A true legend, Wes Montgomery left a huge impression on the jazz community with his recording output, inspiring future generations of guitarists to pick up the guitar and explore the jazz idiom at the same time.

Since Wes was such a powerhouse in the jazz guitar world, it is a good idea to spend some time studying his licks, phrases, and improvisational concepts, which is what this lesson is designed to do. So, grab your favorite axe (an L-5 if you have one
handy) and begin exploring these commonly used phrases and improvisational concepts taken from the playing of one of the greatest jazz guitar players of all time, Wes Montgomery.

wes montgomery caravan guitar tab pdf 12
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Learning jazz guitar vocabulary often means studying lines and phrases, breaking them down and understanding the building blocks of each line so that you can create your own improvised lines and phrases.

In this section, you will learn four patterns in the Wes style that you can add to your vocabulary, as well as combine in order to create longer phrases when bringing these ideas to your jazz guitar soloing lines and phrases.

I have looked at some comments about this and if I may be so bold to suggest that someone may look at this in an alternative way -Start humming some riffs along to the tune (a bit like George Benson)then transfer what you like to the guitar, If you keep
doing this you will build up a ever increasing collection of phrases; try using chord arpeggios and the cage system as a reference.

Jim Hall possesses an understated, laid-back style; he eschews flashy note-filled solos for more thoughtful playing. An influential guitarist, Hall has worked with many of the biggest names in jazz, including Sonny Rollins and Bill Evans. His soft,
melodic tones have influenced jazz guitarists such as Pat Metheny, with whom Hall has also recorded.

Joe Pass was a master jazz guitarist. He is best known for his staggering solo jazz guitar technique which continues to astound today. Pass showed what was possible on the guitar. His collaborations with Ella Fitzgerald are legendary, and he played with
many other greats, including Frank Sinatra.

John McLaughlin possesses a phenomenal technique and is not afraid to push the boundaries of what can be done on the guitar, and what a guitar should sound like. Unlike many other jazz guitarists, McLaughlin is often seen with a solid-bodied guitar,
occasionally fitted with a midi output to control other instruments.

Pat Martino is a famed for his uncompromising high-tempo playing style. His weaving hard bop lines are unmistakable, and he possesses an inventive energy that few jazz guitarists can match. Martino had to completely relearn the guitar in the early
eighties after suffering a brain aneurysm.

As he recovered, he slowly resumed his musical career playing with his brother Joseph and his cousins in the bars and cafes of rural France. Around this time, he also received his first exposure to American jazz music, hearing imported 78 rpm records of
Louis Armstrong, violinist Joe Venuti, and others. Possessing an exceptionally keen ear and quick musical mind, Django usually could hear a tune once and repeat it immediately back on his guitar. Excited by the new sounds, he began incorporating the
music he heard from American artists into his own playing,



But by the early 1930s, jazz was becoming the popular music of witty, sophisticated, urbane Paris. American jazz musicians, who received a less-than-regal treatment at home, traveled to France where music fans showered them with accolades. One center of
this new musical phenomenon was the famous Hot Club of France, and Django was drawn to the emerging scene like a moth to a Gypsy candle flame. Another musician, one as different as could be, also felt the compelling pull of jazz. Stephane Grappelli was
everything Django could never be: well-educated, literate and sophisticated. But Grappelli proved to be the perfect foil for the mercurial, undependable guitarist. Together, they would start a revolution still reverberating today.>/p>

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