This is a list of the 20 albums, representing the past 80 years of jazz guitar, which I would consider essential to my collection. These albums cover a wide range of styles, genres and combo sizes, ranging from solo guitar to large ensemble. But what links them together is that they are, at least in my opinion, 20 of the finest jazz-guitar records ever made.

Compiling a list like this is extremely difficult, but these are the albums that I wouldn’t want to live without. That have touched me as a listener and shaped me as a performer. There are many other records, especially from non-guitarists, that have had a big effect on me over the years, but these are the 20 that I couldn’t see myself doing without.

Check out the list, there might be some albums on here you haven’t heard before and would like to have in your collection. Feel free to add your own selections in the comments section. Lists like this shouldn’t be definitive, and this one definitely isn’t, so go ahead and add your favorite records to it.

If all that comes out of this is that people are exposed to new music that affects their lives as it has mine, then this exercise has been well worth it.

Charlie Christian: Genius of the Electric Guitar

Genre: Bebop/Swing
Year: 1939-1941

Charlie Christian started us all down the path to modernizing the guitar within the jazz idiom. Being the first guitarist to be featured in a single-note fashion, in the same way that saxophones were at the time, Christian proved that the guitar could hold it’s own as a solo and comping instrument, which changed everything for those that came after him.

Though the sound of the record and the music may become dated over time, Christian’s playing has a timeless quality to it that will be enjoyed by generations of guitarists to come.

Johnny Smith: Moonlight in Vermont (Stan Getz)

Genre: Cool/Bebop
Year: 1952

One of the most successful guitarists of the late ’40s through the ’50s, Johnny Smith really hits the mark with this album featuring tenor great Stan Getz. Though Smith didn’t write the tune, “Moonlight in Vermont” has become synonymous with his name.

The arrangement features his characteristic spread chord voicings, classically based voice-leading and an ear for melodic development that is more compositional than improvisational. This is a great introduction into the musical world of one the 20^th century’s most accomplished guitarists.

Kenny Burrell: Midnight Blue

Genre: Blues Note/Bebop
Year: 1963

While a lot of the players on this list are known for their blazing chops and incredibly advanced harmonic approaches to improvisation, Kenny Burrell is included for the exact opposite reasons. Not that he doesn’t have chops, or isn’t sophisticated, but his playing on Midnight Blue is a clinic in blues-based, melodic and motivic jazz improvisation.

Burrell’s solo on “Chitlins Con Carne” is one of the finest blues improvisations on record. His choice of motive, and ability to manipulate it to create continued levels of interest, is a joy to witness as a listener, guitarist or otherwise.

Wes Montgomery: Smokin’ at the Half Note

Genre: Hard bop
Year: 1965

I know, I know, half the albums on a list like this could have been Wes’. And yes, I know his studio albums are some of best every recorded, but there’s something about this album that is unique and just draws me in every time I hear it.

Hearing Wes play with the Wynton Kelly trio, three of the finest musicians of their, or any generation, is impressive to say the least. Wes is in absolute fine form as he draws from a seemingly endless well of inspiration in his solos. It’s also a great album for those of us who didn’t have the chance to see Wes while he was alive.

Smokin’ at the Half Note provides an inside look into Wes’ approach to a live performance, and what he could accomplish when he wasn’t working within the constraints of the recording studio. This is definitely one of the best jazz-guitar records of all time.

Pat Martino: El Hombre

Genre: Bebop/Hard bop
Year: 1967

El Hombre is one of the best, and most influential, albums from Martino’s “early period.” For decades now, jazz guitarists have cut their teeth by learning Pat’s solo on “Just Friends,” and it’s now an essential and often required transcription in some of the nation’s top jazz schools.

While Martino would go on to experiment with modal music and Eastern sounds during the ’70s, El Hombre finds the young picker at his Bebop prime.

Joe Pass: Virtuoso

Genre: Bebop/Hard bop
Year: 1974

Virtuoso is an important and must have album for several reasons. It was Joe’s first attempt at a solo album, and one of the best solo records he ever made. As well, it transformed the way players conceived of the guitar in a solo jazz setting, opening the doors for future generations to explore the genre.

While his solo playing matured over the following decades, there is an excitement in his playing on Virtuoso that is absolutely engaging. If you only own one solo jazz-guitar record, this is it.

John Abercrombie: Timeless

Genre: ECM
Year: 1974

Timeless, at least to my ears, is one of the first album to redefine the jazz-guitar organ trio. This is an album that is purely modern in context. Sure, the tunes have changes and bebop inspired moments, but this album is not the typical ’60s Blue Note organ record that had come to define the genre at the time.

