KESSEL BARNEY, passo per passo il suo stile tecnico e chitarristico. BOOK CD TABLATURE
LIBRO DI MUSICA JAZZ.
SPARTITI PER CHITARRA.
ACCORDI, PENTAGRAMMA E TABLATURE.
This entry in the Guitar Signature Licks series is dedicated to the sounds and techniques of Barney Kessel. Barney is a guitarist who is acclaimed as an important transitional figure, one who was pivotal-essential-in the jazz genre as the music evolved past its swing roots into bebop, hard bop, and modern jazz. The selections in this volume are gathered from, arguably, his most significant and influential period: the 1950s, when jazz guitar was still in its infancy. Several pieces are presented in their entirety: "Tenderly," "Salute to Charlie Christian," "Speak Low," and three Poll Winners trio tunes, "Minor Mood," "Foreign Intrigue," and "I'm Afraid the Masquerade Is Over." These are guitar intensive arrangements that showcase Barney's guitar role prominently and must be studied as complete works. Listen to the whole track and follow along with the detailed analysis of the distinct sections. Others, like "Barney's Blues," "Indiana," and "64 Bars on Wilshire," are offered in specific sections, where the guitar is stating the theme, interacting with the ensemble, or featured as the solo instrument. The time codes displayed in the selections refer to the original recordings.
Barney Kessel is one of the most famed and beloved jazz guitarists in music history. To many aficionados, his name is synonymous with jazz guitar. Bred on swing music of the 1940s, Kessel was one of the earliest players to absorb the language of modern jazz and bebop, mixing the new and old sounds with a swinging delivery, rhythmic vitality, and musical imagination all his own. His work remains towering and influential to the present, and he is widely acknowledged as one the leading voices of jazz guitar. Born in Muskogee, Oklahoma, on October 17, 1923, Barney Kessel decided on a career in music at an early age. He bought his first guitar at age twelve with money saved from selling newspapers. Essentially self-taught, Kessel received a few rudimentary essons in a Federal Music Program of the WPA in the summer of 1935. His earliest influences included swing musicians Charlie Christian (guitar) and Lester Young (tenor sax). Over the next four years, Kessel progressed quickly and established a strong regional following, enhanced by performances with the Varsitonians, a twelve-piece college band, while still a young teenager. By 1939, Kessel's reputation had grown to the point that his mentor Charlie Christian sought him out during a visit back home (Oklahoma was also Christian's home state). At age sixteen, Kessel met, hung out, and jammed with his idol, a duly impressed Christian, in early October of 1940. This experience inspired him to pursue a full-time professional career in music. In 1942, Kessel moved to Los Angeles and worked as a dishwasher while he made the musical rounds, sought auditions, and developed contacts. He was soon hired to play in comedian Chico Marx's band, led by drummer Ben Pollock. Kessel rapidly became a major player in the burgeoning West Coast jazz scene, performing and recording with Charlie Parker, Howard McGhee, Wardell Gray, Sonny Criss, and many others. Like many jazz musicians of the era, he also began accepting studio work on radio networks and Hollywood film scores and joined Frank De Vol's commercial orchestra. In 1944, Kessel appeared in Norman Granz's award-winning jazz documentary Jammin'the Blues. He was the only white musician in the film. Kessel also played in numerous big bands between 1945 and 1947, including the ensembles of Charlie Barnet and Artie Shaw. Kessel performed on record dates with Shorty Rogers and Benny Goodman, toured with the Oscar Peterson Trio in 1951-1952, and participated in Norman Granz's prestigious Jazz at the Philharmonic concert series. His contributions to Charlie Parker's legacy, contained in important tracks from 1947 like "Carvin' the Bird" and "Relaxin at Camarillo," brought further acclaim and broadened is jazz credentials. These and other high profile concerts and recordings led 0 e's greater exposure and recognition in America and Europe.
Titoli:
(I'm Afraid) The Masquerade Is Over [Magidson, Herb] [Wrube, Allie]
64 Bars On Wilshire
Barney's Blues
Begin The Blues
Contemporary Blues
Easy Like
Foreign Intrigue
Indiana (Back Home Again In Indiana) [Macdonald, Ballad] [Hanley, James]
Minor Mood
On A Slow Boat To China [Loesser, Frank]
Salute To Charlie Christian
Speak Low (One Touch Of Venus) [Weill, Kurt] [Nash, Ogden]
Tenderly [Gross, Walter] [Lawrence, Jack]
Vicky's Dream
CD TABLATURE
Wolf Marshall insegna lo stile e la tecnica di una leggenda del jazz, esaminando attentamente 14 titoli. 96 pagine.
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