adrian ingram - jazz guitar greats

56
Mel Bay Presents JAZZ GUITAR GREATS ' 2001 BY MEL BAY PUBLICATIONS, INC. PACIFIC, MO 63069. ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A. No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording, or otherwise, without written permission of the publisher. by Adrian Ingram CD CONTENTS [iii] Tuning: EBGDAE KENNY BURRELL E1 KennyBurrell 1 [:10] L1 Kenny Burrell2[:1I] iI Kenny Burrell 3 :091 L1 Kenny Burrell 4 [:10] Kenny Bond 5 [:09] 11111 Kenny Burrell 6 [:13] Elli KennyBurrell7 [:!3 L1 Kenny Burrell 8 [:14] ij CountBurrell [1:161 till Kenny Burrell ii V I line no. I [:10] I11 Kenny Burrell ii V I line no. 2 [:10] II4NQA1LAND E1I1 The Earl [2:231 ft1 Hank Garland 1 [:07] Ii Hank Garland 2 [:07] ftJ Hank Garland 3 [:11] 1i1L] HankGarland 4 [:101 [iII Hank Garland blues scale 1 [: I I] 1Ii Hank Garland blues scale 2 [:12] J Hank Garland Arpeggiated 65 no. I [:08] E] Hank Garland Arpeggiated b5 no. 2 [:10] E Hank Garland Arpeggiated 5 no. 3 [:11] [_] Hank Garland Arpeggiated 5 no. 4 [:09] E1 Hank Garland Arpeggiated65 no. 5 [:10] EI1 Hank Garland D5jazz minor overG7no. I [:10] E1 Hank Garland D jazz minor overG7 no. 2 [:11] EII Hank Garland dominant 7th a tone above 65 chord no. 1 [:091 i4 Pat Matino minor 3rd cycle with chords [:12] E.4.] Digressions [:56] WES MONTGOMERY E] Wes Montgomery extended C7 phrase no. I [:08] [Tj Wes Montgomery extended C7 phrase no. 2 [:08] E1 Wes Montgomery extended C7 phrase no. 3 [:10] EI] Wcs Montgomery extended C7 phrase no. 4 [:08] E1 Wes Montgomery G minor over C7 [:13] EI1 Wes Montgomery C7 over G minor [:12] [II John Leslie [2:33 JQIINYM1TH EII1 Johnny Smith ii V I [: 1 1] 1IIIJ Johnny Smith ii V I in C major [:12] EiiI1 Johnny Smith ii V I in G major [: I I] Johnny Smith C major chord scale [:3 II t3111 Johnny Smith G major chord scale [:31 Johnny Smith Arpeggio Study [:15] E] is. [1:18] LIJ Hank Garland dominant 7th a tone above 55 chord no. 2 [:09] E After the Riot chorus 1:491 BARNEY KESSELL II_] Barney Kessell ii V I with pedals no. 1 [:22] [I Barney Kessell ii V I with pedals no. 2 [:22] Barney Kessell ii V I with pedals no. 3 [:23] E.I Barney Kessell ii V I with bass movement no. I [:13] EI Barney Kessell ii V I with bass movementno. 2 [:11 EI Barney Kessell Introduction to C major [:24] 1] Barney Kessell bass pedals with sos chords [:24] EI1 Barney Kessell chord fragments [:13] Ei Barney Kessell examples from Barney’s Blues [:12 E4i Barney’s Blues [1:301 PAT MARTINQ 114111 Pat Martino B6maj7 arpeggio over Bmaj7 no. I [:08] I1 Pat Martino Bmaj7 arpeggio over B]maj7 no- 2 [:08] 1I41 Pat Martino B6maj7 arpeggio over Gmi7 no. I [:091 EI1 Pat Martino B]nnaj7 arpeggio over 3mi7 no- 1 [:091 Ij Pat Martino B]maj7 arpeggio over C7 no. l [:09] E4I1 Pat Martino Bmaj7 arpeggio over C7 no. 2 [:08] Pat Martino minor 3rd cycle sequence [:10] JQASS E Joe Pass half step progression [:13] tI] Joe Pass halfstcp progression in 4ths [:15] {J Joe Pass halfstep tumaround [:16] E311 Joe Pass line with 5 no. 1 [:09 13IJ Joe Pass line with L’s no. 2 [:09] Ij Joe Pass line with b5 no. 3 [: 1 11 [_I Joe Pass ii V I with 65 ii V no. I [:07] EIi1 Joe Pass ii V I with 5 ii V no. 2 [:07] 1j Joe’s Bass-Line Blues [:45] Visit us on the Web at www.melbay.com - E-mail us at [email protected]

Upload: alessandro-cadei

Post on 08-Aug-2015

2.126 views

Category:

Documents


114 download

DESCRIPTION

Adrian Ingram - Jazz Guitar Greats

TRANSCRIPT

Page 1: Adrian Ingram - Jazz Guitar Greats

Mel Bay Presents

JAZZ GUITARGREATS

'2001 BY MEL BAY PUBLICATIONS, INC. PACIFIC, MO 63069.ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A.

No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any formor by any means, electronic, mechanical, photocopy, recording, or otherwise, without written permission of the publisher.

by Adrian Ingram

CD CONTENTS

[iii] Tuning: EBGDAEKENNY BURRELL

E1 KennyBurrell 1 [:10]L1 Kenny Burrell2[:1I]iI Kenny Burrell 3 :091L1 Kenny Burrell 4 [:10]

Kenny Bond 5 [:09]11111 Kenny Burrell 6 [:13]Elli KennyBurrell7 [:!3L1 Kenny Burrell 8 [:14]ij CountBurrell [1:161till Kenny Burrell ii V I line no. I [:10]I11 Kenny Burrell ii V I line no. 2 [:10]

II4NQA1LAND

E1I1 The Earl [2:231ft1 Hank Garland 1 [:07]Ii Hank Garland 2 [:07]ftJ Hank Garland 3 [:11]1i1L] HankGarland 4 [:101[iII Hank Garland blues scale 1 [: I I]1Ii Hank Garland blues scale 2 [:12]J Hank Garland Arpeggiated 65 no. I [:08]E] Hank Garland Arpeggiated b5 no. 2 [:10]E Hank Garland Arpeggiated 5 no. 3 [:11][_] Hank Garland Arpeggiated 5 no. 4 [:09]E1 Hank Garland Arpeggiated65 no. 5 [:10]EI1 Hank Garland D5jazz minor

overG7no. I [:10]E1 Hank Garland D jazz minor

overG7 no. 2 [:11]EII Hank Garland dominant 7th a tone

above 65 chord no. 1 [:091

i4 Pat Matino minor 3rd cycle with chords [:12]E.4.] Digressions [:56]

WES MONTGOMERYE] Wes Montgomery

extended C7 phrase no. I [:08][Tj Wes Montgomery

extended C7 phrase no. 2 [:08]E1 Wes Montgomery

extended C7 phrase no. 3 [:10]EI] Wcs Montgomery

extended C7 phrase no. 4 [:08]E1 Wes Montgomery G minor over C7 [:13]EI1 Wes Montgomery C7 over G minor [:12][II John Leslie [2:33

JQIINYM1THEII1 Johnny Smith ii V I [: 1 1]1IIIJ Johnny Smith ii V I in C major [:12]EiiI1 Johnny Smith ii V I in G major [: I I]

Johnny Smith C major chord scale [:3 IIt3111 Johnny Smith G major chord scale [:31

Johnny Smith Arpeggio Study [:15]E] is. [1:18]

LIJ Hank Garland dominant 7th a toneabove 55 chord no. 2 [:09]

E After the Riot chorus 1:491BARNEY KESSELL

II_] Barney Kessell ii V I with pedals no. 1 [:22][I Barney Kessell ii V I with pedals no. 2 [:22]

Barney Kessell ii V I with pedals no. 3 [:23]E.I Barney Kessell ii V I with bass

movement no. I [:13]EI Barney Kessell ii V I with bass

movementno. 2 [:11EI Barney Kessell Introduction to C major [:24]1] Barney Kessell bass pedals

with sos chords [:24]EI1 Barney Kessell chord fragments [:13]Ei Barney Kessell examples

from Barney’s Blues [:12E4i Barney’s Blues [1:301

PAT MARTINQ114111 Pat Martino B6maj7 arpeggio

over Bmaj7 no. I [:08]I1 Pat Martino Bmaj7 arpeggio

over B]maj7 no- 2 [:08]1I41 Pat Martino B6maj7 arpeggio

over Gmi7 no. I [:091EI1 Pat Martino B]nnaj7 arpeggio

over 3mi7 no- 1 [:091Ij Pat Martino B]maj7 arpeggio

over C7 no. l [:09]E4I1 Pat Martino Bmaj7 arpeggio

over C7 no. 2 [:08]Pat Martino minor 3rd cycle sequence [:10]

JQASSE Joe Pass half step progression [:13]tI] Joe Pass halfstcp progression in 4ths [:15]{J Joe Pass halfstep tumaround [:16]E311 Joe Pass line with 5 no. 1 [:0913IJ Joe Pass line with L’s no. 2 [:09]Ij Joe Pass line with b5 no. 3 [: 1 11[_I Joe Pass ii V I with 65 ii V no. I [:07]EIi1 Joe Pass ii V I with 5 ii V no. 2 [:07]1j Joe’s Bass-Line Blues [:45]

Visit us on the Web at www.melbay.com- E-mail us at [email protected]

Page 2: Adrian Ingram - Jazz Guitar Greats

TILE JAZZ GUITAR GREATS

The Jazz Guitar Greats is a series oftext and CD workshops, purposely designed to enable you toemulate the true giants of jazz guitar. The essential concepts and techniques contained withinthese workshops are of vital importance, not only to the understanding ofhow the great players doit, but also to the general mechanics ofjazz guitar playing.