Stepping out and experimenting with both sound and context is nothing new for Abercrombie. His career’s work has been full of these things, but he really hit the mark with this record. His playing on tunes like “Ralph’s Piano Waltz” and the title track are some of the finest in his long and storied career.

The fact that this was Abercrombie’s debut album as a leader makes it that much more impressive. This is not only a great organ trio record. It’s a great jazz record.

Jim Hall: Concierto

Genre: Cool/West Coast
Year: 1975

Anytime you pair someone like Jim Hall with Ron Carter, Chet Baker and Paul Desmond you know it’s going to be a classic session. Though the album is known mainly for the ensemble’s lengthy interpretation of the “Concierto de Aranjuez,” Jim’s solo on “You’d be so Nice to Come Home to” has become a classic jazz guitar track. Concierto is a must have for any Jim Hall fan.

Ed Bickert: Like Someone in Love (Paul Desmond)

Genre: Cool
Year: 1975

One of the best jazz guitarists to come out of Canada, Ed Bickert turned listeners on their ears when he appeared on Like Someone in Love, led by the great Paul Desmond. Though Desmond’s name appears on the album cover, the saxophonist let’s Bickert shine on his many classic intros and extended solos.

Any guitarist wanting to learn how to perform in a piano-less quartet would be well served to spend time with this record. Bickert’s ability to comp and solo at the same time, as well as conjure up timeless chord solos, will have listeners wondering how many hands this Canuck really has.

Pat Metheny: Bright Size Life

Genre: ECM
Year: 1976

Metheny is another player who could easily fill half this list with classic solo records, let alone those he’s done with the PMG. The reason I’ve included “Bright Size Life” on this list is because it’s the record that started it all.

Jazz, and especially jazz guitar, would never be the same after countless fans heard that stairway of fifths that open the album’s title track. With a lineup to die for, Jaco Pastorius on bass and Bob Moses on drums, Metheny pulls off an album that any guitarist would love to have on their discography. To top it all off, he was only twenty-one at the time it was recorded.

Ted Greene: Solo Guitar

Genre: Cool
Year: 1977

Though he only released one album during his lifetime, Ted Greene knocked the ball out of the park with this record. With stunning arrangements, an unbelievable tone and an unworldly command of the instrument, Greene didn’t have to release a second record, he had already solidified his place in jazz history with “Solo Guitar.”

One of the most under-appreciated and undervalued players and guitar educators of the 20^th century, Greene has recently found a new generation of fans and loyal followers through a new memoir and website dedicated to his music and pedagogy. If there’s anyone on this list that deserves greater recognition, it’s Mr. Greene.

Ralph Towner: Solo Concert

Genre: ECM
Year: 1979

Beginning his musical career as a pianist, fans all over the world are grateful that Ralph Towner decided to change instruments and become the prolific guitarist and composer he is today. Sounding more like an orchestra than a guitar, this album features Towner firmly in his element, performing solo six and twelve string guitar.

The energy that Towner builds with each song is compelling, leaving the listener wondering what else this talented improviser has up his sleeve. Released on the ECM label, this record mixes modern classical and jazz in a way that has come to define not only Towner’s output, but the label itself.

Lenny Breau: Five O’Clock Bells/Mo’ Breau

Genre: Modern/Modal
Year: 1981

Lenny Breau is often thought of as one of the forgotten geniuses of the jazz guitar world. Those who were lucky enough to see him perform, or study with him, while he was alive will often go on and on about what an amazing player and human being Lenny was.

Though he never became the big-name artist that many, including long-time supporter Chet Atkins, had hoped that he would, his musical legacy lives on today in many of his classic recordings of the ’60s and ’70s.

Five O’Clock Bells/Mo’ Breau features Lenny in an intimate, solo-guitar setting, with some vocals thrown in as only Lenny could. His playing is creative, focused and technically impressive, providing one of the best representations of Lenny’s capabilities as a guitarist.

Emily Remler: East to Wes

Genre: Modern Bebop
Year: 1988

Though her career, and life, was cut short due to a long battle with drug addiction, Remler’s music will remain an integral part of the modern jazz-guitar vernacular. With a nod to one of her idols, Wes Montgomery, Remler’s playing on this album is both traditional and modern at the same time.

She has a strong command of traditional jazz vocabulary and her time feel is first rate, but she also brings to the mix a thorough understanding of modern jazz harmony and improvisation. Though she didn’t live long enough to reach her full potential, albums like “East to Wes” are as good as jazz guitar gets.

Mike Stern: Standards and Other Songs

Genre: Modern Bebop
Year: 1992

Mike Stern has had a long and illustrious career, with many considering him to be the biggest name in jazz guitar today. Starting out playing in fusion groups, including Miles’ band in the early ’80s, Stern surprised everyone when he released “Standards and Other Songs.”

