The Genius of Joe Pass [videoopptak] 9781579409067, 1-57940-906-7

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Plus Bonus track s: Joe Pass In Concert Brecon Jazz Festival 1991

Th e Ge n i u s o f Jo e P a ss by Jim Oh lsch m id t Photo courtesy of Fantasy Records

In 1 9 7 8 ja zz g u ita ris t e xtra o rd in a ire J o e Pa s s to ld Do wn b e a t write r Le e Un d e rwo o d th a t in th e fu tu re , “th e id e a o f s o lo [ja zz] g u ita r p la yin g wo n ’t b e s o s tra n g e . Lo ts o f g u ys will b e d o in g it, a n d d o in g it we ll.” Tim e h a s s h o wn Pa s s ’ p re d ic tio n wa s o n th e m o n e y. Twe n ty ye a rs la te r, we h a ve b rillia n t a rtis ts s u c h a s Ma rtin Ta ylo r, To m m y Cro o k , J im Nic h o ls , a n d o th e rs wh o p la y s o lo ja zz g u ita r a s th o u g h it wa s a lwa ys m e a n t to b e p la ye d tha t wa y. Although he m a y not ha ve origina te d the c onc e p t, J o e Pa s s u n q u e s tio n a b ly s h o we d th e wo rld h o w it s h o u ld b e d o n e , a fe a t wh ic h e a rn e d h im a rig h tfu l p la c e a lo n g s id e D ja n g o Re in h a r d t , C h a r lie C h r is t ia n , Le s P a u l, We s Mo n tg o m e r y, a n d Ta l F a rlo w a s o n e o f th e in s tru m e n t’s g re a t in n o va to rs . “Th e Ge n iu s o f J o e Pa s s ” o ffe rs p rim e e xa m p le s o f h is b re a th ta k in g s o lo wo rk , a n d s h o ws h o w h is e xq u is ite im p r o v is a t io n s e v o lv e d a n d b e c a m e in c r e a s in g ly s o p h is tic a te d a s Pa s s b e c a m e m o re c o n fid e n t a n d fre e with h is p la y in g . T h is v id e o is b y n o m e a n s a c o m p le t e re tro s p e c tive o f h is wo rk . Pa s s ’ d is c o g ra p h y is im m e n s e ; s u c h a c o m p ila tio n wo u ld re q u ire m a n y h o u rs o f vie win g , a n d th e d iffic u ltie s in o b ta in in g a n d lic e n s in g th a t m u c h foota ge m a ke s uc h a p roje c t ne a rly im p os s ible . The foota ge a s s e m b le d h e re u n e q u ivo c a lly d o c u m e n ts wh a t m a d e J o e 2

Pa s s tru ly u n iq u e a m o n g th e ja zz g u ita ris ts o f h is tim e , a n d th e h u g e d e b t th o s e wh o h a ve fo llo we d h is e xa m p le o we to th is re m a rk a b le m a n . J o s e p h An th o n y J a c o b i Pa s s a la q u a wa s b o rn in Ne w Bru n s wic k , Ne w J e rs e y o n J a n u a ry 1 3 , 1 9 2 9 . Wh ile h e wa s s till a to d d le r, th e Pa s s a la q u a s m o ve d to th e c o a l a n d s te e l c o u n tr y o f J o h n s to wn , Pe n n s y lva n ia wh e re J o e ’s fa th e r, Ma ria n o , la b o re d a s a s te e l wo rk e r to s u p p o rt h is g ro win g fa m ily. By th e tim e J o e b e c a m e in te re s te d in th e g u ita r a t a g e n in e , h e h a d th re e yo u n g e r b ro th e rs a n d a s is te r. Although ne ithe r of his p a re nts we re m us ic ia ns , J oe ’s fa the r took a ke e n inte re s t in his e lde s t boy’s de s ire to m a ke m u s ic a n d b o u g h t h im a $ 1 7 Ha rm o n y g u ita r. Pa s s to ld Do wn b e a t th a t in J o h n s to wn th e re we re “a lot of loc a l Ita lia n c a ts in the ne ighborhood who dra nk wine , a n d s a n g , a n d p la ye d th e g u ita r. S o wh e n m y fa th e r g o t m e th e Ha rm o n y, h e h a d s o m e o f th e s e frie n d s o f h is to c o m e o ve r a n d s h o w m e a G c h o rd , a D, a n d a n A. Pre tty s o o n I c o u ld p la y ‘e m b e tte r th a n th e y c o u ld !” It wa s n ’t lo n g b e fo re Ma ria n o b e c a m e J o e ’s m u s ic a l ta s k m a s te r. In a 1 9 7 6 a rtic le fo r Gu ita r Pla ye r m a g a zin e , Pa s s g a ve write r J o n S ie ve rt a d e ta ile d a c c o u n t o f h is fa th e r’s s te rn in flu e n c e a n d th e a rd u o u s re g im e n o f d a ily p ra c tic e h e im p o s e d . Pa s s re c a lle d : “Da d ’s th in g wa s to p la y, p la y, p la y. He wa s n ’t a m u s ic ia n – h e wa s a s te e lwo rk e r – b u t h e s e e m e d to k n o w wh a t wa s n e c e s s a ry. I wo u ld s a y ‘Pla y wh a t? ’ a n d h e ’d s a y ‘Pla y th is ,’ a n d h e ’d wh is tle a little m e lo d y lin e o ff th e to p o f h is h e a d . He ’d b rin g h o m e a ll k in d s o f p ia n o m u s ic – c la s s ic a l, p o p u la r, a ll k in d s – h e ’d m a k e m e s it d o wn a n d fig u re it o u t. Vin c e n te Go m e z u s e d to h a ve a fifte e n m in u te ra d io s h o w o n S u n d a y, a n d Da d wo u ld m a k e m e s it rig h t b y th e ra d io with m y g u ita r. Go m e z wo u ld p la y a ll o f th is wild fla m e n c o m u s ic , a n d Da d wo u ld s a y, ‘Ge t th a t, g e t th a t.’ It wa s re a lly h a rd . I wa s o n ly e le ve n ye a rs o ld .” Th e g ru e llin g p ra c tic e s c h e d u le la s te d s e ve ra l ye a rs . Pa s s to ld S ie ve rt: “Da d wo u ld g e t u p fo r wo rk a t 6 :0 0 a .m ., wa k e m e u p a t 6 :3 0 , a n d I’d p ra c tic e ‘til I we n t to s c h o o l a t 8 :0 0 . I’d g e t h o m e fro m s c h o o l a t 3 :0 0 , a n d h e ’d b e h o m e fro m wo rk a t 3 :3 0 ; I’d h a ve to p ra c tic e fro m 4 :0 0 u n til d in n e rtim e . Th e n I wo u ld p ra c tic e fro m 7 :0 0 u n til 9 :0 0 . An d o n th e we e k e n d s , wh e n I d id n ’t h a ve to g o to s c h o o l th e n e xt d a y, I m ig h t p la y u n til 1 :0 0 a .m . All th e tim e h e 3