The important areas of chord substitution, "minorisation", altered tension, chord/scale relation-ships, comping, pedals, and octave playing are all examined in depth and, more importantly, withreference to their use by the Jazz Guitar Greats. The term "minorisation" is defined as treatingthe dominant 7th chord as the preceding ii chord reducing the ii - V - I progression to a ii - Iprogression. "Minorisation" is heard being commonly used by guitarist such as Wes Montgomery and Hank Garland.

Besides the wealth of theoretical and practical material, the biographical lifelines of the Jazz Gui-tar Greats are examined in a clear and concise way, defining each artist’s role and significance inthe history and development of the guitar in jazz. This essential information is further supple-mented by details concerning the instruments they played, providing real insight to the soundsthey actually produced. If you wish to play like the Jazz Guitar Greats, this series of information-packed workshops will provide an indispensable guide to the reasons for their success.

2

Page 3: Adrian Ingram - Jazz Guitar Greats

CONTENTS

Author’s Note.4

Kenny Burrell 5

HankGarland 13

Barney Kessel 21

Pat Martino 27

Wes Montgomery 34

Johnny Smith 42

Joe Pass 49

About the Author 56

3

Page 4: Adrian Ingram - Jazz Guitar Greats

AuTHOR’S NOTE

Traditionally, jazz guitar has been an aural tradition, in which playing techniques and musicalconcets have been passed down from generation to generation. Budding players learn their craftstudying the music of their predecessors. Then, when the basic principles have been assimilatedand mastered, the individual’s personal taste and musical sensibilities further develop and refinethe inherited ideas.

During this process, gifted players add something of their own, a few even become innovators,bringing a completely new vision to the style while others express themselves exclusively throughan inherited language.

Whether or not a jazz guitarist is an innovator or simply a great player within accepted stylisticparameters, it is clear that he or she must study, those who have what has gone before. This is trueof all art forms, including painters, sculptors, writers, poets and musicians. Jazz guitarists are noexception. George Benson openly acknowledges his debt to players like Wes Montgomery, HankGarland and Kenny Burrell-guitarists who, in turn, acknowledge their debts to earlier playerssuch as Django Reinhardt and Charlie Christian.

The seven players whose work is covered in Jazz Guitar Greats have made an enormous andlasting impression on me. Their work has not only given me a vast palette of creative ideas but alsoprovided the inspiration and motivation to take my own playing to a higher plateau. Rememberthere is always something new to learn, and there are certain things that we can do well and thingsthat we do less well.

Players must develop their own strengths and, like those discussed in the text, find their ownvoices based, in part at least, on an inherited tradition. The ideas presented in this book will pro-vide a valuable springboard for such development. The recommended listening lists at the conclusion of each chapter are of vital importance, for only when you "hear" the music will you fullyunderstand it.

I sincerely hope that, once you have assimilated the material in this book, your knowledge andunderstanding of these Jazz Guitar Greats will give you as much pleasure and inspiration as theyhave given me.

4

Page 5: Adrian Ingram - Jazz Guitar Greats

JAZZ GUITAR GREATS - KENNY IIIJ1IRELL

Next to Barney Kessel, Kenny Burrell must be the most prolific andconsistently successfuljazz guitarist alive today. Born into a musicalfamily in Detroit in 1931, Burrell began playing at the age of eight.By his late teens he was playing with the likes of Pepper Adams,Tommy Flanagan, John Coltrane and Dizzy Gillespie with whom hemade his first recordings. Despite a natural ability for the blues, and apractical grounding in bebop, Burrell felt a need to broaden his musical vocabulary, studying the classical guitar with Joe Fava and composition at Wayne University, eventually earning a Bachelor ofMusicdegree.

Much of his early. career was spent in New York where, along withhis colleague and friend, guitarist Grant Green, he became a houseguitar first-call session player for the Blue Note record label. Much

of Burrell’s best work can be found on this label, including the classic Midnight Blue Blue NoteCDP7 463992, a highly influential album with hard-hitting bluesy tenor saxophone, conga drumsand Kenny’s suave yet blues drenched guitar. Although Burrell has been featured on over 100albums, he has never recorded a substandard solo and his work continues to grow in authority andstature. For over two decades Kenny’s sound was achieved with a late ‘60s Gibson Super 400 CESfitted with Guild humbucking pickups, and medium-gauge flatwound strings. While he some-times uses a Polytone amplifier, he prefers a Fender TwinReverb with JBL speakers. Although Burrell has long beenassociated with Gibson or D’Angelico archtops, he has recently acquired a hand-made "Kenny Burrell" modelBenedetto guitar, finished in a striking shade of blue!

Burrell’s guitar style has always been heavy on minorpentatonics and blues scales, especially when working withorganists like Jimmy Smith and JackMcDuff. Big-band-typerhythmic stabs, passages in triplets, and dotted rhythms alsofeature prominently in his playing.

Perhaps the most immediately recognizable characteristic ofBurrell’s style is the bluesy flavor which results from extensive use of the following scales:1 . The MINOR PENTATONIC

III I 1Au. 4L_ I L_

13J r IT T’ T’ -r i’r ‘:i 11

5

Page 6: Adrian Ingram - Jazz Guitar Greats

2. The BLUES SCALE

Lt’ i :tr r 11r t . 14r I

The above examples are both in the key of G, but should be practiced in every key, and with differentfingerings. Notice that the blues scale is simply a minorpentatonic with an additional note: theflatted 5th shown as a raised 4th when ascending. Notice also that, while only the pentatonic scaleis referred to as being "minor", the blues scale also contains a minor 3rd B5. It is this very ambiguity between the major and minor keys which gives both scales their bluesy flavor. Here are sometypical "Kenny Burrell" phrases which draw from the above scales. Here, Burrell makes extensiveuse of his favorite rhythmic patterns, notably triplets:

1.

IIIG7 3 4 4 II 3

, I 1r ff ‘r -i JJ ete.

2.

fi III

Ap 4_7

I 1L F iL I 1

6

Page 7: Adrian Ingram - Jazz Guitar Greats

3.

4.

fi III

AG7

L i 4 .1_i.

‘Ti II 1

5.

3

and dotted rhythms:

6.

A7$$9*A.________

3

-..-.-.--

.-1

7

Page 8: Adrian Ingram - Jazz Guitar Greats

7.

ij 1iN

Burrell loves to use chords rhythmically in the style of the Kansas City jazz bands. Here is atypical example of his comping in the Count Basie big-band style:

8

Aa.

VIIG7

VIII

r- 2 7–: - I :tiL- . i . . . . . . . .

4 41

.

etc.

--, L -- 4 * *‘ I wHJ I : * -1 ‘ -

8.

fi III4G7*9q

i ‘rr i::_ I

Page 9: Adrian Ingram - Jazz Guitar Greats

"COUNT" 1IIJI{REIJL

=924F1fl–+A 3H1&?

a a.

3fl+k7 2fla a

4 FT!$4+*1 ii*: SI IIZI 1 .i t1.’ I

‘tu- IL -- y_ .Io. rt t ‘ ‘ I- - . - ii-r-- - - - --

.. V I P [ I

3EJi$:+! 3mi 3Htt 2ffl3

a I I I’f a a. d’1I ! f II ti. -

- . I - I.i 51 ‘ JL I I I I

A&I11 4!

, ,,,#. I p r

5EU4t 4t!t&+ R*+’! 2F?$ 2t’ffl4 ‘fl$ I4

Ai ::* I I-- xl - .

-.-... -!---‘- r,- ;-i. . 1 IIt-’ 1L

1111.-ff. rJ-_- - : 7J Vt 1

.

,4J ina

-

1_._ 1 . vr ‘*r

n -- -, .- -1

A1. -

. ‘1 VJ vl

‘-4- - - -

5’ 6’

I,-pk‘JI-:t-.-t_ ----

I- -1

- ---.‘,- I_ -i r -- ---- -Ii.

-- - --iry

36$4

,I&j

-r - V

a=_ :-i -:J

‘I i_ d,-..-------.

1T_1 ‘1 ----------------- -

iIkiiIIiiii 1

-I

I

9

Page 10: Adrian Ingram - Jazz Guitar Greats

Although the blues features prominently in Burrell’s style, he also makes extensive use of 55 substimfions, resulting in the "altered tension" sounds commonly associaated with saxophonist CharlieParker, trumpeter Dizzy Gillespie, and the late ‘40s, early ‘50s bebop stylists.

Burrell appears to favor playing over 5 substitution or the 55-ii-V in the resolution of a u-V-Iprogression.

1.

fifflDmi7 G7 Cmaj7

4tib.2ji 1i II AL jazz minor scale I

5,ii -V-AI,rni7 DVIIn the above example an Al’ jazz minor scale A6 major scale with a minor 3rd is played over the iiand the V. This results from the substitution of a 5-ii-V Ami-D67 over the G7 chord.

2.

@ IIIDmi7 G7 Cmaj7

4I1TL1 Jp2j 1H3

L Dmi6 arpeggio -J L__ Dt71,5 -i

‘5sub.,

The second example creates tension over theV chord through the use ofa straightforward5 substituionD6755. This is then resolved, both harmonically and melodically, by a 1/2 step: from F to E in themelodic phrase, and DL, to C in the harmonic progression. Such elemental resolutions by tension andrelease are as much a part of the Burrell Sound as are the minor pentatonics and blues scales.

"Earl" is Kenny Burrell’s second name, but perhaps "Blues" would be more appropriate. The tuneshould be played slowly with a strong blues feeling. Although the piece is set in 32-bar song form,it was developed from the idea of a 16-bar blues, the kind of tunes which were popular with singerslike Bessie Smith and Jimmy Rushing.

