HAL LEONARD

JAZZ IMPROVISATION FOR GUITAR, A Melodic Approach. Garrison Fewell, Berklee. CD TABLATURE

Series: Berklee Labs
Publisher: Berklee Press
Medium: Softcover with CD

Melodies based on triads and melodic extensions sound more natural and musical than ones developed exclusively from scales. Triads - the fundamental building blocks of harmony - are a simple and effective remedy for scale dependency in improvisation. In Jazz Improvisation for Guitar: A Melodic Apprach, explore the potential of triads and their melodic extensions and learn to connect them using guide tones. You'll learn to create solo phrases in the style of some of the world's finest jazz guitarists like Wes Montgomery, George Benson, Grant Green, Kenny Burrell, and Pat Martino. 143 pages.

Improvise better solos by using triads and melodic extensions. Melodies based on triads and melodic extensions sound more natural and musical than ones developed exclusively from scales. Triads—the fundamental building blocks of harmony—are a simple and effective remedy for scale dependency in improvisation. Explore the potential of triads and their melodic extensions, and learn to connect them using guide tones. You'll learn to create solo phrases in the styles of some of the world's finest jazz guitarists—Wes Montgomery, George Benson, Grant Green, Kenny Burrell, and Pat Martino.

In Jazz Improvisation for Guitar: A Melodic Approach, world-renowned jazz guitarist Garrison Fewell offers an organized approach to creating expressive and melodic jazz solos and accompaniments. This book includes numerous triad and melodic extension examples and exercises to help you achieve the most expressive jazz feel and rhythm.

• • Broaden your melodic palette using triads, melodic extensions, guide tones, and altered notes.
  • Expand your agility on the fretboard, throughout the range of the guitar
  • Learn the intervals that make up melodies
  • Add articulation to your phrases by playing excerpts in the styles of the masters of jazz guitar
  • Use guide tones to connect your melodic lines and play the changes
  • Get the rhythmic skills essential to jazz phrasing
  • Use guide tones to build voicings for comping
  • Tablature included

Develop a more melodic way of thinking about harmony, and learn the improvisational tools that will help you create your own approach to soloing over chord changes.

The included play-along CD features outstanding musical examples and rhythm-section tracks performed by a top-flight triio: Garrison Fewell on guitar, Steve LaSpina on bass, and John Riley on drums. A special bonus track explores the techniques you've learned throughout the book

BUZZ

"Garrison Fewell has long been a hero to the jazz community. Read this book and you will find out why."

—Jim Hall, Acclaimed Jazz Guitarist, Composer, Arranger

"Garrison Fewell presents and demystifies many of the essential elements and techniques of jazz guitar, with useful and easily applied examples. He gets the player's hands, ears, and mind all involved. I wish this book had been around thirty years ago!"

—Howard Alden, Jazz Guitarist

"This book is a really well-thought-out guide to improvisation. I wish I'd had a book like this when I was a student."

—George Cables, Pianist/Composer

"G.F.'s book is a profound learning tool! I refer to Garrison as 'G.F.' here because of this very clear, but so simple approach to using a 'G' minor triad with its natural connection to 'F' major in an earlier chapter. From this point in the book, you can build on this same approach by following this rule in all other keys and end up with 'great ears' and a wealth of knowledge."

—Billy Harper, Jazz Saxophonist/Composer

"Garrison Fewell's concept of using guide tones and intervals in improvisation instead of 'running scales' is very important. Recommended for all who want to master 'inside' as well as 'outside' playing."

—John Tchicai, Author of Advice to Improvisers, Ed. Wilhelm Hansen

The Author

Guitarist Garrison Fewell has been a Professor of Guitar and Ear Training at Berklee College of Music for more than twenty-five years. He has taught at most major European Conservatories including Rotterdam, Graz, Cologne, Leipzig, Warsaw, and the American School of Modern Music in Paris, and has conducted workshops throughout the United States and South America. With a mature, melodic sound and an elegant, lyrical style of writing and playing, Garrison has established himself as a distinctive voice throughout his thirty-year career. Critics have called him "one of today's most personal guitar players" (Boston Phoenix), "an assured stylist with a strong sense of tradition"(The New Yorker), "a player of virtuosity and swinging intensity" (UPI), and "refined, passionate, and inspiring" (Guitar Player). His diverse discography, beginning with 1993's Boston Music Award-winning A Blue Deeper than the Blue (Accurate), counts multiple titles ranked on best-of-the-year lists in publications such as Coda, Guitar Player, Musica Jazz, and his hometownPhiladelphia Inquirer. Photo by: Elio Buonocore

Garrison has performed with his quartet at NYC's Blue Note and Birdland jazz clubs, andinternational festivals such as Montreux, North Sea, Umbria, Clusone, Veneto Jazz, Copenhagen, Krakow, Budapest, Cape Verde, Africa, and Asuncion, Paraguay. His performing experience includes appearances with Tal Farlow, Benny Golson, Fred Hersch, Herbie Hancock, Larry Coryell, Buster Williams, George Cables, Kenny Wheeler, Dusko Goykovich, Cecil Bridgewater, Billy Harper, John Tchicai, Norma Winstone, and Slide Hampton. Garrison is the author of Jazz Improvisation (1984) and a frequent contributor to Guitar Player, Guitar Club, and Axemagazines. He is the recipient of several major music grants: National Endowment for the Arts, Artslink, Arts International.

