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SPARTITI JAZZ

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5550 METHENY PAT, TRIO 99-00. TABLATURE

Euro 21,00

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METHENY PAT, TRIO 99-00. TABLATURE

Series: Guitar Recorded Version

Capricorn
Giant Steps
(Go) Get It
Just Like The Day
Lone Jack
A Lot Of Livin' To Do
Soul Cowboy
The Sun In Montreal
Travels
We Had A Sister
What Do You Want?

All 11 tracks from the 2000 release by Metheny, playing in a trio with bassist Larry Grenadier and drummer Bill Stewart. 144 pages

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4463 METHENY PAT, BRIGHT SIZE LIFE. TABLATURE

Euro 20,00

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METHENY PAT, BRIGHT SIZE LIFE. TABLATURE

Note-for-note guitar transcriptions (carefully reviewed and approved by Metheny himself!) for all 8 songs from his highly acclaimed 1975 studio debut - which also features one of the earliest recordings of bass legend Jaco Pastorius. Contains jazz-style handwritten notation and tablature, a full-page photo of Metheny, and a Guitar Notation Legend. 214 Pages.

Bright Size Life
Midwestern Nights Dream
Missouri Uncompromised
Omaha Celebration
Round Trip/Broadway Blues
Sirabhorn
Uniquity Road
Unity Village

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4449 METHENY PAT, QUESTION AND ANSWER. TABLATURE

Euro 21,00

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METHENY PAT, QUESTION AND ANSWER. TABLATURE

Series: Guitar Recorded Version TABLATURE
Note-for-note transcriptions with tab, in a handwritten jazz-style font and supervised by Metheny himself. Includes all the songs from this 1989 album that the All Music Guide describes as "nine tracks of sheer jazz joy," calling Pat's playing "modernistic, highly fluid, almost liquid lightning." 144 pages

Songlist:

All The Things You Are
Change Of Heart
H & H
Law Years
Never Too Far Away
Old Folks
Question & Answer
Solar
Three Flights Up

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5123 METHENY PAT, REJOICING. TABLATURE

Euro 21,00

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METHENY PAT, REJOICING. Blues For Pat -Humpty Dumpty -Lonely Woman -Rejoicing -Story From A Stranger -Tears Inside -The Calling -Waiting For An Answer. TABLATURE

Matching folio to the 1983 recording which The All Music Guide calls "an excellent set of memorable and unpredictable music." 72 pages.

Blues For Pat
Humpty Dumpty
Lonely Woman
Rejoicing
Story From A Stranger
Tears Inside
The Calling
Waiting For An Answer

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5168 METHENY PAT, ONE QUIET NIGHT. TABLATURE

Euro 21,00

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METHENY PAT, ONE QUIET NIGHT. TABLATURE

Series: Guitar Recorded Version
All 12 songs from the 2003 acoustic guitar recording by Metheny: Another Chance -Don't Know Why -Ferry 'Cross The Mersey -I Will Find The Way -Last Train Home -My Song -North To South, East To West -One Quiet Night -Over On 4th Street -Peace Memory -Song For The Boys -Time Goes On. 88 pages.

Another Chance
Don't Know Why
Ferry 'Cross The Mersey
I Will Find The Way
Last Train Home
My Song
North To South, East To West
One Quiet Night
Over On 4th Street
Peace Memory
Song For The Boys
Time Goes On

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0415 METHENY PAT, GUITARIST. TABLATURE

Euro 109,99

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METHENY PAT, GUITARIST. Bright size life -american garage -80/81 -James -phase dance (live) -the first circle -minuano (six eight) -have you heard -question and answer -here to stay -stranger in town. TABLATURE

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3140 MONTGOMERY WES, THE BEST. CD TABLATURE

Euro 31,99

Quantità

MONTGOMERY WES, THE BEST. Performance notes, equipment, le tecnica del pollice, biografia. Invece di suonare con il plettro, opta suonare con il polpastrello del pollice. Questa tecnica non ortodossa, affascina i chitarristi di oggi e stupisce per l'efficacia del suono caldo delle single-note. Missile blues -yesterdays -west coast blues -cariba -I¹ve grown accustomed to her face -bésame mucho (Kiss me much) -fried pies -mi cosa -four on six -misty -sundown -O.G.D. CD TABLATURE

Guitar
Series: Signature Licks Guitar
Softcover with CD - TAB
Artist: Wes Montgomery
Author: Wolf Marshall

Explore the music of one of the greatest jazz guitarists of all time! This in-depth book/CD pack will guide you through 12 of the best-known tracks from the legendary Wes Montgomery, Features a foreword and introduction by Wolf Marshall, a discography and more.