k e p t te llin g m e , ‘I’m d o in g th is b e c a u s e I d o n ’t wa n t yo u to h a ve to b e a s te e lwo rk e r o r a c o a lm in e r.’” Pa s s to ld Do wn b e a t: “My fa th e r wo u ld in s is t th a t I le a rn e d tu n e s , a n d th e n fill th e m u p . Pla y th e tu n e , le a rn th e m e lo d y, a n d d o th e fills . He in s tin c tive ly fe lt I s h o u ld b e d o in g th e s e th in g s . He wo u ld h u m a n Ita lia n s o n g , I wo u ld p la y it a n d th e n h e ’d s a y ‘F ill it u p !’” As J o e ’s s k ills d e ve lo p e d , h is fa th e r s c ra p e d to g e th e r $ 3 0 0 a n d b o u g h t h im a Ma rtin fla to p . “I d o n ’t re m e m b e r wh a t m o d e l it wa s , b u t it wa s o n e o f th e s m a lle r o n e s ,” h e to ld S ie ve r t. “Th a t wa s th e firs t a m p lifie d g u ita r I e ve r p la ye d . I p u t a De Arm o n d p ic k u p o n it a n d p la ye d th a t g u ita r fo r m a n y, m a n y ye a rs . It wa s a fin e in s tru m e n t.” J o e a ls o b e g a n ta k in g le s s o n s with a lo c a l m u s ic te a c h e r wh o p la ye d vio lin , g u ita r, s a xo p h o n e a n d p ia n o . “I h a d a le s s o n e ve ry S u n d a y m o rn in g fo r a ye a r a n d a h a lf, a n d it wa s a d iffe re n t le s s o n e ve r y we e k . I re a lly le a rn e d a lo t fro m h im ,” Pa s s re c a lle d . By a g e twe lve J o e wa s p la yin g with a g ro u p o f lo c a l m u s ic ia n s wh o g ig g e d a t th e lo c a l V.F.W. h a ll. “We ’d p la y wa ltze s , p o p tu n e s , s ta n d a rd s , ju s t a b o u t a n yth in g ,” h e to ld S ie v e r t . “I w a s lu c k y b e c a u s e m o s t o f t h e m w e r e e x p e rie n c e d ja zz- o rie n t e d m u s ic ia n s wh o h a d g o t t e n b o g g e d d o wn with fa m ilie s o r fo r o n e re a s o n o r a n o th e r c o u ld n ’t g o o u t o n th e ro a d . Th e y a ll h a d d a y jo b s o f s o m e k in d , a n d th e y we re in to g u ys lik e Be n We b s te r, Co le m a n Ha wk in s , a n d Ro y E ld rid g e . We h a d d ru m s , p ia n o , te n o r, tru m p e t, a n d g u ita r. Th e re wa s n o b a s s p la ye r, a n d I p la ye d a ll o f th e b a s s lin e s b e c a u s e th e p ia n o p la ye r wa s u s u a lly th e lo c a l s c h o o l te a c h e r wh o ju s t re a d th e s o n g s h e e t. We p la ye d th in g s lik e ‘S ta rd u s t,’ ‘Ch ris to p h e r Co lu m b u s ,’ a n d ‘Bo d y a n d S o u l.’ I wa s twe lve ye a rs o ld a n d im p ro vis in g . Th e y g a ve m e a ll th e ro o m I c o u ld ta k e .” At a g e 1 4 , Pa s s wa s p la yin g in a we d d in g b a n d th a t wa s lo o s e ly p a tte rn e d a fte r th e Q u in te t o f th e Ho t Clu b o f F ra n c e . “We h a d a b a s s , vio lin , a rh yth m g u ita r, a n d m e ” Pa s s to ld Do wn b e a t write r Le e Un d e rwo o d . “We ’d p la y s win g tu n e s lik e ‘Ho n e ys u c k le Ro s e ’ a n d ‘La d y Be Go o d ,’ a n d I wo u ld p la y th e m e lo d ie s . Th e g u y wh o h e a d e d th e g ro u p wa s a frie n d o f m y d a d ’s s o I wa s in g o o d h a n d s . A c h a p e ro n e -s tyle g ig . I’d p la y th e jo b , ta k e m y th re e b u c k s , th e le a d e r wo u ld d rive m e h o m e a fte rwa rd s a n d th a t wo u ld b e it, yo u k n o w? ” 4

Photo courtesy of Just Jazz Guitar

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Ella Fitzgerald & Joe Pass Photo courtesy of Ellen Luders Pass

Pa s s g o t h is firs t ta s te o f th e ro a d wh ile s till in h ig h s c h o o l wh e n h e to u re d with th e To n y Pa s to r O rc h e s tra in t h e s u m m e r o f 1 9 4 4 . A c c o r d in g t o a d is c o g r a p h y a s s e m b le d b y Ta b o O is h i p u b lis h e d in J u s t J a zz Gu ita r m a g a zin e , Pa s s p ro b a b ly p la ye d h is firs t s tu d io d a te with th e p o p u la r E a s t Co a s t d a n c e b a n d th a t ye a r ( a lth o u g h O is h i n o te s th a t th e a lb u m ’s lin e r n o te s s h o w th e re c o rd in g d a te a s J u n e 1 0 , 1 9 4 7 ) . E n c o u ra g e d b y h is s o n ’s e a rly s u c c e s s , J o e ’s fa th e r s e n t h im to Ne w Yo rk to s tu d y with Ha rry Vo lp e , a we ll-k n o wn s tu d io g u ita ris t, th e fo llo win g ye a r. Ac c o rd in g to Pa s s , th in g s d id n ’t wo rk o u t a s we ll a s h is fa th e r h a d h o p e d . “I we n t to h is h o u s e fo r m y firs t le s s o n , a n d we s ta rte d o ff b y p la yin g a c o u p le o f tu n e s to g e th e r, a n d I wa s p la yin g m o re th a n h im ,” Pa s s to ld S ie ve rt. “Th e n h e o p e n e d a b o o k a n d s a id ‘Pla y th is ,’ a n d I wa s s tu m p e d b e c a u s e I c o u ld n ’t re a d rh yth m ic n o ta tio n . I h a d to s ta rt o ve r a t p a g e o n e , a n d m y o ld m a n wa s n o t h a p p y wh e n h e h e a rd a b o u t th a t. It wa s a b ig d is a p p o in tm e n t. I q u it g o in g a fte r th re e o r fo u r le s s o n s b e c a u s e I g o t a g ig p la yin g th re e n ig h ts a we e k in a d a n c e h a ll.” Wh e n h e re tu rn e d h o m e , J o e re b e lle d a g a in s t h is fa th e r’s fo rc e fu l d ire c tio n . “I g o t to a p o in t wh e re I re a lly h a te d th e g u ita r a n d re s e n te d it,” Pa s s to ld S ie ve rt. “Th e n 6

