc can be played on any CD player.

L’Espirit Manouche not only makes Gypsy jazz accessible; it offers an opportunity to master the Manouche style. While many exercises and tunes appear in both standard notation and tab, not to mention chord or fretboard diagrams, standard notation is predominant.

LESPRIT MANOUCHE
A Comprehensive study of Gypsy Jazz Guitar

INTRODUCTION
L'Esprit Manouche consists of 36 chapters, containing 6 to 8 pages each. The degree of difficulty . increases progressively. You can expect to finish each chapter in about one to two weeks, depending on your speed of study. Each chapter is divided into three sections.

PART A
In section A you will develop your guitar technique with the aid of exercises, specifie chord progres sions /diagrams and illustrations of fingerboard positions.
Practice these exercises and the melodies for about 30 minutes. Then, while going through each chapter ,put them together with the other exercises given in this book.
This way, rather than doing the same thing 200 times, you get into the habit to put ail your exercises and melodies together, thus ending up with one single melody that can last as long as you want.

PART B
1) Section B1 should, reasonably, take approximately 45 minutes. Here we will study the theory of various chord progressions and how to use these most of the time, such as the Il - V - 1 major and minor progressions, the anatole, etc. In other words, we will study harmony.
While doing this. you should neverforget to learn these chord progressions weil,so that you can develop your own improvisations and compositions. For instance, you can learn many ways how to use various triads, arpeggios and scales with the Vl-Im progression.
With this in mind, 1 strongly suggest that you first record the rhythm guitar track (while using a metronome!) so that you can practice with it. This way you will, ideally, learn to keepgood time.

2) Section B2 should take about 15 to 45 minutes to finish. Here we will include the proper leads, in the style of Manouche, and look at its harmony. This is done with the use of chord diagrams. This section lets you automatically master the indispensable style of Manouche.

PART C
ln the third part, we will practice solos. Here we will put together and apply the actual harmonie structure of a given theme. This will include technical diagrams, note embellishments, typical melodies, speed effects, virtuosity exercises, keeping in time, etc.
The study of this part takes between 1to 4 hours. It will mainly consist of guitar solos taken from the original compositions that you can find on my CDs. These are shown, note-for-note, in the traditional music notation and in tablature. These solos come complete with harmonie symbols that coincide with the improvised melodies.

TEST
ln the last chapter, you are given the opportunity to test yourself by taking a comprehensive test (answers located in the back of the book). Here you can test your newly acquired skills. Wehope that you can correct any hidden mistakes that may appear while playing. Remember it doesn't matter at which level you play, mistakes will always be a handicap. Derek Sebastian and 1 encourage you to study, and wish you great success. 

Arc-En-Ciel Romane
Chassés Croisés Derek Sébastian
Dans Le Regard De Laura Romane
Destinée Romane
Gypsy Fire Romane
Jo's Remake Romane
Manège Romane
Monticello Romane
My Foolish Heart arr. by Romane & Derel Sébastian
Ombre Romane
Pour Trois Pas Romane
Swing For Ninine Romane
Valsa à Patrimonio Romane
Valse à Django Django Reinhardt

Romane and Derek Sebastian have put together a fine collection which is an excellent comprehensive study of gypsy jazz guitar. It is a book to be savored, and enjoyed.
Complete with a play-along CD, the book contains illustrations and photographs. The English translation is by Vincent Michael.

The glossary and introduction are followed by thirty-six chapters that run the gamut of what gypsy jazz guitar is about. The index offers ready reference points.

As a reference book, this is something you may also want to have your local Public Library order for its jazz patrons, and for those interested in jazz guitar.

This is a fine collection, one of the best around. There is much to learn about gypsy jazz guitar, and this is the book to learn it from!