We all knew he could play, his previous album “Upside Downside” is a fusion classic, but few people would have guessed that Stern had such a virtuosic command of the bebop idiom.

Any and all of his solos on this record are a treatise on how to play modern bebop. He never misses a chord change, his substitutions are dead on and he screams energy from every solo. With everything he’s done to date, this album stands out as the pinnacle in a long and successful career.

Ben Monder: Dust

Genre: Modern/Avant-Garde
Year: 1997

Though Monder had released Flux before Dust, this is often considered the album that introduced the virtuosic composer/guitarist to the world. This album is not your traditional jazz fair, and most would find that it’s more of a 20^th century avant-garde classical album than jazz, but regardless how one defines this record, it’s a must have for any serious jazz guitarist.

Kurt Rosenwinkel: East Coast Love Affair

Genre: Modern
Year: 1996

Rosenwinkel has firmly established himself as one of the leading figures in the modern jazz movement. His compositions borrow from modern rock as much as they do from modern jazz, but early in his career Rosenwinkel released two albums that focused more on standards than on his own compositions.

One of these albums is the live trio-record “East Coast Love Affair.” Kurt’s playing on this record is outstanding. Showcasing his ability to comp for himself as he weaves through single-line solos, Rosenwinkel’s playing is a study on how to play guitar in a modern trio. As enjoyable to listen to as it is to study, “East Coast Love Affair” is a must have for any fan of modern-jazz guitar.

John Scofield: A Go-Go

Genre: Modern Funk
Year: 1998

Featuring jazz giant John Scofield and funk wonder-trio Medeski, Martin and Wood, “A Go-Go” is often considered the pinnacle of the jazz-jam band genre. Borrowing from ’70s funk groups like the Meters and mixing in their own unique blend of modern jazz, these four guys rock and roll through every track on the album.

As well as being an enjoyable album to get up and groove to, the record has introduced a whole generation of young musicians to the world of jazz. Fans of funk and jam bands, who normally wouldn’t have sought out a jazz record or gone to a jazz concert, were suddenly exposed to the work of Scofield and other great jazz guitarists. For that fact alone, this album makes this list.

Joao Gilberto: Voz e Violao

Genre: Brazilian Jazz
Year: 2000

For those of you who are familiar with this record you might be scratching your head as to why an album with little to no improvised solos is included on a list like this. Jazz guitar doesn’t have to have single-line solos to be considered worthy music, it just has to be great music. Gilberto’s performance, as both vocalist and guitarist, on this record is exactly that, great: his voice and guitar come together to sound as if they are one. His rhythms are authentic yet personal and his right-hand punctuation always supports and accentuates the vocal line, never taking away from it.

With so many great soloists in the jazz-guitar genre, a rhythm specialist like Gilberto stands out for his simplistic, yet engaging, approach to the genre. If you only own one Brazilian Jazz album, this is it.

Dr. Matt’s 20 Essential Jazz Guitar CDs is a post from: Fretterverse.com: Guitar Blog | guitar news & reviews, amps, effects, guitars, music theory, guitar lessons. If you are reading this on a site that is not Fretterverse.com, it's been ripped. Please come to the real Fretterverse.com.

Not that kind of scale, knucklehead!

There are two primary schools of thought when it comes to scales and improvisation. The first is to treat each chord as a separate entity and improvise using certain scales/modes over each one individually. I like to think of this as “vertical improvisation” as the player deals with each chord individually.

The second is to think more linearly – “horizontal improvisation” – by finding the cadence patterns and chord progressions that fall under a certain scale/mode, and then adding certain alterations to spice up the lines.

Both ways work, but does one necessarily work better than the other?

Is there a secret method or special trick you can use to master the scales and chord progressions and be able to become the fiercest soloist on the block?

First and foremost, let’s answer the question:

No, there is no trick!

Hey, it's cheap...

C’mon folks, if you thought there really was a trick then I have some land to sell you. There are no tricks, no matter what people tell you. Both methods require hard work and lots of shedding, so let’s dispel any notions to the contrary.

Vertical Improvisation

As I mentioned previously, vertical improvisation deals with each chord as a separate entity. Surely, you would identify certain progressions such as ii-V-I’s as a single unit, but the overarching principle is to look at each chord on its own. For example, let’s take a ii-V-I in the key of Ab Major:

Bbm7 / / /  |  Eb7 / / /  |  AbMaj7 / / /  |  / / / /  |

A typical vertical improvisation approach to this progression would go like this:

Bbm7 = Bb Dorian mode
Eb7 = E melodic minor scale
AbMaj7 = Ab Major or Ab Lydian mode

This is obviously not the only way, but it is perhaps the most basic for vertical improvisation.

