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  1. #1

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    Chuck Wayne - Wikipedia

    The Wiki article on Chuck Wayne has a lot of technical info about his systems for chords, scales and arps.

    It is accurate to the extent I can verify it from my lessons with Carl Barry (who studied and worked with Chuck).

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    along with johnny smith and barry galbraith, considered one of the more technical players on the early nyc jazz/radio/session scene

    great player



    cheers

  4. #3

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    one of my most listened to jazz guitar releases of all time...bill de'arango lou mecca and chuck wayne...3 lps combined into cd/digi format..great stuff..always in my listening rotation



    cheers

  5. #4
    Here's my Chuck Wayne story.

    I grew up in Brooklyn near King's Highway, on E17th St.

    I went for guitar lessons at the local music school. My teacher was the owner, Sid Margolis, a big band guitar player in the 40s and the guitarist on the Arthur Godfrey radio program in the 50s. He did the chord melodies, if anybody remembers that.

    A few years later, I studied with one of the young guys who taught there, Carl Barry, who is still around. Another one of the young teachers was Jack Wilkins.

    I think I was 16 when Carl suggested I come to one of his gigs. It was Sunday night in a neighborhood bar in Bensonhurst. There was a tiny elevated stage in back, as I recall it, and Carl was playing in a trio. I believe it was Jack Wilkins on bass, and there was a drummer. First time I ever had a beer in a bar, which they shouldn't have served, but I was there with the band, sort of.

    At some point in the evening, Chuck Wayne came in. I believe that he had just played the Ed Sullivan show that evening and came right to this Brooklyn bar. I remember thinking that he could solo in 4 note chords about as fast as I could play single notes. Sounded incredible.

    As I remember it, the bar was nearly empty the whole time and nobody else was paying any attention to the music.

    A couple of years ago, I went to hear Strings Attached at the Zinc Bar. Jack Wilkins, Joe Cohn, Vic Juris and Mark Whitfield. I think it was David Gibson on drums. I don't know who was on bass. I said hello to Jack and mentioned that long-ago night, 52 years earlier. He mentioned that Carl would be there that night and, sure enough, he was. We had a nice conversation. First time I'd seen him in 52 years. He told a story about how he came to work with Chuck Wayne.

  6. #5

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    Great story. I also studied with Sid Margolis just after he left Brooklyn and moved to Massapequa. I was 16 years old and Sid was recommended to me by Matty Greco - who was a good friend of my parents. Matty owner a catering business in the City - and was a very wealthy guy who owned D’Angelico and D’Aquisto guitars.......and was very well connected.

    The lessons I learned from Sid were invaluable - and I still have every book and hand written lesson he provided.......that was 46 years ago.

    Thanks for sharing your story.

  7. #6

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    I had a late friend George Bowman from North side of Chicago (ZION ILLinois) who knew Chuck personally and his wife. Told me Chuck's wife was a great lady I believe a model in her younger days. He told me Chuck lived and breathed the guitar. He was always playing and took up classical guitar. George also said that Chuck never quite got the fame as some of the New Yorker players but it never mattered he was totally a guitar nut even as he got older. I believe Parkinson's disease finally took its toll on him and he was really taken by not being able to execute like he wanted to on the guitar. After his death my friend keep in touch with his widow.

  8. #7
    Quote Originally Posted by QAman
    Great story. I also studied with Sid Margolis just after he left Brooklyn and moved to Massapequa. I was 16 years old and Sid was recommended to me by Matty Greco - who was a good friend of my parents. Matty owner a catering business in the City - and was a very wealthy guy who owned D’Angelico and D’Aquisto guitars.......and was very well connected.

    The lessons I learned from Sid were invaluable - and I still have every book and hand written lesson he provided.......that was 46 years ago.

    Thanks for sharing your story.
    For posterity, or something, here's a story about Sid.

    His studio was on Kings Highway around E. 19th street, upstairs. It started as Duet Music. Sid had a partner, Buddy Geier, who was a horn player and who later owned Buddy's Music Center (Ave P near Coney Island Avenue) where I taught for several years. Also a store a few subway stops towards Coney Island. I took accordion lessons from Buddy when I was 8.

    At 13, I returned for guitar lessons. I liked to sing and wanted to accompany myself. I guess, in retrospect, Sid just did his usual thing, which I'm now grateful for.

    He started with a Belwin beginner's book. Then Mel Bay 2. Then Colin/Bower Complete Rhythms. Then a clarinet book which iirc correctly had Moto Perpetuo by Paganini. Then Advanced Dance Rhythms. Then Pasquale Bona's book on reading, which I got about halfway through.

    At some point, I got the old 3 songs per page Fake Book, the one based on the old index cards. Sid began by teaching Don't Blame Me. He'd write out the chords and circle the root. By then, I knew the fingerboard so I would move the chords and learn all 12 keys. I can still play that arrangement. Decades later, I played it someplace and a guy came up to me and told me it reminded him of listening to the Arthur Godfrey radio show with his mother. How about that? That was Sid!

    Next was Moonglow. Stars Fell On Alabama, Stompin' At the Savoy, Crazy Rhythm and more. I believe that it all took 26 months. I practiced 2 hours per day, religiously. My father nagged me to go out and play ball.

    At that point, I could read, I knew the chords used by big band guys.

    Sid taught "runs", which were arpeggios on the basic chords. So, I knew those, but I didn't learn much about how to apply them. I think I was limited largely to chord tones and the occasional embellishment, for example, blue notes, which I could always hear. The notion of ear training never came up.

    I had my first gigs, playing rock in the Catskills.

    By then, I was teaching a bunch of kids at Buddy's and a little bit at Sid's.

    I recall Sid mentioning that there was an album he wanted. It was Mellow Guitar by George Van Eps. The players in Sid's era were in awe of Van Eps. I took the subway to Colony Records in midtown (motto: "I found it at Colony"). I recall that I had to tell the counterman the name of the album and he went in the back and found it. Like buying auto parts. Sid appreciated it. I also recall going to a dusty upstairs midtown jazz record store that didn't have it. I think that was a famous place, but I had no awareness of the world it inhabited at that time.

    Sid and I agreed, somehow, that it was time for me to graduate and that's when I started studying with Carl Barry, who was a devotee of Chuck Wayne and taught a system which I believe Chuck developed.

    Sid was a wonderful guy and a great teacher. I remember him very fondly and I use what he taught me every time I pick up the guitar. Even now, most of the calls I get are based on my ability to read standard notation. And, the foundation he gave me allowed me to progress.
    Last edited by rpjazzguitar; 08-21-2020 at 04:27 PM.

  9. #8

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    Great story!

  10. #9

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    great clip of early chuck wayne with george shearing

    on drummer denzil best tune- move



    cheers

  11. #10

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    Anyone been through the three books of Chuck Waynes?

    Originally there was a book he did with Ralph Patt called the "Guitar Arpeggio Dictionary" published by Henry Alder Inc.

    Then with the help of a Student he put together two books "Chords" and "Scales" published by Hal Leonard Corp.

    Chucks exact chord voicing....

    Last edited by oceanslider; 12-01-2021 at 02:02 AM.

  12. #11

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