Da d g o t ve r y s ic k a n d we n t to th e h o s p ita l, s o h e wa s n ’t a ro u n d to m a k e m e p ra c tic e . I s ta rte d d o in g a ll th e th in g s I s h o u ld n ’t h a ve b e e n d o in g – m y m o th e r wa s a re a l s o ftie . I e n d e d u p in Ne w Yo rk a g a in b e c a u s e a lo c a l b o y wh o h a d m a d e g o o d a s a m u s ic ia n c a m e to J o h n s to wn a n d h e a rd m e p la y, a n d to ld m e I h a d to g e t o u t o f to wn if I re a lly wa n te d to g e t s o m e th in g g o in g . He c h e c k e d a ro u n d , a n d I e n d e d u p with a c h o ic e o f g o in g with Ra y Mc Kin le y’s b a n d o r Da rd a n e ll’s Trio . Th is wa s in 1 9 4 8 . I c h o s e th e Mc Kin le y gig, but the y us e d c om p lic a te d c ha rts whic h I c ouldn’t re a d, s o I s p lit a fte r th re e we e k s .” In 1 9 4 9 , Ne w Yo rk ’s 5 2 n d S tre e t wa s th e m e c c a o f th e b e b o p r e v o lu t io n . As Le e Un d e r wo o d wro t e : “C lu b s a b o u n d e d – Min to n ’s , Bird la n d , Th e Ro ya l Ro o s t, Th e O n yx Clu b , Th e Th re e De u c e s , Th e Wh ite Ro s e Ba r. E ve r y o th e r d o o r wa s a “ja zz jo in t.” Dizzy wa s th e re , Ch a rlie Pa rk e r wa s th e re , Cu rly Ru s s e ll, Al Ha ig , Billy E c k s tin e , Ke n n y Cla rk e , Billy Ho lid a y, Co le m a n Ha wk in s , Mile s Da vis , a n d Art Ta tu m . Th e y we re a ll th e re a n d s o wa s yo u n g J o e Pa s s fro m J o h n s to wn , Pa .” It wo u ld s e e m th a t a t a g e 2 0 , with n e a rly s ix ye a rs u n d e r h is b e lt, Pa s s wa s th e c la s s ic yo u n g tu rk p o is e d to ta k e th e b e b o p ja zz s c e n e b y s to rm . He n o d o u b t fo u n d h is wa y in to s o m e ve ry in te re s tin g ja m s e s s io n s , b u t h e wa s a ll to o e a g e r to a d o p t t h e h a rd - d r u g life s t y le o f th a t in fa m o u s n o c tu rn a l fra te rn ity. With in a ye a r Pa s s wa s a ju n k ie with a s e rio u s h a b it. “S ta yin g h ig h wa s firs t p rio rity,” h e to ld Ro llin g S to n e write r Ro b e rt Pa lm e r in 1 9 7 9 . “Pla yin g wa s s e c o n d , g irls we re th ird . Bu t th e firs t th in g re a lly to o k a ll m y e n e rg y.” Th e n e xt 1 5 ye a rs we re th e d a rk e s t p e rio d o f h is life . “F ro m a b o u t 1 9 4 9 to th e e n d o f 1 9 6 0 , I s p e n t m o s t o f m y tim e in th e in te rc is e s o f s o c ie ty. I live d in th e c ra c k s ,” h e to ld Do wn b e a t. As Pa lm e r wro te in Ro llin g S to n e , Pa s s ’ drug-a ddle d e xis te nc e during the s e ye a rs “c ould ha ve be e n lifte d fro m th e p a g e s o f a J a c k Ku e ro a c n o ve l.” Pa s s s p e n t a ye a r in Ne w O rle a n s , wh e re h e live d in a “c ra s h p a d ” with s e ve ra l othe r m us ic ia ns a nd a uthor Willia m Burroughs . “In Ne w O rle a ns I ha d a kind of ne rvous bre a kdown be c a us e I h a d a c c e s s to e ve ry k in d o f d ru g th e re a n d wa s u p fo r d a ys ,” h e to ld Pa lm e r. “I wo u ld a lwa ys h o c k m y g u ita r.” Afte r Ne w O rle a n s , Pa s s h it th e ro a d a n d k e p t m o vin g , working a n e ndle s s s tring of nightc lubs in La s Ve ga s , Pe oria , 7

Photo courtesy of Fantasy Records

Ch ic a g o a n d F o rt Wo rth , Te xa s , wh e re h e wa s b u s te d fo r d o p e a n d ja ile d fo r five ye a rs . Le e Un d e rwo o d wro te in Do wn b e a t th a t wh e n Pa s s wa s re le a s e d , h e re s u m e d h is h a b it a n d s o o n wa s , in Pa s s ’ o wn wo rd s , “o u t o n th e s tre e t a n d n o t p la yin g a n o te .” It’s u n c le a r h o w Pa s s fo u n d h is wa y to Ca lifo rn ia th a t ye a r, b u t a s Un d e rwo o d wro te : “In 1 9 6 0 , h e s to o d o n th e s te p s o f S yn a n o n ’s S a n ta Mo n ic a d ru g re h a b ilita tio n c e n te r holding a gunnys a c k full of onions , the only thing he owne d. 8