Improvising this way requires the player to first memorize all three of these scales and, secondly, know how to play them in all areas of the fingerboard.

Horizontal Improvisation

Let’s take the same ii-V-I in Ab:

Bbm7 / / /  |  Eb7 / / /  |  AbMaj7 / / /  |  / / / /  |

Jimmy Bruno

Using the Horizontal Improvisation approach, you would think of this whole section as being all in the key of Ab Major. In this way you really only need to learn one set of fingerings or scale (for lack of a better term). However, this in and of itself is going to sound very stale and boring. Jimmy Bruno, as an example, teaches in his Guitar Institute that you make certain alterations to address certain sounds in the progression – he calls them “outside notes.”

This approach requires the player to have all of the fingerings for the key figured out on the entire fingerboard, as well as knowing where all of the altered/outside sounds are within the larger framework. When playing a b9 during the Eb7 you essentially need to know where all of the ‘E’ notes on the guitar are, but you need to know these as b9′s and as the note names. It’s a lot harder than you think.

The Hybrid

Pat Martino

There is a pseudo third school of thought which I think of as something of a hybrid. Pat Martino comes to mind in this method. In his approach, everything is reduced to a minor sound. (It’s really more of a Dorian mode sound than a regular minor one.) His concept is similar to Bruno’s in that he thinks of everything as minor (as compared to Bruno thinking in Major), but all of the alterations are already included in Martino’s lines. If you study Martino’s approach you will see that it’s not just a “Dorian” sound but a highly chromatic/altered concept within a tonal center. The lines themselves inherently teach you all of the alterations and color tones by simply learning his approach to playing. There is no analysis or specific identification of one note being the b9 or this or #5 of that; it’s all about the sound.

Which Way is Better?

Well that’s the million-dollar question now, isn’t it. To be honest, I can’t definitively answer that. It’s really up to you to decide what works best for you. I have had great amounts of success with both. Bruno’s system filled in many holes I had in my fretboard knowledge in a very short amount of time. My knowledge of the guitar is 1000% better thanks to his method. But I’ve also had success with the vertical approach (and I’m studying Martino’s approach currently).

My suggestion, however, is for you to try all of the approaches and see what works for you. I recommend you work one at a time so as to not confuse yourself. Start with one and milk it for as long as you can. When you’ve gotten all you can out of it, move on to the next. It will probably take you a very long time in each one before you switch, so be patient.

Most importantly, have fun!

Learn the Modes, or One Big Scale? is a post from: Fretterverse.com: Guitar Blog | guitar news & reviews, amps, effects, guitars, music theory, guitar lessons. If you are reading this on a site that is not Fretterverse.com, it's been ripped. Please come to the real Fretterverse.com.

Dave Matthews

Not every guitarist wants to be original. Many people grow up just wanting to sound like their heroes. When John Mayer first hit the scene he sounded very much like SRV, as did Jonny Lang. There are plenty of guys imitating Dave Matthews nowadays, and certainly there are more than a few Holdsworth devotees. I don’t think there is anything inherently wrong with that at all. If that’s what inspires you to play and you like how you sound, more power to you! I just might be very content to sound just like Metheny, Martino, or McGill.

But for those of us who would like to add their own personality and flavor to our playing, becoming a true original and finding our own musical voice seems to be a very daunting challenge.

This is just my personal theory, but I think becoming an original player has more to do with doing something different naturally more so than purposely racking one’s brain to try and set themselves apart from the pack. Someone stumbled upon an idea or way of learning because they didn’t know any better and before you know it they have found their own voice.

So you might be thinking, “Well, that didn’t happen to me, so does that mean I’ll never be original?” Certainly not. But, I think those of us (and yes, I’m including myself) that didn’t have the luxury of stumbling upon something great and just went the traditional guitar-learning route, will have to think outside the box a bit more.

Take Risks

In its simplest form, being truly original is all about taking risks. It’s also about having the conviction to press ahead and stay the course while everyone else is trying to keep you down. You have to run as fast as you can towards the big prize – being able to play the music you hear going on in your head. That is the only true manifestation of your talent. This, of course, requires a certain facility with the guitar, so obviously you’re going to have to practice, but that should go without saying.

Start With One Thing

Many original artists really only do one or two things very well. The Edge has his delay pedal. Tom Morello has his wah-wah and turntable sounds. Don’t feel like you have to go out and completely start from the beginning. Latch onto one thing and milk the crap out of it. Mutate it. Dissect it. Explore it in every conceivable way. Get every last drop out of it, make it a part of your style, and then move on. If you just scratch the surface and never really dig in then it’s more about luck than determination and hard work.