Growing up in Philadelphia, I listened to all types of music, from classical and folk to blues and jazz.My father had all of Benny Goodman's records, and that's how I first heard Charlie Christian. From the beginning, I was always attracted to players with a strong sense of melody, and although I studied jazz in school, it was only after years of record collecting and listening that I developed my own sound. My intention in writing this book is not to teach you everything about jazz guitar, but simply to share some insights and encourage you to express your own artistic personality. Among the many approaches to jazz improvisation, one of the most common methods is to practice scales and modes as the basis for improvising over standard chord progressions. This can sometimes lead to an ailment called "scale-itis." Symptoms of this affliction are heard from guitarists who overplay in an attempt to impress fellow fretmates with their rapid-fire agility, running scales up and down the neck faster than the speed of sound. (What was that loud boom I just heard?) Students often spend long hours mastering scale vocabulary and neglect to develop their melodic and rhythmicvocabulary. They miss the opportunity to hear the intervals from which melodies are composed, and lack the rhythmic skills that are essential to jazz phrasing. Triads-the fundamental building blocks of harmony-are a simple but effective remedy for scale dependency. Using them can contribute to a more melodic way of playing. In this book, you will explore the potential of major and minor triads and their melodic extensions, and learn to develop phrases as an approach to improvising. The triad and melodic extension exercises include fingering studies, which will expand your knowledge of the fretboard and increase your facility throughout the range of the guitar. You will also learn how to add articulation to your phrases by playing excerpts from the styles of the great masters of jazz guitar. The ability to hear chord changes and play melodic lines that outline the harmony of a song is important to an improviser. This book will teach you to use guide tones to connect melodic ideas and "play the changes." You will also learn to use guide tones to build voicings for accompaniment, or "comping." Knowledge of harmony and its application to the guitar is another part of creative improvising. The exercises in this book will help you develop a more melodic way of thinking about harmony and will teach you improvisational tools to create alternate approaches to playing over chord changes.

What You Need to Know

The principles of melodic development demonstrated in this book are suited to all levels of guitarists who are seeking to improve their improvisational skills and instincts. To get the most from this book, you should have a solid understanding of key signatures, the cycle of fifths, major and minor scales, intervals, triads, seventh chords, tensions, and chord progressions. A familiarity with basic jazz rhythms and phrasing will help you derive maximum benefit from the exercises in this book.

How this Book is Organizated. This book is divided into three parts.

In part I (chapters 1-4), you'll begin to approach improvisation by playing triads and melodic extensions. It will also introduce you to rhythmic phrasing and articulation, so that you will have the tools to build great solos. Chapter 1 reviews the basics of jazz theory, including scales, the cycle of fifths, triad construction, diatonic harmony, tensions, and chord progressions. Chapter 2 introduces the concept of triads and melodic extensions. Then, in chapter 3, you will learn how to expand them into well-articulated phrases as a basis for improvising over chord changes. In chapter 4, you apply your knowledge of melodic extensions to dominant 7 chords. In part II (chapters 5-10), you'll learn to use triads and melodic extensions to build musical solos. First, we look closely at the styles of some of the great masters of jazz guitar to hear how they use triads and melodic extensions in improvisation (chapter 5). Listening to these great players will reveal new melodic, harmonic, and rhythmic possibilities that you can use as you begin to build solos in chapter 6. To further develop your melodic instincts, you will learn about guide tones in chapter 7. Then, you will build voicings by adding tensions to guide tones, and play them over different chord progressions to improve your understanding of jazz harmony. In chapters 8 and 9, you will learn more about how to connect your melodic lines from chord to chord using guide tones. This will help you hear the chord changes and build creative phrases using guide-tone resolutions to outline the harmony. Chapter 10 demonstrates how to apply these concepts to soloing on standard tunes and gives you an opportunity to improvise with a rhythm section. By the end of part II, you will have played triads and melodic extensions on major and minor chords and diatonic II/V progressions. However, as a creative improviser, you will need to be able to add more color to your solos by using a nondiatonic approach to triads and melodic extensions. In part III (chapters 11-12), you will learn to play triads that accent the subtle variations of altered "color tones" on dominant chords. Because of its important harmonic role in chord progressions, a good improviser needs a number of skillful approaches to playing over the V7 chord. Chapter 11 introduces the V7 altered chord, and shows you how to use triad substitution to build melodic lines with tensions b9, #9, and b13. In chapter 12, you will learn how to play augmented triads on the V7 (#5) chord. Then, you'll get a chance to put everything you've learned into practice with one final tune.

The use of triads and melodic extensions as building blocks for jazz solos represents a common thread that runs through many players' styles. This book offers an organized approach to learning them so that you can become a more creative improviser.

Contents:

CD Track List

Acknowledgments

Introduction

PART I APPROACHING JAZZ IMPROVISATION THROUGH

TRIADS AND MELODIC EXTENSIONS

Chapter I Harmony Review

Scale Construction

Key Signatures and the Cycle of Fifths

Triad Construction

Diatonic Triads

Diatonic Seventh Chords

Chord Function

Diatonic Chord Progressions

Tensions

Chapter 2 Major and MinorTriads and Melodic Extensions

Dividing the Fretboard into Four Areas Using Alternating Minor and Major Triads

Melodic Extensions and Related Fingerings through Four Areas of the Fretboard

Chapter 3 PhrasingandArticulation

Articulation: The Rest Stroke

Melodic Extensions of G Minor: Eighth-Note Triplets and Rest Strokes

Chapter 4

PART II

Melodic Extensionsof Dominant Chords

BUILDING YOUR SOLOS USING TRIADS AND

MELODIC EXTENSIONS

Chapter 5 Stylistic Interpretation

Minor Lines over Dominant 7 Chords

Chapter 6 Buildinga Solo with Triads and Melodic Line Extensions

Chapter 7 Fretboard Harmony: GuideTones and 2- and

3-Note Voicings

Voice Leading

How to Play Guide Tones on the Guitar

3-Note Voicings: Adding a Chord Tone or Tension

Minor Key Guide-Tone Voice Leading for II/V7/I Progressions: 2- and

3-Note Voicings

Chord Substitutions

Chapter 8 Using Guide-Tone Lines in Soloing

Direct Approach

Indirect Approach

Chromatic Approach

Double-Indirect Approach

Solo Structure: The Shape of Things to Come

Chapter 9 Guide-Tone Lines for II-7 (b5) V7 (b9) I in Minor

More Guide-Tone Lines: b9 to 5

Chapter 10 Soloing Over Standard Tunes: II / V / I in Major and Minor Keys

PART III HARMONIC CONCEPTS FOR IMPROVISATION

Chapter 11 Altered Tensions

V7 Tensions b9 and #9

V7 Tensions b9 and b13

Tensions b9, #9, and b13

Chapter 12 V7 (+S)

The Augmented Triad

Wrap-Up

Coda

"Hearing Things" (Garrison Fewell, Steve LaSpina, and John Riley)

About the Author

Discography as Leader

Reviews

CD Track List:

