CHITARRA LAMPO

JAZZ GUITAR

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1068 JAZZ GUITAR STANDARDS. CD TAB.

Euro 19,95

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JAZZ GUITAR STANDARDS. 6 titoli: A Night In Tunisia, Billy Bauer -Falling In Love With Love, Grant Green -I've Got You Under My Skin, Jim Hall -Stompin' At The Savoy, Charlie Christian -Yardbird Suite, Joe Pass -You Brought A New Kind Of Love To Me, Chuck Wayne. CD TAB.

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4943 JAZZ GUITAR GREATS, INGRAM. CD

Euro 20,00

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JAZZ GUITAR GREATS, A. Ingram. CD TAB.

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4786 JAZZ GUITAR HARMONY. CD TABLATURE

Euro 22,00

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JAZZ GUITAR HARMONY. Fischer. CD GUITAR TABLATURE

By Jody Fisher
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

This comprehensive study of harmony is a must for any guitarist interested in jazz. This book explains the essentials of jazz harmony in a friendly, easy-to-understand manner. Learn about chord scales, abbreviated voicings, extended harmonies, altered chords, substitutions and analyzing chord progressions. Other topics include ii-V-I progressions, the dominant cycle, "rhythm changes," clusters, quartal harmonies, working with upper structures and much more. Finally, jazz harmony is demystified in one reliable and easy-to-read book.

FISHER

THE NATIONAL GUITAR WORKSHOP PRESENTS

Jazz Guitar Harmony
take the mystery out of Jazz Harmony

This comprehensive study of harmony is a must for any guitarist interested in jazz. It explains the essentials of jazz harmony in a friendly, easy-to-understand manner. Learn about chord scales,abbreviated voicings, extended harmonies, altered chords, substitutions and analyzing chord progressions. Other topics include ii-V-i progressions, the dominant cycle, "rhythm changes," clusters, quartal harmonies, working with upper structures and much more. Finally,jazz harmony is demystified in one reliable and easy-to-read book.

introduction-
Most jazz harmony books are written primarily for the keyboard player. This is probably as it should be. The rhythm sections in most jazz groups and big bands consist of a drummer, a bassist and a keyboard player. Guitarists are occasionally involved but many times they are not.
Until recently, most jazz guitarists have learned their harmony and theory on the job, or have tried to adapt the techniques found in traditional keyboard-oriented jazz harmony books. This works well only to a point. The guitar's system of harmony is much different than that of a piano. Because of the duplication of identical notes all over the fingerboard and the fact that guitarists have only six strings and four fingers to work with, it becomes obvious that guitar players view jazz harmony from a very different perspective. The broad overview is the same of course, but the "detail work" travels down a very unique road.
In this book, you will find numerous ways to construct the chords and chord progressions found throughout the jazz style. The chapters provide an overview and a progressive way to learn and assimilate this material. Much time is spent on chord systems, or ways to attain the sounds that are associated with jazz. It is important to remember that all of the topics discussed are very deep and further investigation may be in order as you mature as a player.
Good teachers can be found everywhere these days and I urge you to find one. In this book, there is enough information to keep you occupied for a long time-regardless of your level.
Most of the examples are based in the key of C. Be sure to transpose every chord and progression to every key (see explanation on page 92). Use different rhythms and tempos so that you will be ready to execute these concepts in any real-life situation that comes along. The CD that accompanies this book should help you to this end.
Instead of trying to learn everything in each section before going on to the next, I suggest that you learn just a few examples very well. This way you will get a more complete grasp of the overall topic. You can always go back and dive deeper into any concept you like later based on your desire or need.
I hope this book will give you a clear understanding of jazz harmony and help you to accomplish your goals as a serious and artful guitarist.

Tablature
Tablature is a system of notation that graphically represents the strings and frets of the guitar fingerboard. Each note is indicated by placing a number, which shows the fret to play, on the appropriate string.
1st string, 10th fret
2nd string, 10th fret
Played together

4th string, 5th fret
An open G chord

table of contents·
About the Author .
Introduction .
Tablature .

Chapter I: Introducing Triads .
Triad Formulas and Inversions .

Chapter 2: Triads on the Guitar .
Triads on Adjacent Strings .
Triads on Non -Adjacent Stri ngs .

