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. SHEET MUSIC BOOK WITH CD.

LIBRO METODO DI MUSICA FUSION CON CD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

Serie: Signature Licks Guitar

Formato: Softcover with CD - TAB
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.

 

ONE ON ONE WITH MIKE STERN

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

helpful.

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.

INTRODUCTION
DISCOGRAPHY
THE RECORDING
ABOUT THE AUTHOR
MIKE STERN'S GEAR
ONE ON ONE WITH MIKE STERN
BOP 'N ROLL: A LESSONS WITH MIKE STERN

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

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129
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