Inventory # HAL LEONARD 00695387
ISBN: 0634009028
UPC: 73999953879
Width: 9
Length: 12
104 pages

Besame Mucho (Kiss Me Much)
Cariba
Four On Six
Fried Pies
I've Grown Accustomed To Her Face
Mi Cosa
Missile Blues
Misty
O.G.D.
Sundown
West Coast Blues
Yesterdays

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3543 MONTGOMERY WES, BEST. TABLATURE

Euro 98,00

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MONTGOMERY WES, BEST. TABLATURE

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3574 MONTGOMERY WES, FOR GUITAR TABLATURE

Euro 29,99

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MONTGOMERY WES, FOR GUITAR TABLATURE

Eleven great songs in easy-to-read guitar tablature and standard notation. 96 pages.

introduction
by andy jones
John L. 'Wes' Montgomery was born in Indianapolis, Indiana, on 6 March 1923. He started playing the guitar at the age of 19, moving quickly from a four-string guitar to the six-string model. His first influence was the great Charlie Christian.
Wes immediately set about transcribing Christian's recorded solos. One of his first gigs had him reproducing Christian's solos note for note. He wouldn't play anything else!
Wes lapped up information from colleagues and was soon working in his own right. By 1948 he was playing with Lionel Hampton's big band, but, ever the family man, he still operated around Indianapolis.
In 1959 the great alto saxophonist Julian 'Cannonball' Adderley heard Wes one night and immediately decided to introduce him to a wider public.
On Cannonball's recommendation Wes secured a deal with Riverside, beginning an extremely fruitful collaboration which was to revolutionise jazz guitar. Later on he also recorded some fantastic music for the jazz label Verve. Wes was to encounter some criticism over some later recordings with orchestra which focused on lighter pop tunes, but even on these dates there's always something worth checking out. Wes died on 15 June 1968 after a heart attack.
Wes played with his right-hand thumb. He had amazing facility and could play things that few guitarists could come close to even with a plectrum. Wes plays fast eighth-note passages so strongly that he must have used both up and down strokes with his thumb. He also popularised the use of octaves in melodic playing - with fantastic command, as ever. One of the marks of a great player is that he can make very difficult passages sound effortless. Wes always had a strong sound on the instrument where many players lose a considerable amount of tone at fast tempos.
In rhythmic innovation Wes was right up to the minute. He was probably the first guitar player to really absorb the intricacies of rhythm cooked up by the more adventurous modern jazz drummers. He has the ability to really nail a heavy jazz eighth-note feel but he also plays rhythms which use odd groupings of beats, and he could even play all over the underlying pulse. Few guitar players have ever had this hip kind of feel. It's no surprise that John Coltrane asked Wes to be in his great band with Elvin Jones (Wes said no, thinking he wasn't up to the job).
Wes was a true improviser. You can hear this quite clearly by listening to out-takes from his records
(many of the CD reissues of his albums come with out-takes as bonus tracks). His lines encompass
bebop, blues and a free-wheeling approach to melodic improvising. He also had an extremely advanced sense of chord movement, often introducing sly chord substitutions into his treatments of standard tunes. His own tunes are full of hip jazz harmony. Check out 'Twisted Blues' from 'So Much Guitar'.
Regarded as one of the finest jazz musicians on any instrument, Wes is still studied by all serious
aspiring jazz guitarists.

Airegin
Besame Mucho
Blue'n'boogie
Dearly Beloved
Ecaroh
Golden Earrings
In Your Own Sweet Way
Satin Doll
The Way You Look Tonight
Whisper Not
Yesterdays

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2534 MONTGOMERY WES, THE EARLY YEARS. WITH CD TABLATURE

Euro 29,99

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MONTGOMERY WES, THE EARLY YEARS. CD TABLATURE

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.