Chapter 3: Triad Chord Scales .

Chapter 4: Four-Note Chords .
6th Chords .
A Word About Com ping .
7th C hords .

Chapter 5: Expanding Your 7 Chord Vocabulary .
Inversion/ Stri ng Set System .
Drop Voicings .
7th Chords in Drop 2 and Drop 3 Voicings .

Chapter 6: lead Sheets, Abbreviated Voicings & Diatonic Harmony .
Lead Sheets .
Jazz N'Java .
Abbreviated Voici ngs .
Jazz N'Java Abbreviated .
Worki ng With Diads .
Jazz N'Java Diads .
D iaton ic Harmony .
Diatonic Harmony In Minor Keys .

Chapter 7: The ii-V7-I and Analyzing Chord Progressions .
Th e ii-V7 - IProgress ion .
Voice Lead ing .
Voice Leading with Abbreviated Voicings .
Analyzing Chord Progress ion s .
Jazz N'Java Analysis .

Chapter 8: Adding Extensions to Chords .
9th Chords .
11th Chords .
13th Chords .
Add 9 and Sus Chords .
ii-V7 -IChord Vocabu lary Exercise .
Jazz N' Java A .
Jazz N' Java B .
Jazz N' Java C '

Chapter 9: Altered Chords .
Altered Domi nant Chords .
Altered Major and Minor Chords .
More About Altered Chords .
jazz N'java (Altered # I) .
jazz N'java (Altered #2) .
jazz N'java (Altered #3) .
Building Altered Sounds from Tritones .
Symmetrical Chord Movement .

Chapter 10: Other Important Concepts .
Turnarounds .
The Dominant Cycle .
Backcycling .
Diminished Passing Chords .
Tritone (5b) Substitution .
Half-Step Dominant Approach Chords .
Blues Progressions .
Rhythm Changes .
Clusters .
Quartal Harmony (and Inversions) .
Deali ng with Slash Chords .
Working with Upper Structures .

Chapter 11: Reharmonization .
Symmetrical Bass Line Approach .
jazz N'java with Symmetrical Bass Line .
jazz N'java with Reharmonization .
Scale-Wise Bass Lines .
jazz N'java on the F Major Scale .
Random Chords .
Random jazz N'java .
Pedal Poi nt .
jazz N'java with Pedal Point .
Coltrane Changes .
Coltrane Changes .
jazz N' Coltrane java .

Appendix: Transposing .
Individual Chords .
Chord Progressions .

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3427 JAZZ GUITAR LINES. Lucky Elden. CD

Euro 27,00

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JAZZ GUITAR LINES. Lucky Elden. CD

SERIES: Contemporary Guitar Series
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

This book gets straight to the point -- learn jazz by playing jazz, not scales and arpeggios. Contains over 40 lines, licks and phrases. You will learn how to build your own lines, connect lines to create phrases, and use them over chord changes. Written in standard notation and tab.

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3048 JAZZ GUITAR SOLOS. STUDY OF GREAT HORN SOLOS ARRANGED FOR GUITAR. CD TAB.

Euro 19,95

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JAZZ GUITAR SOLOS, a study of great horn solos arranged for guitar. G. Ports e F. Sibley. Blues is cool -walk through the blues -Pamela -flowers -the hood -technology -motion -gettin' up there -Cindy -fingers -Happiness. La tromba di Clifford Brown, Miles Davis, Dizzy Gillespie, e il sax di Coleman Hawkins, Charlie Parker e Lester Willis, trascritti per chitarra. Anche a velocità rallentata. CD TAB.

A Study of Great Horn Solos Arranged for Guitar
Series: Guitar
Publisher: Centerstream Publications
Softcover with CD - TAB
Author: Frank Sibley
Author: George Ports

Jazz horn players are some of the best improvisors ever. Now guitarists can learn their tricks! This book features 12 solos (progressing in difficulty) from jazz saxophonists and trumpeters transcribed in easy-to-read guitar tab. The CD features each solo played twice, at slow and regular tempo. 80 pages.

