A collection of 14 of Wes Montgomery's great jazz guitar solos transcribed directly from recorded performances. Included are such landmark solos as Work Song; Sack o' Woe; Unit 7; Fallout; Jeanine; Blue Roz; Full House; Mi Cosa; Doujie; Missile; Blues; and others. All solos are in notation and tablature. Most of the pieces can be heard on Riverside's Wes Montgomery: The Complete Riverside Recordings. The new revised edition matches the recordings much more closely than the first edition, with more detailed rhythms in several pieces. All of Wes' original solos are faithfully transcribed here in notation and tablature for your study. The book also contains general performance notes, a chronological discography, and a touching biographical essay.

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.

A collection of 14 of Wes Montgomery's great jazz guitar solos transcribed directly from recorded performances. Included are such landmark solos as Work Song; Sack o' Woe; Unit 7; Fallout; Jeanine; Blue Roz; Full House; Mi Cosa; Doujie; Missile; Blues; and others. All solos are in notation and tablature. Most of the pieces can be heard on Riverside's "Wes Montgomery: The Complete Riverside Recordings." The new revised edition matches the recordings much more closely than the first edition, with more detailed rhythms in several pieces. All of Wes' original solos are faithfully transcribed here in notation and tablature for your study. The book also contains general performance notes, a chronological discography, and a touching biographical essay.

Soul Jazz Guitar is a collection of Randy Johnston's tunes and solos specifically designed for the intermediate student. Rather than merely transcribing solos from his CDs, he plays material at a reasonable tempo specifically with the student in mind. There are tunes ("Downtime," "The Philadelphians," and "Tolling at the Summit") that appear on his commercial CDs, but included here are versions that are new and totally unique to this project. There are also some improvisations on some familiar "standard" progressions to help the student deal with these changes when he or she encounters them at jam sessions etc. Randy has tried to present his take on the Jazz language as clearly and faithfully as possible to make the solos easy to learn. He hopes that this will lead the student not just to imitation but also to develop his or her own approach to these progressions just as he developed his own approach from listening to the playing of his role models over the years.

Dave explains his approach to jazz improvisation with musical examples that he himself uses, learned from years of playing with the greats - after learning how to play jazz from listening to players such as Grant Green, Wes Montgomery and Pat Martino. Explains the minor sub approach using minor scales to play over dominant seventh chords, and then includes several solos over often-played jazz standards, using this approach. Also described are the use of the blues and pentatonic scales as well as be-bop ideas, the melodic minor scale, and whole-tone and diminished scales and patterns. Hanon-type warm up exercises and Dave's own fingerings shown in tab are also described. Perfect for intermediate-to-more advanced players, Dave's concise way of explaining his approach will open up the students to developing their own improvisational ideas. Dave plays the examples and solos on the companion audio download including tracks with a rhythm only section for student play-along.

Wes Montgomery took jazz guitar to a new level when he came to the public's attention in the late 1950's. Known for his fluid lines and his big jazz guitar sound, Wes influenced thousands of guitarists in the styles of jazz, blues, and rock. This book will present some of the soloing techniques that Wes used as well has present many melodic ideas (lines) similar to the way he played over the chord progression in many jazz standards. Because the major and minor ii-V-I progression are the most widely used chord progression in jazz standards, the lines in this text will work over these progressions. the accompanying CD contains many play-along tracks (vamps of one chord and vamps around the circle of fourths) that the student should use to practice the material in one key and then master it in all twelve keys. By learning the techniques used by Wes Montgomery, guitarists will add to their own improvising arsenal. As improvising musicians add to their collection of musical ideas, their ability to express themselves completely increases. Have fun studying these ideas and applying them in improvised solos.Also available in Japanese from ATN, Inc.

(Book). Wes Montgomery was unquestionably the most significant jazz guitarist to emerge during the 1960s. By the '70s and '80s he had, like Charlie Christian and Django Reinhardt before him, become a major influence on other guitar players. Elements of his style are discernible in many of today's finest players. Although many musicians acknowledge Wes as one of the finest guitar players of the 20th century, there has been until now a lack of detailed biographical and analytical material. This definitive work is a must for all guitarists and jazz lovers alike.

Charlie Parker was arguably one of the most influential jazz musicians to have ever lived. This text presents numerous jazz lines in Charlie's style, grouped by their application in a given harmonic content. Students will learn to connect lines to play over ii-V-I progressions, turnarounds and other harmonic frameworks. to facilitate proficiency in all twelve keys, each section of the book has a chordal play-along that modulates around the circle of fourths. Some of the techniques used in the Charlie Parker style will also be discussed with examples provided. This will help musicians analyze each of the ideas presented, further ensuring their mastery.Also available in Japanese from ATN, Inc.

This landmark book of music for the plectrum style jazz guitar took years to compile, write and edit. It contains some of the greatest solos and duets ever written and performed on the plectrum or flatpicked guitar, including works by Carl Kress, Dick McDonough, George Van Eps, Bucky Pizzarelli, George Barnes, Eddie Lang, George M Smith, Al Valenti, Mel Bay, Frank Victor, Harry Volpe, Carmen Mastren, Oscar Moore, Mundell Lowe, Tony Mottola, Al Hendrickson, and Cal Collins. All solos are in notation and tablature while the duets are shown in standard notation only.

Commonly referred to as the rhythm guitarist's bible, this innovative book is a system of guitar chord formation which maximizes power voicing while minimizing left-hand movement! Originally written by Mel Bay in 1947, this landmark publication was reissued in its original typesetting in 1973 to become the definitive text on jazz chords in private teaching studios and university jazz guitar departments around the globe. Mr. Bay's practical, analytical approach to the fingerboard produced this comprehensive system for learning full-sounding orchestral jazz guitar chords.