1. Fig. 2.1. Extensions of G minor

2. Fig. 2.2. Melody based on G minor triad and melodic extensions

3. Exercise 2.3. "Elle," rhythm track

4. Fig. 3.1. Practice phrase using Bb major triad

5. Fig. 3.2. Practice phrase, with triplet added

6. Fig. 3.5. Sample solo, "Hot Saw"

7. Exercise 3.3. "Hot Saw," rhythm track

8. Fig. 3.6. Rest-stroke articulation in the style of Wes Montgomery

9. Fig. 3.7. Four triads with eighth-note triplets and rest-stroke articulation

10. Fig. 3.9. Combination, ascending and descending rest strokes

11. Fig. 3.10. Descending and ascending rest strokes in a II/V/I progression

12. Fig. 3.11. Triad over strings 1, 2, and 3, with rest-stroke articulation

13. Exercise 3.4.1.

14. Exercise 3.4.2.

15. Exercise 3.4.3.

16. Exercise 3.5. "Three Bee's," rhythm track

17. Fig. 4.3. Phrase in the style of Charlie Christian

18. Fig. 4.6. Christian-style phrase, using chromatic passing tones

19. Exercise 4.2. "Blues for Charlie," rhythm track

20. Fig. 5.1. G minor line over C7

21. Fig. 5.2. Phrase in the style ofWes Montgomery

22. Fig. 5.3. Minor lines played over descending chromatic progressions

23. Fig. 5.4. Phrase in the style of George Benson

24. Fig. 5.5. Phrase in the style of Pat Martino

25. Fig. 5.6. Martino-style minor line extension over dominant chord

26. Fig. 5.7. Phrase in the style of Grant Green

27. Fig. 5.8. Green-style phrase

28. Fig. 5.9. Phrase in the style of Kenny Burrell

29. Fig. 5.10. Phrase in the style of Jimmy Raney

30. Fig. 5.11. Phrase in the style ofJohnny Smith

31. Fig. 5.12. Phrase in the style of Tal Farlow

32. Fig. 5.13. Phrase in the style of Jim Hall

33. Fig. 5.14. Melodic grace and rhythmic precision, Montgomery style

34. Fig. 5.15. Montgomery-style phrase, moving from second to fourteenth fret

35. Exercise 5.2. "East Ghost Blues," rhythm track

36. Exercise 6.1. "Lovers No More," solo

37. Exercise 6.2. "Lovers No More," rhythm track

38. Fig. 7.1. Guide-tone voice leading using 3rds and 7ths

39. Fig. 7.2. 3-note guide-tone voice leading

40. Exercise 7.3. "Rhythm Changes," comping

41. Exercise 7.4. "Rhythm Changes," rhythm track

42. Exercise 7.6. 3-note voice leading with tensions for II-7 (%5) /V7/I- in D minor

43. Fig. 7.7. Chord substitutions

44. Fig. 7.8. Chord substitutions can add color and brightness

45. Exercise 7.7. "Love Is Beautiful," comping

46. Exercise 8.1. Guide-Tone lines/direct approach on II/V/I/V7 progression

47. Fig. 8.3. Guide-tone line with indirect approach

48. Fig. 8.4. Guide-tone line with indirect approach and melodic extensions

49. Fig. 8.5. Guide-tone line with chromatic approach

50. Fig. 8.7. Guide-tone lines with double-indirect approach over II/V/I

51. Exercise 8.5. Melodic contour with chord extensions and varied resolutions

52. Fig. 8.9. 3-note voice leading with guide tones over "Tune It Up!"

53. Exercise 8.7. "Tune It Up!," solo

54. Exercise 8.8. "Tune It Up!," rhythm track

55. Exercise 9.1. Guide-tone lines

56. Fig. 9.3. Example with b9 to 5 resolution

57. Fig. 9.4. Direct resolution, b9 to 5

58. Fig. 9.5. Indirect resolution, b9 to 5, with chromatic approach

59. Fig. 9.6. b9 to 5 with double-chromatic resolution

60. Fig. 9.8. Guide-tone resolutions with octave displacement

61. Exercise 9.5. Melodic lines over II/V7/I in minor

62. Exercise 9.6. "Love Is Beautiful," rhythm track

63. Fig. 10.2. "Bossa Azure," 3-note voice leading

64. Fig. 10A. Guide-tone line, embellished with Parker-esque melodic approaches

65. Fig. 10.5. Parker-esque approach using direct, indirect, and double-chromatic approaches

66. Exercise 10.1. "Bossa Azure," rhythm track

67. Exercise 10.3. "Falling Leaves," guide tones and melody

68. Exercise lOA. "Falling Leaves," solo

69. Exercise 10.5. "Falling Leaves," rhythm track

70. Fig. 11.1. Dominant 7 line with tensions b9 and #9

71. Fig. 11.2. Phrase in the style of Lee Morgan

72. Fig. 11.3. Phrase in the style of Charlie Parker

73. Exercise 11.1. Guide-tone line over V7 in major key

74. Exercise 11.2. Melodic lines using altered tensions

75. Fig. 11.6. G-(9) arpeggio over E-7(b5); Bb-(9) over A7

76. Fig. 11.7. V7alt with changed melody on II-7 chord

77. Fig. 11.8. Melodic motif, transposed in three keys

78. Fig. 12.2. Augmented triad over II/V/I in C major

79. Fig. 12.3. Augmented triads used in descending chromatic line over II/V/I

80. Fig. 12.4. Augmented triad played over F7 as approach to Bb-7

81. Fig. 12.5. Augmented triad over minor II/V/I in Ab

82. Exercise 12.2. "Bossa Lee," rhythm track

83. Bonus track, "Hearing Things" by Garrison Fewell

REH, BEBOP LICKS FOR GUITAR, Les Wise. CD TAB.

A Dictionary of Melodic Ideas for Improvisation
Series: REH Publications
Softcover with CD - TAB
Author: Les Wise

Written for the musician who is interested in acquiring a firm foundation for playing jazz, this unique book/CD pack examines the phrases of the masters! Over 800 licks are provided in the styles of Tal Farlow, Pat Martino, Wes Montgomery, Joe Pass, Johnny Smith, and other jazz guitar greats! The book includes standard notation and tablature, and the CD contains note-for-note demonstrations of every lick. 104 pages.

JOBIM ANTONIO CARLOS, FOR FINGERSTYLE GUITAR. Agua De Beber (Water to Drink) -The Girl from Ipanema (Garota De Ipanema) -How Insensitive (Insensatez) -If You Never Come to Me -Meditation (Meditacao) -O Morro Nao Tem Vez (Favela) -One Note Samba (Samba De Uma Nota So) -Quiet Nights of Quiet Stars (Corcovado) -Slightly out of Tune (Desafinado) -Wave. TAB.

ANTONIO CARLOS JOBIM FOR FINGERSTYLE GUITAR
Series: Finger Style Guitar TAB
Artist: Antonio Carlos Jobim
Fingerstyle arrangements of ten of his best:
Água De Beber (Water To Drink)
The Girl From Ipanema (Garota De Ipanema)
How Insensitive (Insensatez)
If You Never Come To Me (Inutil paisagem)
Meditation (Meditacao)
O Morro Nao Tem Vez (Favela) (Somewhere In The Hills)
One Note Samba (Samba De Uma Nota So)
Quiet Nights Of Quiet Stars (Corcovado)
Slightly Out Of Tune (Desafinado)
Wave

72 pages

BLUES AND RHYTHM & BLUES BASS TECHNIQUES. The mastery of Blues, Soul, and Funk styles. Jerry Jemmott. CD TABLATURE

LIBRO PER BASSO CON CD E TABLATURE

JEMMOTT JERRY, BLUES AND RHYTHM & BLUES BASS TECHNIQUE

Series: Bass Builders
Softcover with CD - TAB
Author: Jerry Jemmott

Jerry Jemmott wrote the book on R&B bass, and here it is! This book/CD pack examines Jerry's personal philosophy of music and teaches the secrets to mastering blues, soul and funk bass. Includes a CD with new compositions that demonstrate the techniques he used with legendary performers such as Aretha Franklin, King Curtis, B.B. King and Freddie King. Includes note-for-note transcriptions, comprehensive perfor-mance notes, an in-depth bio, and rare photos. 80 pages

JERRY JEMMOTT wrote the book oh rhythm & Blues bass -and here it is !

Share his personal philosophy of music and learn the secrets to mastering blues, soul, and funk bass.

- CD WITH NEW COMPOSITIONS

- NOTE FOR NOTE TRANSCRIPTIONS IN STANDARD NOTATION & TABLATURE

- COMPREHENSIVE PERFORMANCE NOTES, IN DEPTH BIOGRAPHY, RARE PHOTOS

- GROOVE ALONG IN THE STYLE OF THE GREATEST HITS OF ARETHA FRANKLIN, KING CURTIS, B.B. KING, FREDDIE KING.

In collaboration with Dave Rubin

Jerry Jemmott has had the singular experience of playing with a veritable Who's WHO of blues and Rhythm & Blues illuminaries. Here are a selection of his candid memories from this all-star group:

ARETHA FRANKLIN: "Being exposed to her creative process has had a profound effect on my writing, producing and playing. Performing with her and King Curtis at the same time has to be among the greatest of good fortunes that I have encountered. Her combining of gospel and jazz to form a Rhythm & Blues style really locked with my jazz and Rhythm & Blues styles. My style came out of playing dance music and jazz. I guess I h;1(jthe groove and the beat from playing dance music, and she had that soul and e1.'Pressionfrom playing gospel and jazz. It was quite an experience playing together, like lightening striking.
We met when King Curtis had me come down, with my bass, to be a paid observer at her sessions for Atlantic Records in New York in 1968. I sat in the control room and watched the Muscle Schoals rhythm section Gimmy Johnson, guitar, Tommy Cogbill, bass and Roger Hawkins, drums) play tills one song over and over. As soon as I heard it, I fclt the groove was a country kind of thing, you know, a country "two" feel. They went all around the world with different things, and never really hit that particular groove. They took a break, and when they carne back producer Jerry Wexler told me to go in the studio and take a shot.
Two takes later "Think" was finished.
In 1971 I was on the road with the King Curtis band backing up Aretha. After being out a while, the band had developed a thing of trying to outdo each other. We had really gotten tight in three months and we used to see how far we could push Aretha, because we loved playing with her, and she would always rise to the occflsioll, even if she was sick. One time in Paris things got so intense that Aretha almost passed out onstage."