Molti chitarristi si sono avvicinati al jazz studiando gli assoli di grandi sassofonisti/trombettisti nota per nota. Questo libro ne propone 12 eseguiti da 3 trombettisti e 3 saxofonisti: CLIFFORD BROWN, MILES DAVIS, DIZZY GILLESPIE, COLMAN HAWKINS, CHARLIE PARKER, LESTER WILLIS
trascritti e diteggiati per chitarra con improvvisazioni sulle sequenze armoniche più ricorrenti nello stile bebop, con fraseggi da antologia. Ogni assolo è eseguito a 2 velocità ed è preceduto da un commento.

BLUES IS COOL
CINDY
FINGERS
FLOWERS
GETTIN' UP THERE
HAPPINESS
HOOD, THE
MOTION
PAMELA (VERSION 1)
PAMELA (VERSION 2)
TECHNOLOGY
WALK THROUGH THE BLUES

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4542 JAZZ GUITARE. CD TAB.

Euro 29,00

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JAZZ GUITARE. Basi di classici del jazz con preascolto. CD TAB.

Les caractéristiques de la guitare sont telles qu'il existe un nombre quasi-illimité de possibilités (positions, doigtés, techniques de liaison) pour jouer une même phrase mélodique. Cet ouvrage a donc pour but de donner quelques exemples de phrases et d'arrangements des Standards du Jazz issus de répertoire Swing et Be-Bop à l'aide d'un CD d'accompagnement. Vous trouverez dans cette méthode deux types de thèmes et d'arrangements:
Les thèmes Be-Bop: Ils sont arrangés pour deux guitares, une basse et une batterie.
Les thèmes Swing: Ils sont arrangés pour guitare, basse et batterie. La guitare joue les accords et la mélodie simultanément.

The guitar idioms give an endless comnbination of fingerings, neck positions and legato techniques to play one single musical line. The purpose of this book is to provide examples of phrasing and arranging of swing and be-bop standards. You will find two types of tunes
Be-Bop tunes: These tunes are arranged for two guitars, a bass and drums.
Swing tunes: These are arranged for guitar, bass and drums. The theme and chords are played by one guitar only.

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4788 JAZZ LEAD GUITAR SOLOS. CD

Euro 16,00

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JAZZ LEAD GUITAR SOLOS. CD TAB.

By Chris Buono
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

You know your scales, understand how to play over a chord progression, and learned enough music theory to fill an encyclopedia, but you still aren't satisfied with your solos. This book teaches jazz guitarists how to apply their knowledge of scales, chord progressions, and music theory towards creating great guitar solos. Eight full-length solos in a variety of styles are studied in detail, including analysis of chord progressions and the material used to improvise over them, techniques, and structural characteristics. Styles range from classic standards and Gypsy jazz to Latin, modal and smooth jazz. All eight solos are performed on the accompanying CD.

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4787 JAZZ LICKS ENCYCLOPEDIA. CD

Euro 19,00

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JAZZ LICKS ENCYCLOPEDIA. 280 frasi. CD TAB.

By Jody Fisher
ITEM: 00-19420
UPC: 038081184524
ISBN 10: 0739011189
ISBN 13: 9780739011188
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Nearly 300 useful jazz guitar licks organized by chord type. Examples are shown in easy-to-read TAB and standard music notation. Four voicings are given for each chord type along with easy-to-read chord diagrams. Licks for common progressions such as ii-V-I are shown. Includes sections on Important Scales for Improvisation, Articulation, "Feel" and other important topics.

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4790 JAZZ SKILLS: FILLING THE GAPS FOR SERIOUS GUITARIST. CD

Euro 20,00

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JAZZ SKILLS: FILLING THE GAPS FOR SERIOUS GUITARIST. CD TAB.

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4728 JAZZIZ CHRONICLES GUITAR (Book/CD)

Euro 21,99

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JAZZIZ CHRONICLES GUITAR. Interviste a: George Benson, Les Paul, Herb Ellis, Larry Coryell, Sonny Sharrock, Al Di Meola, Bill Frisell, Pat Martino, John Scofield, Jim Hall, Pat Metheny, Wes Montgomery, Lee Ritenour, Kenny Burrell, Joe Pass and a host of others. Discover the history of the jazz guitar and enjoy JAZZIZ's top picks from its second talent search on the companion CD - Brian Hughes, Michael Gulezian, Rick Zunigar, Randy Bernsen, James Vincent, Dave Lowrey, George Simon, John Paul, Dave Onderdonk, Dave Occipinti, Bill Mize and Christopher Cortez. Includes great photos throughout. Non contiene pagine di musica. CD