No g u ita r. No m o n e y. No fu tu re . No h o p e . A s a c k fu ll o f d u s ty o n io n s a n d a b ro k e n life .” Ac c o rd in g to Pa lm e r’s a rtic le , a fo rm e r ro o m m a te o f Pa s s , p ia n is t Arn o ld Ro s s , c o n vin c e d h im to g e t with th e S yna non p rogra m a nd c le a n up his a c t. It wa s a p a rtic ula rly fo r t u it o u s d e c is io n fo r Pa s s : N o t o n ly wa s h e in t h e c o m p a n y o f o th e r ja zz m u s ic ia n s in th e th ro e s o f d ru g re h a b ilita tio n , b u t Dic k Bo c k , o wn e r o f Wo rld Pa c ific Re c o rd s , wa s o n e o f th e c lin ic ’s s p o n s o rs . Bo c k re c o g n ize d th e c o n s id e ra b le ta le n ts o f Pa s s , Arn o ld Ro s s , tru m p e te r Da vid Alle n , s a xo p h o n is t Gre g Dyk e s a n d s e ve ra l o th e r m u s ic ia n s re c o ve rin g a t th e c lin ic , a n d fe a tu re d th e m o n a n a lb u m o f s e ve n in s tru m e n ta l s e le c tio n s c a lle d “S o u n d s o f S yn a n o n ” re c o rd e d a t Pa c ific J a zz S tu d io s in Ho llywo o d la te in 1 9 6 1 . Th a t a lb u m a n d th e fo o ta g e th a t b e g in s th is vid e o c o n firm th a t Pa s s ’ s ta y a t S yn a n o n q u ic k ly a n d irre vo c a b ly tu rn e d h is life a ro u n d . Ta k e n fro m a 1 9 6 2 a p p e a ra n c e o n a Lo s An g e le s te le vis io n b ro a d c a s t c a lle d “F ra n k ly J a zz,” Pa s s ( p re s u m a b ly a c c o m p a n ie d b y p la ye rs fe a tu re d o n th e S yn a n o n a lb u m ) s ta te s th e m e lo d y o f “Th e S o n g is Yo u ” a n d th e n la u n c h e s in to a n e xte n d e d flig h t o f s wift, m e lo d ic im p ro v is a t io n s p la y e d wit h a le r t , c o h e re n t a u t h o rit y. “S o n n ym o o n fo r Two ” fin d s J o e s tre tc h in g o u t in a m o re re la xe d , b lu e s y ve in th a t h in ts a t th e s tyle h e wo u ld m a s te r in th e ye a rs to c o m e . With e ve ry b lu e n o te a n d e xp re s s ive p h ra s e , J o e Pa s s is d e fin ite ly in th e d rive r’s s e a t. Tal Farlow & Joe Pass Photo courtesy of Just Jazz Guitar

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“A lot of kids think tha t in orde r to be a guita ris t the y’ve g o tta g o o u t a n d b e a ju n k ie fo r te n ye a rs , a n d th a t’s ju s t n o t tru e ,” Pa s s to ld Un d e rwo o d . “I c a n ’t c re d it a n y o f th a t tim e s a yin g th a t wa s wh e n I re a lly le a rn e d . I s p e n t m o s t o f th o s e ye a rs ju s t b e in g a b u m , d o in g n o th in g . It wa s a g re a t wa s te o f tim e . I c o u ld h a ve b e e n d o in g th e n a lo t o f th in g s I’m d o in g n o w. O n ly I h a d fa ile d to g ro w u p .” 1 9 6 2 wa s a b a n n e r ye a r fo r Pa s s . Ac c o rd in g to O is h i’s d is c o g ra p h y, h e a p p e a re d o n n o le s s th a n s e ve n a lb u m s , wo rk in g a t Pa c ific J a zz S tu d io s with a rtis ts s u c h a s Le s Mc Ca n n , Ric h a rd “Gro o ve ” Ho lm e s , Le ro y Vin e g a r, J o h n n y Griffin , Bu d S h a n k , a n d o th e rs . By ye a r’s e n d h e wa s o n e o f th e b u s ie s t g u ita ris ts in Lo s An g e le s . Alth o u g h Pa s s c o a xe d a re m a rk a b ly wa rm , fa t to n e fro m th e F e n d e r J a g u a r h e p la ye d in th o s e d a ys , a fa n n o tic e d th a t it wa s n ’t th e b e s t in s tru m e n t fo r J o e ’s s tyle . “Ba c k in m y S yn a n o n d a ys , I d id n ’t h a ve a g u ita r o f m y o wn ; a ll I h a d wa s a s o lid b o d y ro c k a n d ro ll g u ita r th a t b e lo n g e d to S yn a n o n ,” Pa s s to ld S ie ve rt in 1 9 7 6 . “I wa s p la yin g a g ig a t a lo c a l c lu b with it wh e n th is g u y n a m e d Mik e Pe a k c a m e in a n d s a w m e p la yin g ja zz with a ro c k g u ita r. A fe w m o n th s la te r, o n m y b irth d a y, I c a m e h o m e a n d th e re wa s th is b ra n d n e w ( Gib s o n ) E S -1 7 5 th a t h e h a d b o u g h t fo r m e . He wa s in th e c o n s tru c tio n b u s in e s s a n d p la ye d a little g u ita r h im s e lf a n d ju s t fe lt th a t I s h o u ld h a ve the p rop e r kind of ins trum e nt. It’s the only e le c tric I’ve us e d s in c e th e n .” In a d d itio n to s te a d y g ig s a t L.A. c lu b s s u c h a s S h e lly’s Ma n n e Ho le , Pa s s wa s in h ig h d e m a n d a s a s tu d io g u ita ris t a n d h e b e g a n g e ttin g n a tio n a l p re s s in m u s ic m a g a zin e s s u c h a s Do wn b e a t, wh e re h e wa s a s u b je c t o f Le o n a rd F e a th e r’s “Blin d fo ld Te s t” c o lu m n . In h is in tro d u c tio n F e a th e r wro te : “It c a m e a s a s u rp ris e to J o e Pa s s th a t h e won this ye a r’s Inte rna tiona l J a zz Critic s Poll in the c a te gory n o w k n o wn a s ‘a r tis t d e s e r vin g o f wid e r re c o g n itio n . ’ Th o u g h h e wo u n d u p with m o re th a n twic e a s m a n y vo te s a s a n y o th e r g u ita ris t, Pa s s wa s a s to n is h e d a t th e re s u lts , c le a rly b e c a u s e h e s u ffe rs fro m a s trik in g c a s e o f m o d e s ty a n d is n o t ye t c o m p le te ly c o n vin c e d th a t h e h a s a n y ta le n t a t a ll.” O th e rs we re we ll-c o n vin c e d . In th e ye a rs th a t fo llo we d Pa s s re c o rd e d with m a jo r a rtis ts s u c h a s J u lie Lo n d o n , s a xo p h o n is t E a rl Bo s tic , a n d th e Ge ra ld Wils o n O rc h e s tra , 10