KING CURTIS: "Starting at the Pine Grill in Buffalo, New York in 1967, the interplay between Curtis and myself was very personal. I never experienced that before or since. It was almost like two people feeding each other and never dropping a crumb of food. He hClda lot of faith and confidence in my style of playing.
That made me feel free to do whatever I wflnted to do, which helped me to grow quite a bit, and which he himself enjoyed.
He was a tough bandleader, particularly in regard to guitarists and drummers. He had trouble with Jimi Hendrix when he was in ills band, but he did not have a problem with me. The only problem I had with rum was when he would not give me the recording work I thought I should have! That's when I left the band from 1967 to 1971. But then he recognized that I wanted to stay in the studio, so he would just call on me to make records. However, when he got a good tour, like the one with Aretha, he would call me. At firstT did not want to do thflt one, but after thinking about it for a couple of days, I said okay, I'll do it, because I liked working with both of them. I actually tried to rationalize why I should stay in New York, where I had plenty of studio jobs, but then I thought I should do it for the fun of it. Billy Preston was going to be there, along with Cornell Dupree and Bernard Purdie, so it was going to be a great band.
The audiences were fantastic. Every place was sold out. The Fillmore West was something else! There were no seats in the place! They took all the chairs out and everybody stood up for two hours. I had never seen anything like that, because usually you have seats in a concert hall. Everybody stood right up against the stage as there was no barrier to keep them back. Their heads were right at stage level.

Istant groove
When the spirit of King Curtis appeared in my kitchen the morning after his death, I became a believer in the existence of a higher power. This power had been a force in my life all along, but I had never acknowledged it. The "instant groove" or "God is talking to you" is that phenomenon that reveals itself, thus enabling you to rf'cognize in a micro-second the true essence and direction of what could possibly happen.
You can then deal with the situation at that moment to achieve a positive result when you come into
the presence of another person, place or thing.
All through my life I have experienced many "instant grooves." These include coming in contact with the mllsir of P,lUJ C:hamhers along with all the other great musicians, singers, artists and philosophers who have affected me. Also, my introduction to Nichiren Shoshu Buddhism (Nam Myoho Renge Kyo) and the love and support of my mother, father, sister and my children Jeanine, Tishiro and Isis. Another time was my refusal to give Lionel ("Hey Gates") Hampton my place in line for the bathroom at the Pazant brothers home in Bufford, South Carolina. This resulted in "Gates" firing me, thereby sending me back to New York to begin my studio career full time in 1968. Lastly, there was the return of my dream girl, Miss Constance Bailey, back into my life after a twenty-three year absence to become my fiancee.
You've got to "recognize" and make it happen with courage, confidence and conviction. You rarely get a second chance unless, as they say in Egypt, "Insha-AllaJ1," which means "If God wills it."

Michael Bloomfield: "A great guitarist. We developed a friendship after meeting at the Fillmore East. I had already known his buddy Al Kooper from the "Well" session of B.B. King's Live and Well (1969). I arranged a telephone conversation between Michael and Cornell Dupree (who Michael was anxious to meet) when Michael and I were working together at My Father's Place on Long Island. I got to do a few more gigs with him just before he died. He was an incredible player."

DUANE ALLMAN : "Another great player, innovative, a real hard worker. He was very personable and we got along well together. Being with Duane was the first time I had played with a slide guitarist. This occurred on the Aretha Franklin sessions when she did a cover of "The Weight" by the Band.
The last time I saw him he was going home to start a band with his brother Greg. The Allman Brothers Band was formed and the next thing I remember was travelling through Georgia on the way to a gig and hearing about the accident on the radio." (Note: Duane Allman died in a motorcycle crash on October 29, 1971, in Macon, Georgia.)

FREDDIE KING : "He was great to work with and could really play and sing. Curtis brought Freddie to the Atlantic studios to record and that was the first time I heard him. He was really something. He knew what he wanted and we would just follow him. Freddie King IsA Blues Master(l969) gave us a chance to spice up some of his old instrumentals. Also, it was the first time that I got to record "Get Out Of My Life, Woman," (Allen Toussant), which I had played all my Rhythm & Blues life. My Feeling For The Blues (1970) had more traditional blues on it.
Freddie was from Texas, like Curtis, and he could play in a big way. He had a good set of chops and he had a very lyrical way of playing, almost like he was singing. I have heard that Freddie was also influenced by Louis Jordan, just like Curtis."