A COLLECTION OF INTERVIEWS & FEATURES FROM THE AWARD-WINNING MAGAZINE

Foreword
What isJazz?
One day, not so long ago, I was flying from Florida to New York, listening to my Walkman. A gentleman sitting next to me on the plane asked what I was listening to. "Jazz," I replied. "I hate jazz," he said. A while later, I offered him my headphones, which he willingly donned. He listened for a moment. "Oh, but I like this," he said, loud enough to hear himself over the music.
Jazz means different things to different people. 20years ago, I came up with the concept and the name for my magazine - JAZZIZ- in response to this realization. I thought it would be worthwhile to eliminate some of the forbidding barriers that seem to surround jazz and that keep people from entering the inner sanctums of the jazz world. I recognized that the first problem most people have with jazz is figuring out exactly what it is. And that's forbidding. Most people want everything in their lives to be firmly and reliably defined, including their music. People are uncomfortable entering a world without apparent solidity, a world, that is, where nothing is clearly defined. Well,that's jazz: an ever-changing world that always manages to elude the best efforts to contain and define it. After publishing JAZZIZfor20 years, convincing people to overcome their fear of an uncertain and unpredictable music remains a difficult barrier to overcome. Still, I'm certain there's a huge potential audience for jazz out there. The bulk of that audience, I contend, harbors a less-than-satisfactory idea of what this art form is all about. The rich heritage of jazz begins with the musicians who forged a new musical language from fragments of old and disparate forms. Where the story of jazz ends is anybody's guess, as new young artists continue to emerge, invigorating and extending the music's vital legacy. For20 years, we've featured, interviewed, reviewed, profiled, and celebrated jazz artists, from the most popular to the most undeservedly obscure. Our JAZZIZ Chronicles book series - produced in conjunction with the fine folks at Cherry Lane - takes some of our best pieces, categorized by instrument, and presents them in single compilations. Essentially, these books chronicle our own contributions to the history of jazz, which basically amount to offering our insights into the talent behind the real contributors. Jazz is rich because it has so many great stories to tell. At JAZZIZ, we've always kept a sharp eye on the current scene. But we've also been mindful of the music's vivid past, as well as its promising future. The CDthat accompanies this book underscores the latter point. Over the years, we've conducted talent searches that were judged by some of the brightest names in jazz. With the CD,we present the winners to you. Think of them as a glimpse of the future history of jazz. We hope you enjoy. Michael Fagien Publisher and Editor-in-Chief JAZZIZ Magazine

