Arranged for (TeJazz Guitar Solos A Study of Great Horn Solos Arranged for Guitar By George Ports and Frank Sibley CD musicians are Frank Sibley, lead guitar, and pedal bass David Wright rhythm guitar, Randy Caputo, drums on Cindy SAN 683-8022 ISBN 1-57424-024-2 Cover Art - Kevin Davidson “Music Notation - George Forts Paste-up - Cindy Middlebrook Layout and Production - Ron Middlebrook Copyright © 1997 CENTERSTREAM Publishing P.O. Box 17878 - Anaheim Hills, CA 92807 All sights for publication and i ‘orb any elettronle or mechan ‘iasion in waiting from the pubis fare reserved, No part ofthis book may be reproduced in any form including information storage and rettieval systems without per- ‘except by reviewers who may quote brief passages in review.Contents Author's Biography. ..3, & 4 Horn Players Short Biographies. . 5, & 6 Introduction. . .7 Blues is Cool. ..8 Walk Through the Blues. ..10 Pamela. . .17 Pamela. . .23 Flowers. . .31 The Hood. . .35 Technology. .. 41 Motion. .. 44. Gettin’ up There. ..50 Cindy... 56 Fingers. ..70 Happiness. ..73George Ports Born in 1940, and raised in southwest Los Angeles, George Ports began playing the violin at 8 years, clarinet at age 10 and trumpet at age 12, His musical ability, was in- stilled by his parents, who were also musically inclined. His father, Eugene Ports, played for the Los Angeles Symphony Orchestra as Ist chair clarinet, and clarinet in the USS. Naval Orchestra. His mother, Esther Ports, was a concert pianist who was asked to sing for the Metropolitan Opera. He continued his musical interests in theses various instruments until age 20, when he began playing guitar. George has been fortunate in that he has studied with the "greats” who have influenced him the most, such as: Barney Kesse, Howard Roberts, Irving Ashby, and Herman Mitchell. Others he has studied from include: Jimmy Wyble, Ire Mayhew, Pat McKee, Don Mock, Ron Eschete, and Les Wise. George has also benefited from attending seminars by various well known artists including: Larry Carlton, Pat Metheny, Joe Diorio, Joe Pass, Ted Greene, Herb Ellis, Jerry Hahn, and Tommy Tedesco. During the early ‘60's while continuing with his studies in music, George played with many local rock groups. For the following 12 years he traveled with Las Vegas-type show groups across the nation. Some of these groups, well known on the circuit as, "Hot Pants-Old Hats Review,” with Red Coffee, the voice of "Yacky Doodle Duck,” the cartoon character; Curtis and Vader comedy team; and Chasers Four, the warmup group for Rowan and Martin from the T.V. show, “Laugh-in.” ‘While with the group “Hi-Hats,” he wrote and recorded “Creepy” on the Hi-Hat label, and while with Outrageous 4+1,” he recorded “Unchained Melody” and “Psycho,” on the Spec label. George was on the recording session for the title track of the movie, “Bad Georgia Road.” George was a member of the second graduating class of Guitar Institute of Techaol- ogy, (G.LT.), where he was awarded the Certificate of Merit for “Continuous Outstanding Performance.” He has written the music calligraphy for over 30 music books for such authors as Howard Roberts, Chuck Rainey, and Les Wise, to mention just a few. George has been teaching all types of music, including jazz for the past 35 years. He has been teaching at Patrick's Music School, in Fullerton, California since 1980. wou ef eet uy portion of is ook Tomy Mom and Ded forall ir support in geting me Hrwugh ‘school. special thanks to my wife, Pam, for the editing of this book, the love and support she has given me throughout the years ~ my love to you forever.Frank Sibley Frank was born in Montebello, California. He has taught music in the Orange Unified School District, and guitar classes at Rancho Santiago College in Orange, Californi He was working with Howard Roberts and his colored string method for beginning guitar in his classes, prior to Howard's untimely death. Frank was