Martin Taylor & Joe Pass Photo courtesy of Just Jazz Guitar

a n d h e to u re d with th e Ge o rg e S h e a rin g Q u in te t fro m 1 9 6 5 to ‘6 6 . Pa s s m a d e s e ve ra l e xc e lle n t ja zz re c o rd s o f h is o wn in th e ‘6 0 s fo r Wo rld Pa c ific / Pa c ific J a zz, in c lu d in g “F o r Dja n g o ,” “S im p lic ity,” a n d “Gu ita r In te rlu d e s ,” wh ic h O is h i n o te s a s fe a tu rin g Pa s s ’ firs t u n a c c o m p a n ie d s o lo s o n re c o rd . Pa s s a ls o re c o rd e d “J o y S p rin g ,” h is firs t live ja zz a lb u m , o n t h e B lu e N o t e la b e l in F e b r u a r y o f 1 9 6 4 ( a lth o u g h th e a lb u m wa s n ’t re le a s e d u n til 1 9 8 1 ) . His s tu d io wo rk d u rin g th is tim e a ls o in c lu d e d s u c h lu c ra tive jo b s a s p la yin g fo r s e ve ra l te le vis io n s e rie s s u c h a s th e Wo o d y Wo o d b u ry S h o w, Go o d Mo rn in g Am e ric a , a n d th e Do n a ld O ’Co n n o r S h o w. Alth o u g h h is wo rk a s a n a n o n ym o u s s tu d io m u s ic ia n g a ve Pa s s a le ve l o f fin a n c ia l s e c u rity m o s t ja zz m u s ic ia n s o n ly d re a m e d o f, it wa s a re a lm h e a p p a re n tly wa s n o t e n tire ly c o m fo rta b le with . As Pa s s to ld Le e Un d e r wo o d in Do wn b e a t: “Yo u h a ve to h a ve your re gula r guita r, a 1 2 -s trings guita r, a ba njo, a m a ndolin, a wa h -wa h p e d a l – a ll th e to o ls o f th e tra d e . Wh e n th e y c a ll yo u , th e y e xp e c t yo u to b e a b le to d o e ve ryth in g th a t’s c o n te m p o ra ry. ‘Ca n yo u re m e m b e r wh a t s o -a n d -s o d id o n s u c h -a n d -s u c h a h it re c o rd ? We ll, we wa n t th a t.’ An d if yo u c a n ’t p la y th a t, th e y d o n ’t c a ll yo u a g a in .” By 1 9 7 0 , Pa s s wa s livin g c o m fo r ta b ly in S o u th e rn Ca lifo rn ia , h e wa s m a rrie d , a n d h a d s ta rte d a fa m ily. Bu t ro c k a n d e a rly a tte m p ts a t ja zz “fu s io n ” we re ra d ic a lly c h a n g in g th e g u ita r s o u n d s a n d s tyle s th a t we re m a k in g it on re c ords . The Pa c ific J a zz la be l wa s de func t, a nd a lthough 11

John Pisano, Joe Pass & Tommy Tedesco

s e s s io n s th a t ye a r with a g ro u p o f p ro g re s s ive L.A. ja zz m u s ic ia n s in c lu d in g e le c t r ic b a s s is t C a r o l K a y e , s a xo p h o n is t To m S c o tt a n d p ia n is t J o e S a m p le ( re is s u e d o n a Ho t Wire CD iro n ic a lly title d “Be tte r Da ys ”) s h o we d th a t Pa s s trie d to a d a p t h is we ll-in fo rm e d a n d c a re fu llyb u ilt te c h n iq u e to th e n e w s c e n e , h is h e a rt ju s t wa s n ’t in it. As h e la te r to ld Le o n a rd F e a th e r in a n o th e r “Blin d fo ld Te s t” c o lu m n : “I th in k th e re ’s a b ig a tte m p t b y a lo t o f g u ita ris ts to m a k e th is m a rria g e b e twe e n ro c k rh yth m s e c tio n s a n d fe e lin g , a n d b lo win g ja zz, a n d I t h in k it ’s a h o p e le s s p ro p o s it io n . It ’s n o t g o in g t o wo rk . It h a s t o h a p p e n a u to m a tic a lly; if it’s c o n trive d , it ju s t d o e s n ’t m a k e it. Yo u c a n ’t d e n y th e in flu e n c e o f th e n e w k in d o f ro c k rh yth m s e c tions , the drum m e rs a nd e le c tric ba s s p la ye rs , a nd m os t o f th e m p la y ve ry g o o d , in te re s tin g a n d in ve n tive . Bu t ju s t to p u t o n e e le m e n t with th e o th e r, it d o e s n ’t wo rk . I trie d it a n d I k n o w. Th e fe e lin g is d iffe re n t.” Pa s s lo n g e d fo r a n o p p o r tu n ity to m a k e a livin g a t p la yin g th e m a in s tre a m a n d b e b o p ja zz h e lo ve d s in c e h e wa s a te e n a g e r. As fa te h a d it, th a t o p p o rtu n ity wa s ju s t a round the c orne r. Norm a n Gra nz, founde r of Ve rve re c ords a n d ja zz im p re s a rio b e h in d th e h ig h ly a c c la im e d “J a zz a t th e Ph ilh a rm o n ic ” re c o rd s a n d c o n c e rt to u rs , h a d fo rm e d a n e w la b e l c a lle d Pa b lo , with wo rld - wid e d is trib u tio n th ro u g h RCA. Alth o u g h Pa s s wa s s till u n k n o wn to m o s t o f th e ja zz wo rld b e yo n d Lo s An g e le s , Gra n z re c o g n ize d h is p h e n o m e n a l ta le n t a n d re c o rd e d h im in a live s e t with 12