RITENOUR
seven and was a precocious, young player with an ear for jazz, classical, and pop music. He studied feverishly, taking lessons from such jazz heroes as Joe Pass, Howard Roberts, Barnie KesselI, and Kenny BurrelI. But the teacher to whom he credits his first burst of inspiration was the late Duke Miller, head of the guitar department at USC. A studious sort, Ritenour pursued guitar at USC partly because the great classical guitarist Christopher Parkening was there as a teacher. He had already taken private lessons from the American virtuoso when Parkening lived in the ValIey,in Studio City - not far from the Baked Potato. "I remember going over for lessons sometimes and Pepé Romero, from the Romeros [legendary family of classical virtuosi], would show up and Àngel [Romero] would show up in his pink Cadillac. There was anice, serious amount of musicians - heavy guitar players – floating around in those days. I got very serious about the classical guitar, but I was no Christopher Parkening. My weight was still toward the electric guitar." In fact, Ritenour's interest in classical guitar was eclipsed by his growing passion for jazz and, specificalIy, the inspiration he felt in hearing – and copping licks from - Wes Montgomery. Still, it was more than just technique that a young Ritenour admired. "Ofthe guitar players, Wes was the first one who crossed over into more of a pop area in a contemporary field," he points out. "He had that sound that permeated things and is still as viable today as it was in 1960." Long before Ritenour did, Montgomery took criticism for his pop ventures. Says Rit, "Alot of the records of his that Creed Taylor produced were highly arranged and showed some terrific arranging and guitar playing. But they were recording simple pop songs, and a lot of them had almost syrupy arrangements. He definitely got a lot of flak. Unfortunately, he got so much flak for doing those commerciai records that people began to miss that he was, indeed, the greatest jazz guitarist of the 20th century. He just had that magic. My father took me to hear Wes at the Lighthouse in Redondo Beach when I was 16,and I was sitting about 10 feet away. l'Il never forget it." Ritenour also remembers being wowed by early exposure to the Mahavishnu Orchestra, who he saw at the Roxy as a big-eared teenager. By the time Ritenour kicked off his own career as a leader, settling into the Baked Potato and turning out albums, he was locked into the funk-intlected groove going around town. But his interpretation was lent clarity by his own welI-developed sound and was fortified with trace elements of the edgier stuff he heard in Mahavishnu. They called him Captain Fingers, the title of his second album. It's easy to forget, now, how marginai this more pop-oriented, L.A.branch of jazz-rock was in the 1970Smarketplace, before NACradio was a gleam in anyone's eye. Ritenour recalIs, "When I handed in my first record to Epic in 1976, I remember I gave it to the A&Rwoman and she said 'What is this? What is this called and what are we going to do with it?'" He laughs. "She just wanted to give it back. I knew I was in trouble right then. There was no radio, and there was no support from the record companies. "That's why Dave Grusin and Larry Rosen started GRPrecords. They were completely frustrated that there was no sounding board, no outlet for this kind of sound. There was no doubt that the Crusaders, with Larry Carlton and Joe Sample, were the cutting edge of this sound. Tom Scott was in there, and certainly Lee Ritenour and Dave Grusin. Dave had a big influence on a lot of people," Ritenour says, "more so than most people know because he's always been such a subtle creator. I realIy have to cite Dave as the biggest influence for my producer and arranger chops." You can hear that influence in Ritenour's streamlined productions. A second wave of marketable energy entered Ritenour's story in 1991. He teamed up with Bob ...

AL DI MEOLA
"My connection with Astor was due to the fact that we were both Italian and we'd had extremely similar experiences. Napoli, where mine and Astor's families hail trom, is the artisti c center of Italy. AlI the great painters and musicians and singers are fram there. The arts still thrive there to this day. Piazzolla said the origins of tango are in Napoli. The sound of the accordion is very much a symbol of that region. You feel in the sentimentality of his music and even the melancholy atmosphere it creates that this comes fram a person of the motherland." Di Meola's own upbringing also fed into his development. Bom and raised in Bergenfield, New Jersey, a teenaged Albert Di Meola would often cut classes to make the train in time for the first set at a popular Manhattan salsa club. Drawn to the rhythmic tension of the clave, he was soon inspired to play the drums. The guitar of Larry CoryelI was an even greater fascination, and Di Meola quickly progressed through lessons with local guitar teacher Bob Aswanian. Enrolling at Berklee, Di Meola shared a three-room apartment where he spent alI his time practicing ("I got the closet to practice in; I smelled like mothbalIs for two years"). A tape of a drug-warped gig reached Chick Corea, and a 19-year-old Di Meola was soon the guitar star of a quartet perched on the cutting edge of jazz. "I carne onto the scene so young. I had a lot of developing to do quite fast to be in that kind of company," says Di Meola. "I had to leam to stay afloat. If you want to get better as a musician, surround yourself with guys who will kick your butto That band was like the dream band of alI time for a guitarist. Nothing carne close." Di Meola telIs an unusual tale of how he gamered that fateful position with Return to Forever. "I didn't replace Bill Connors. I replaced Earl Klugh, who was the replacement for Bill Connors. I went to an early show expecting to see Bill Connors and out comes this guy wearing a little golf cap with a little beany on top, and he had on this Playboy bunny tee-shirt. What is this? It was definitely out of context. I knew that was my chance. "A friend of mine gave Chick a tape of me playing on New Year's Eve with Barry Miles at some club called Richard's Lounge in New Jersey. l've never been into drugs, but that night I did a hit of mescaline, and that put me on a different planet. That tape got me the job with Chick." Along with Piazzolla and Corea ("Theme of the Mothership" gets the Grange and Blue treatment), Di Meola cites Brazilian artists like Milton Nascimento, Caetano Veloso, and Egberto Gismonti as influences on his current work. "Less and less it's guitarists that influence me," he says, "more musicians like Astor and Milton Nascimento. I had met Milton in Brazil in 1974.I had absorbed a lot of that music long before a lot of people had ever heard of him." Di Meola wrote a 1992Musician article entitled "Why Has Music Become WalIpaper?" In other publications, he has scorned, name by name, the major label producers who tumed a deaf ear to his soonto- be-successful Kiss My Axe album. An artist with less girth could have become a footnote by now, but Di Meola has not only prospered against the odds, he's triumphed, as Grange and Blue clearly shows. And Di Meola still envisions a national radio culture where music is foremost - not false demographics or advertising dollars. Di Meola believes in the mixed bag. "With radio in the 199°5, there shouldn't be any problem with having a format where Hendrix follows Joshua Redman. Then Sting and Peter Gabriel and Joni MitchelI, even k.d. lang and Kenny G can work. I can't believe there isn't a huge listening audience for a format with real music. It doesn't have to be a nostalgie blast; it's music that works."