10

Page 11: Adrian Ingram - Jazz Guitar Greats

Most of the material in the first eight bars is derived either from an F minor pentatonic, or an Fblues, scale. As with much of Burrell’s music, however, there is a harmonic twist and the be-bopdevice of 65 substitution is introduced in bars 4 G613 over C7, 5 D69 over Gmi and 6 G13over C7.

The bridge, or middle eight bars, modulates to chord IV Bbmaj7 featuring a u-V-I in B6 majorCmi7 - F7 - Bmaj7 before resolving back to the home key, via a u-V in F Gmi7 - C9.Try to use "Burrell" like inflections, of slides, smears and bent notes. These sound particularlyeffective on the 63rd and 7th of the F chord A5 and E6.

TIlE EARL

Blues =88-

1fl - lJ

% F7 BE9*a 1 . -ii . ‘t , ‘ *1 N ,J -

TJ - r- . - - I r -- yb- 1

F7 G13 3 D9

iii jL-_t rii11:

G7 I1.+2. 113.G7 3 i-3----i C7jt9U43 P7 F

Tic i 6T1/g/ ‘I 6Qi 2 Fine

BEmaj7 Bt,mi7 Fmaj7 Cmi7 F7

1ir* ir*

BLmaj7 Bdim Gmi7 i 3 1 C9 D.S. al Fine

‘F FJ’# LE

‘I

Page 12: Adrian Ingram - Jazz Guitar Greats

"Kenny Burrell Interview" - Guitar Player April 1981 - Guitar Player magazine, San Mateo, CA."Kenny Burrell, Jazz Guitar Solos " transcriptions Chas. Cohn Music out of print."The Jazz Guitar" biographical Maurice Summerfield - Ashley Mark Publishing Company."Cool Blues and Hot Jazz" method A. Ingram - Guitarist magazine June ‘97"Jazzin’ the Blues," Dave Rubin, Just Jazz Guitar Nov. 1995 Atlanta, GA."Kenny Burrell - Guitar" in Downbeat magazine, Vol. 30, No. 17 Aug. 1963, Chicago, IL."Kenny Burrell, In His Own Right" - D. Morgenstern in Downbeat magazine, Vol. 33, No. 14, July, 1966,

Chicago, IL."Kenny Burrell, in conversation with other guitarists-in Downbeat magazine, Vol. 13, No. 1 1, June, 1972,

Chicago, IL.

Recommended Listening

Introducing Kenny BurrellKenny BurrellBlue Lights, Vol. 1Blue Lights, Vol. 2Midnight BlueKenny Burrell QuintetTwo Guitars, Burrell/RaneyKenny BurrellKenny Burrell/John ColtraneBlues - The Common GroundGuitar FormsTin Tin DeoWhen the Lights Are LowLive at the Village VanguardKenny Burrell In New YorkKenny Burrell QuartetSun Up to Sundown

BlueNote 1523BlueNote 1543Blue Note 1596 - 57184 CDBlue Note 1597 - 57184CDBlue Note CDP 746399-2Blue Note 4021Prestige 7119Prestige 7088Prestige P24059Verve SVLP 9217Verve VLP 9099 - 314-521-403CDConcord CJ45 - CCD-4045Concord CJ83 - CCD-4083Muse MR5144 - MR5216CDMuse MR5214 - MR524ICDContemporary C-14058Contemporary CCD-14065-2

12

Page 13: Adrian Ingram - Jazz Guitar Greats

JAZZ GUITAR GREATS - HANK GARLAND

The story ofHank Garland is a tragic one. Born in 1930 in the back-waters of South Carolina, he began playing the guitar at the age ofsix. Influenced initially by the Carter Family and Arthur "GuitarBoogie" Smith, Garland gravitated naturally towards country musicand it was with this style that he first made a name. From the age ofsixteen, Hank made Nashville his home, working with famous coun-try artists like Paul Howard, Cowboy Copas, Ernest Tubb, Red Foleyand Eddy Arnold. Garland recorded Sugwfoot Rag in 1950 whichwas then the equivalent of Albert Lee’s Country Boy or Jerry Reed’sThe Claw.

Following the success ofthis tune, Hank "Sugarfoot" Garland workedas a session guitarist in the rapidly growing Nashville studios, recording with, amongst others, the Everly Brothers, Roy Orbison,

Elvis Presley and Brenda Lee. His notoriety in guitar circles also earned him endorsement deals,first from Gretsch and later Gibson, for whom he co-designed with Billy Byrd, the Byrdlandguitar, which was essentially a thin-bodied, short-scale L5CES.

While earning a comfortable living playing rock ‘n roll sessions, Garland honed hisjazz chops, hisprimary influences being Django Reinhardt, Barney Kessel, Tal Farlow and later Wes Montgomery. In 1960 he recorded Jazz Winds From a New Direction Sony Special Projects A8372 whichis considered to be amongst the bestjazz guitar albums ever made. Just as Garland was beginningto achieve critical acclaim for his fresh and highly articulate jazzguitar playing, he was involved in a serious automobile accident. Theaccident left him severely brain damaged and unable to sustain hiscareer as a professional guitarist. Today, Hank lives quietly with hisfamily in Florida. While his health has deteriorated further in recentyears, he still loves the guitar and with tremendous courage and hardwork has managed to regain some of his former skills.

As a busy session guitarist, playing different styles of music, Garland used a variety of guitars and amplifiers. For hisjazz work, how-ever, his main instruments were a handmade Stromberg cutaway andvarious Gibsons Byrdland, L5CT., L7C, ES 150 all fitted with"Charlie Christian" bar magnet pickups. Garland strung his jazzguitars with Gibson "Sonomatics", gauges 1 3-56, and played mainlythrough Gibson amplifiers, with 15-inch speakers.

13

Page 14: Adrian Ingram - Jazz Guitar Greats

Hank Garland’s single-line style was a heady cocktail ofcountry, blues and bebop, blending straight-forward "off the chord" notes with tritone L,5 substitution. The abundant use of major and minorpentatonics and blues scales were a product of his country roots, while the frequent use of "alteredtension" against L5 chords revealed the overriding influence of Tal Farlow.

Garland also fully understood Charlie Parker’s bebop language. This is particularly true of hishandling of u-V and u-V-I sequences. Like Wes Montgomery, Garland liked to ‘minorise’ dominant 7th chords, mainly playing off the ii which preceeds the V in a u-V-I progression. Thispractice reduced the u-V-I sequence to a u-I, providing a valuable, albeit less dissonant, alternativeto 65 substitution.

The following four phrases are typical examples of Garland’s approach to minorisation. In everyinstance, the V E7 is treated as the preceding ii B6mi7 from a u-V-I progression in B6 major.1.

VEE74’: .pL__ Bbmifl5 I

2.

@

4I

V

i;;i

IVI hold shape

2fr ilrBL,mi9 -- I

3.

VI E17

1?1J t::r irr *1 28J i2:retc.,

pick upBImi7 -j

14

Page 15: Adrian Ingram - Jazz Guitar Greats

4.

' VEt7

I i I I I

BE

4t2J 1r_:4r - 4 1 ete

1 BI,mi715 : ‘ ‘ BI,mi7

Although Garland had a profound understanding of altered tension and the substitutional devicesin bebop, he was never afraid to make blatant use of the basic blues scale and did so on a regularbasis. The sounds which resulted, from this simple juxtaposition of "down-home" blues andbebop "sophistication", characterized Garland’s style and influenced countless guitar players.

The following examples are typical of Garland’s use of the blues scale. In this "B6 blues scale",the 5 E natural functions as a 9 against the E7 and a 55 against the B7.

1.

A I .,-...2..

I I L .-r.. 2kQ

‘ 1::ri *1 i__i

I’9 t9:r tLI ‘i 1.-- I eie.

2.

fi V

,

E9L 4r4i 2rr* 2 r ?

B7

4

IV

kLi I etc.& U jJ 1 VT

I;9

VE9 B7

Hank Garland’s expertise in the treatment of "altered tension" was unusual for a country player.The devices he liked to use included:

15

Page 16: Adrian Ingram - Jazz Guitar Greats

91

-I --- au .p J r

II

J;i.JL4

::LImo 61W .

‘ ‘ ?-

*:

.a,p I - rTj: f T2Jp 2

L1tUD

JiJg;L!WG

Afi

*z:

---

:::_- rt- JijJ’I

LDAT

LW’UAfi

:pioqo LD UA!0t12 JO L’u n2sqns c’j oq2 pvothi ztiq pjnoi puqm MOq oqs soiduwxo uojjoj

*io[vut qg oi dajs ,[ V W*40p Xu,Mjosal ‘iouui 72v,fg sv dWdJJ aq pnoa qa O LI nI2sqnsc’i Jo 2001 Mfl JJO sum OP3S pi i q pos iom iouiw zz pui io1iui

‘L–1Ja40 aJa4o L!W *8*? pJ01f3!8uzpaaaids sv 1PMt Si’ ‘MJdtO Lit ‘° ‘PJO1P LpL 1U1?UUiOp 1? JO n1sqns c’i UWOdJy

cqLD ° J?40 ?7vas’ ?UO;i7ozjiit 9 V OOJ uo posiq ‘spioip ç pui ç JAO sopos ouojoq jo suo!pod usçcqM° o*iX8adw LD ‘ **3 pioqo c’i oAoq uo:j i O!OdJ1 ILI2L :iuuwop qi jjo

Page 17: Adrian Ingram - Jazz Guitar Greats

4.

A -.

IIIG7 Cmaj7

1:0

Taking this idea a stage further, Garland also used the Charlie Parker technique of playing a jazzminor scale major scale with a lowered 3rd off the root of the 5 substitute e.g. D1’ jazz minor.scale over a G7 chord:1.