Fail, and Fail Again. Then Fail Some More.

If you’re afraid of failing, you should probably give up playing guitar altogether, let alone try to find your own voice. The measure of success lies in how quickly you stand right back up after every failure. The messier and dirtier you get from each failure, the faster you need to get back on your feet and move forward. I’m inclined to believe that the people who succeed the greatest are the ones that have first failed the worst.

Just Be Original

If you love playing completely out of tune and think that’s the “thing” that makes you truly original, then by all means keep doing it. Everyone else might hate it, but they certainly can’t say you aren’t original, right? More realistically, however, you’ll probably work out a few things on the guitar that, coupled with the way you currently play, will present a unique and interesting twist that many have not heard before. Don’t be confused; being original doesn’t mean you have to be completely, 100% different than everyone else. Eddie Van Halen wasn’t so off the chart that people couldn’t identify with his playing or learn his songs, but he had enough tricks in his bag that were distinctly his own that he became a true, original icon of guitar.

Have Confidence…

Make people notice what you’re doing. If you are afraid to stand out and be original, you won’t. If you hesitate because you think people won’t like what you’re doing, then you’re not finding your own voice – you’re finding everyone else’s. You need to be able to put yourself out there and be unashamedly bold about doing what you do. In many cases, your confidence will win people over more so than the actual part of your playing that is unique to you.

Find Your Own Musical Voice is a post from: Fretterverse.com: Guitar Blog | guitar news & reviews, amps, effects, guitars, music theory, guitar lessons. If you are reading this on a site that is not Fretterverse.com, it's been ripped. Please come to the real Fretterverse.com.

Goooooooooooooooooooooal!

Yesterday, I put the finishing touches on my new practice routine. As I mentioned when deciding to embrace the suck, I’ve felt that my practice sessions have been floundering. Although my sessions have been very good for technical practice, I think they were falling short of my actual needs. I was substituting activity for productivity. My practice routine did not include any goals; it was an amorphous, “to infinity and beyond” ideal that had no true metric for progress or, even worse, a way to identify what was working and what wasn’t so I could make adjustments.

So after some soul-searching and heavy doses of gingko biloba, I have come up with a six-month practice challenge for myself.

This challenge kills several birds at once. First, it gives me a definitive timeline to work with. Now I have a deadline that needs to be met, with its associated pressures. I also have a specific set of things to work on. Lastly, I am working directly on the things I want to; rather than working around my goals I am working on my goals!

So what are my goals?

1. Learn 20 jazz standards (melody, chords, and improvisation) – the idea here is to get away from the fakebooks. As much as I love fakebooks, I’ll never be able to internalize the music if I have to rely on sight reading while playing. It’s too distracting and drives my attention away from listening to the rest of the band.

2. Pat Martino’s “Linear Expressions” – Martino wrote this book many years ago as an introduction to his minor reduction method of playing. Every chord gets reduced to a minor equivalent, which he then uses to improvise. I want to learn this method and incorporate his ideas and lines into my playing.

3. Jerry Bergonzi’s “Pentatonics” – Saxophonist Bergonzi wrote a series of books on jazz improvisation. Volume 2 deals exclusively with pentatonics. I have seen many examples of the pentatonics being applied over jazz progressions and love the sound, so I figured now was as good a time as any to dig into it and learn.

4. Shore up the songs I already know – As much as my memory sucks there are a few songs that I can play. But just to be safe I’m going to continue to work through them to make sure I have them nailed, with no doubt.

5. Improve Improv – All of the above goals will help me improve my ability to improvise. But, ultimately, I want to get better at this and so I’ll also be analyzing/transcribing solos and copping licks, learning some ii-V-I ideas, and generally trying to absorb whatever improvisation concepts I can get by listening to others. I figured the best way to do this would be to cop the solos from the songs in my list of twenty.

Why all of the jazz? Because to me it’s a means to an end. I am a firm believer that if I can “master” jazz (take that loosely, please) I will be able to play anything else I want. I’m also a huge jazz lover and want to be able to play it as the end itself. Licks don’t impress me, I already know how to play a barre chord, and learning country music will come later. For now I want to concentrate on learning the language of jazz.

And so what does all of this mean to you? Probably nothing. But, hopefully at least a few of you will read this and take a look at your own practice routine to see if it’s really helping you achieve your goals, or if you, like me, were substituting activity for productivity.

I’ll be sure to update the blog with my progress, and I will absolutely share any revelations I discover with you all. I encourage you all to take a step back and see if perhaps it’s time to create your own six-month challenge.

