12 Titoli: body and soul -black Orpheus -satin doll -all the things you are -bluesette -how insensitive (insensatez) moonlight in Vermont -my foolish heart -my one and only love -my romance -once I loved (amor em paz) -there will never be another you.

This book/CD pack includes complete solo performances of 12 terrific standards. The arrangements are performance level and range in difficulty from intermediate to advanced. 64 pages

Table of contents
All The Things You Are
Black Orpheus
Body And Soul
How Insensitive (Insensatez)
Moonlight In Vermont
My Foolish Heart
My One And Only Love
My Romance
Once I Loved (Amor Em Paz) (Love In Peace)
Satin Doll
There Will Never Be Another You

Price: €25,99



By Jody Fisher
CATEGORY: Guitar Method or Supplement

This comprehensive study of harmony is a must for any guitarist interested in jazz. This book explains the essentials of jazz harmony in a friendly, easy-to-understand manner. Learn about chord scales, abbreviated voicings, extended harmonies, altered chords, substitutions and analyzing chord progressions. Other topics include ii-V-I progressions, the dominant cycle, "rhythm changes," clusters, quartal harmonies, working with upper structures and much more. Finally, jazz harmony is demystified in one reliable and easy-to-read book.

Price: €26,99



By Jody Fisher
ITEM: 00-19420
UPC: 038081184524
ISBN 10: 0739011189
ISBN 13: 9780739011188
CATEGORY: Guitar Method or Supplement

Nearly 300 useful jazz guitar licks organized by chord type. Examples are shown in easy-to-read TAB and standard music notation. Four voicings are given for each chord type along with easy-to-read chord diagrams. Licks for common progressions such as ii-V-I are shown. Includes sections on Important Scales for Improvisation, Articulation, "Feel" and other important topics.

Price: €27,99



JAZZIZ CHRONICLES GUITAR. Interviste a: George Benson, Les Paul, Herb Ellis, Larry Coryell, Sonny Sharrock, Al Di Meola, Bill Frisell, Pat Martino, John Scofield, Jim Hall, Pat Metheny, Wes Montgomery, Lee Ritenour, Kenny Burrell, Joe Pass and a host of others. Discover the history of the jazz guitar and enjoy JAZZIZ's top picks from its second talent search on the companion CD - Brian Hughes, Michael Gulezian, Rick Zunigar, Randy Bernsen, James Vincent, Dave Lowrey, George Simon, John Paul, Dave Onderdonk, Dave Occipinti, Bill Mize and Christopher Cortez. Includes great photos throughout. Non contiene pagine di musica. CD


What isJazz?
One day, not so long ago, I was flying from Florida to New York, listening to my Walkman. A gentleman sitting next to me on the plane asked what I was listening to. "Jazz," I replied. "I hate jazz," he said. A while later, I offered him my headphones, which he willingly donned. He listened for a moment. "Oh, but I like this," he said, loud enough to hear himself over the music.
Jazz means different things to different people. 20years ago, I came up with the concept and the name for my magazine - JAZZIZ- in response to this realization. I thought it would be worthwhile to eliminate some of the forbidding barriers that seem to surround jazz and that keep people from entering the inner sanctums of the jazz world. I recognized that the first problem most people have with jazz is figuring out exactly what it is. And that's forbidding. Most people want everything in their lives to be firmly and reliably defined, including their music. People are uncomfortable entering a world without apparent solidity, a world, that is, where nothing is clearly defined. Well,that's jazz: an ever-changing world that always manages to elude the best efforts to contain and define it. After publishing JAZZIZfor20 years, convincing people to overcome their fear of an uncertain and unpredictable music remains a difficult barrier to overcome. Still, I'm certain there's a huge potential audience for jazz out there. The bulk of that audience, I contend, harbors a less-than-satisfactory idea of what this art form is all about. The rich heritage of jazz begins with the musicians who forged a new musical language from fragments of old and disparate forms. Where the story of jazz ends is anybody's guess, as new young artists continue to emerge, invigorating and extending the music's vital legacy. For20 years, we've featured, interviewed, reviewed, profiled, and celebrated jazz artists, from the most popular to the most undeservedly obscure. Our JAZZIZ Chronicles book series - produced in conjunction with the fine folks at Cherry Lane - takes some of our best pieces, categorized by instrument, and presents them in single compilations. Essentially, these books chronicle our own contributions to the history of jazz, which basically amount to offering our insights into the talent behind the real contributors. Jazz is rich because it has so many great stories to tell. At JAZZIZ, we've always kept a sharp eye on the current scene. But we've also been mindful of the music's vivid past, as well as its promising future. The CDthat accompanies this book underscores the latter point. Over the years, we've conducted talent searches that were judged by some of the brightest names in jazz. With the CD,we present the winners to you. Think of them as a glimpse of the future history of jazz. We hope you enjoy. Michael Fagien Publisher and Editor-in-Chief JAZZIZ Magazine