FRISELL
Frisell decided to try something entirely different. He gathered together three acoustic players – a trumpeter, Ron Miles; a trombonist, Curtis Fowlkes; and a violinist, Eyvind Kang - and no rhythm section at all. "I didn't want to just get another drummer, and then always be thinking, 'Oh, Iwonder what Joey would be doing.' So the quartet was kind of perfect. 'I just won't have any bass or drums.''' Since all three of the other players were essentially lead voices, Frisell was constrained to build the role of "rhythm section" into the arrangements or act as bass-and-drums himself. This may sound terribly limiting, but the best art often arises in response to odd or severe limitations; Frisell's new quartet ended up making the music he had been refining openly since 1993'sHave a Little Faith better, perhaps, than any previous configuration. The 1996 album Quartet, with its fresh vision and odd make-up, may well be the best solo record he's made. Another project that presented itself around this time was the brainchild of Frisell's record company, Nonesuch. One imagines most players walk in dread of the moment when the suits say, "Hey, listen, we've got a great idea ..." It's usually a money thing - at best, a mixed blessing; more often, painfully obvious or obviously wrong. Here's the germ of the idea: People keep saying that Frisell has this traditional American-music thing going, that he has this country sound coming through. Why not take that idea head on, surround him with a bunch of great bluegrass players and see what kind of music comes out of the cross-pollination? Frisell liked the idea immediately, and the universe (through his label and network of musician friends) conspired to make it happen. So a month after recording Quartet, a time when he could have been enjoying a well-deserved break, he was back in the studio with vocalist Robin Holcomb, doing the preliminary recordings for this other album (eventually to be called Nashville). They recorded a number of tunes, and three of them - Neil Young's "One of These Days," Hazel Dickens' odd gospel gem "Will Jesus Wash the Bloodstains From YourHands?," and Skeeter Davis' "End of the World" - made it onto the final, mostly instrumental, recording. It was another year before Frisell could get all the other musicians together, but the result is something lovely and rare. It's not so much Bill Frisell doing country or bluegrass as it is bluegrass springing up in a space cleared by Frisell the composer, then tended by Frisell the guitarist. Frisell's Nashville is no place in particular, certainly not the center of commercial country music. Rather, the recording comes across as a postcard from some wistful utopia, the perfect home you never had but long for nonetheless. The pace and ambiance ofNashville is very comfortable. It sounds not pat, by any means, but like it had a good chance to ripen before the mics and recorders were turned on. The narrative of its development, you might think, could be this: Frisell takes some time to let the idea percolate, gradually writes some tunes for the personnel he has selected or imagines, picks the best, lets the others settle out, structures some fairly detailed arrangements, then pulls everybody together for rehearsals; finally, the whole crew rolls into the studio, and they perform their most gorgeous versions of the music they are already well familiar with. That scenario could hardly be further from the truth. In fact, Nashville was yet another of Frisell's launches into the unknown, another instance in which he set himself in the arms of Music (and great musicians) and trusted in his instincts and abilities to pull disparate voices together into something coherent and compelling. "The second thing someone will say about my playing is that there's this country influence," says Frisell, "but I never really played the real thing. ...