Have a great weekend!

The Six-Month Challenge is a post from: Fretterverse.com: Guitar Blog | guitar news & reviews, amps, effects, guitars, music theory, guitar lessons. If you are reading this on a site that is not Fretterverse.com, it's been ripped. Please come to the real Fretterverse.com.

Randy Rhodes - Guitar Soloist Extraordinaire

Most of a guitarist’s reputation is staked on how good their guitar solos are. You can have the most rockin’ rhythm playing in a song that grooves to all hell, but if you clam on the solo you’re pretty much done with. As good as you might chugga chug, without a spirit-lifting solo people won’t say much about you. Let’s face it, the Young brothers are both great players, but Angus definitely gets more of the attention than Malcolm. By comparison, players like Andy Timmons, Greg Howe, and Guthrie Govan don’t typically get praised showered upon them for the cool 9th chord they played.

But what makes a solo great? Are there common threads that run through the great solos in rock history? Better yet, how can we write a guitar solo that both moves and inspires?

Today I’m going to share some ideas with you, devices and techniques you can use to create a great guitar solo.

My personal opinion is that there are four parts to a great guitar solo: Intro, Development, Climax, Outro. Here are some suggestions on what you can do in each part to craft that Grammy-winning performance. This is by no means a complete list, but at the very least it should spark some creative ideas.

Intro

Paul Gilbert

As is quite obvious, the introductory phrase or line of your solo must immediately grab the listener.

1. The fast scale lead-in - This typically seems to start a little bit before the first bar of the solo, during the tail end of the vocals. The end of the fast scale then usually gets capped off by a longer, held note.
2. The big, slow bends - The beginning of Slash’s guitar solo on the song November Rain is a good example. A big string bend (or bends) with good vibrato will instantly connect your listeners with the emotion of the solo. For vibrato inspiration, look to John Sykes.
3. Restate the melody - Using the vocal melody as a jump-off point is an excellent way to instantly connect your solo to the rest of the song.
4. Fire up the effects - A great wah-wah sweep, envelope filter, or delay can do wonders for grabbing attention quickly. If you are planning on doing this, I would suggest that a little less subtle will probably go over better in the introduction.

Development

This is where you start to get more harmonically and technically creative. You’re building up to the most important part – the climax – so what you do here can literally make or break the money shot.

1. Variation on the melody - If you use device #3 from the Intro section, it might be a good idea to reshape and restate the melody. Vary the the rhythm, change up some of the note choices, or put in a few interesting connective runs between notes.
2. Harmonize - There aren’t very many things cooler than a harmonized guitar line. Personally, I don’t like entire guitar solos to be harmonized, but using two or more guitars in harmony for part of the solo is awesome.
3. Rhythmic/Harmonic Complexity - Challenge the listener a little bit. Give them a puzzle to solve, whether it be via a complex rhythmic pattern or sophisticated harmonic device (Indian scales are great, for example). Syncopation, triplets, and 5:4/7:4 work very well, too.
4. Shock and Awe - Sometimes you just have to throw something into the mix that completely turns the listener on their ear; something totally different that they were completely not expecting. I’m not sure you would want to do this in every solo, but once in a while you have to smack people in the back of their heads to wake them up.

Climax

SRV

Everyone’s favorite part, this is where you earn your paycheck. This is the highlight, the one part of the solo that everyone will talk about as “the coolest part.”

1. Arpeggio hell - Yeah, this is the time to break out that monster two-handed, three-octave arpeggio you’ve been practicing for two years.
2. Repeat, Repeat, Repeat - Take a small melodic fragment and keep repeating it for a few bars. I honestly do not know why people respond so favorably to this device (I personally find it annoying), but it works. For an example of the extreme, start watching this Pat Martino video at around 2:45; you’ll see what I mean.
3. The big bend, again - This is especially great in slow songs. Put a monster string bend right at the pinnacle (that means the highest point, folks) of your solo – and hold it!
4. Play Really, Really Fast - I almost hate to add this one in, as I’m no longer a fan of the useless wanking that I used to like growing up. But, I fully admit that many still do like it, and so there is no better place to shred those 128th note runs than in the solo’s climax. If you can play really, really fast, you should probably do so here. Just do me a favor and don’t overkill; I’m begging you!

Outro

Depending on what your solo is like, you may or may not need an outro. Quite often a solo will actually end during the climax. If you do need/want an outro, however, I think it should typically only last for a bar or two. An outro is akin to saying “And stay out!” after you’ve already thrown someone out of your house. Think of it as a time for punctuation rather than for introducing new ideas. Unless, of course, the “new idea” is actually the next part of the song which has not been playing previously.