Iv Dt9I 5 I 1 L. k Li

D1 jazz minor

Another favorite Garland device was to play off the dominant 7th arpeggio a tone above the 15chord e.g. G7 arpeggio over a F765 or a D7 arpeggio over a C765:

Dmi7

1 I

5.

L1w - r

‘ITG7 Cmaj7

VDmi7

t1J:J4th String

V Dmi7

A

G7Cmaj7

D jazz minor

H -

2.

@ V G7Dmi7 III I D9

4 2C619

I

17

Page 18: Adrian Ingram - Jazz Guitar Greats

1.

FTh5*/ 12r kc:i

I______________ G7 arpeggio - I

2.

tC5 ‘!r *

I- D9arpeggio

3.

._-

fixCfl5

4iar1 r1i: r 1 rr lp Fe

This particular substitution probably came from Ta! Farlow. Garland studied Farlow’s style veryclosely and there are noticeable similarities between the two players

AFTER THE RIOT CHORUS

After The Riot Chorus is, in its basic structure, rather similar to Hank Garland’s famous Riot Chorus, which he recorded on two separate occasions with different instrumentalists. Like Riot Chorus, it is essentially a 12-bar blues, based upon the repetition of three, 4-bar phrases. There areslight changes to the melody, on the final repetition, which provides both a feeling of finality andform.

18

III

I -

_____

I D9 arpeggio

Page 19: Adrian Ingram - Jazz Guitar Greats

WhileAfter The Riot Chorus is really a straightforward 12-bar blues, I have extended the structureto a 24-bar sequence, in order to harmonize the basic melody in fourths. This was done to representthe way in which Hank Garland and vibes player Gary Burton harmonized their version of RiotChorus on the classic Jazz Winds From a New Direction recording Sony Special Products A8372.

AFTER TILE RIOT CHORUSJ = 270

III

1 ‘.

pJi 8r* 7–J 8YJH iiIII1

4iI’ f:::

42I1i1i. 8JI aJj .:d4j: l1qjFg i I

1r43 JiC: +j fl 11 jj

4P4 tf 1 %j jTi: 1:’[j4

4 : dIJ [j

19

-

___________

Improvise over a G major12-bar blues

Page 20: Adrian Ingram - Jazz Guitar Greats

Recommended Reading

"Jazz Guitar Greats: Hank Garland" in Just Jazz Guitar No. 7 May 1966 JJG Atlanta, GA.Profile and interview in Guitar Player Jan. 1981 Guitar magazine, San Mateo, CA.Profile in Guitarist magazine Aug. 1990 - Guitarist Magazine, Ely, UK.The Jazz Guitar Maurice Summerfield - Ashley Mark Publishing Company."Jazz Guitar Greats" technique A. Ingram in Guitarist magazine Sep. 1997."Classic Jazz Recordings" - Just Jazz Guitar No. 7, May 1996 JJG Atlanta, GA."Harold Bradley on Hank Garland" -Just Jazz Guitar No. 7, May 1996 JJG Atlanta, GA."Memoirs of Hank Garland" by Johnny Smith-Just Jazz Guitar No. 7, May 1996 JJG Atlanta, GA.

Recommended Listening

Jazz Winds From a New DirectionNashville All StarsUnforgettable GuitarVelvet GuitarJazz In New York

Sony Special Products A8372 - Collector’s Series 75027 CDRCA 2302Columbia CS 8713Harmony HS 11028HG 1001-LPS

20

Page 21: Adrian Ingram - Jazz Guitar Greats

JAZZ GUITAR GREATS - JIARNEY KESSEL

Barney Kessel was born in Oklahoma in 1923 and began playing theguitar at an early age. By 1942 he had moved to Los Angeles wherehe was soon to make a name as the foremost electric guitar player ofthe period. Drawn increasingly towardsjazz, Kessel soonjoined theelite ofinfluential players which included Ta! Farlow, Johnny Smith,Jimmy Raney and Herb Ellis; like each of these players, Kessel hasmade major contributions to the art ofjazz guitar.

Barney Kessel’s forte was chord melody, a style which he developedfrom the concepts of fellow guitarist, George Van Eps, and pianistArt Tatum. Yet, despite his harmonic sophistication and seeminglyeffortless block-chording technique, Kessel’s playing also had anearthy blues character with relentless drive and an authentic "black"feel. Topping various USA annual polls for several years resulted in

a series of five albums with feilow poll winners, bassist Ray Brown and drummer Shelly Manne.These albums, the first to extensively feature the electric guitar with just bass and drums, gaveKessel the opportunity to fully reveal his capabilities, which included blistering single-line runs,chord melodies and beautiful, spontaneous sounding arrangements.

Since the 1950s, Barney Kessel’s main guitar has been a late ‘40s Gibson ES350. This cutawayguitar was made from laminated woods and has a 25 1/2" scale fingerboard. Kessel modified thisguitar throughout its working life. He replaced the original rosewood fingerboard with one ofebony utilizing simple dot position markers in place of the pearl, double-parallelogram markersoriginally used by Gibson. Other major modifications include the replacement "Charlie Chris-.tian" bar-magnet pickup, a non-compensated ebony bridge, upgraded tuning machine heads andpointed radio style tone and volume controls. While at various stages in his career Kessel en-dorsed guitars by Kay and Gibson, he always faithfully returned tohis modified ES350.

Kessel strung this guitar with heavy gauge flatwound strings circa.014-.058 and played through a variety of amplifiers by Merson,Polytone and Walter Woods.

Thoughtful arrangements with attractive introductions, endings andvarious other devices relevant to the tune, were a principal characteristic of Kessel’s style. He was especially fond of introductionsand a particular favorite compositional device was the use ofpedalpoint. Pedalpoint or "a pedal" is the repetition of a singlenote, usually in the bass, but sometimes inverted and placed into themiddle or upper part of the harmony. The name is thought to derivefrom the church organist’s tendency to repeat a bass pedal inces-.santly to keep the choir in tune! Kessel’s technique of fingering bassnotes with his left hand thumb,

21

Page 22: Adrian Ingram - Jazz Guitar Greats

leaving the other four fingers free to form chords, was ideally suited for playing bass pedals, andhe was quick to exploit this technique.

The following examples show how he combined this thumb damping technique, with pedals andmoving chords, both for introductions to tunes and the commonplace u-V-I progressions which sofrequently crop up in "standard" tunes.

iiV-I Progressions with pedals:

1.Frni7/B1 BbTh9 E6

fi 4W?1 mii

__

Al I

.

2.Fmi7/B B795 * EF6/9

@ :en4t

r r r1p______- p

r r ‘ Ir

3’Fmi9/B B7b13 Etmaj9 E6/9

@ 6T44j 6TJ1,++j 1$!4E+11’L43-- j1,1 30i8 - 1ifr -FI, Tr r Tr* r r r I

22

Page 23: Adrian Ingram - Jazz Guitar Greats

u-v-I Progressions with movement in the bass:

1. Fmi7

fiTZ444

A I 2o

B13 B139 E6

L2+! L+1?E i#+!14J. 11’Aj

A13 Gmaj7

4T!fl$ 32t

4jJ-

itT

Here is a typical Barney Kessel introduction in C major. Notice how the pedal note C first appearsin the upper part and is then transposed to the bass part, utilizing Kessel’s characteristic thumbdamping technique:

Jj: iJ + I t! ‘ ‘t"L’ . El----uI

- -. - .- - - ‘ .-- F- fiIt 1 1- r- I *Vv-i V I I

17f’: t.5’ IL3r

iT

2. Bmi7cTrn!iiA4.

B7sus Ami7

¶?4u 5Tff6T 1 Ii

_____

kI

t T T

C DLmaj7 D7 Dbmaj7xx XX, XX ‘- xx

5t1TZ1 6ftyff 7flffl 67fl+A

>-.--

:-U .t_ I_ .1 p- . - --- " -- -

C DLilC D/C Db/C

4Iifffl !+i1fflj iffi +Tffti_O_,J jJ J‘w * ‘i_ -E-i ‘

Y-i-.v-l i L 1 1 "I : -t i 1

j I;k

1

I

-0 T* .4

IkM

T-E- ->-,

C-I FL I .I . . I . - t -1

-. T ł- *# T.e

23

Page 24: Adrian Ingram - Jazz Guitar Greats

The next introduction is typical of how Kessel used bass pedals against sus chords to create ten-sion before the appearance of a tune:

E6 E6 EI’6sus EI6sus

4+Jffll 44fft] 4+iii+–+fltL

11iI : . ::I 1 i1! I : :1I :ir r r r r r

The final example in this examination of Barney Kessel’s chordal approach to improvisation,shows how he often used small chord fragments to suggest a fuller sound and create movementover a u-V-I progression. Notice both the upper pedal noteB in the second bar and the final bassnote G, which is fingered with the left hand thumb. Both of these devices are characteristic ofKessel’s chord playing approach.

Ami9 D13 G6

V IV V VII 5Hm+ 4F1Tff 2t1+ffII 26. f: 4F

BARNEY’S BLUES

TP’ I

Barney’s blues is based on the big band-type chords that Barney Kessel loved to use. The triplet"pick-up" phrase and call and response style is also reminiscent of the big band arrangements onwhich much of Kessel’s chord playing was based.