Table of
Contents
BADI ASSAD - The Girl from Ipanema She's Not
By Mark Holston

KENNY BURRELL - Soaring with the Mystics
By Steve Matteo

CRAIG CHAQUICO - The Four Corners Converge
By Jonathan Widran

LARRY CORYELL - Call and Response -
An Interview with Larry Coryell
By Lucy Tauss

STEVE KHAN - Catching a Wave
By Mike Bieber

PAT METHENY - In Search of Pat Metheny
By Josef Woodard

MARC RIBOT - Swimming Upstream to Cuba 22
By Josef Woodard

LEE RITENOUR - Captain Fingers ...
and the Fully Baked Potato 24
By Josef Woodard

JOHN SCOFIELD - Defender of the Groove 29
By Tom Moon

JOE MORRIS - Melodic Morris Code 34
By Sam Prestianni

PAT MARTINO - Real Time 37
By Josef Woodard

BILL FRISELL - On the Road to Bill Frisell 42
By William Stephenson

WILLIE NELSON - You Were Always on My Mind 47
By Bill Milkowski

JIM HALL - Why They All Want to Play
with Jim Hall.

HARRIET TUBMAN - Josef Woodard
Harriet Tubman: A Kinder, Gentler Skronk
By Josef Woodard

RONNY JORDAN - Ronny Jordan: Not an Acid Trip 57
By Jonathan Wid ran

JOE PASS - Joe Pass - The Logical Extension
of the Bop-Oriented Masters 59
By Scott Yanow

HERB ELLIS - Don't Take Herb Ellis for Granted 62
By Scott Yanow

AL DI MEOLA - After the Tango 65
By Ken Micallef

STEV TIBBETTS - Seductive and Inscrutable .
By Josef Woodard

The Critics Pick the First
String Guitarists .
By JAZZIZ critics

Anatomy of the Guitar & Bass .
By Scott Yanow

SONNY SHARROCK - Sonny Sharrock - Gone Too Soon .
By Hank Bordowitz

JEAN-PAUL BOURELLY - A Blues Grit Crossbred with
Hip hop and Hard bop .
By Josef Woodard

WES MONTGOMERY - Ritenour's Wes Bound for New Ears .
By Mark Holston

Historic Guitars .
By Hank Bordowitz

MIKE STERN - Mike Stern's Class Reunion .
By Josef Woodard

JEFF GOLUP - Bell-Bottom Blues .
By Jonathan Wid ran

MARC ANTOINE - Running Deep, Stretching for Miles .
By Jonathan Widran

WAYNE KRANTZ - Fed Up and Hungry
By Josef Woodard

GEORGE BENSON - The Original “G" Hits the Spot Again .
By David Okamoto

LES PAUL - Ingenious - Les Paul, Unpatented .
By Hank Bordowitz

Expanding the Universe
A Jazz Guitar Spectrum - Part 1... .
By Josef Woodard

Expanding the Universe
A Jazz Guitar Spectrum - Part II .
By Josef Woodard

35 Burnin' Up:
BRIAN HUGHES
MICHAEL GULEZIAN
RICK ZUNIGAR
RANDY BERNSEN (che ogni anno viene a suonare a Rimini)
JAMES VINCENT
DAVID LOWREY
GEORGE SIMON
JOHN PAUL
DAVE ONDERDONK
BILL MIZE
CHRISTOFER CORTEZ

JAZZIZ Presents Guitars on Fire .
By R.Dante Sawyer and Eric W. Moya

CD Jewel Case Art .
Readers Poll: The Public's
Favorite Jazz Guitarists .
Compiled by Albert W. Starkweather, Jr.
Find Your Favorite Players.

CD
1. Brian Hughes - Casa Magica
2. Michael Gulezian - Slugbug
3. Rick Zunigar - Rhum Boogie
4. Randy Bernsen - Hope
5. James Vincent - Peaks
6. Dave Lowrey - Bass Face
7. George Simon - Watching Angels
8. John Paul - Heads Up
9. Dave Onderdonk - Eight Is Enough
10. David OcchiNIpinti - David Leaves
11. Mill Mize - Miasma
12. Christopher Cortez - Different Samples
Produced by Michael Fagien
Special thanks to Lee Ritenour, John Patitucci, and Jim Hall
Exclusive CD available only with this book, JAZZIZ
Chronicles: The Guitarists JAZZIZMagazine

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