GUITAR INSTRUMENTAL HITS. Passo per passo, 14 passeggiate soli con lei, la vostra chitarra.


(As Performed by The Virtues featuring Jimmy Bruno Sr.) By Arthur Smith
Figure 4 - Intro, Head, and First Guitar Solo
Rewriting history can be a daunting and problematic business. Such is the case with "Guitar Boogie Shuffle." History incorrectly credits Frank Virtue as the guitarist on the track and further ascribes the tune to Arthur Smith. Its inclusion in this collection provides us with an ideal opportunity to set the record straight. Here is the real story as recounted and substantiated by his son, Jimmy Bruno Jr. (who incidentally is one of the most compelling jazz guitarists on the scene today-check him out). In the 1940s and 1950s, guitarist Jimmy Bruno Sr. played with a bassist named Frank Virtue. Virtue was not an accomplished musician but had an uncanny knack for obtaining work. As times were tough, Bruno stayed with this band. In the 1950s, Virtue built a small recording studio in his house and there they recorded "Guitar Boogie Shuffle" as the Virtues. The members on the date were Jimmy Bruno Sr. (guitar), Tom Friday (drums), Ralph Federico (piano) and Frank Virtue (bass). Contrary to popular belief, Bruno Sr. was the composer of the music but failed to copyright his work, thinking that the boogie-woogie riff was public domain and not realizing that his arrangement granted him ownership rights. A self-made millionaire, Arthur Smith, who had recorded a different version on acoustic earlier, wound up with the rights and the credit. Virtue's lawyers and the record company saw to it that Bruno received 10% of 1% for his efforts. Bruno discovered this while on tour and quit on the spot, vowing never to record again and further stating that Virtue would never have another hit song. "Guitar Boogie Shuffle" reached #5 on March 23, 1959 and remained in the Top 40 for twelve weeks. It was the Virtues' one and only hit.
"Guitar Boogie Shuffle" is a 12-bar blues in E (which sounds a half step lower in Eb)
founded on a swing-inspired triplet feel. In the intro, Bruno plays a ground-finding pattern
in eighth-note rhythm on the open low E string to get things rolling. His sound during the
head is treated with generous amounts of slap-back echo. The head [A] is based on a fournote
ascending-descending melody (E-G#-B-C#: root-third-fifth-sixth) which is the quintessential
boogie riff of the period-in essence, a left-hand boogie-woogie piano pattern
transferred to the bass register of the electric guitar. Variations of this figure are moved
through the I-IV-V changes of a simple 12-measure, three-chord blues progression. Note
the use of G (the seventh) over the A chord in measure 7, and the use of 0 (the sharp
ninth) over the B7 chord in measure 10.
The interlude [B] is based on a catchy ostinato riff made of a quarter note and an
eighth-note triplet. The triplet contains the ascending chromatic motion B-C-C#, which
strengthens the sixth (the goal of this motion) in the figure. This riff, like the main theme, is
taken through the 12-rneasure blues form with slight variations.
Bruno's improvised solo choruses in [C] and [0] reveal the close relationship of late
1940s swing jazz and early rock 'n' roll. You could describe these phrases as "Charlie
Christian licks in a jitterbug context." His lines are certainly jazz-oriented, based primarily
on the E Major scale (E-F#-G#-A-B-C#-D#), with characteristic passing-tone chromaticism
in measures 26, 28, 41-43, and 45-47, and arpeggios in measure 32-34. Specific
references to Charlie Christian's style are heard in the explicit use of the sixth tone (C#) in
measures 27-29 and measure 45, the inverted mordent embellishing figure in measure 31
(a Lester Young motive popularized by Christian on the guitar), the staccato rhythmic
motive in measures 34-35, and the dominant-ninth lick in measures 42-43. Unlike
Christian's style, Bruno's licks are devoid of string bends and contain no overt references
to Texas and Oklahoma blues guitar styles.
On the recording, Jimmy Bruno Sr. played a honey blonde Gretsch hollow body
(probably a 6120) with DeArmond pickups, and plugged into an Ampeg Gemini II amp.
[Before playing along with Figs. 4 and 5, tune down 1/2 step with track 7] ...




-Lenny (S.R.V.)

-guitar boogie shuffle

-walk don't run -pipeline

-just like a woman (B.B. King)

-rebel 'rouser

-sleepwalk (come suonata da Santo and Johnny) 

-sleepwalk (come suonata da Larry Carlton) 

-Jessica -frosty

-hide away (come suonata da Freddy King)

-hide away (come suonata da Eric Clapton) 

-steppin' out (Clapton)

-song of the wind (Santana).

Tutti gli esempi di assoli possono anche essere usati come per Jam. CD TABLATURE

Santo & Johnny era il nome di un duo di chitarristi formato dai fratelli newyorkesi Santo (24 ottobre 1937) e Johnny Farina (30 aprile 1941). Il loro primo singolo, Sleepwalk, pubblicato nel 1959, era un brano strumentale composto con l'aiuto della madre, che riscosse un notevole successo balzando al primo posto delle classifiche statunitensi. Ad esso fecero seguito altri singoli e numerosi album che raccoglievano soprattutto brani easy-listening e colonne sonore. Furono molto popolari durante gli anni sessanta e settanta, anche in Italia, dove registrarono molti dischi e guadagnarono il disco d'oro per la loro versione della colonna sonora de Il Padrino (1973) del compositore Nino Rota. Il duo si sciolse nel 1976, ma Johnny Farina ha continuato per moltissimi anni ancora a esibirsi come solista e a incidere dischi.

The Farina brothers, Santo & Johnny, were born in Brooklyn, New York. Santo, October 24, 1937 and Johnny, April 30, 1941. The boys were young when their Dad was drafted into the Army and stationed in Oklahoma. There on the radio he heard this beautiful music, it was the sound of the steel guitar. He wrote home to his wife and said "I'd like the boys to learn to play this instrument". When he returned from the war they searched out to a man who could get them started with the steel. Years later, they formed a band, playing at church dances, weddings and clubs. The Farina brothers began to gather fans from Brooklyn to Long Island.
As their popularity grew locally they recorded a couple of demo tapes. Johnny made the rounds of the New York record companies. One day Johnny decided to try a music publishing company and there is where the history of "Sleep Walk" started, they signed a song writer's contract which later on lead them to Canadian American Records. Their first release in 1959 was "Sleep Walk" which was written by Santo & Johnny. It was the last #1 instrumental of the 50's and earned them a Gold Record. With their unmistakable sound, they appeared on all the top music shows, "The Alan Freed Show", "Dick Clarks' American Bandstand", "The Perry Como Show" etc. etc

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