Notice theF and D pedal notes, in bar I 1 , effectively cementing together the B6maj7, Bdim, F6progression. Barney Kessel frequently used this type of progression to decorate and reinforcetonic chords. He played these progressions both on the upper and middle four string sets:

2 ‘4t *1t

i t . I 11-

24

Page 25: Adrian Ingram - Jazz Guitar Greats

S3f1flI SiAL%TIVt1

Ld I901

*-‘*___.*,4 4 1z Iif - k : 1 ‘

E+++9 L44i+9. . 1 I

11T V

ZI Wflhiti W4IIT

,-.... *.i 4 *. 4 A I

IL –3J: ‘: i : jil iI$$J#L z1i .1 1 9d ‘1’!PH L13W1H III A III A IA 6/90

adot oflos - - - J hA

*- lit 1 li’ i:1fL’44$t I461L*ILW-’O 61L0 L!D < 6tLU LiUV

IA A AT Ihi 611G Al A

"Inh !Jjyk_ i1’[ T*

III LIa IA

.<

Bà Tf 1$1j71ji: - - ‘t;

I II III Ir

Page 26: Adrian Ingram - Jazz Guitar Greats

Recommended Reading

"Barney Kessel 66" in Downbeat magazine, July 14, 1966, Vol. 33 No. 14."Barney Kessel Blindfold Test’ in Downbeat magazine, June 1 1, 1970, Vol. 37.Barney Kesse interview in Crescendo magazine, Nov. 1972.Barney Kessel interview in Guitar magazine, Dec. 1972/Jan. 1973.Barney Kessel interview in Guitar magazine, Jan. 1977.Barney Kessel interview in Guitar Player magazine, May 1982.Barney Kessel interview in Guitarist magazine, Sep. 1990."Barney Kessel" - Just Jazz Guitar Collector’s Issue, Edition 2, Sep. 1997.The Guitar method/advice manual Windsor Publishing Company.Barney Kessel, Jazz GuitarArtistry Vols 1 and 2, Ashley Mark Publishing Company.Barney Kessel profile in - The Jazz Guitar, It’s Evolution and Players, 4th edition, Maurice J. Summerfield, Ashley

Mark Publishing Company. Newcastle-upon-Tyne, UK.

Recommended Listening

Barney Kessel Easy LikeBarney Kessel Plays StandardsBarney Kessel The Poll WinnersBarney Kessel The Poll Winners Ride AgainBarney Kessel The Poll Winners ThreeBarney Kessel Exploring the SceneBarney Kessel Poll Winners Straight Ahead Vol 2Barney Kessel SoaringBarney Kessel Barney Kessel Solo

Contemporary C 35 1 1 - Contemp OJCCD -153Contemporary C 3512 - Contemp OJCCD - 238Contemporary C 3535 -Contemp OJCCD - 156Contemporary C 3556 - Contemp OJCCD - 607Contemporary C 3576 - Contemp OJCCD - 692Contemporary C 3581Contemporary S 7635 - Contemp OJCCD - 409Concord CJ-33 - CCD 4033Concord CJ-221 - CCD 4221

26

Page 27: Adrian Ingram - Jazz Guitar Greats

JAZZ GUITAR GREATS - PAT MARTINO

Pat Martino was born PatAzzara, in Philadelphia in 1944. He spenthis early teens playing at Italian clubs and weddings with his father,a semi-professional singer/guitarist. Through his father, Pat heardrecordings of guitarists like Eddie Lang and Django Reinhardt, but itwas Johnny Smith and later Wes Montgomery that made the greatestimpression. By the time he was fifteen, Pat Martino could play all ofJohnny Smith’s recorded solos note for note. At sixteen, his talentwas so precocious that he was able to leave home as a fully fledgedprofessional guitarist to play with the likes of Lloyd Price, WillisJackson, Brother Jack McDuff and Sonny Stitt. He made his firstalbum as a leader in 1967 El Hombre - Prestige 7513 to criticalacclaim.

Twelve albums later and after numerous sessions as a sideman,Martino’s health rapidly deteriorated. He was admitted to hospital in 1980 with a cerebral aneurism. Following major surgery, Pat recovered but was unable to play for over a year. It was afurther two years before he fully regained his memory.

Now playing again, with renewed fire and creativity, Pat Martino continues to be one of the mostinfluential jazz guitarists of all time. His long flowing linesand powerful articulation have led critics to dub him "the vet-vet hammer?’

Uncommon for a jazz guitarist, Martino generally plays solidbody guitars. At various points in his tong career, Pat has playedGibson Les Pauls, an L5S, a Parker Fly and an ornate hand-built guitar by Abe Rivera. His favorite string gauge has an.017 for top E down to an .058 for the bottom E. This stringgauge, coupled with a medium- high action and a heavy pick,produces an enormous sound, especially through Martino’schoice of a 4 x 10 speaker configuration.

Throughout his period with Willis Jackson, Don Patterson andJack MeDuff circa 1964-69, Pat Martino appears to have favored the vertically stacked piano voiced major seventh shapeas a starting point for many of his improvisational ideas:

24f

27

Page 28: Adrian Ingram - Jazz Guitar Greats

While most of us know and use this shape as a root position major seventh chord, Pat viewed itfirst and foremost as a quality of sound resulting from a physical movement of air, and as such wasconsequently able to relate to its full "sonic" potential. In straightforward theoretical terms, fur-ther analysis reveals that this shape may be viewed alternatively as the upper extensions of both adominant 7th and a minor 7th chord e.g:

I . An extended E minor chord without the root:

I 1 -1I Emi9r /‘rI3 assumed root

2. Or as an extended A dominant 7th chord without the root:13

A Jsus4

+1 ,1:: :: 11/9

assumed root

Consequently, the scale and arpeggio which originally related to the G major chord can now beused for two other chord types.

Similarly, the chord shape itself may also be treated as a Gmaj7, Emi9 or Al3sus chord, therebycovering the 3 basic sound qualities of major, minor and dominant seventh,

Gmaj7 Emi9 Al3sus

A

2 L14 2 4ff 2

_____

28

Page 29: Adrian Ingram - Jazz Guitar Greats

The original G major scale can now also be used in Emi7 or A7 harmonic contexts:

The 2 octave G major, Emi7 or A7 scale:

2nd octaveII I 1

J4 - - .1m4 :ttcir-o :i ?‘J .y??3 4

2

The arpeggiated Gmaj7 chord shape can also be considered as an Emi7 orA7 arpeggio:

4t :#–

Pat Martino made extensive use of this fundamental concept, eventually expanding it to coverother chord types and harmonic contexts.

The following licks can be joined together to form longer phrases. They demonstrate the mileageto be had from this approach with its expanded creative potential, and underlying harmonic ambiguity. Remember that all of this material can be recycled for use over major 7th, minor 7th anddominant 7th situations. For example, Bmaj7-based material will also sound good over Gmi7Gmi9, Gmil3 etc and C7 C9, Cl3 etc..

The following licks are based on fingerings derived from the close-voiced, vertically stacked ma-jor 7th shape. They are shown in harmonic contexts which might be used by Pat Martino, but are,of course, interchangeable.

B1maj7-based arpeggio over Bbmaj7

1..

BLmaj7

f2ip I

29

Page 30: Adrian Ingram - Jazz Guitar Greats

2.

Bt,maj7VA 0

4t’t 4j1f: ‘r T’ r T - :iiiiiiI

Bmaj7-based arpeggio over Gmi7

1.

@V

2

4i : . 42r ‘n I’: ‘r’2.

Gmi7

4t1-:J TiT ‘lET it T 1rBmaj7-based arpeggio over C7

1.

@C7

4t T_T 1r ete.

30

Page 31: Adrian Ingram - Jazz Guitar Greats

2.

@ C7 VIII

4fTLj

Besides changing or extending the harmonic potential of basic chord forms, Martino also likes tosequence a basic phrase through segments of the minor 3rd cycle e.g. C7, E7, Gi7, A7, C7 etc..This can be done by fingering a simple 3 or 4-note phrase and then moving the pattern up or downthe fingerboard by 44ret intervals:

III VI IX XII XV

L33:i?T rTT’ir TFY qk.

Here is a typical Pat Martino line based upon symmetrical cycles moving in minor 3rds:

G7f9 E7*9 D7$9 B7t9

9t14+1 61+?*+1 3fli+k1

____

TML T i;ir etc.

Top voice on 3rd string

DIGRESSIONS

This sixteen-bar chord progression based on a half-step side slip is similar to Miles Davis’ "Milestones", John Coltrane’s "Impressions" and Pat’s own "Just For Then". On the companion CDrecording, I have used inversions of Ami, D7 and Cmaj7 with various extensions for the firsteight and final four bars. Similarly, I used Bmi, E67 and Dmaj7, for bars 9 to 12.

31

Page 32: Adrian Ingram - Jazz Guitar Greats

These tonal centers also provided the basic harmonic material for the solos. While the progressioncan be viewed as having three distinctly different tonal centers example A, remember that youcan mix them together in any way that you wish.

A.1 .11: Ami9 I x I X I X :11 Bmi7 I X I X I X I Ami7 I x I x 1 x :11

2.11: Cmaj7 IX I X I X:II Dmaj7 IX IX I X I Cmaj7 I X I X IX:II

3 .11: D7 I x I X I X :11 EW I x I X I x I D7 I X I x I x :11

DIGRESSIONS= 260

V Ami9

4 tduJ I ‘I :‘r T1 [3J

Ami9 ;#4;,#

VI

.3r :- i 7r r i

BL’mi9 ;# ;

4

V

V

Ami9

- I V1V rV : V V J V V V

:ł., 7

: VVV I htr V - 11

32

Page 33: Adrian Ingram - Jazz Guitar Greats

Recommended Reading

Pat Martino The Early Years transcriptions Steve Khan - Beiwin Mills.Cool Blues and Hot Jazz method A Ingram - Warner Bros.Linear Expressions method Pat Martino - R.E.H. publishing house.Creative Force, Vols. I and 2 videos Pat Martino - R.E.H. publishing house.Quantum Guitar, Vols. 1 and 2 videos Pat Martino -R.E.H. publishing house.The Jazz Guitar biographies - Maurice Summerfield - Ashley Mark Publishing Company."Pat Martino - The Early Years," A. Ingram - Just Jazz Guitar No. 1 1 , May 1997 Atlanta, GA."Jazz Licks" - Just Jazz Guitar No. 1 1, May 1997 Atlanta, GA."A Pat Martino Bookshelf’ - Just Jc’zz Guitar No. 1 1, May 1997 Atlanta, GA."Classic Jazz Recordings" - Pat Martino’s El Hombre - A. MacKenzie - Just Jazz Guitar No. 1 1 , May 1997

Atlanta, GA."Royce Campbell on Pat Martino" - Just Jazz Guitar No. 1 1, May 1997 Atlanta, GA."Jazz Guitar Greats" - technique article A. Ingram - Guitarist July 1997.