p ia n is t O s c a r Pe te rs o n a n d b a s s is t Nie ls He n n in g O rs te d Pe d e rs e n a t Ch ic a g o ’s Lo n d o n Ho u s e in Ma y o f 1 9 7 3 . “Th e Trio ” a lb u m wa s a h u g e s u c c e s s fo r Pa b lo a n d wo n a Gra m m y a wa rd th e n e xt ye a r. No t m is s in g a b e a t, Gra n z s im u lta n e o u s ly re le a s e d s e ve ra l o th e r s u p e rla tive o u tin g s fe a tu rin g Pa s s , in c lu d in g a n a lb u m o f d u e ts with E lla F itzg e ra ld c a lle d “Ta k e Lo ve E a s y” wh e re h e a c c o m p a n ie s h e r m o s tly o n s o lo a c o u s tic n ylo n s trin g g u ita r, a n d a n a lb u m o f h o t lic k s with He rb E llis c a lle d “Two F o r Th e Ro a d .” As a re s u lt, Pa s s ’ re p u ta tio n s k yro c k e te d th ro u g h o u t th e c o u n tr y a n d a c ro s s th e Atla n tic , a n d h is n a m e b e g a n a p p e a rin g n e a r th e to p o f re a d e r p o lls in Do wn b e a t, Gu ita r Pla ye r, a n d Me lo d y Ma k e r. In No ve m b e r a n d De c e m b e r o f 1 9 7 3 , Pa s s s p e n t s e ve ra l d a ys a t MGM re c o rd in g tra c k s fo r th e m o s t im p o rta n t Pa b lo a lb u m o f h is c a re e r, Virtu o s o . As Le e Un d e r wo o d wro te in Do wn b e a t: “‘Virtu o s o ’ s ta rtle d e ve r yb o d y: o n e m a n , o n e g u ita r, c o m p le x tu n e s , a n d a d is p la y o f te c h n iq u e th a t ra is e d th e s h o rt h a irs o n th e b a c k o f th e n e c k .” Re le a s e d in 1 9 7 4 , th e a p tly title d Vir tu o s o a lb u m fra n k ly s e t th e g u ita r wo rld o n its e a r. As p ia n is t Be n n y Gre e n wro te in th e lin e r n o te s , “th e re h a ve b e e n a lm o s t n o g u ita ris ts wh o e ve r a tte m p te d wh a t J o e Pa s s p u lls o ff s o p ro d ig io u s ly o n th is a lb u m .” Pa s s p la ye d lik e a h o u s e a fire , a lth o u g h th e im p u ls ive e n e rg y in h is im p ro vis a tio n s a n d a rra n g e m e n ts wa s g u id e d by his typ ic a lly ke e n s e ns e of dis c ip line , ta s te a nd rhythm ic Photo courtesy of Fantasy Records

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p ois e . Ric ha rd Cook a nd Bria n Morton wrote in The Pe nguin Gu id e to J a zz, “Pa s s s m o o th e s a wa y th e n e rvo u s n e s s o f b o p ye t c o u n te rs th e p la in ta lk o f s win g with a c o m p le xity th a t re m a in s c o m p le te ly a c c e s s ib le .” As h e e xp la in s in th e in te rvie w n e a r th e e n d o f th e vid e o , h is s o lo d ire c tio n wa s m o re Gra n z’s id e a th a n h is o wn . In 1 9 7 8 Pa s s to ld Do wn b e a t: “I d o n ’t th in k a n yo n e p re p a re s h im s e lf to b e a s o lo g u ita r p la ye r. Th e y s a id to m e , ‘Pla y a s o lo .’ I s a id ‘Wh a t s h o u ld I p la y? ’ Th e y s a id ‘Wh a te ve r yo u wa n t to p la y. Yo u ’ve g o t a u n io n c a rd , s o p la y!’” In a 1 9 7 5 Do wn b e a t a rtic le Pa s s s a id , “Th e re a re a lo t o f wa ys to d o a s o lo a lb u m . O n e wa y is to ta k e a tu n e a n d wo rk it o u t, d e c id e o n c h a n g e s , in tro , a n d e n d in g , m o d u la tio n s , te m p o s – wo rk it o u t, a n d g o in a n d d o it. Wh a t I d id , th o u g h , wa s ju s t g o in , a n d s o m e b o d y wo u ld s a y ‘Why don’t you p la y How High The Moon?’ I’d s a y ‘Ye a h, th a t m ig h t b e n ic e .’ I h a d n o te m p o in m in d , n o k e y, n e c e s s a rily. I ju s t trie d to m a k e it fro m b e g in n in g to e n d . . . I fo u n d m ys e lf g e ttin g in to tra p s a n d h a vin g to g e t o u t o f th e m .” Th e s o lo p e rfo rm a n c e s c o m p ile d h e re , b e g in n in g with th e im p ro vis e d b lu e s fro m a 1 9 7 4 c o n c e rt with E lla F itzg e ra ld a t Ro n n ie S c o tt’s c lu b in Lo n d o n , s h o w h o w Pa s s ro s e to th e c h a lle n g e o f p la yin g a lo n e fo r ja zz a u d ie n c e s a c c u s to m e d to rh yth m s e c tio n s a n d h o rn s . “It’s s h e e r te rro r, b u t I d o it,” Pa s s to ld Do wn b e a t. “At firs t, I d id n ’t th in k ja zz c lu b a u d ie n c e s wo u ld lis te n to a g u ita r p la ye r o n e o r two o r th re e o n e -h o u r s e ts a n ig h t with o u t u s in g b a s s o r d ru m s . Wh a t ja zz a u d ie n c e s th in k o f a s ‘ja zz’ is rh yth m . Th e y wa n t to h e a r d ru m s . S o I th o u g h t I wo u ld s o lo twe n ty m in u te s o r s o , th e n b rin g o n a rh yth m s e c tio n . I trie d it th a t wa y, a n d I trie d it a ll a lo n e . Th e re s p o n s e wa s g o o d .” In p a r tic u la r, th e Mo n tre a u x fo o ta g e o ffe rs a d e ta ile d , c lo s e -u p vie w o f Pa s s ’ re m a rk a b le rig h t h a n d te c h n iq u e . “Nin e ty p e rc e n t o f m y p la yin g is with th e fin g e rs ,” Pa s s to ld Do wn b e a t in 1 9 7 8 . “Th re e ye a rs a g o it wa s a b o u t fiftyfifty. No w, e xc e p t fo r m a yb e a re a l fa s t tu n e , I p la y a lm o s t a ll with m y fin g e rs . With fin g e rs , yo u g e t d iffe re n t q u a litie s , d iffe re n t vo ic in g s . With a p ic k , yo u g e t a s p e c ia l s o u n d , b u t yo u c a n ’t d o a s m a n y th in g s . With th e fin g e rs , h o we ve r, yo u c a n p la y o n ly s o fa s t; s o a lo t o f th e p la yin g g e ts d o n e with le ft-h a n d s lu rs , ru n -o n s , p u ll-o ffs . Re tu rn in g to th e 14