Wes Montgomery
Born in Indianapolis, Indiana March 6, 1925
Died June 15, 1968
Wes Montgomery was a guitarist who developed an incredibly personal style.
He was influenced greatly in his early years by the driving single line jazz guitar solos of Charlie Christian. Later, tenor saxophonist John Coltrane had tremendous influence
on him. Wes Montgomery possessed a great ear and got one of his first" gigs" playing Charlie Christian solos by ear with a jazz combo. It was later said that his ear was good
enough to allow him to remember and embellish any piece, no matter how intricate, after hearing it only once.
Wes Montgomery's style was so unique it can still be recognized by listening to only a measure or two of one of his solos. Tobegin with, he played with his right hand
thumb. The story goes that he developed this technique trying to practice softly so as not to disturb his neighbors. His thumb technique was unbelievably adept, amazing in
the words of some observers. This thumb technique gave his playing a warm, gentle timbre. Thus, when listening to Wes, you would hear wonderfully bluesy, "be-bop"
phrases laid out in a warm, lyrically intimate manner.
Perhaps the most identifiable aspect of his style, however, was his "funky", virtuosic use of octaves. Many great jazz guitarists have since emulated this stylistic technique but it was pioneered by Wes Montgomery. He proved that rapid and extended solos in octaves could be executed technically and musically. While many others have copied this technique, few seem to obtain Wes' warm, earthy, tone.
Wes' career took a big jump when famed alto saxophonist ,Cannonball Adderly heard him at an after-hours jazz club in Indianapolis called the Missile Room. A phone call from Adderly set things in motion and not long after, Wes was signed to a record contract with Riverside. He later recorded on the Verve and A & M labels. His was the dominant voice in jazz guitar in the 1960s. His plaudits included winning the Downbeat,
Billboard and Playboy jazz guitar polls. He was awarded a Grammy for his solo rendition of the song, "Gain' Out Of My Head." Time and Newsweek ran stories on him.
He played with many if not most of the great jazz sidemen of his era.
We are honored to present this collection of some of Wes Montgomery's early recorded solos from the Riverside collection. We highly recommend the companion
cassette. Also available is an additional printed collection of some of his finest recorded solos titled Wes Montgomery/Jazz Guitar Artistry.

Notes From the Transcriber
This collection of transcribed performances is a sampling from the early recorded work of Wes Montgomery on the Riverside label. Wes signed on with Riverside in the autumn of 1959and remained with the label through 1963.
These transcriptions capture Wes in contrasting settings and roles; as sideman, leader and with various group configurations. As a sideman, Wes improvised concisely, offering exactly suitable, to-the-point solos. On his own recordings, he was more expansive, developing his solos over a number of choruses with utmost craft.
The artistry exhibited by Wes was ultimately to lead to the redefinition of jazz guitar. His influence has, and continues to reach the oncoming generations of guitarists within, and outside the jazz world. Being on the faculty of Berklee College of Music for
several years, I have seen first hand how the music of Wes Montgomery continues to inspire guitarists in pursuit of excellence. Even those not versed in jazz get excited about Wes' playing because it simply feels so good.
When working with these transcriptions, keep the recordings close at hand and refer to them continually. What can be communicated on the printed page is limited,
but your listening to the recordings will help to make the written notes come to life.
A word about the tablature fingerings. When deciding fingerings I considered
the following factors:
1. Playability - Where does the particular phrase lie well on the fingerboard?
2. Harmonic relation - What chord shape or shapes does this phrase imply?
3. Timbre - Does the timbre clearly indicate which string a note was played on?
I have not presumed, nor do I intend to imply, where every note was originally played by these fingerings. My intention is to provide fingerings that work well with this music. Due to the nature of the guitar, I also recommend practicing phrases in at least one other area of the fingerboard.

Here is a brief summary of the transcribed music.
Wes Montgomery - guitar
All tracks
Scrambled Eggs
Nat Adderly - cornet (leader)
Sam Jones - bass
Bobby Timmons - piano
Louis Hayes - drums
recorded January 27, 1960

Scrambled Eggs is from Nat Adderley's highly successful Work
Song album. The Bobby Timmons composition is a bass feature for Sam Jones who solos during the head breaks. 1have included these bass breaks in the transcription as a matter of interest. For the Scrambled Eggs melody, Wes plays octave unison with the cornet.
Taking the last solo for one chorus, Wes appears to be drawing from the melody by using a great deal of chromaticism in his solo lines.
This technique, that is associated with the bebop jazz style, is characterized by the resolution of single or double chromatics to chord tones from above and/ or below.
Compulsion
Joe Gordon - trumpet
Harold Land - tenor sax (leader)
Barry Harris - piano
Sam Jones - bass
Louis Hayes - drums
recorded May 17, 1960

From Harold Land's West Coast Blues LP,Compulsion begins
with trademark octaves from Wes. On the head and solos of his band mates, Wes shares comping duties with Barry Harris. The A section of Compulsion has a 1mto IVm chord change that leads to descending lydian chord structures. Wes takes the second solo and on his two choruses, skillfully plays through the most active harmonic segments, melodically weaving through the changes. On the lydian segments, Wes transposes short musical fragments in parallel motion with the chord structures. His use of thirds on the final bridge should also be noted.

Compulsion by Harold Land
Delirium by Harold Land
Lolita by Barry Harris
No Hard Feelings by Buddy Montgomery
Says You by Sam Jones
Scrambled Eggs by Sam Jones
Terrain by Harold Land
Tune Up by Miles Davis
Ursula by Harold Land

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