seven and was a precocious, young player with an ear for jazz, classical, and pop music. He studied feverishly, taking lessons from such jazz heroes as Joe Pass, Howard Roberts, Barnie KesselI, and Kenny BurrelI. But the teacher to whom he credits his first burst of inspiration was the late Duke Miller, head of the guitar department at USC. A studious sort, Ritenour pursued guitar at USC partly because the great classical guitarist Christopher Parkening was there as a teacher. He had already taken private lessons from the American virtuoso when Parkening lived in the ValIey,in Studio City - not far from the Baked Potato. "I remember going over for lessons sometimes and Pepé Romero, from the Romeros [legendary family of classical virtuosi], would show up and Àngel [Romero] would show up in his pink Cadillac. There was anice, serious amount of musicians - heavy guitar players – floating around in those days. I got very serious about the classical guitar, but I was no Christopher Parkening. My weight was still toward the electric guitar." In fact, Ritenour's interest in classical guitar was eclipsed by his growing passion for jazz and, specificalIy, the inspiration he felt in hearing – and copping licks from - Wes Montgomery. Still, it was more than just technique that a young Ritenour admired. "Ofthe guitar players, Wes was the first one who crossed over into more of a pop area in a contemporary field," he points out. "He had that sound that permeated things and is still as viable today as it was in 1960." Long before Ritenour did, Montgomery took criticism for his pop ventures. Says Rit, "Alot of the records of his that Creed Taylor produced were highly arranged and showed some terrific arranging and guitar playing. But they were recording simple pop songs, and a lot of them had almost syrupy arrangements. He definitely got a lot of flak. Unfortunately, he got so much flak for doing those commerciai records that people began to miss that he was, indeed, the greatest jazz guitarist of the 20th century. He just had that magic. My father took me to hear Wes at the Lighthouse in Redondo Beach when I was 16,and I was sitting about 10 feet away. l'Il never forget it." Ritenour also remembers being wowed by early exposure to the Mahavishnu Orchestra, who he saw at the Roxy as a big-eared teenager. By the time Ritenour kicked off his own career as a leader, settling into the Baked Potato and turning out albums, he was locked into the funk-intlected groove going around town. But his interpretation was lent clarity by his own welI-developed sound and was fortified with trace elements of the edgier stuff he heard in Mahavishnu. They called him Captain Fingers, the title of his second album. It's easy to forget, now, how marginai this more pop-oriented, L.A.branch of jazz-rock was in the 1970Smarketplace, before NACradio was a gleam in anyone's eye. Ritenour recalIs, "When I handed in my first record to Epic in 1976, I remember I gave it to the A&Rwoman and she said 'What is this? What is this called and what are we going to do with it?'" He laughs. "She just wanted to give it back. I knew I was in trouble right then. There was no radio, and there was no support from the record companies. "That's why Dave Grusin and Larry Rosen started GRPrecords. They were completely frustrated that there was no sounding board, no outlet for this kind of sound. There was no doubt that the Crusaders, with Larry Carlton and Joe Sample, were the cutting edge of this sound. Tom Scott was in there, and certainly Lee Ritenour and Dave Grusin. Dave had a big influence on a lot of people," Ritenour says, "more so than most people know because he's always been such a subtle creator. I realIy have to cite Dave as the biggest influence for my producer and arranger chops." You can hear that influence in Ritenour's streamlined productions. A second wave of marketable energy entered Ritenour's story in 1991. He teamed up with Bob ...