Photo courtesy of Just Jazz Guitar

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Joe & Ellen Pass Photo courtesy of Ellen Luders Pass

p ic k a fte r th a t is tric k y, b e c a u s e it’s a d iffe re n t k in d o f c o o rd in a tio n b e twe e n th e p ic k in th e rig h t h a n d a n d th e fin g e rs o f th e le ft h a n d .” In 1 9 9 4 , Pa s s to ld Ac o u s tic Gu ita r m a g a zin e e d ito r J e ffre y Pe p p e r Rodge rs tha t p la ying guita r with your finge rs in s te a d o f a p ic k wa s “th e b e s t a n d o n ly wa y to p la y yo u r g u ita r, b e c a u s e yo u ’re a c tu a lly in to u c h with th e in s tru m e n t – yo u a c tu a lly fe e l it, lik e a h o rn p la ye r fe e ls a h o rn in h is m o u th .” In a d d itio n to d e ve lo p in g a n im p e c c a b le te c h n iq u e , Pa s s a d o p te d a n a Ze n - lik e a t t it u d e t o wa rd m e n t a lly a r t ic u la t in g t h e m u s ic wh ile h e p la y e d . As h e t o ld Downbe a t: “You ha ve to e lim ina te your own c ons c ious ne s s , b e c a u s e o n c e yo u b e g in th in k in g a b o u t wh a t yo u ’re d o in g , yo u ’re n o t a llo win g th e m u s ic to ta k e o n its o wn s h a p e a n d fo rm a n d m o m e n tu m . Yo u ’re tryin g to d ire c t th e m u s ic . Th e id e a is to g e t a wa y fro m d ire c tin g th e m u s ic , a n d ju s t a llo w it to flo w o u t b y its e lf. S o m e tim e s I’m o n th e s ta n d a n d I fe e l p re tty g o o d , a n d th e m u s ic ju s t s ta rts c o m in g out. Whe n it’s like tha t, I’m not m a king the m us ic go p la c e s ; it ju s t g o e s . I d o n ’t p la y th e s a m e tu n e th e s a m e wa y twic e . . . I n e ve r k n o w wh e re I’m g o n n a s ta rt, o r wh e re I’m g o n n a e n d .” In th e 1 9 7 7 BBC b ro a d c a s ts in c lu d e d h e re , Pa s s ’ e la b o ra te fa n ta s ie s o n fa m ilia r s ta n d a rd s s u c h a s “Pre lu d e 16

To A Kis s ” a n d “Mis ty ” s h o w vir tu a lly n o im p e d a n c e b e twe e n th e s p o n ta n e o u s flo w o f h is ric h m u s ic a l id e a s a n d th e n im b le fa c ility o f h is h a n d s u p o n th e in s tru m e n t. “I fin d th e m o re e xp e rie n c e d I g e t a n d th e m o re I c a n p la y with o u t tryin g to im p re s s a n yb o d y, th e m o re fre e d o m I h a ve ,” h e to ld S ie ve rt. “Wh a t I try to d o is ju s t g e t u p o n th e s ta n d a n d fo llo w a th o u g h t with o u t wo rr yin g wh e th e r s o m e o n e lik e s it o r n o t. S o I g e t s tu c k h e re a n d th e re o r it g e ts a little u n e ve n , a n d I h a ve to p la y m y wa y o u t o f it. It’s th e n th a t I s ta rt fin d in g n e w th in g s , b e c a u s e it c a lls o n e ve r yth in g I h a ve in s id e m e . Th a t’s wh e n I g e t c lo s e s t to p la yin g m u s ic .” By 1 9 8 0 Pa s s wa s th e m o s t e xc itin g a n d re s p e c te d g u ita ris t in ja zz. His re c o rd e d o u tp u t o n Pa b lo th ro u g h o u t th e d e c a d e wa s in c re d ib le ; h e m a d e n o le s s th a n fo u r a lb u m s a ye a r, a lth o u g h it wa s n o t u n u s u a l fo r h im to m a k e s e ve n o r e ig h t re c o rd s a n n u a lly a s h e h a d d o n e in th e 1 9 7 0 s . His c o lla b o ra to rs o n m a n y o f th o s e a lb u m s a re a wh o ’s wh o o f ja zz: Milt J a c k s o n , E lla F itzg e ra ld , O s c a r Pe te rs o n , Cla rk Te rr y, F re d d ie Hu b b a rd , Zo o t S im s , S a ra h Va u g h a n , J . J . J o h n s o n , An d ré Pre vin , To o ts Th ie le m a n s , a n d C o u n t Ba s ie , wh o re c o rd e d s e ve ra l s u p e rb s win g a lb u m s with Pa s s in s m a ll g ro u p s k n o wn a s th e Ka n s a s City 7 a n d Ka n s a s City 6 . Pa s s a ls o re c o rd e d th re e s o lo a lb u m s – in c lu d in g a live s e t re c o rd e d a t Ak ro n Un ive rs ity in 1 9 8 5 a n d a te rrific trib u te to F re d As ta ire c a lle d “Blu e s F o r F re d ” in 1 9 8 8 – a n d a n a lb u m o f Bra zilia n m u s ic c a lle d “Cra zy Rh yth m . . . Azym u th ” re c o rd e d in Rio d e J a n e iro in 1 9 8 7 fo r th e Mile s to n e la b e l. Am o n g th e fin e b a s s is ts Pa s s p e rfo rm e d a n d re c o rd e d w it h t h r o u g h o u t h is c a r e e r, h e s e e m e d t o s h a r e a p a rtic u la rly k e e n m u s ic a l d ia lo g with Nie ls He n n in g O rs te d Pe d e rs e n . In th e fo o ta g e fro m th e ir 1 9 8 2 a p p e a ra n c e a t th e Co p e n h a g e n J a zz F e s tiva l, Pa s s a n d Pe d e rs e n e n g a g e in s o m e re m a rk a b ly in tu itive in te rp la y o n O s c a r Pe ttifo rd ’s “Tric o tis m .” Th e ir b rillia n t p la yin g is d u e , in p a rt, to th e ir lis te n in g s k ills . “In a d u o s e ttin g , I’m th in k in g o f c o u n te rp o in t lin e s , o f m o ve m e n t,” Pa s s to ld Le e Un d e rwo o d in Do wn b e a t. “I’m lis te n in g to th e o th e r p e rs o n a n d tryin g to fit; I d o n ’t ta k e th e le a d .” All th e s to p s a re p u lle d o u t fo r “Mo ve ,” th e h ig h -s p e e d b e b o p fin a le th a t c lo s e s th e vid e o . Bo th p la ye rs s e e m to 17