Recommended Listening

El Hombre Prestige 7513 1 OJC-195CDStrings Prestige 7547 1 OJC-223CDEast Prestige 7562 I OJC-248CDThe Visit Cobblestone 9015Consciousness Muse 5039Exit Muse 5075We ‘ii Be TogetherAgain Muse 5090Nightwings Muse MCD 5552All Sides Now Blue Note 37627CD

33

Page 34: Adrian Ingram - Jazz Guitar Greats

JAZZ GUITAR GREATS - WES MONTGOMERY

Born into a family of two musical brothers and a sister in 1925, WesMontgomery started to play the 4-string "tenor" guitar when he wastwelve. Although he had acquired some fingerboard facility, andfurther developed an already good ear, Wes did not begin to work onthe 6string guitar until he was nineteen after hearing BennyGoodman’s recording ofRoseRoom, which featured the electric guitarof Charlie Christian. By the time he had reached twenty-three, hewas proficient enough to join the prestigious Lional Hampton bandalongside his brother Monk on bass. Despite this opportunity andnumerous other short periods away from his hometown of India-napolis, Wes Montgomery did not achieve full recognition until theearly 1960s when he signed a recording contract with RiversideRecords. Wes Montgomery was featured on no less than nineteenRiverside/Fantasy albums, many of which like The Incredible Jazz

Guitar ofWes Montgomery, RLP9320-OJC-036-2 and Boss Guitar RLP9434-OJC-0261-2 areconsidered to be amongst the finestjazz guitar recordings ever made. Montgomery was to recordfor two more record labels Verve and A&M before his untimely death from a heart attack in1968. While his later albums sold in huge numbers, affording Montgomery some hard-earnedluxuries, the Riverside/Fantasy sides remain the most influential and lasting testimony of his hugetalent.

Montgomery’s main guitar was a Gibson L5CES. So closely was he associated with this instrument that Gibson made two of them especially for him in the early 60s. Both custom made L5shad a single pickup in the neck position rather than the customary two pickups fitted to regularstock models. He strung his L5s with Gibson "Hi Fi"flatwounds, gauges .014-.058. Like many other jazz guitar-ists of Montgomery’s generation, he liked to use Fender am-plifiers, especially their flagship: The Twin Reverb. Towardsthe end of his life, however, he began experimenting withlighter, and therefore more portable transistor amps, alternating between his Twin Reverb and an early Standel transistormodel.

No examination of the Wes Montgomery style would be corn-plete without reference to his octave playing and his methodof striking the strings with only the thumb. Before Wes Mont-gomery, those players who occasionally used octaves - likeDjango Reinhardt, Eddie Lang andTeddy Bunn- generally used1st and 4th, and 2nd and 5th-string octave shapes to achieve a tonal contrast between the woundand plain steel strings:

34

Page 35: Adrian Ingram - Jazz Guitar Greats

ft+J11? 8fR

___

it;p

Playing exclusively with the thumb, as opposed to thumb and pick, or thumb and fingers-Montgomery looked for ways of closing the string spacing between octaves. As a result he favored the 1 st and 3rd, and 2nd and 4th string octave shapes as these only required him to damp onestring.

5

_________ _________ _________

t;j; - 1 i: 11

His sweeping thumb technique enabled him to literally strum the octave like a chord, choking theunwanted middle strings. The standard method of playing octaves, based on the notes of the 5thand 6th strings, only contains one unwanted string, and could, therefore, be treated similarly:

A

?T411j flT4M 1?:Ti4111

,1

5 3nTNj1T114

A A

.

Here is a 2-octave Gmaj7 arpeggio, utilizing the Wes Montgomery-style octave shapes:

¶T41 fll:efI rtliiII V

II III

M4TUVIIIx

a 1st and 3rd strings

35

Page 36: Adrian Ingram - Jazz Guitar Greats

In an interview with television presenter Jim Rockwell*, Montgomery said that after he discovered how to play octaves, he began running scales until he reached the point where he could useoctaves in his improvisations.There are numerous ways of moving octaves around the fingerboard. The following scale istypical of the kind of position changes that Wes Montgomery used:

*see "Wes Montgomery" - Adrian Ingram Ashley Mark Publishing Company

x xoctave

_______

I

shapes 1+ I ?II ifi

t 1TT441 ri

Montgomery’s harmonic concept of improvisation was exactly the same for his octaves as it wasfor his single lines.Like all post-bebopjazz musicians he liked to play off the upper portions of extended chords. Putsimply, this means that as a chord grows, for example by adding the 9th, 11th and 13th to a basicdominant 7th chord, the additional notes are favored over the basic structure.

A

C7

1ff1o

jtjb Jill’

A 4O- extensions

,

-- -ii

Wes would view the top 3 notes of this C13 chord both as a Gmi9 and a Bmaj7:

BImaj7xx

3

_____

14

Gmi9

A

V VIIXII

bottom 6 1 5 J 4 i 3string

2

&I U

36

Page 37: Adrian Ingram - Jazz Guitar Greats

Notice how the three overlapping notes occur in each chord shape

Gmi9 Bmaj7

3T: 3

These overlapping meterform the underlyingprincipal ofall chord substitution and also pro-vide greater potential for single-line soloing.

Here are fourWes Montgomery-typephrases built upon the notes ofan extendedC7 chord. Examples1-3 are generated from a Bmaj7 tonality, while example 4 draws from a Gmi9 chord:

1.

AV

141j

2.

4/E rT;r-1---- I

fi

2 kr1r 4aç –1

A J14r ‘r1r3

C132

3.

-

37

Page 38: Adrian Ingram - Jazz Guitar Greats

4.

vifiA 2i1 241 3::*Iiii

VII4*

Wes also used this idea for chordal improvising, comping and chord melody arrangements. Thefollowing examples show, for instance, how he would have used "minor" type shapes over adominant seventh, and "dominant seventh" type shapes over a minor:

1. GmioverC7

CTGmi7 Gmi7 Gmi7 Gmi7 Gmi7 Gmi7 Gmi7 Gmi7

x x ,-. xx xx xxx x x xx ----- x x xx3 LI’???? 5r11,3+2ft 8If!ffl ‘[j2

8 3 5jft 81?+I,n_ . p--2. L: L- 4i1

hT-

iI I L-::i -i ilko

C13

8TTffl4.-4 .a

2. C7overGmi

Gmi7C9 C13 C9 C9

T+1*T 5r[4t, P+ ililiA I

I1[

I

38

Page 39: Adrian Ingram - Jazz Guitar Greats

Listen to "Cariba" Full House, Riverside OJC-CD 106-2, a blues in Bt,, over which Montgomery used inversions of Fmi7. Listen also to his version of the Jerome Kern tune "Yesterdays"various recordings and video, where he routinely treated the I chord Dm1 as a Gil Theseexamples of substitution, built on extended chords, are wholly characteristic of the Wes Mont-gomery Style.

JOHN LESLIE

John Leslie Wes’ real Christian names is set in the characteristic Montgomery style, beginningwith a statement of the tune in octaves, which then develops into block-chord harmony. Thisharmony is based upon visualising the C9 chords as Gmi7s, and the B69 chords as Fmi7s. Theresulting chords are then inverted in order to obtain the melody note in the top register.

While the tune is fundamentally a blues, with a bridge, much of its effect is based on the tensioncreated by setting the first four bars, of each A section, in the dominant of the home key. As aresult, the ear hears the Gmi7 over C9 harmony as the new home key.

When this is repeated, a step below, in the real home key of Fmi7 over B69, a temporary ambiguity is established as to whether the tune is actually in the key of G minor or F minor.

39

Page 40: Adrian Ingram - Jazz Guitar Greats

JOhN LESLU

Al

F-1, I

Bt9 C9Grni7Fmi7 ,-

aw t I r"- - * * - - -L L -1 L . J i T fl I- i k *

-w I -t/ -11 I i - i v’L 1V 7 V _ r- i.-r’ - - I-, I I V V 7 V 1-_L’1 VV

Db13 C7sus C7*9 Fmi7A I * *‘ I i11 I I - --iL i - [ - V V

*: El h

-;J ,V

j - .r -- * P’-T

-I - VVVl

p VI_ I_ I VV V I I - -t I I V - V

A I

A11 . I. I

.

F9 flJ’Cmi7 N a : ‘ :!

BEmaj7 D7t9a

!‘:‘.‘ - -. r VVV . .

-. . - ‘ . - . V I J I I 9 I’ L . . -- --IT V V * P 1 r * * r . V V *

Gmi7-

C9t’**_:

f: i..-

Gmi7a

C9! ‘"Thr

-cV’ -‘ kL#F’. V H -I

V VV

MLL1 : ‘f -1 VL_ -!

a #- - ‘ - - V j’ IV

- 11W---

-

V/ V V

VVV I.-.- . II V 7 - 11

P-1 -

l

D13cli C749 Fmi7

A I i 4 ‘:=:* I J V I Impr.-- - -- - I - a -.