Robeta Flack and the jingle scene: "Another woman who played piano and sang. A different style
than Aretha, more of a jazz piano player. She was very similar to ina Simone, her whole persona and playing. I grew up listening to Nina Simone and had the good fortune to record with her, so playing with Roberta Flack was just one more extension of that experience, to a great degree.
She only worked on weekends because that's where the money was. During the week she took care of her dogs, cats, mother and her music business. She wouldn't do any recording then, and she took her time about doing stuff. She had it so she only worked on weekends, gigs at venues that held 20,000 or more people. The small group that backed her had Terry Plumeri, Eric Gale, Ralph MacDonald and Grady Tate. I loved working with Grady. We used to do a lot of jingles together with Herbie Hancock, with maybe Vincent Bell or Eric Gale on guitar. One company, Grant and Murtaugh, would hire the three of us a lot. The thing about it was that if you couldn't get one of us, you could get another. It was rare that we could guarantee all three of us showing up together at the same time. If I couldn't make it, Ron Carter would be there; if Grady wasn't there maybe Ed Shaughnessy or Herb Lovelle would be there. If Herbie couldn't make it, Dick Hyman or Keith Jarrett would be there. They would also use all the hip horn players like Hubert Laws, George Coleman, Jon Faddis, Joe Newman, Seldon Powell, Ernie Royal, Snooky Young, Heywood Henry, nothing but the best, the cream of the crop. It was like looking at Count Basie's Band and Duke Ellington's Orchestra all at once. I had come up with hom players and big bands, so I was in heaven!"

Wilson PIckett: '''The Wicked Pickett,' a piece of work, so to speak. I had always admired him, but did not get a chance to work with him until around January, 1968, at Atlantic studios in ew York. The bassist they had booked for the session did not show up so they called me at my house to come down. It ....

PREFACE
I want to let you in on a little secret. I was not born in Macon, Georgia, with a bass inIllYhands, as King Curtis once stated, butIllYpredilection to create hip, funky bass lines led him and others to think so. I was actually born in the South Bronx, New York, and after I heard Paul Chambers play I could not keep the bass out of my hands!
In addition to this secret, for those who want to know, a "few" choruses of biography follow to set the record straight, and a "few" Jines about my experiences with the extraordinary artists I have had the good fortune to record and/or perform with over the last five decades.
For you who want to groove, within these pages and on the accompanying CD there is a detailed account of what I do and the techniques I lise to do it. With the permission of Reel Souler Energy Music Publishing, I have written a set of music similar to the records I made with Aretha Frankl in, King Curtis, RB. King and Freddie King. I hope you enjoy playing them as much as I enjoyed creating them for you.

Jerry Jemmott
It has never been easy being Gerald Joseph Stenhouse Jemmott. I would like to acknowledge the love and support I have received along the way from my Higher Power, family and friends: Richard Davis, Fred Paterno, the Pazant brothers, Richard Otto, Agnes Hall, King Curtis, Cornell Dupree, Paul Gaulden, Don Covay, Arlen Roth, Constance Bailey, Paul Conway, Yoko Yamabe, MerrH Roberts, Daisy White, James Bailey, Rebecca Thomas, Robert Bailey, Gwendolyn Jones, Z Cookie, Mercer Ellington, my students, Seldon Powell, Paul Griffin, B. R King, Stewart Moore, Sam Leon, Alfie Wade, Herb Lavelle, Richard Dubin, Brent Owens, Kirk urock, Bill "Junior" Linton, George Naha, Chuck Raney, Phil Coco, Gordon Edwards, Roy Hicks, Joan White, Al Fontaine, Frankie Paris, Michael Moore, Bill Dawson, Dr. Janet Moses, Bob Moses, Miriam Citron, Dr. Joel Beddard, Charlie Kellam. Shad Polier. Abe Rivera, ESP, Vantage, Murphy's Music, Andre-audio-tronics, Carl Thompson, P Vine Non Stop Records and Hot Licks Tapes and Videos.

PAGE CD TRACK

What is "Instant Groove"
Preface and Acknowledgements
Foreward
Biography
My Biggest Influence
Jerry Remembers
Playing in a Big Band Versus an R&B Combo
Getting Down and Going Deeper
You Too, Will Groove
The Different Aspects of My Bass Technique

Recordings
TRANSCRIPTIONS WITH PERFORMANCE NOTES
In the Moonlight
Until The Day I Die
Big Maybelle
Sweet Mr. Soul
Sweet Trippin'
In Every Way He Treats Me Right
Jubilee Jam One on One
My Papa Always Treats Me Right
You Know I Know
Sableline
Ooh Scooby Doo
Good Cookin'
Always on the Way
Love Light in the Daylight
Jerry's Bass Equipment
Jerry Jemmott Selected discography
CD Production Credits
Bass Notation Legend

FUNK BASS. Liebman. THE BEST SINGLE SOURCE FOR PLAYING FUNK AND SLAP-STYLE BASS. CD TABLATURE

LIBRO PER BASSO CON TABLATURE

Funk Bass

Series: Bass Instruction
Format: Softcover with CD - TAB
Artist: Jon Liebman

Critically acclaimed as the best single source for the techniques used to play funk and slap-style bass! Includes a foreword by John Patitucci and is endorsed by Rich Appleman of the Berklee College Of Music, Will Lee, Mark Egan, Stuart Hamm and many others! Features several photos and a special section on equipment and effects. A book for everyone - from beginners to advanced players! Includes a 58-minute audio accompaniment. CD TABLATURE

Inventory #HL 00699348
ISBN: 9780793516209
UPC: 073999993486
Width: 9.0"
Length: 12.0"
96 pages
 