also associated with Les Wise, a well known jazz guitar player and teacher, conducting workshops in the area. He has worked with Leroy Vinegar and played guitar in many types of groups in the Southern California area, toured in Europe while in the U.S. Army. His musical foundation is based in classical and jazz guitar. He has done studio work in the Orange County area, and session work with Eric Gale. He is currently performing and teaching guitar in Orange County, California. Wtte Twould like to give a special thanks to my lively wife Donna for all her support in this project. Thank you to my parents for the many niusic lessons. David Wri David is a regular performer in Southern California. musics Trained in classical guitar while in lege, he is equality at home playing gigs, jazz or rock and roll. David's composing and playing ab are showcased on his album "Americ (on Casierra records) which receivec play on numerous radio stations on coasts and was featured on United lines and Delta Airlines, In add David has been endorsed by SWR at fiers and selected by Acoustic G magazine to perform at a recent NA Show.Clifford Brown Clifford Brown was born in 1930 in Wilmington, Delaware. His dad gave him a trumpet when he was 15 years old. He studied piano, trumpet and vibes in high school. Within three years, he was performing in and around Philadelphia. Clifford was awarded a scholarship to Maryland State College and later played with Chris Powell, Tadd Dameron, Lionel Hampton, Max Roach, and Art Blakey. His solos were known for their flowing and melodic quality. His last recording was June 25, 1956, when he recorded "Donna Lee", "A Night in Tunisia" and "Walkin. On June 26, 1956, Clifford Brown met an untimely death in an automobile accident on the Pennsylvania turnpike. Miles Davis Miles Davis was born in 1926 in Alton, Illinois. He played with Coleman Hawkins, Charlie Parker, and Dizzy Gillespie in the mid 1940's. Aside from his venture into bebop, Davis was also a pioneer of the "cool" jazz in 1948 with the formation of a nine-piece band with Gil Evans on piano. Some albums they produced were Sketches of Spain, Porgy and Bess, and Miles Ahead. Davis continued to touch on new dimensions throughout his life. Basing jazz on a modal rather than a harmonic concept was introduced by him on his album, Kind of Blue. His use of electronic instruments to produce a sound influenced by rock music created controversy, as in Bitches Brew. Davis played with and influenced many talented young performers, most notably John Coltrane, who later became jazz masters themselves. Dizzy Gillespie Dizzy Gillespie (1917-1993), was one of the leading exponents of bebop. He was born in Cheraw, South Caro- lina, and played trumpet with such figures as Cab Calloway | and Earl "Fatha" Hines in big bands, but his real recognition came after producing some of the most important record- ings with Charlie Parker in the mid-1940's. Gillespie was well known as a leader of big bands as well as a composer of such songs as Night in Tunisia, Be- bop, Manteca, and Salt Peanuts. He played internationally throughout most of his career, becoming world renown.Colman Hawkins Colman Hawkins was born in 1904 in Saint Joseph, Missouri. He had much to do with the development of the bebop style of jazz. He was noted for his full-bodied sound on the tenor saxophone. Many considered him the father of the tenor saxophone. Hawkins began playing in his teen years. He per- formed with groups such as The Jazz Hounds of Mamie ( Smith and the Fletcher Henderson Orchestra, and was an established leading performer by the 1930's. He toured Europe for 5 years in the late 30's. Upon his return to the United States, he recorded Body an Soul, which became a classic. He continued to play as a soloist until a few weeks before his death. Charlie Parker Charlie Parker was born in 1920, in Kansas City, Kan- sas. Raised in poverty with only a mother