As I said in the beginning, this is by no means an exhaustive list; it is simply food for thought. Everyone’s mileage will vary. The point I’m trying to make is that unless you are a world-class improviser, your solo should be thought out and planned. Just like any good story, your solo needs to have a beginning, middle, and end. Don’t blow your chance to shine because you got lazy and just “went for it.”

Crafting a Great Guitar Solo is a post from: Fretterverse.com: Guitar Blog | guitar news & reviews, amps, effects, guitars, music theory, guitar lessons. If you are reading this on a site that is not Fretterverse.com, it's been ripped. Please come to the real Fretterverse.com.

1. Vernon Reid (Living Colour) & Wayne Krantz

Both spent their formative years playing jazz and pop/R&B. Both have very unique and original playing styles, and both embrace the slightly left-of-center approach to composition and improvisation. I’m envisioning some wild electronica infused with jazz harmonies, samples, and down-and-dirty bass grooves.

www.livingcolour.com
www.waynekrantz.com

2. Mikael Åkerfeldt (Opeth) & Fredrik Thordendal (Meshuggah)

Perhaps the most obvious and logical grouping of my five, I would love to hear what these two would come up with. Fredrik’s Holdsworthian solos gliding effortlessly over Mikael’s layered guitar riffs and acoustic folk harmonies would make for some beautiful melodic moments. Then things would instantly shift to Meshuggah-esque rhythmic figures from hell while Åkerfeldt delivers his haunting vocals and harmonized guitar lines.

www.opeth.com
www.meshuggah.net

3. Andy Timmons & Steve Morse (Deep Purple, Dixie Dregs)

This collaboration can only bring out the most gnarly playing anyone has ever heard. (Yes, I said gnarly; deal with it!) What I love about this match-up is the versatility both players bring to the mix. I would venture to say that the sky is definitely the limit with these two working together. The only downside is that CDs can only hold about 72 minutes worth of music!

www.andytimmons.com
www.stevemorse.com

4. Pat Martino & John Scofield

Pat Martino has always struck me as a gentle soul with just a touch of devil’s playfulness in him. Though his nature is that of introspection and calm, when he plays we can only wonder what demons are being exorcised. “Sco” also has a playfulness to his style, but where Martino blazes through the sky at Mach II, Sco likes to perform aerial acrobatics like the Blue Angels. I think the pairing would be very interesting, particularly during long vamps and modal tunes. Sco’s chorused tone would also be an excellent compliment to Martino’s dark and woody timbre.

www.patmartino.com
www.johnscofield.com

5. Jimmy Herring (Aquarium Rescue Unit) & Brian May (Queen)

I realize this one might be a bit of a stretch, but I think the orchestration genius of May coupled with the off-the-cuff wizardry of jam band master Herring might end up being the best duo of the five groupings. I can just picture Herring wailing over a wall of May-infused guitar chordal harmonies.

www.jimmyherring.net
www.brianmay.com

What Are Your Pairings?

Don’t be shy; I would love to hear who you guys think would make great collaborations.

5 Guitarist Collaborations I Would Like To See is a post from: Fretterverse.com: Guitar Blog | guitar news & reviews, amps, effects, guitars, music theory, guitar lessons. If you are reading this on a site that is not Fretterverse.com, it's been ripped. Please come to the real Fretterverse.com.

Joe Satriani – Surfing with the Alien
For those of you like me, who grew up in the 1980′s, my first pick should certainly come as no surprise. The guitar teacher-cum-guitar hero credited with teaching the likes of Steve Vai and Kirk Hammett finally got his due with the release of his second CD, Surfing With the Alien. What makes this CD so important, aside from the brilliant compositions and excellent performances by everyone, is for many it was the first time that modal playing came to the forefront and really went beyond the typical pentatonic soloing of the 70′s. You could even see the guitar magazines follow suit and start to write article after article about modal improvisation and chord voicings going way beyond power chords.

Steve Vai – Flexable
The first time I heard Steve Vai play was the song “Blue Powder” which he wrote to promote a Carvin amp that was new at the time. (Consequently, the song was included on Vai’s “Passion and Warfare” CD.) Vai’s time with Frank Zappa is quite evident on Flexable;alien squeaks, stacked guitar harmonies, and swirling chord constructs make for a truly unique guitar record that takes many, many listens to get the full effect. Although “Passion” became Vai’s breakout CD that made him a household guitar name, it is the raw energy of Flexable that put him on the road to superstardom.