"My connection with Astor was due to the fact that we were both Italian and we'd had extremely similar experiences. Napoli, where mine and Astor's families hail trom, is the artisti c center of Italy. AlI the great painters and musicians and singers are fram there. The arts still thrive there to this day. Piazzolla said the origins of tango are in Napoli. The sound of the accordion is very much a symbol of that region. You feel in the sentimentality of his music and even the melancholy atmosphere it creates that this comes fram a person of the motherland." Di Meola's own upbringing also fed into his development. Bom and raised in Bergenfield, New Jersey, a teenaged Albert Di Meola would often cut classes to make the train in time for the first set at a popular Manhattan salsa club. Drawn to the rhythmic tension of the clave, he was soon inspired to play the drums. The guitar of Larry CoryelI was an even greater fascination, and Di Meola quickly progressed through lessons with local guitar teacher Bob Aswanian. Enrolling at Berklee, Di Meola shared a three-room apartment where he spent alI his time practicing ("I got the closet to practice in; I smelled like mothbalIs for two years"). A tape of a drug-warped gig reached Chick Corea, and a 19-year-old Di Meola was soon the guitar star of a quartet perched on the cutting edge of jazz. "I carne onto the scene so young. I had a lot of developing to do quite fast to be in that kind of company," says Di Meola. "I had to leam to stay afloat. If you want to get better as a musician, surround yourself with guys who will kick your butto That band was like the dream band of alI time for a guitarist. Nothing carne close." Di Meola telIs an unusual tale of how he gamered that fateful position with Return to Forever. "I didn't replace Bill Connors. I replaced Earl Klugh, who was the replacement for Bill Connors. I went to an early show expecting to see Bill Connors and out comes this guy wearing a little golf cap with a little beany on top, and he had on this Playboy bunny tee-shirt. What is this? It was definitely out of context. I knew that was my chance. "A friend of mine gave Chick a tape of me playing on New Year's Eve with Barry Miles at some club called Richard's Lounge in New Jersey. l've never been into drugs, but that night I did a hit of mescaline, and that put me on a different planet. That tape got me the job with Chick." Along with Piazzolla and Corea ("Theme of the Mothership" gets the Grange and Blue treatment), Di Meola cites Brazilian artists like Milton Nascimento, Caetano Veloso, and Egberto Gismonti as influences on his current work. "Less and less it's guitarists that influence me," he says, "more musicians like Astor and Milton Nascimento. I had met Milton in Brazil in 1974.I had absorbed a lot of that music long before a lot of people had ever heard of him." Di Meola wrote a 1992Musician article entitled "Why Has Music Become WalIpaper?" In other publications, he has scorned, name by name, the major label producers who tumed a deaf ear to his soonto- be-successful Kiss My Axe album. An artist with less girth could have become a footnote by now, but Di Meola has not only prospered against the odds, he's triumphed, as Grange and Blue clearly shows. And Di Meola still envisions a national radio culture where music is foremost - not false demographics or advertising dollars. Di Meola believes in the mixed bag. "With radio in the 199°5, there shouldn't be any problem with having a format where Hendrix follows Joshua Redman. Then Sting and Peter Gabriel and Joni MitchelI, even k.d. lang and Kenny G can work. I can't believe there isn't a huge listening audience for a format with real music. It doesn't have to be a nostalgie blast; it's music that works."

