Frank Gambale / Joe Pass / John Scofield?

I'm looking to get into Jazz guitar, which is something I know absolutely nothing about. And I wanna study these guys, but I've no idea where to start.

So I wanna know some of the best albums / songs that have been made by these guys.

Thankyou jazz dudes :)

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  • 10 years ago
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    They are all very, very different, though Pass and Scofield at least have similarities.

    I have all my students start out by listening to Wes Montgomery, which is who my Dad had me listen to (he was a music teacher). I really got into Joe as a freshman in college; not only as a single line player in a group but as the MOST OUTSTANDING chord melody player ever. There is no one who I think is as good as he was. I was just arranging a chord melody earlier and I can't tell you how often the words "I wonder what Joe Pass would do here" came into my head and I've been at this for 25 years. That being said, I try to bring my own twist to it. Get the entire "Virtuoso" series, which is Joe doing solo guitar.

    Get Wes Montgomery's CD's "Boss Guitar" and "The Incredible Jazz Guitar Of Wes Montgomery". Those will be good for a start.

    You also want to listen to recordings by Tal Farlow. Another major and influential player. "The Swingin' Guitar Of Tal Farlow" is usually easy to find.

    You also want to listen to Charlie Christian:

    http://www.classicjazzguitar.com/artists/artists_p...

    Without him Joe Pass, Scofield, Wes et all would never have existed as jazz players. His the father of modern jazz guitar. Tal was the most important guitarist to come right after Charlie and in my opinion is way too often overlooked.

    The site I just sent you to for Charlie Christian is the best jazz guitar resource on the net. Mike Kremer lists all the major players and you can learn about them there.

    John Scofield is a great player but not necessarily my style; I'm really a bebop guy.

    Someone else will have to give you notes on Gambale; I respect him but am not a big fan. It's not really jazz to me.

    Remember this, and it is very, very important: DO NOT ONLY LISTEN TO GUITAR PLAYERS IF YOU WANT TO PLAY JAZZ ON GUITAR. This won't make sense to you now, but cats who only listen to guitarists sound like f--kin' guitarists and it's not cool. You need to listen to everyone; horn players especially, guys like Monk (piano), Bird, Miles, whoever. Guitarists have a tendency, especially when they are from a rock background trying to learn jazz, to not swing. Listening to horn players helps your phrasing. My teacher used to say "Play the guitar like its the saxophone."

    Here is part one of an interview where Tal Farlow discusses his horn influences:

    http://www.youtube.com/watch?v=r-OgT5Bn6Uw

    Youtube thumbnail

    And most of all BE YOU!!! That is so important. I had a student come in one day, he could play, but he was doing what I call "The Wes Impersonation". I explained that I already have those records and the master is better. Very blunt. You take all the influences you listen to and mold them into you.

    Peace and good luck.

    Source(s): 25 years of starving as a jazz guitarist. Can you lend me $20 bucks?
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  • 4 years ago

    From an environmental point of view replacing planes with trains can help (look at the CO2 emissions of a TGV compared to a 707-300 (the JT4A powered model not the JT3D powered model), I know that's a bit of an extreme comparison) although in terms of travel time high speed trains can only beat planes for journeys of less than 1000 km (and that requires that people not have to go through security or check baggage, etc like at airports) although with the slower high speed rail currently used in the US the distance would probably be a bit less but even so nearby capitals could benefit from high speed lines or tilt trains on normal but well built track (with the bombardier Jettrain you could even get away with not electrifying it, although consider that the French had a reason for switching the TGV to electric (the prototype had a gas turbine)). As I understand it, Amtrak was set up because the private companies didn't want to run intercity passenger trains they were required to run (which weren't very profitable) so the government took them over. Passenger rail typically doesn't make much profit anyway (freight is where the money is) and even when passenger rail is privatised usually the government is paying a subsidy to the company that runs the franchise (and varying the subsidy based on performance even if they call it a fine), in the few instances in which a passenger rail system makes more in ticket revenue than operations cost it still couldn't repay capital and infrastructure maintenance costs. You could of course raise prices to pay for it but then you also reduce demand, not to mention that the prices are set so as to be affordable to people who can't use a car. The proposal for shut down of rail services probably won't go over too well with the public anyway (at least if it actually looks like it'll happen), public outrage has often caused a lot of such proposals to end up watered down to the point at which they only close a few of the lesser used lines to passenger services.

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  • 10 years ago

    i gave address man a thumbs up. not much to add there. Except i would say, listen to other instruments but steal from the jazz guitar players. There is a certain vocabulary that you'll get from stealing Joe Pass and Wes solos that you won't learn by stealing Bird solos. LIsten to everyone, but steal from the guitarists :-)

    As for the Thunder From Down Under, I think you can probably pick up a Gambale instructional DVD from Hal Leonard... he also played with Chick Corea's Elektric Band for a while.

    Enjoy!

    Source(s): listened to all these guys and stole licks from all of them, not just the guitarists :-) But it was stealing from Joe and Wes that taught me how to play like Joe and Wes... especially tonally... listening to Bird isn't gonna really teach you how to get that like buttah tone from your archtop and your old tube amp
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