The Jazz Guitar Chord Dictionary
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  1. #26

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    Hey! Thanks for advices! I'm definetily going to buy that Joe Pass Guitar Style-book. Now I remember that I've seen a year ago on my ex-guitarteacher's archive an eight-note line minor blues an rhythm changes etydes from joe pass and that book was with white covers whit joes photo on it. It's probably the same book? Hey sampo! I'm not sure is it correct to use our motherlanguage in this forum but i speak a little finnish to my countrymate; Moi! Kiva nähdä täällä myös suomalaisia! Suomeksi ei hirveästi tätä jazz-kitarointia netissä puida ja olen tämän foorumin löytanyt kyllä kultakaivokseksi ja täällä on hyvä meininki ja tosi arvokasta tietoa! Katselin sun esittelypostin ja tykkään tosi paljon samankaltaisesta matskusta myös! Parker, Pass, Farlow, Viinikainen ja Brunon opetusmetodit ovat tässä viimeisen vuoden aikana kolahtaneet tosi lujaa! Miten sinulla musiikki elämässäsi muuten? Oletko musiikkioppilaitoksen opiskelija/opetustöissä vai onko jazzmusa vain muuten se itsensäilmaisun väline muun työn/opiskelun ohessa? Itse olen musiikinopiskelija pop/jazz-konservatoriossa, Torniossa. Kiitos sulle avusta ja terveisiä täältä lapista, -30'C tällähetkellä! :/ -Petri Lusikka
    Last edited by spooni; 02-18-2011 at 04:03 PM. Reason: typo

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Quote Originally Posted by ksjazzguitar
    Yes, it would be pretty boring if all these guys did was copy Bird. They absorbed some of what Bird and others around them and then found a way to integrate it into their own voice.
    There's a lot to this, though it's worth pondering that Wes Montgomery started out playing Charlie Christian solos in a band. What's funny is, he had to "lay out" in the non-solo sections because he didn't know what to play there---he only knew the solos!

    But it's important to realize there is a two-stage thing at work here. To use the over-worn analogy with language, one first must learn to "speak jazz" and only then can one come up with one's own things to say in the language. At the *first stage* of development, learning solos and repeating them is a *great* idea. Heck, Bird learned Lester Young solos note-for-note.

    I think the greater danger is that one will expect originality too soon and flounder than that one will learn too many great solos by masters and develop an original voice too late.

  4. #28

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    Yes, Markerrhodes that´s exactly the way I was thinkin.
    In my opinion I don´t think that I can just learn to improvise with fingersnap without first checked out what the masters have done before me. I´m not that kind of person who think that everything which is already been played is bullshit and you are not unique voice if you copy the stuff from somebody else´s playing. I´m not saying that you have to play exactly like the masters note for note, but to first learn the JAZZ LANGUAGE studying from those transcribed solos before you can make something your own using that information you got from your musical influences as a resource.
    It´s wery frustraiding and rocky road if you think you can re-invite the bike again without knowing the roots of the music. In my opinion creativity is just a sum of a hard work(transcribed solos, scales, licks, arps, theory, listening etc.) and then find your own way to adapt that stuff in a musical contecst that is happening at the moment ( II-V´s, Blues etc.)

    I know there are people who play like angels and don´t care about that kind of thinking, but I´m more of a woodshedder guy who finds his own and wery rewarding way in music doing that kind of work and research and found that wery working system when trying to grow as a musician.
    I´m wery newbie in jazz path so this is just my way to trying to figure out what is happening in that awesome music I´ve recently freaked out.

    Thank´s for your help!

    -Petri

  5. #29

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    For Django -- one of my first jazz guitar albums
    Giants -- Oscar Peterson, Joe Pass, Ray Brown
    I Remember Charlie Parker
    Trio -- Oscar Peterson, Pass and Niels-Henning Pedersen


    The book of solos is around here somewhere ... I seem to always be turning to something of his, chord book, solos, recordings .... what a monster of jazz guitar.

  6. #30

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    The Master!

  7. #31

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    Quote Originally Posted by jayx123
    Yeah I was gonna post that too
    can't get the smile off my face ..... ha

    What is Neils on in this clip ???
    I want me some of that , probably blow my mind off tho
    Holy mother of sh1t man !!!!
    Joe's not too shabby (with a pick) either

    what tempo is that 300+ ???
    When did he stop playing with a pick anyway
    When he started with the solo stuff in anger I guess

  8. #32
    How come no one has mentioned Doug Raney? If you want the kind of "hornphrasing" bird did, Doug is the man! Check out his first album; Introducing Doug Raney. Or every other album the album Cuttin' Loose is a killer!! He plays with: horace parlan, nhøp, billy hart and bernt rosengren.. Uuuh, goosebumps just thinking about it

  9. #33

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  10. #34

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    Joe is outstanding in any format IMO. I LCD his early stuff with groups as well as his solo stuff.. All around genius.