Frisell decided to try something entirely different. He gathered together three acoustic players – a trumpeter, Ron Miles; a trombonist, Curtis Fowlkes; and a violinist, Eyvind Kang - and no rhythm section at all. "I didn't want to just get another drummer, and then always be thinking, 'Oh, Iwonder what Joey would be doing.' So the quartet was kind of perfect. 'I just won't have any bass or drums.''' Since all three of the other players were essentially lead voices, Frisell was constrained to build the role of "rhythm section" into the arrangements or act as bass-and-drums himself. This may sound terribly limiting, but the best art often arises in response to odd or severe limitations; Frisell's new quartet ended up making the music he had been refining openly since 1993'sHave a Little Faith better, perhaps, than any previous configuration. The 1996 album Quartet, with its fresh vision and odd make-up, may well be the best solo record he's made. Another project that presented itself around this time was the brainchild of Frisell's record company, Nonesuch. One imagines most players walk in dread of the moment when the suits say, "Hey, listen, we've got a great idea ..." It's usually a money thing - at best, a mixed blessing; more often, painfully obvious or obviously wrong. Here's the germ of the idea: People keep saying that Frisell has this traditional American-music thing going, that he has this country sound coming through. Why not take that idea head on, surround him with a bunch of great bluegrass players and see what kind of music comes out of the cross-pollination? Frisell liked the idea immediately, and the universe (through his label and network of musician friends) conspired to make it happen. So a month after recording Quartet, a time when he could have been enjoying a well-deserved break, he was back in the studio with vocalist Robin Holcomb, doing the preliminary recordings for this other album (eventually to be called Nashville). They recorded a number of tunes, and three of them - Neil Young's "One of These Days," Hazel Dickens' odd gospel gem "Will Jesus Wash the Bloodstains From YourHands?," and Skeeter Davis' "End of the World" - made it onto the final, mostly instrumental, recording. It was another year before Frisell could get all the other musicians together, but the result is something lovely and rare. It's not so much Bill Frisell doing country or bluegrass as it is bluegrass springing up in a space cleared by Frisell the composer, then tended by Frisell the guitarist. Frisell's Nashville is no place in particular, certainly not the center of commercial country music. Rather, the recording comes across as a postcard from some wistful utopia, the perfect home you never had but long for nonetheless. The pace and ambiance ofNashville is very comfortable. It sounds not pat, by any means, but like it had a good chance to ripen before the mics and recorders were turned on. The narrative of its development, you might think, could be this: Frisell takes some time to let the idea percolate, gradually writes some tunes for the personnel he has selected or imagines, picks the best, lets the others settle out, structures some fairly detailed arrangements, then pulls everybody together for rehearsals; finally, the whole crew rolls into the studio, and they perform their most gorgeous versions of the music they are already well familiar with. That scenario could hardly be further from the truth. In fact, Nashville was yet another of Frisell's launches into the unknown, another instance in which he set himself in the arms of Music (and great musicians) and trusted in his instincts and abilities to pull disparate voices together into something coherent and compelling. "The second thing someone will say about my playing is that there's this country influence," says Frisell, "but I never really played the real thing. ...

Table of
BADI ASSAD - The Girl from Ipanema She's Not
By Mark Holston

KENNY BURRELL - Soaring with the Mystics
By Steve Matteo

CRAIG CHAQUICO - The Four Corners Converge
By Jonathan Widran

LARRY CORYELL - Call and Response -
An Interview with Larry Coryell
By Lucy Tauss

STEVE KHAN - Catching a Wave
By Mike Bieber

PAT METHENY - In Search of Pat Metheny
By Josef Woodard

MARC RIBOT - Swimming Upstream to Cuba 22
By Josef Woodard

LEE RITENOUR - Captain Fingers ...
and the Fully Baked Potato 24
By Josef Woodard

JOHN SCOFIELD - Defender of the Groove 29
By Tom Moon

JOE MORRIS - Melodic Morris Code 34
By Sam Prestianni

PAT MARTINO - Real Time 37
By Josef Woodard

BILL FRISELL - On the Road to Bill Frisell 42
By William Stephenson

WILLIE NELSON - You Were Always on My Mind 47
By Bill Milkowski

JIM HALL - Why They All Want to Play
with Jim Hall.