Photo courtesy of Fantasy Records

b e p u s h in g th e m s e lve s to lim it a s Pa s s a n d Pe d e rs e n s p in o ff ra p id flu rrie s o f n o te s th a t le a ve th e m b o th a b it win d e d b u t e xh ila ra te d b y th e tu n e ’s e n d . Th e 1 9 9 0 s b e g a n a s a n o th e r s te lla r d e c a d e o f re c o rd s a n d wo rld to u rs . In a d d itio n to s e ve ra l fin e a lb u m s with h is o wn q u a rte t ( in c lu d in g a g re a t ja zz Ch ris tm a s a lb u m ) , Pa s s re c o rd e d two m o re s o lo a lb u m s a s we ll a s c o lla b o ra tio n s with Re d Mitc h e ll, To m m y Gu m in a a n d a n a lb u m o f Ha n k Willia m s m a te ria l with n o n o th e r th a n He e -Ha w s ta r Ro y Cla rk . In 1 9 9 2 Pa s s e m b a rk e d o n a e xte n d e d c o n c e rt s e rie s with fla m e n c o m a s te r Pa c o Pe ñ a , c la s s ic a l virtu o s o Pe p e Ro m e ro , a n d a c o u s tic fin g e rs tyle in n o va to r Le o Ko ttk e . Bille d a s th e “Gu ita r S u m m it,” e a c h g u ita ris t p e rfo rm e d a 18

s o lo s e t a n d , a s th e to u r p ro g re s s e d , th e y e xp e rim e n te d with p e r fo rm in g to g e th e r a s a fin a le . Pa s s re lis h e d th e m u s ic a l in te ra c tio n a n d c a m a ra d e rie o f h is to u rm a te s . In a le tte r to J u s t J a zz Gu ita r write r La ws o n G. S to n e , Pa s s re m a rk e d : “Th is is a wo n d e rfu l to u r. Th e g u ys a re g re a t p la ye rs , a nd re a l hum a n be ings . A lot of love a nd frie nds hip . Re a l! No c om p e tition, a nd I’m te lling you, I ha ve not worke d in a n y s itu a tio n a s wa rm a n d frie n d ly a s th is . We a ll tra ve l o n a la rg e b u s , s le e p s 8 , h a s a ll th e th in g s we n e e d . A d rive r, s o u n d m a n ( a g o o d o n e ) a n d s ta g e m a n , a to u r m a na ge r, a nd a ll guita r p la ye rs , too. Anywa y, I a m e njoying m ys e lf a n d th e s e g u ys h a ve in s p ire d m e a n d re n e we d m y in te re s t in th e g u ita r.” Pa s s ’ ro le in th e Gu ita r S u m m it wa s c u t s h o rt la te in 1 9 9 3 , wh e n h e le ft th e to u r d u e to in c re a s in g ly d e b ilita tin g p a in . Ko ttk e , Ro m e ro a n d Pe ñ a c o n tin u e d th e to u r a s th e y wa ite d with h o p e fu l o p tim is m fo r Pa s s to re tu rn , b u t it wa s n o t to b e . O n Ma y 2 3 rd , 1 9 9 4 , Pa s s d ie d o f live r c a n c e r a t a g e 6 5 . His fa m ily a n d m a n y frie n d s , th e g re a t ja zz m u s ic ia n s with wh o m h e wo rk e d , a n d c o u n tle s s fa n s a ro u n d t h e wo rld a ll m o u r n e d t h e p a s s in g o f a m a n wh o s e e n o rm o u s ta le n t wa s s u rp a s s e d o n ly b y h is h u m ility. “Wh e n s o m e b o d y te lls m e I s o u n d g re a t, it’s h a rd fo r m e to b e lie ve ,” h e to ld Do wn b e a t write r Le e Un d e rwo o d b a c k in 1 9 7 5 . “If I d id n ’t p la y th e g u ita r, I m ig h t b e d o in g s o m e th in g in fin ite ly s im p le r in in life . I d o n ’t k n o w wh a t th e h e ll th a t m ig h t b e . Ma yb e I’d b e a m ilk m a n o r s o m e th in g .” F o rtu n a te ly fo r th o s e wh o lo ve ja zz, J o e Pa s s c h o s e m u s ic . – J im Oh lsch m id t

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Photo courtesy of Just Jazz Guitar

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Few guitarists in the jazz idiom have reached the level of virtuosity that Joe Pass established and refined throughout his career. His playing in group settings was flawless, but he revealed his true genius as a solo guitarist who could simultaneously play all aspects of a jazz composition or a blues tune – melody, rhythm, chordal harmo nies, bass lines and rapid-fire improvisations – with an impeccable sense of taste and style that wowed critics and listeners around the world. Compiled in this video are a series of performances from 1962 to 1982 that cap ture the essence, brilliant technique and enormous talent of Joe Pass. Also featured are brief in terviews where Joe discusses his origins as a guitarist and his thoughts on his music. Joe Pass has in spired legions of players, yet he remains unsurpassed as the most genial jazz guitarist of our time.

V ESTA POL 13073 Running time: 115 minutes • b/w & Color • Cover photos by Tom Copi Nationally distributed by Rounder Records, One Camp Street, Cambridge, MA 02140 Representation to Music Stores by Mel Bay Publications © ® 2001 Vestapol Productions A division of Stefan Grossman's Guitar Workshop, Inc. ISBN: 1-57940-906-7

Titles include: 1. The Song Is You 2. Sonnym oon For Tw o 3. Blues In G 4. What Are You Doing The Rest Of Your Life 5. Satin Doll 6. Blues For Yano-San 7. Blues For Sitges 8. Soft Winds 9. Prelude To A Kiss 10. M isty 11. Blues In G 12. Interview 13. Tricrotism 14. M ove Bonus tra cks: 15. All The Things You Are 16. M edley: Sum m ertim e/ It Ain’t Necessarily So 17. That’s Earl Brother 18. Beautiful Love 19. They Can’t Take That Aw ay From M e 20. Joe’s Blues

For a FREE video catalog write to: Stefan Grossman’s Guitar Workshop, Inc. P.O. Box 802, Sparta, NJ 07871 Visit our web site at www.guitarvideos.com

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