Allan Holdsworth – Road Games
UK-born guitarist Allan Holdsworth is, without question, one of the greatest guitarists ever. Dare I say he belongs in the Top 10? Brought to the attention of Warner Brothers Records by Eddie Van Halen, Holdsworth cut his teeth in bands such as Gong, U.K., and a stint with Level 42. Road Games (currently unavailable, but I suggest trying eBay to purchase) turned the world of guitar on its head. Saxophone-inspired hammer-on lead lines, haunting chord melodies, and even a vocal appearance by Cream’s Jack Bruce all combine to create one of the most sophisticated guitar records ever made. As saxophone players look to John Coltrane as the epitome of instrument mastery, so too do guitar players look to Allan Holdsworth.

Jeff Beck – Wired
In the interest of fairness and full disclosure I feel compelled to tell you that I’m not a huge fan of Jeff Beck. My personal taste tends to lean away from “blues” players, though I certainly respect their abilities and contributions to the guitar. Jeff Beck is known for his incredible tone and smooth lines, and his playing on Wired is certainly no exception. My favorite track is Beck’s interpretation of Goodbye Pork Pie Hat, an class jazz song written by Charles Mingus. You can also check out Beck playing GPPH on YouTube with Vinnie Colaiuta and teen bass sensation Tal Wilkenfeld.

Jimi Hendrix – Are You Experienced
What could I possibly say that hasn’t been said before about Jimi? Purple Haze, Manic Depression, Hey Joe, The Wind Cries Mary, Foxey Lady… classic after classic after classic. His unmistakable tone, sexually-charged stage presence, and unique songwriting has inspired generations to pick up the guitar. Are You Experienced is the quintessential Hendrix recording and certainly a necessary fixture in your CD collection.

Yngwie Malmsteen – Rising Force
He single-handedly started the neo-classical guitar revolution and turned millions of hard rock and heavy metal guitarists onto composers such as Bach and Mozart. Lightning-fast diminished runs and three-octave arpeggios highlight Malmsteen’s virtuosity, while slower passages (what there are of them) shows a melodic and – dare I say – tender side of his playing that amplifies the mystique.

Wes Montgomery – Smokin’ at the Half Note
Wes Montgomery is unarguably (in my opinion) the great jazz guitarist to ever touch the instrument. Always at the top of everyone’s “favorites” list, Wes’ Smokin’ at the Half Note CD puts his musical lyricism, soul, and beautiful improvisational structures on display for all to hear. From his thumb-picking single note lines to his octave runs, and even his simple yet gorgeous chord melody work, this CD is a great example of everything that Sir Wes was able to do with only six strings and no pick.

Pat Martino – Live at Yoshi’s
Pat’s is an amazing story of triumph over tragedy. After suffering a brain aneurysm and losing much of his memory (including his ability to play guitar) Pat relearned to play guitar by listening to his old albums. Accompanied by Joey DeFrancesco and Billy Hart, Live at Yoshi’s is the definitive example of Martino’s minor conversion bebop style, and his searing solo lines captivate the listener. I have seen Pat perform live many times, and every time I see him I am inspired to go home and practice.

Meshuggah – ObZen
I realize that to some, ObZen may seem like a bit of a stretch for a “must-have” CD; it did only just come out in 2009. But I was so impressed with the depth and range of this offering by the Swedish math-core metal band, I am compelled to put it on my list. 8-string guitars, very sophisticated polyrhythms, Allan Holdsworth-inspired lead lines, and haunting slow passages turn the CD into a beautifully-tortuous listening experience. I’ve been shedding my picking technique to be able to play along to the breakout song “Bleed”; almost there…

Rage Against the Machine – Rage Against the Machine
You have to understand, when this CD came out in 1992 there was no nu-metal, no Linkin Park, and save for the Public Enemy/Anthrax collaboration on “Bring Tha Noise” rap had no place alongside rock music. Sure, Aerosmith had “Walk This Way” with Run DMC, but it was viewed more as a novelty than a legitimate music style. Fueled by polarizing political lyrics and booming grooves, RATM’s debut CD Rage Against the Machine very much turned the music world upside down. Further, Tom Morello’s quirky guitar noises, turntable scratch-like rhythms, and pitch-shifting lead lines showed the metal world that it was okay to do something different, to be yourself and, more importantly, rage against the homogenized music scene of the late 1980′s.

So as to not have this list go on forever and ever, I will spare you my personal commentary on the next 10 must-have CDs and, instead, provide you with their CD covers. Suffice it to say that all of these CDs/players have greatly influenced guitarists all over the world, and you would be missing out tremendously by not having them in your collection.

20 Must-Have Guitar CDs is a post from: Fretterverse.com: Guitar Blog | guitar news & reviews, amps, effects, guitars, music theory, guitar lessons. If you are reading this on a site that is not Fretterverse.com, it's been ripped. Please come to the real Fretterverse.com.