HARRIET TUBMAN - Josef Woodard
Harriet Tubman: A Kinder, Gentler Skronk
By Josef Woodard

RONNY JORDAN - Ronny Jordan: Not an Acid Trip 57
By Jonathan Wid ran

JOE PASS - Joe Pass - The Logical Extension
of the Bop-Oriented Masters 59
By Scott Yanow

HERB ELLIS - Don't Take Herb Ellis for Granted 62
By Scott Yanow

AL DI MEOLA - After the Tango 65
By Ken Micallef

STEV TIBBETTS - Seductive and Inscrutable .
By Josef Woodard

The Critics Pick the First
String Guitarists .
By JAZZIZ critics

Anatomy of the Guitar & Bass .
By Scott Yanow

SONNY SHARROCK - Sonny Sharrock - Gone Too Soon .
By Hank Bordowitz

JEAN-PAUL BOURELLY - A Blues Grit Crossbred with
Hip hop and Hard bop .
By Josef Woodard

WES MONTGOMERY - Ritenour's Wes Bound for New Ears .
By Mark Holston

Historic Guitars .
By Hank Bordowitz

MIKE STERN - Mike Stern's Class Reunion .
By Josef Woodard

JEFF GOLUP - Bell-Bottom Blues .
By Jonathan Wid ran

MARC ANTOINE - Running Deep, Stretching for Miles .
By Jonathan Widran

WAYNE KRANTZ - Fed Up and Hungry
By Josef Woodard

GEORGE BENSON - The Original “G" Hits the Spot Again .
By David Okamoto

LES PAUL - Ingenious - Les Paul, Unpatented .
By Hank Bordowitz

Expanding the Universe
A Jazz Guitar Spectrum - Part 1... .
By Josef Woodard

Expanding the Universe
A Jazz Guitar Spectrum - Part II .
By Josef Woodard

35 Burnin' Up:
RANDY BERNSEN (che ogni anno viene a suonare a Rimini)

JAZZIZ Presents Guitars on Fire .
By R.Dante Sawyer and Eric W. Moya

CD Jewel Case Art .
Readers Poll: The Public's
Favorite Jazz Guitarists .
Compiled by Albert W. Starkweather, Jr.
Find Your Favorite Players.

1. Brian Hughes - Casa Magica
2. Michael Gulezian - Slugbug
3. Rick Zunigar - Rhum Boogie
4. Randy Bernsen - Hope
5. James Vincent - Peaks
6. Dave Lowrey - Bass Face
7. George Simon - Watching Angels
8. John Paul - Heads Up
9. Dave Onderdonk - Eight Is Enough
10. David OcchiNIpinti - David Leaves
11. Mill Mize - Miasma
12. Christopher Cortez - Different Samples
Produced by Michael Fagien
Special thanks to Lee Ritenour, John Patitucci, and Jim Hall
Exclusive CD available only with this book, JAZZIZ
Chronicles: The Guitarists JAZZIZMagazine

Price: €21,99

JUMP JIVE 'N' SWING GUITAR Keith Wyatt Learn styles Freddie Green CD TABLATURE chitarra METODO


By Keith Wyatt
SERIES: Jazz Masters Series
CATEGORY: Guitar Method or Supplement
In this book, Keith Wyatt leads you through all the techniques you need to play swing rhythm guitar. Keith covers blues progressions, swing chord voicings, comping patterns, rhythm feels, bass lines, horn-style riffs, and much more! The included CD contains full demonstrations of all the music examples, complete with a full swing band that you can play along with. All music examples are written in standard notation and tab. All you need is the Zoot suit!

