Sweet Lorraine (Joe Pass)

[MadeulPlaysGuitar]

This is certainly a throwback from the past (2020) -- I played Joe Pass's version of Sweet Lorraine (Virtuoso). At the time, I wanted to prove to myself that the reason I couldn't play chord melody wasn't due to lack of technical proficiency. Having been able to play some tunes from beginning to end at this point, I listen to this again and just wonder how anyone could have improvised such an arrangement.

[lawson-stone]

This is certainly a throwback from the past (2020) -- I played Joe Pass's version of Sweet Lorraine (Virtuoso). At the time, I wanted to prove to myself that the reason I couldn't play chord melody wasn't due to lack of technical proficiency. Having been able to play some tunes from beginning to end at this point, I listen to this again and just wonder how anyone could have improvised such an arrangement.

Which is why Joe Pass is considered an improvisational genius. He might not have even known he would play that tune going into the session. The tunes for the Virtuoso sessions (producing the albums Virtuosos I and IV (a double disk set)) were suggested by people in the studio as he recorded. Which is mind-blowing.

[Mick-7]

Joe had a formula for improvising chord melodies, he described it in the workshops I attended, but don't ask me to repeat it, most of it was over my head at the time. There are clues in the Joe Pass Guitar Style book.

[deacon Mark]

This is certainly a throwback from the past (2020) -- I played Joe Pass's version of Sweet Lorraine (Virtuoso). At the time, I wanted to prove to myself that the reason I couldn't play chord melody wasn't due to lack of technical proficiency. Having been able to play some tunes from beginning to end at this point, I listen to this again and just wonder how anyone could have improvised such an arrangement.

Well done and my favorite solo jazz guitar recording of all time. It stands head above for a number or reason. Joe, simply played, and nothing was arranged as such. He had his usual spots and lines and moves but nothing ever that was called an arrangement played the same way. I listened to Virtuoso when I was a 12-year-old kid in 1973 when it came out. I was blown away as a starting guitar player. I still listen to the recording I love it. The other thing Joe decided was that he was not going to keep the bass going like Chet Atkins, and he was not from the George Van Eps school in looking at the guitar.

Joe really, I believed listened mostly to Art Tatum and the way Tatum would play tunes solo. He would develop themes and then move in and out of tempo. Tatum and even Fats Waller before Tatum. To me Joe came from the piano in regard to what he wanted to hear, and he had deep respect for the bass. A good swinging walking bass can be quite nice in and of itself, I think Joe simply decide he liked it. It also went in with his concept of looking at the guitar and how to play. He saw a bass line looking at the chord and the root and 5th. Then he colored the tune like any good cocktail pianist would do to decorate the tune.

What you just played is great and was and is history. Should not be taken lightly either. Joe really in a sense legitimized the whole style of playing solo guitar. He managed because he had tremendous facility and a keen ear. Also, he liked melodies and played tunes he did not think so much of jamming on the guitar. So here we are 50 years later, and I like it glad to see you do this tune and work up. Round Midnight is haunting when he plays it.

[lawson-stone]

Joe had a formula for improvising chord melodies, he described it in the workshops I attended, but don't ask me to repeat it, most of it was over my head at the time. There are clues in the Joe Pass Guitar Style book.

I wouldn't call it a formula, but he definitely had some solid ideas that worked for him. But just when you think Joe is following a formula, he'll do something that just rips your head off. Like, maybe, change keys in the middle of a bridge and move to a latin feel. He was one of those guitarists who experienced virtually zero technical barriers to playing the guitar. He once told me playing the guitar was like TYPING. Just think of the guitar as a typewriter.

[MadeulPlaysGuitar]

Which is why Joe Pass is considered an improvisational genius. He might not have even known he would play that tune going into the session. The tunes for the Virtuoso sessions (producing the albums Virtuosos I and IV (a double disk set)) were suggested by people in the studio as he recorded. Which is mind-blowing.

Indeed! I would also love to know what exactly happened with the recording setup there... although I happen to like the sound they ended up with most of the first album

[MadeulPlaysGuitar]

Well done and my favorite solo jazz guitar recording of all time. It stands head above for a number or reason. Joe, simply played, and nothing was arranged as such. He had his usual spots and lines and moves but nothing ever that was called an arrangement played the same way. I listened to Virtuoso when I was a 12-year-old kid in 1973 when it came out. I was blown away as a starting guitar player. I still listen to the recording I love it. The other thing Joe decided was that he was not going to keep the bass going like Chet Atkins, and he was not from the George Van Eps school in looking at the guitar.

Joe really, I believed listened mostly to Art Tatum and the way Tatum would play tunes solo. He would develop themes and then move in and out of tempo. Tatum and even Fats Waller before Tatum. To me Joe came from the piano in regard to what he wanted to hear, and he had deep respect for the bass. A good swinging walking bass can be quite nice in and of itself, I think Joe simply decide he liked it. It also went in with his concept of looking at the guitar and how to play. He saw a bass line looking at the chord and the root and 5th. Then he colored the tune like any good cocktail pianist would do to decorate the tune.

What you just played is great and was and is history. Should not be taken lightly either. Joe really in a sense legitimized the whole style of playing solo guitar. He managed because he had tremendous facility and a keen ear. Also, he liked melodies and played tunes he did not think so much of jamming on the guitar. So here we are 50 years later, and I like it glad to see you do this tune and work up. Round Midnight is haunting when he plays it.

Thank you for the thoughtful response! Yes, his emphasis on playing tunes and keeping things "easy" (right...) is so inspiring. While I enjoy and admire Ted Greene/Lenny Breau kind of approach in truly piano-ifying the harmony as actualized on the guitar, there's something honest about Joe Pass's approach. I've seen some argue that perhaps Pass was more of an improviser than was Greene, but I am not sure on that account.

I should start listening to Art Tatum more!

[MadeulPlaysGuitar]

I wouldn't call it a formula, but he definitely had some solid ideas that worked for him. But just when you think Joe is following a formula, he'll do something that just rips your head off. Like, maybe, change keys in the middle of a bridge and move to a latin feel. He was one of those guitarists who experienced virtually zero technical barriers to playing the guitar. He once told me playing the guitar was like TYPING. Just think of the guitar as a typewriter.

Very interesting! Did you get to learn from him?