INTRODUCTION
The goal of this book is to introduce the contemporary bassist to the funk style of playing. Many books of this type miss the point of what is required of a bass player. Being able to execute a bunch of fast funk licks may dazzle your friends and relatives, but it won't make your phone ring off the hook from contractors and record producers calling you with work. In the real world, you'll be hired according to how well you understand your role as a bass player and how well you do your job. This book will guide you toward those goals in a logical, step-by-step "real-world" approach.
Chapter I, A Word On Practicing, emphasizes the importance of proper practice habits. It includes discussions on metronomes, drum machines, live drummers, tape recorders, utilizing recordings, attending live concerts and maintaining a music notebook.
Chapter 2 begins illustrating the fundamentals of funk bass playing - how to "slap" and "pop." The emphasis here is on precision and proper execution. The exercises in this chapter are developed into some basic funk patterns in Chapter 3.
Chapter 4 introduces some stylistic elements, such as the "hammer-on," the "pull-off," the slide, the trill, the shake and the bend (no, it's not a dancing lesson!). These are the so-called "tricks of the trade" that will make your playing sound funkier.
The focus in Chapter 5 is on establishing a groove - the most important element of playing the bass. If you're going to get anything at all out of this book, get this: GROOVE IS EVERYTHING, AND EVERYTHING MUST GROOVE! I can't overemphasize the importance of this statement. It holds true for all musicians, but especially for the bass player and the drummer, because they're the ones that really lay down the time and make the music "feel" good.
Once you understand this concept and are comfortable (honestly!) with Chapters 2 through 5 of this book, feel free to have fun with the licks I have included in Chapter 6. They are intended to illustrate different possibilities of the funk style, help you develop your technique and give you ideas for creating your own funk lines. Remember, your job is to groove and support the band. These licks are to be used at your discretion as your taste and musicality dictate. They can work very well as fills within the groove or, of course, for your solos.
It is crucial to be able to play in an keys. Many students of funk bass can really "get down" in one or two keys, but are practically helpless when they have to play for a singer whose song is not in "E" or "A" but in some "weird" key. Because this is so important, I have made sure to include plenty of exercises and licks (and grooves!!!) in all twelve keys. Where other books simply suggest, "try these licks in a few different keys," I felt it was important enough to actually write them out. Of course, you are encouraged to transpose anything in this book into any or all twelve keys. It's good for you! It will help your reading, too.
What's more, the key of"a"is not the same as "J)l.," nor is "Fl" the same as "0," nor "B" the same as "0." By the time you get through this book, you'll be able to read and play in any key. Granted, certain keys (like "E" and "A") lend themselves to greater ease and facility on the bass, because of the nature and tuning of the instrument. Also, some keys may be harder to read, but easier to play in, and vice versa. When you come right down to it, there are no such things as "easy" or "hard" keys, only "familiar" keys and "unfamiliar" keys.
The Appendix, Your Equipment, provides an overview of the equipment common to funk bass players. It includes information on types of basses, strings, amplifiers, speakers and effects. It is intended to "de-mystify" the myriad of products available to musicians today, and offers insights into how to invest carefully in the proper tools that will best suit your needs.
At the end of this book I have included a Discography, which is by no means exhaustive, but offers a cross section of some of the greatest funk bassists in music today. It's important that you listen to as much of this music as possible so you understand just exactly what we're trying to do here. If you get a chance to see any of these guys live, don't you dare miss them!

Chapter 1
A Word On Practicing
"Practice doesn't make perfect. Perfect practice makes perfect."
- Vince Lombardi These words, by the late, internationally renowned coach of the Green Bay Packers, are profoundly true. Whether you're talking about music or football, Mr. Lombardi's philosophy still applies. Even if you spend eight hours a day in the woodshed, you could be wasting your time if you don't have proper practice habits. In this chapter, we'll look at what distinguishes "good" practicing from "bad" practicing, and how to make the most efficient use of the hours you spend honing your funk bass skills.
"Did you say bad practicing?" "Does it really exist?"
Absolutely! Do you ever just "wander" around the bass, aimlessly, playing lick after lick? Do you often find yourself charging ahead through bass lines and solos that you already can play inside out? When you practice a part, do you think only of the bass, without considering the interplay between you and the other musicians (the drummer, for one)? Do you practice without a metronome or a drum machine? Or in front of the TV? If you answered yes to any of these questions, you may be found guilty of "bad practicing" and could be subject to eternal banishment from all that's hip, and forced to tap your toes on "one" and "three" for the rest of your life!
When you practice, it's serious business. Create an environment that's conducive to study. Keep distractions out of sight.
Find a time when you won't be disturbed. Convince yourself that you're not hungry or thirsty, and get in the proper frame of mind.
My teacher used to have me keep a log of my practice sessions, which was a great help. Get a calendar, in which you'll record nothing but your practice schedules. Every day, take into account how many hours you're going to spend practicing and what you need to work on, then budget your time accordingly. Write down, for example, 30 minutes for scales and arpeggios, 20 minutes for sight-reading, etc. When the time alloted for each segment expires, move on to the next one, checking things off as you go. That way you're constantly chipping away at everything every day, and won't have to worry about three weeks going by without playing any Stu Hamm finger taps, or whatever else may be on your agenda.
At the end of the week, take a look at your calendar and see how much practicing you're actually doing, versus how much you think you're doing. The results may surprise you.
"Time is of the essence." I don't know who first uttered those words, but they couldn't hold more truth for bassists.
When you're practicing by yourself, always use a metronome, or, better yet, a drum machine. Remember: they're your friends! Concentrate not only on playing in time, but with a good time feel. A GREAT time feel. So what if you know the right changes to 40,000 tunes? Who cares if you can play eighty-bizillion sixteenth notes a minute, or have the "baddest" setup this side of Osaka. THE MOST IMPORTANT JOB YOU HAVE AS A BASS PLAYER IS TO GROOVE WITH A GREAT TIME FEEL. You may think you're playing in time, but the metronome and drum machine will keep you "honest," so use them.
Another way to work on your time feel is to get together with a good drummer and groove. For hours. Don't just fool around, though. Concentrate on "takin' care0' business." Oh, sure, you can still work on your solo chops, but spend most, if not all, of the time on the time. Pick several grooves that you want to work on, and practice them one at a time, over and over, without stopping. Be sure to play in all twelve keys, too. You may want to have your drummer friend program a few grooves into your drum machine, for you to practice with when you're by yourself.
So far, we've got three friends: a metronome, a drum machine and a real live warm body behind the drums. Let's add one more friend to our list: the tape recorder.
Back we go, once again, to the "honesty" category. You think you know what your playing sounds like? Try laying it down on tape and see (hear) if you're right. "Tape recorders don't lie." Recording your playing may reveal many flaws and bad habits of which you may not have been aware. It lets you really zero in on the attack and release of each note, as well as your sustain, intonation, time feel and overall sound. A tape recorder can be an invaluable practice tool.