Price: €113,99


L'ESPRIT MANOUCHE. GIPSY GUITAR. ROMANE and Derek SEBASTIAN. 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 TAB.

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.

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!

Price: €34,99




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

Price: €27,99



Product Description:
Mel Bay's Master Anthology of Jazz Guitar Solos Volume Three presents nine challenging tunes and improvised solos by some of today’s top jazz guitar players for the intermediate to advanced jazz guitarist. Contributors include: Ron Afiff, Peter Bernstein, Joe Diorio, Fred Hamilton, Ken Hatfield, Hank Mackie, Steve Masakowski, Joe Negri, and Rick Stone. 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.

Born on December 30, 1965, Affif lear ned all about passion, discipline, and endurance from his father, Charlie Affif, a fiercely competitive middleweight boxer who numbered Miles Davis among his fans and close friends.Then there was his uncle, Ron Anthony, a superb guitarist who worked with the likes of George Shearing and Frank Sinatra. "When I was 12, Uncle Ron gave me my first guitar lesson. When I turned 18, I went out to the West Coast to live near him. From and early age, I did all kinds of gigs. I've worked with everybody from AI Martino to Roger Williams, and I learned a ton of old songs from Gershwin on up. That whole working musician vibe really helped me grow as a professional. So, If a singer comes up and wants to do a tune, it doesn't matter what key-because I'm cool. When I first came to New York, Gene Bertoncini gave me some solid advice. He said to let the singers know I did that kind of work, because a lot of the joints they work don't have pianos, and when the jazzgigsdry up for a minute, they'll have work for you." Driven along by Essiet Essiet's crackling bass lines and Colin Bailey'scrisp, unobtrusive timesteps, guitarist Ron Affif launches into his live Ringside recital with the kind of exuberant, aggressive attack you'd expect from a championship boxer pouring it on in the first round, determined to break an opponent's will before he can establish any kind of rhythm. "If I Were A Bell" is a virtuoso workout delivered with the kind of horn-like intensity and pianistic sweep that transcends straight guitar phrasing. For the 31-year old Affif, it's the kind of performance that draws knowing comparisons to the titled elite of jazz guitar such as Joe Pass and Pat Martino No less a personage that fellow Pittsburgh native George Benson has commented that "There's a kid from my hometown, an Italian fellow: his name is Ron Affif.-yeah, he's a bad dude"; and "my favorite type of guitar player is one that plays with fire, and the first thing that becomes evident listening to Ron is that he has plenty of that." Yetin the course of acknowledging all this praise, Ron Affifis already working to distance himself from his earliest inspirations, as he charts future directions and searches for his own special voice. "Cats like Monk had their own little universe. These days guys are improvising too much the same, they're writing tunes too much the same. And man, I'm not claiming to have it all figured out, but I know what direction I have to take. We all kind of know what we're supposed to do, but a lot of people don't listen to their inner voice. A trumpet player friend of mine, Brian Lynch, told me he was in a shop out in California when a CD come on, and he said "Within a few notes I knew it was you." That's the biggest compliment someone can give you."