I 1IJ-.h V II IZ I VI-- -- -

-cr11: L - ‘"1 t: V:j I1 VII ,- . 1..

II

J = 152 C9 09

40

Page 41: Adrian Ingram - Jazz Guitar Greats

Recommended Reading

Wes Montgomery biography - A Ingram - Ashley Mark Publications.The Wes Montgomery Folio transcriptions Steve Kahn - Gopam Publications.Cool Blues and Hot Jazz Method Adrian Ingram - Warner Bros.Wes Montgomery Artist Transcriptions - Hal Leonard Publications.The Jazz Guitar bio Maurice J. Summerfield - Ashley Mark Publishing Company.Wes Montgomery - Jazz GuitarArtistry - Mel Bay Publications, Inc.Wes Montgomery - The Early Years - Mel Bay Publications, Inc."Jazz Guitar Greats" - techniques article A Ingram -Guitarist magazine May, 1997.The Guitar Style ofWes Montgomery-A. Ingram-video Stefan Grossman’s Guitar Workshop, Inc.

Recommended Listening

MontgomerylandWes Montgomery TrioIncredible Jazz GuitarMovin ‘AlongGrooveyardSo Much GuitarFull HouseBoss GuitarMovin ‘ WesSmokin’At The HalfNoteThe Dynamic Duo wiJimmy Smith

Pacific Jazz PJ 5Riverside RLP 1 1 56 1 OJCCD 034Riverside RLP 1 1 67 1 OJCCD 036Riverside RLP 942 1 OJCCD 089Riverside PIP 362 1 OJCCD 139Riverside RLP 342 I OJCCD 233Riverside 434 1 OJCCD 106Riverside RLP 459 1 OJCCD 261Verve 8610 I Verve Master edition 521 433 - 2 CDVerve V/V68633 I Verve 829 578 - 2 CDVerve V6 8766 1 Verve Master edition 521 445 - 2 CD

41

Page 42: Adrian Ingram - Jazz Guitar Greats

JAZZ GUITAR GREATS - JOIEtNY SMITH

Throughout the 1950s and early 60s, Johnny Smith born in Ala-bama in 1922 was amongst the most highly respected guitarists inthe business. He studied the trumpet, viola and guitar as a child andwas proficient enough on trumpet and guitar to join the U.S. AirForce Band in 1940. This was followed by a stint with a local Ala-bama radio station and free-lancejazz gigs before taking the prestigious staff guitarist chair at NBC in New York City. His first inter-national success came with the 1952 recording ofMoonlight In Ver-mont, featuring the cool tenor saxophone of Stan Getz and the distinctive voicings of Smith’s ‘long-stretch’ chords. Johnny Smith’sultra clean articulation and remarkable fluency over unbroken three-octave passages exemplified perfection in plectrum guitar technique.Noted particularly for his chord playing, which was based upon the

stacked triads of a piano keyboard, Smith’s sound was instantly recognizable and uniquely hisown. A highly melodic and therefore accessible player, Smith was also very popular outside ofjazz circles. His composition Walk Don ‘t Run, for example, was recorded by the Ventures, apopular guitar-based rockband ofthe early 1960s. ChetAtkins, Lenny Breau, George Benson, PatMartino and Hank Garland arejust a handful ofthe guitarists who have found inspiration in Smith’sastonishing virtuosity.

Although Johnny Smith has been in retirement for over 20 years, he retains his love andenthusiasm for the instrument, especially the archtop guitar as evidenced by his consultancy with the Heritage Guitar Company forwhom he designed the Johnny Smith Rose model. Previous corn-pany endorsements included Guild - the Johnny SmithAward nowthe ArtistAward 1956-1960, and Gibson - the Johnny Smith 1961-1989. He was also closely associated with luthier John D’Angelicoand played his guitars regularly until his collaboration with Gibson.Smith strung his guitars with heavy guage "Black Diamond"flatwounds and used various amplifiers built or modified to his specifications- mainly Guild, Benson, Emrad and Musicman.

Johnny Smith’s way of passing from one large stretch chord toanother was achieved by voicings which kept the melody note of thesame string. The first two bars of Vermont provide a perfect example of this signature technique.

42

Page 43: Adrian Ingram - Jazz Guitar Greats

10k1 5 3n 5LtflJ 4t!,1Smith particularly liked to use these close-harmony stretch chords for ii - V - I progressions asshown in the next example:

Dmi7 G9 C9 C OR

5 Fffffi5 Iff13 H 4*1 U1° T ‘° H j8 8A ! 1 1 1-i- 1

ii V I I jj V I J I

Here are two of his "stock-in4rade" u-V-Is based on the chord shapes shown in the previousexample:

1. u-V-I in C Major

xxx xxx

11 51U+ffA*

ii V

xxx xxx xxx xx

3Ff–f? 3LL4’+S 3H’I1t1T 3L1++T,-.-- . a

I

*d.

1A 2

a 4

I.

4iT ¶i 1T ! -‘F I

43

Page 44: Adrian Ingram - Jazz Guitar Greats

2. u-V-I in G major

5TTu: 5ff+iuTF I I

xx x xx x xx x x x

3k#T’1 3L’4ff 3LIflfl 3L1+t1z_

V IV I

Perhaps the best way to approach Smith’s stacked voicings would be to practice vertically voicedharmonized major scales. Here are two examples in C and G major, fingered with the 7ths on the1st string G major and the 7ths on the 2nd string C major

1. C major

Cmaj7 Dmi7 Emi7 Fmaj7 G7 Ami7 Bmi7i5 Cmaj71 ffj 3_5n6 nn8 #t :

o 12

, . ;i-

2. 0 major

@ Cmaj7

1- 1--2

311

j4-

Emi7 FfriTh5 Gmaj7

=1

2 LIititT5 t17flT8 P1° fft’2 1ff’4!10* t f

114-

A I

D7Ami7 Bmi7

4i I ‘ i r ir r

44

Page 45: Adrian Ingram - Jazz Guitar Greats

Another of Smith’s favourite devices was the use of 3-octave unbroken arpeggios played withgreat speed and fluency: The following study is based upon a I-vi-ii-V progression in B5 major.Practice it slowly at first then gradually increase the tempo until you can play it flawlessly at anytempo.

ARPEGGIO STUDY

VBEmaj7

VII x XV IGmi7

III VI

VI VIII XI XVI I II V X

V VII

BEmaj7

X XV

45

Page 46: Adrian Ingram - Jazz Guitar Greats

J. S.

J. S. is written in a free rubato style and should be played expressively with a good deal of flexibility regarding the basic pulse.

Like the earlier arpeggio study, the basic harmonic format is drawn from a series of I-vi-ii-Vprogressions. By the fifth bar, however, chords vi Ami and ii Dmi are treated as secondarydominants, and changed to E79 and A13:

E7*96 f44 see., dom j , sec., dom

Later on, in the piece, the 65 substitutes of chords iii BE7 over Emi7 and ii A67 over Dmi7 arealso introduced:

A13

BI 13

6ff1IA13 A13

5rii sec., dom 4cr4] I5

Both the vertically stacked chords and 2nds in the bass are characteristic Johnny Smith devices, asis the 414 Moonlight in Vermont type ending. Notice that the penultimate dominant chord bar 24is extended over a further 7 measures, before resolving onto the 4/4 ending. Both the half-step/whole-step scale and the series of four V71’9 chords should be played freely, almost without animposed meter. The ending, however, should be played broadly and and boldly to provide a realfeeling of finality.

01

II

46

Page 47: Adrian Ingram - Jazz Guitar Greats

Rubato J =84III

A i

J.s.

VII I I , I AJ - III AJ i

-cmiT

4

.

Ix

i 2W

I1

VIII

Ik4T

11*!1

off

:r:fr :J

-

oo

:1iz

i i

4

°LL

1T t,

j -‘1

j

.

::

4_3Ix

.

:VI

4L ii 4:

-1 11 JOfi

ciJ 4

IV3.[ 4..

I&T

rail.

3

IL

4

112

Palm harmonics

. ° 11V0*0

ij.

Tempo primo VIII vi

A I ten., 461. 4: I..

III VIIV 1I-P’J- 1

47

Page 48: Adrian Ingram - Jazz Guitar Greats

Recommended Reading

Various Johnny Smith articles - Just Jazz Guitai May 1995- JJG Atlanta, GA.The Complete Johnny Smith Approach to Guitar - Mel Bay Publications, Inc. Pacific, MO.Interview - Guitar Player - Jan. 1982, Guitar Player magazine, San Mateo, CA.The Jazz Guitar bio Maurice J. Summerfield Ashley Mark Publications, UK."Jazz Guitar Greats" - technique article A. Ingram - Guitarist magazine, Oct. 1997.