and no father, Charlie overcame the obstacles in his path and learned to play the alto saxophone. He became one of the greatest im- provisers of all time. Other musicians would kid him about playing wrong notes, only to say later, he was way ahead of his time. "Cool Blues" was a song he recorded in 1947 which still sounds modern today. Parker, along with Dizzy Gillespie, is gener- ally credited with the development of bebop music. Char- lie's melodic and rhythmic concepts are still high points of all jazz improvisation. Charlie passed away at the early age of thirty-five. Lester Willis es Lester Willis Young, a tenor saxophone jazz musician, played with many of the most influential bands, including those of Fletcher Henderson and Count Basie. His recordings with Billie Holiday quickly attained the status of jazz class and did later recordings with such other jazz greats as Oscar Peterson and Teddy Wilson. Young's lighter, more suave approach to the tenor sax was a departure from the conventional, heavily sensu- ous sax sound, and his style influenced the playing of later saxophonists, notably Charlie Parker.Introduction Welcome to Jazz Guitar Solos by George Ports and Frank Sibley. No matter what instrument is used, we feel that going to the best improvisers is the fastest and most productive way for you to learn to create your own innovative musical patterns. Learning from a variety of instruments, rather than guitar only, is preferable since unusual fingerings occur automatically. This book can be utilized by any musician. Many other books have a few good licks and short phrases, but we will always give you an entire solo. Every solo is in easy-to-read tablature for guitarists. We feel there is an over- abundance of guitar solos on the market, written from guitar music rather than other instruments. Now guitarists can study from some of the greatest instru- mentalists of saxophone and trumpet. This book will be a study of the creative genius in the likes of Charlie Parker, Clifford Brown, Dizzy Gillespie, Coleman Hawkins, and Miles Davis. All solos, except "Cindy", will be played twice; once at 80 metronome for the quarter note and again at a considerably faster tempo. At the 80 metronome setting, the student can hear, see, and eventually play along with the tape to learn the patterns. CD Track List Slow Tempo Normal Tempo 1, Blues is Cool 13. Blues is Cool 2. Walk Through the Blues 14. Walk Through the Blues 3, Pamela, version 1 15, Pamela, version 1 4, Pamela, version 2 16. Pamela, version 2 5. Flowers 17. Flowers 6. The Hood 18, The Hood 7. Technology 19. Technology 8. Motion 20. Motion 9. Gettin’ up There 21. Gettin’ up There 10. Cindy 22. Fingers 11. Fingers 23. Happiness 12. HappinessBlues is Cool This is a great way to start; a short, hot, and sweet blues in C. It's just as modern today as the first day it was played. It is interesting how Ci#dim is inserted in bar 8. Notice the "question and answer" in bars 19 and 20, but with different phrasing. Watch the fingerings in bar 11. Level | Track | 10cr Fv Fidim 22Watk Through the Blues This blues flows real smooth. The neighboring tones in bar 3 have a nice flair. Slide into the Db note in bars 19 and 22. The notes in parenthesis in bars 27 and 28 are to be deadened. Bars 30 through 33 have a good be-bop sound, and are fun to play on guitar. Bars 37 and 38 contain motifs. Bars 58 and 59 also fit an Eb7 chord. Level 1 Track 2 Cm? rf A] phFm? Br Bw F Bemaj? a Cm7 F? 2 i om GE yoo ae : = = ae a i | 24 uC} py EY BY 1213BH Bp? E] yr BT 54 1415Grbs9) 16Pamela This is a unique solo. It periodically plays some triplets and groups of sixteenth notes to spice up the melodious eighth notes. The notes in parenthesis in bar 11 are to be muted. (not mutilated). Slide into note from fret below in bars 21 and 48. Level | Track 3 c Dm’? a c18192021Don Cherry joins Ornette Coleman in the studio 22Pamela This is another interpretation of Level I Track 3. It has long flowing lines throughout the entire piece. Practice using some of the II, V, I's, in other keys. Memo- rize them for your own improvisation. Slide into note from fret below in bar 37. Level | Track 4 Am? D7 Gmaj? 10 2324B bmaj? Am? pb? 25D7 Bm75) E? 43 46 26Gm Gmaj7 Am? Dt 3 Bmvs) 277 5 286764 —4+ 2995 Am’_3. 