Rick Stone began playing guitar at age nine in his hometown of Cleveland. He developed an early affinity for the blues, but it was in the mid-seventies that his passion for jazz was sparked by a live performance of saxophonist Sonny Stitt. Rick studied classical guitar and theory at Cuyahoga Community College and then moved on to Berklee College of Music where he earned his Bachelor of Music in 1980. In 1982 he moved to New York to find a fertile and stimulating envitonment in Barry Harris' Jazz Cultural Theatre. While studying with the legendary pianist, Rick honed his craft sitting in alongside veteran players like Tommy Flanagan, Lionel Hampton, Clarence "C" Sharpe, and Junior Cook. Then, under the tutelage of jazz masters Jimmy Heath, Ted Dunbar, Donald Byrd, Tony Purrone and Hal Galper, he earned his M.A. At Queens College in 1991. Rick's recordings Blues For Nobody and Far East have received wide critical acclaim and his group - which has included world-class sidemen like Kenny Barron, Eric Alexander, Vernel Fournier, Richard Wyands, Ralph Lalama, Dennis Irwin and Billy Hart -- has appeared at venues like Carnegie Hall's Weill Recital Hall, The Smithsonian Institute, The Blue Note and Birdland. From 1993-96 he led a series of guitar duos at the Swing Street Cafe (with guests including Mark Elf, Roni Ben-Hur, Peter Leitch and Peter Bernstein), in 1996 his trio toured South America, and from 1997-2001 his trio played regularly at Sette MoMA (in the Museum of Modern Art). A soughtafter sideman, Rick can be heard performing with Irene Reid, Ronny Whyte, Howard Kimbo, David Coss, Carol Sudhalter, Sol Yagedand many others. He is featured on several recent recordings including Carol Sudhalter's It's Time and Last Train To Astoria, and AI Ashley's These Are Them (with Dave Leibman). An active educator, Rick currently teaches at Jazz in July (U. Mass./Amherst), the JazzMobile, Hofstra University and the Brooklyn Conservatory of Music. His clinics have won accolades at numerous colleges and universities as well as the International Association of Jazz Educators and the Music Educators National Conference. He has received two IAJE Awards for Outstanding Service to Jazz Education and several NEA performance fellowships. In recent years Rick's interests in audio and computer technology have led him to build a studio in his home where he produces numerous recording projects. A regular columnist for Just Jazz Guitar magazine, he is cutrently writing a book on jazz guitar technique. Rick's latest CD Samba Novembro (from which this solo is excerpted) features his guitar in duo, trio and quartet settings with pianist Tardo Hammer, bassist Yosuke Inoue and drummer Matt Wilson. Gear: Comins 17" Classic Archtop, Fender amps, D'Addario Chromes and Dugain picks,


Format: Book/CD Set

Song Title: Composer/Source:
Blues Enough - Rick Stone
Charene - Ron Affif
Dragonfly - Peter Bernstein
Narayani - Joe Diorio
Nina's Smile - Joe Negri
One For George - Hank Mackie
Pass Presence - Steve Masakowski
Thanks, Byrl Elvin - Fred Hamilton
The Book of Sands - Ken Hatfield

Price: €21,00

MONTGOMERY WES-BEST Signature Licks Guitar CD TABLATURE besame mucho-Missile blues-SPARTITI

MONTGOMERY WES, THE BEST. Performance notes, equipment, le tecnica del pollice, biografia. Invece di suonare con il plettro, opta suonare con il polpastrello del pollice. Questa tecnica non ortodossa, affascina i chitarristi di oggi e stupisce per l'efficacia del suono caldo delle single-note. Missile blues -yesterdays -west coast blues -cariba -I¹ve grown accustomed to her face -bésame mucho (Kiss me much) -fried pies -mi cosa -four on six -misty -sundown -O.G.D. CD TAB.

Series: Signature Licks Guitar
Softcover with CD - TAB
Artist: Wes Montgomery
Author: Wolf Marshall

Explore the music of one of the greatest jazz guitarists of all time! This in-depth book/CD pack will guide you through 12 of the best-known tracks from the legendary Wes Montgomery, Features a foreword and introduction by Wolf Marshall, a discography and more.

Inventory # HAL LEONARD 00695387
ISBN: 0634009028
UPC: 73999953879
Width: 9
Length: 12
104 pages

Besame Mucho (Kiss Me Much)
Four On Six
Fried Pies
I've Grown Accustomed To Her Face
Mi Cosa
Missile Blues
West Coast Blues

Price: €31,99



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' ori- ginal 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

Price: €30,99
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