Recommended Listening

Johnny Smith Plays Jimmy Van HeusenThe Johnny Smith QuartetMoonlight in VermontThe Sound ofJohnny Smith GuitarThe Johnny Smith Trio - Designedfor YouJohnny Smith Plus the TrioMan With the Blue GuitarJohnny Smith

Roost 2201Roost 2203Roost 22 1 1 1 Roulette CDP 7977472Roost 2216Roost 2238Roost 2243Roost 2248Verve SVLP 9185 1 752-CD

48

Page 49: Adrian Ingram - Jazz Guitar Greats

JAZZ GUITAR GRLATS - JOE PASS

Born JosephAnthony Jacobi Passakqua in New Jersey 1929. JoePass became one of the greatest and most "complete" jazz guitaristsof all time. Building on the decorative improvisational style ofDjango Reinhardt and the modern concepts ofTal Farlow and BarneyKessel, Pass both developed and strengthened the mainstream "stan-dards" based playing approach. As a virtual contemporary of WesMontgomery, whose playing Pass greatly admired, both figures pro-vided a vital link between the influential 1950s players Farlow,Kessel, Raney, Smith et al and the current resurgence of "standards"basedjazz guitarists such as Jimmy Bruno, MarkWhitfield, RussellMalone and Clint Strong. However, while Wes Montgomery wasthe obvious innovator of octave playing and single lines, based uponmodal substitution, Joe Pass defined, and refined the style and presentation of the solo jazz guitar. His ground-breaking "Virtuoso"

album recorded in 1973, opened the doors for the likes of Tuck Andress and Martin Taylor. Thisrecord was followed by a series of solo guitar recordings and concerts which elevated the statusand perceived musicianship ofjazz guitarists. In short, Joe Pass set the standard by which otherplayers would be judged but in truth, few attained.

For most of his career, Pass favoured a Gibson ES 175 withtwo humbucking pickups. At various stages he also playeda handmade D’Aquisto New Yorker, a D’ Aquisto NewYorker Electric Special, and guitars built to his own specifications by Ibanez and Epiphone. He strung them with.0 1 3-.054 flatwounds and played initially through a FenderTwin Reverb and later through various Polytone amplifiers.

As with all influential players, facets of the Joe Pass approach were quickly adopted by others, especially his useof walking bass lines, punctuatedby big-band block chords.One of his most distinctive techniques was the use of approach notes. These were generally a half-step one fretabove the chord he was moving to:

G7 C9 F7 BI9

3?llt1fl 2ffffJ 1ll1ff? ‘Tr4e; :T1=

21r 12r r Nr ‘r 2r

49

Page 50: Adrian Ingram - Jazz Guitar Greats

If used in the bass, this type of movement is particularly effective when chords progress in 4ths:

4ths ----- ,-, -.--------- -.----‘ - ---------.--

G9 C7 F9 BI7 EI9 Ab7 D95 substitute

G7

9ffff 7[!Lffl 6ffff1 llfflhI 3ffff1 ?tL

C6/9

The reason why this type ofmovement sounds so effective, is that the approach note for each newchord is also the b5 of the previous one, making for a strong feeling of tension and release. Studythe following bass line and try to incorporate similar movement into your own chord progressions.

G7 5 C7 5 F7 5 Bb75 E75A7b5 D7 G7 b5 C6/9

50

Page 51: Adrian Ingram - Jazz Guitar Greats

When you can play the above progression fluently, try continuing the cycle from the DL7 chord inbar 4, instead of resolving to the C6/9, e.g. D67-G67-B7-E7 etc.

This half-step/ I5 movement was an integral feature of Joe’s style. Here is a typical Joe Passturnaround iii-vi7-ii-V using the same principle:

Bmi7 E749

7p3_AiJ ,.LI-IL

A.rlI: I .1 i°1r 1P .1 ‘ti- J1, 2 -

Ii

Besides using 65 substitution to add interest to his chord progressions and bass lines, Pass alsodrew heavily upon the device for his single-line soloing. Here are a few examples ofhow he usedthis stock-in-trade bebop technique over u-V-I progressions:

1.

HI Fmi7 B7 i5-ETh5

__________ __________

ELmaj7A r:JJi

-4A

Ami7 D7j$9 Gmaj7 G6/9

5ifft: 4fff+ 3ffh11 HSTIt-3 I 1

p - i::ru- -. -. - -4_ - p4-C- .

-‘-w I: 2 ‘41’’ I J I II [ à.

I 3

2.

VDmi7

IV i5I D9 -iG7

Cmaj7

4i ‘:P: - :ctc.

3

51

Page 52: Adrian Ingram - Jazz Guitar Greats

3.

Pass also developed this idea in his chord playing, by substituting a 55 ii-V- for the original V in aii-V4 progression, e.g.:

A

,5 il-V

Mmi9 D9

aV I

Dmi7 AImi9 D9 C619

5rfifft EiVES?th 2jfff

5-II V

1J1L, I1

Gmi7

G7

a 2fr ‘

C71*- 2tp.

Li LJ

I;52p

4t tj ;JJ Zr i’- :j IrI2 ir I

Fmaj7

11

Here are two examples of ii-V4 treated in this way:

1.

v

ii V I

52

Page 53: Adrian Ingram - Jazz Guitar Greats

2.

71 Dm1 Ami11 Dt’13 C619

9H4?H 10I+ft 9fi:4:b ‘pf

_____

. 5-IIV

‘41 L.… 1tE - H etc.

Joe Pass was such a complete, and fully-rounded player that it would be impossible to fully explore his huge talent in this brief analysis. Understanding and using Joe’s walking bass lines,together with his I5 half-step techniques will, however, open the door towards a deeper under-standing and appreciation of the multi-faceted style of this jazz guitar great.

JOE’S BASS LINE BLUES

Joe’s Bass Line Blues is best played fingerstyle, in order to effectively separate the low bass notesfrom the upper "stab chords". Notice that the bass notes are religiously played on every beat,while the answering "stab chords" are only played on the off-beats. This kind of syncopationprovides the foundation for the Joe Pass bass-line with chords, unaccompanied style. Notice toothe L,5 substitution in bar 4 D67 over G7 and the chromatic approach notes in bars 7 through 12,all of which are characteristic Joe Pass devices.

Joe’s Bass Line Blues is essentially a skeletal framework to introduce the performer to Joe’s self-contained virtuoso style. Listening to Joe Pass recordings, especially the series ofVirtuoso CDs,on the Pablo label, will provide further ideas for developing this style.

53

Page 54: Adrian Ingram - Jazz Guitar Greats

= 152

JOE’S BASS LINE BLUES

move shape

Last Time

Aiim I

move shape

V Ix V IV

54

Page 55: Adrian Ingram - Jazz Guitar Greats

Recommended Reading

"Joe Pass - Building a New Life" - J. Tynan in Downbeat magazine, Vol. 30 No. 17 Aug. 1963 - Chicago, IL."Joe Pass Jazz GuitarVirtuoso" - J. Sievert in Guitar Player magazine Vol. 10, No. 4, April 1976, Saratoga, FL"The Plectrum Spectrum" - Joe Pass in conversation with other guitarists in Downbeat magazine, Vol. 39, No. 1 1,

June 1972, Chicago, IL."Joe Pass Interview" - Guitarist magazine Sept. 1985 - Ely."Joe Pass, Exploring Altered Dominant Sounds" - Guitar Player magazine, Vol. 29, No. 8 Aug. 1995,

San Francisco, CA.First Steps by Joe Pass in How To Play Jazz - Guitar Player /MilIer Freeman - 1996 San Francisco, CA.Just Jazz Guitar Collector’s Edition - Joe Pass, June 1996, Atlanta, GA.Joe Pass profile in The Jazz Guitar - Maurice J. Summerfield, Ashley Mark Publishing Company, Newcastle-upon-

Tyne, UK.

Recommended Listthng

Sounds ofSynanon Pacific Jazz PJ 48Simplicity World Pacific WP 1865Catch Me Fontana 688 137ZLFor Django United Artists UAS 297681 Pacific Jazz TOCJ-5309Joy Spring Pacific Jazz 7243 8 3522224Intercontinental BASF BAP 5053Virtuoso Pablo 23 10 708Live at Donte ‘s Pablo 2620-114Virtuoso No. 2 Pablo 23 10 788 CDVirtuoso No. 3 Pablo 23 10 805 CDChops Pablo 23 10 830CDSummer Nights Pablo 23 10 939-2CD

55

Page 56: Adrian Ingram - Jazz Guitar Greats

ABOUT TILE AUTHOR

ADRIANINGRAMBorn: May 20, 1950 in Birmingham, England

Teaching: Adrian was a guitar specialist for theBirminghamEducationAuthority 1975-.1981 andthen lecturer in jazz and popular music atFluddersfield Technical College, School of Music1981-1982. He then taught for thirteen years assenior lecturer in jazz guitar at the City of LeedsCollege ofMusic 1982-1995.

Education: Adrian has an MA in music and anMaster ofPhilosophy in music education. He stud-ied music education with professor John PaynterOBE York University and the guitar with BarneyKessel and Howard Roberts. He was elected bothFellow of the Royal Society of Arts FRSA andFellow of the College of Preceptors FCoI1.P in1987 for outstanding contribution to music education. Adrian also holds advanced diplomas in classical guitar performance and instruction and hasattained Dept. of Education and Science’s "qualifled teacher" status.

Performance: His international reputation as a player and teacher was consolidated by clinics andworkshops at major festivals NewYork, Arlington, Cork, Philadelphia etc.. Adrian also performswith leading jazz musicians with whom he has made a variety of recordings, and participated inradio and TV broadcasts. He is featured on the first jazz guitar DVD with guitarist John Pisano -Live at Wakefield Jazz Mel Bay Publications, InciString Jazz.

Publications: His books include definitive biography ofjazz guitarist Wes Montgomery, and TheGibson L5, Its History and Players Centerstream Publishing. Adrian has produced a wide rangeof educational material e.g. Modern Jazz Guitar Technique Hampton, Cool Blues and Hot JazzWarner Bros. and a suite tracing the history ofjazz guitar: Jazz Guitar Cameos Mel Bay Publish-ing, Inc.. He is also the authorized biographer of luthier Robert Benedetto.

Journalism: Adrian has written countless magazine articles and columns. He is a regular columnistand consultant for Guitarist, music and reviews editor for Just Jazz Guitar, and contributes to Classical Guitar, 20th Century Guitar, Vintage Guitar Classics, Vintage Guitar and Guitar.

56