30 bpFlowers Parts of this song were recorded often by some of the world’s greatest improvi- sors. It has some very modern sounds, even at today’s standards. Notice the natural 7th against the Bb7 chord in bars 19 and 43. In bars 38 and 39, keep your first finger in position; stretch your fourth finger to the 9th fret. Try different fingerings for triplets in bars 40 and 42. Level Il Track 1 BP b BT Bi 10 31323346 34The Hood This is an extensive solo with " There are some very useable II-V's. At bars 10 and 16, notice the compact playing and use of neighboring tones, twisting the melody around. The fingering lays good on the guitar. Level Il Track 2 Em ay Dim a 6 B? BE? Ebmaj? Fm 35Bim 2 he ae at 2 362 “er Bdim 3\eo “Be 4 37BH Em oe Bdim a) Bhmaj? Fm BY Bm Ay Pm a Bdim By Em Gr BT Bp7) Ebmaj? 38Bmaj? Bm BT — Bm ar Dm Ge Bdim 39Baim 5 E'n : Gn Baim , BH CLIFFORD BROWN Quartet in Paris enaud and others. oP Nosts Th 40Technology The improvisation in this song is outstanding. Listen how the second 4 bars an- swer the first 4 bars. The combination of eighth and sixteenth note triplets in bars 16 through 20 are excellent. Level II Track 3Bm 7 belt Am 4 ere Fo. St a o - 9 10- 42a Am7@5) D? G H-10440-8—F-16-— + ——- 710 Roy EldridgeMotion This chord progression standard is done with classic taste and dexterity. You have to just love the way the soloist lets the first measure go by and then comes in cool and subtle. Level Il Track 4 Cmaj7 Dis) — = pote oH prs) 10 4445maj? Drs) 25 Dm? f 2 ft _——== z Po f + 28) 46prs) Dm’ 46 4748| Dm? a maj? ay Dm? ar Cmaj7 f 6 a + —————— at Metheny and Ornette Coleman 49Gettin’ up There This song sounds great either slow or fast. It is filled with some beautiful triplets and sixteenth notes. Level Ill Track 1 B te b ao Am? b7 10. 5051B Be Fm? ft ote eft tre B fee ft 10. t BY Fm? 100 A 34) 5253= t ~ 13 10 10-8 8412-4243 54Dizzy Gillespie 55Cindy Although lengthy, this entire piece makes melodic sense. Some have called this one of the ultimate improvisational solos of all time. The descending line after the C note means to "fall off’, rather than slide to a fret, in bars 98, 127, and 128. Level Ill Track 2 al Abmaj FU BY Bin? pb? SSS we 7 5 = : 4 = a 6 6 4 Br Abmaj? hm? _ — Pa is tt T — a z tae ashe $ eee see he 6 7 on $6 5—4——__ 32} 7 D'maj7 Dim? Abmaj? 10 56Fm? 57 ru Bm’? 19)25 Fm Abdim? Abmaj? Fr Bm? Bh Abmaj7 Bbm7 3 BT 58Bm? ar Dhmaj7 * Abmaj? 40 Dm? Abmaj? ¥ 59F7 Abmaj? BY c7 e hee a 60Abdim Abmaj’, F7 Bim? EW Abmaj? Bim? EY Abmaj? Bhn? BT Abmaj? 6162a Fm? Abdim 0 av, o Grae x = o | - 8 10. = Abmaj7 F7 Bln? a Abmaj? |, ¢ # ee pee ¢ pees sep « feos bb — —— F _ # 1 9 63100, ra Abmaj7 Bm? abr 103 64BT F7 65i Fm? Abdim Abmaj? 7 {24 Bem? By Abmaj? Bhm7 EY 130 66Bh Bln? Bw 133 Abmaj? Em? AT Dhmaj? 136, Din? Abmaj? r 139 BH : Bln? 142 67BT Abmaj? FT ‘145) BT a 148 154] 68Abdim Abmaj7 es FI 157, Abmaj? reas Bi o 8- B ‘ = —4- 160 69Fingers This short and hot solo has become a classic jazz standard over the years. Level Ill Track 3 fll 2 Be Cm? F709) B 10 113 TESTO71B Cm? F719) B 31 Coleman Hawkins and Miles Davis 72Happiness This track sets a relaxed feeling during the first twelve measures, improvised with a brilliant double-time feel. In bar 49, the slide descends from the sixth fret to the fifth fret. Level Ill Track 4 maj? Abm? DT Ghmaj? Bm? EvAm? pb? Gmaj? Gm? c Fmaj7 74Am? BY maj? Fmaj7 Bm? BT Fmaj/A Ay Gm? c Fmaj? cmiG 30 75Fmaj7 Gm? co Fmaj7 Bim? By Fmaj7 Ay Gm7 Cc Fmaj? Abm7 pr Gmaj7 Abm7 Db” maj? Bm? Ev 76Gimaj7 Al Abm? pr Gmaj?Fmaj? Gm? cr Fmaj? Bh? 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