ACKNOWLEDGMENTS
Sure, I'd like to take all the credit for writing this book. Truth is, though, I had help. A lot of people went out of their way to help me make this project (and it was a project!) move more smoothly, easily and efficiently. I'd like to take this opportunity to acknowledge these people's generosity.
Thanks to the musicians who took the time to talk with me, read my manuscript and actually come up with good things to say about my book:
- John Patitucci: I don't know where you found the time to hang out, John, but I sure do appreciate it. Even though I did have to sit and watch you rehearse your incredible band while waiting to talk to you, really, I didn't mind! Thanks for putting up with all the trans-global phone calls and faxes (what an age we live in!). Thanks for going so far out of your way to help me. Much luck and continued success to you.
- Rich Appleman: A true pedagogue! Thanks for your support and encouragement. Berklee is lucky to have you.
- Brian Bromberg: Glad the word finally got out about what a great player and writer you are. Hell, I've known that for years! Thanks, man.
- Bob Cranshaw: I admire your meticulous, no-nonsense, down-to-business approach. Thank you.
- Mark Egan: I didn't mind sitting through your rehearsal, either! Thanks.
- Stuart Hamm: I am truly honored to have been the one chosen to transcribe the music for your Hal Leonard book.
Throughout the ordeal, though, you quickly went from being my mentor to my tormentor! Seriously, I appreciate all the time we got to spend working together. Now let's go eat!
- Neil Jason: What can I say, Neil? You helped me make the phone company rich! Thanks for all your suggestions, and thanks for being a great guy!
- Will Lee: You sure are hard to get a hold of, but it was definitely worth the effort! Thank you!
Thanks to all my friends, "consultants" and experts in their respective fields:
- Alexis Sklarevski, Dale Titus and everyone at the Bass Institute of Technology, Hollywood, California
Don Coffman, Director of Jazz Bass at the University of Miami Schoor of Music, Coral Gables, Florida
- Tim Emmons and Todd Ferguson at the Dick Grove School of Music, Van Nuys, California
- Dennis Tini, Matt Michaels, Gary Leach and Dan Pliskow of the Jazz Studies Department at Wayne State University, Detroit
- Sid Beshkin: The world's foremost authority on print technology!
- Steve Carryer, Cliff Cohen and Tom Hollyer: three of the most amazing Macintosh wizards on the planet!
- "Dr. Jazz" of Dr. Jazz Operations, Oak Park, Michigan
- Mike "Friedbaum" Friedman. He's my "Mr. Drummer Friend" (see Chapter 1). Thanks for working out all those grooves with me, dude.
- Abe Laboriel: A great inspiration and a true gentleman (and what a bass player!). Thanks for your help and encouragement.
- Herb Mickman: Hey, Herb. Did you hear the one about...?
- Steve Shepard and everyone at Scorpion Systems Group (the "Sybil" people)
- The staff of the Specs Howard School of Broadcast Arts, Southfield, Michigan
- The staff of PM Productions, Southfield, Michigan
Thanks to my merciless proofreaders: Marty Liebman (yo, Bro!), Tom Profit and Rey Sanchez.
Thanks to John Cerullo, Joff Jones and everyone at Hal Leonard Publishing Corporation.
Thanks to Sammi and Josh.
Special thanks to Rey Sanchez (see merciless proofreaders, above). Actually, I don't know whether to thank him, or to blame him! If it weren't for Rey, it never would have occurred to me to write a book (thanks a lot!). That night in Bogota, Colombia - was it just a suggestion when you said, "Hey, man, you ought to write a book. A funk book. Yeah, that's it. A funk book," or was it a dare? Well anyway, here it is! Thanks for the huge hand you've had in my success - all the gigs, all the tours, all those times in the studio. Thanks for introducing me to Jaco. Thanks for your friendship. Where are we going, next?
 

TABLE OF CONTENTS
Notation Legend .
Foreword by John Patitucci .
Introduction .
Chapter I A Word on Practicing .
Chapter 2 Getting Started .
The Slapping Technique .
The Popping Technique : .
Chapter 3 Some Basic Funk Patterns .
Chapter 4 Style Elements .
The Hammer-on .
The Pull-off .
The Slide .
The Trill .
The Shake .
The Bend .
Chapter 5 Establishing a Groove: .
Chapter 6 Building a Vocabulary For Funk Soloing .
Epilogue .
Appendix: Your Equipment. .
Your Bass .
Your Strings ,
Your Amplifier and Speakers .
Your Effects ,
Discography .
Acknowledgments .
About the Author .
Endorsements .