Moreover of 50 giants of jazz guitars there are many great players that all students have to know. Here we included more than a hundred of them. Lonnie Johnson & Nick Lucas are not included because Lonnie is a pure bluesman (https://www.youtube.com/watch?v=n8fyb9vpIc0) and Nick play a guitar very simple while sing; he has beenremembered as “the grandfather of the jazz guitar” but is not true, his music is not jazz. (https://www.youtube.com/watch?v=sic_2r7-bHI) nor was an influence for none jazz guitar player. Harry Volpe is included because, non-being a jazz guitarist but of classical guitar, he was the teacher of Johnny Smith, Sal Salvador and Joe Pass among others. Shon Boublil, probably the best classical guitar now either is included because he is very young and yet is not the teacher of jazz musicians. Paco de Lucía, the best flamenco guitar of all time, is not included because he never played jazz nor knew the jazz-chords although he did occasionally a strange fusion with jazz guitarists. Tomatito either is a jazz player although he played with jazz musicians. However there are some Spanish guitarists (Angel Rubio, Ximo Tebar, Joaquín Chacón, Max Sunyer, Jose Luis Gámez, Gabriel Mirelman, Nono García, Tito Alcedo ….) in this compilation because they played authentic jazz, just or mix with flamenco or rock. The famous blues guitarist BB King, mysteriously included in most jazz festivals, is not in our collection because, like Lonnie, he has never played jazz. Jake Shimabukuro, director of the Music Is Good Medicine non-profit organization (visits to schools, senior centers, and hospitals to promote healing and encourage a healthy lifestyle and a connection to music) either is included in our compilation, although I liked the idea, he finally is not included because is a jazz & blues ukulele virtuoso but not a guitarist. The great Roy Smeck is not included for the same reason that Jake. None of famous players of steel guitar are included because is other instrument, not a guitar.
In this set with more than a hundred of great guitarists, Al Di Meola, Allan Holdsworth, Billy Mackel, Cal Collins, Ed Bickert, Guthrie Govan, Joe Puma, Joe Satriani, John Mclaughlin, John Petrucci, John Pisano, Lennie Breau, Lou Mecca, Ralph Towner, Robben Ford, Scott Henderson, Shawn Lane, Stanley Jordan & Steve Morse are good enough to be included among giants of jazz guitar.
1- Adrian Ingram
Adrian Ingram is widely recognized as one of the foremost authorities on the jazz guitar. He has written extensively about the history, players, styles and instruments of the genre. As an educator, he has served as guitar specialist for Birmingham Education Authority (1975-1981) and Lecturer in jazz and popular music at Huddersfield Technical College (1981-82). Following this he taught for thirteen years as senior lecturer in jazz guitar at the prestigious Leeds College of Music (1982-1995).
Adrian has an MA in music performance and a Master of Philosophy in music education. He studied music education with the professor John Paynter OBE (York University) and the guitar with Barney Kessel and Howard Roberts. He was elected both Fellow of the Royal Society of Arts (FRSA) and Fellow of the College of Preceptors (FColl.P) in 1987 for outstanding contribution to music education. Adrian also holds advanced diplomas in classical guitar performance and instruction and has attained Dept. of Education and Science’s “qualified teacher” status.
His books include definitive biography of jazz guitarist Wes Montgomery, and The Gibson L5, Its History and Players (Centerstream Publishing). Adrian has produced a wide range of educational material e.g. Modem Jazz Guitar Technique(Hampton), Cool Blues and Hot Jazz (Warner Bros.) and a suite tracing the history of jazz guitar: Jazz Guitar Cameos (Mel Bay Publications, Inc.). He is also the authorized biographer of luthier Robert Benedetto.
Adrian has written countless magazine articles and columns. He is a regular columnist and consultant for Guitarist, music and reviews editor for Just Jazz Guitar, and contributes to Classical Guitar, 20th Century Guitar, Vintage Guitar Classics, Vintage Guitar and Guitar. His international reputation as a player and teacher was consolidated by clinics and workshops at major festivals (New York, Arlington, Cork, Philadelphia etc.). Adrian also performs with leading jazz musicians with whom he has made a variety of recordings, and participated in radio and TV broadcasts. He is featured on the first jazz guitar DVD with guitarist John Pisano — Live at Wakefield Jazz (Mel Bay Publications, Inc./String Jazz).
2-Adrian Legg (1948-alive)
Adrian Legg is an English guitar player “impossible to categorize” but his music could be jazz, why not?, a free jazz o jazz fusion with classical music. .He plays custom guitars that are a hybrid of electric and acoustic, and his fingerstyle picking technique has been acknowledged by the readers of Guitar Player who voted Legg the “best acoustic fingerstyle” player four years in a row (1993–1996).
From his early start as a bench technician customising electric guitars, Legg moved into guitar instruction, publishing books and videos on guitar technique. In 1996 and 1997, Legg shared the stage with acclaimed guitar experts Joe Satriani, Eric Johnson and Steve Vai as part of the G3 tour. Vai called Legg “Uncle Adrian” andSatriani said of Legg’s musicianship “He’s simply the best acoustic guitar player I’ve ever heard. I don’t know anyone else who can create such a cascade of beautiful notes… Adrian plays like he’s got hammers for fingers.”
In the early 1970s, Legg won both the composition and performance sections of a competition run by the now defunct Guitar magazine, published by Musical New Services of Denmark Street, which led to his being asked to contribute articles to the magazine. From then on, his technical flair produced a stream of articles in UK music press in the 1970s and early 1980s, culminating in the Kaye and Ward book “Customising Your Electric Guitar”, 1981.
Legg’s first US release, Guitars and Other Cathedrals in 1990, pleased guitar fans. Over the years, he’s played at the Montreux Jazz Festival and toured with Richard Thompson, David Lindley, Joe Satriani, Eric Johnson and as part of the G3 Tour featuring Satriani. For G3, Legg served as an opening act in 1996 and a headlining act in 1997.
He’s also shared the wealth of his talent and experience with teaching DVDs, videos and books.
3-Al Caiola (1920-alive)
He recorded over fifty albums and has worked with some of the biggest stars of the 20th century, including Elvis Presley, Frank Sinatra, Buddy Holly, Tony Bennett and Bob Crosby (During World War II Caiola played with the United States Marine Corps 5th Marine Division (United States) Band that also included B. Crosby)
After serving in the army, Don Arnone returned to the States, where he would shortly cross paths with his life-long friend, guitarist Al Caiola, who Don credited the most for his successful career.In the early 1960’s, he did Great Pickin’ and Soft Guitars with Al Caiola and can be heard on many of Tony Mottola’s recordings including Mr. Big and The Quad Guitars.
Al Caiola´s credits include, among many others songs, the iconic brand-burning accompaniment theme from television’s Bonanza (with Tommy Tedesco), the Guns of Navarone, Apache and Magnificent Seven.
The style was inspired by Duane Eddy‘s twangy bass guitar sound (riffs de guitarra en las cuerdas graves, 4ª, 5ª y 6ª).
Caiola tours on a regular basis with Steve Lawrence (American singer and actor) and his wife Eydie Gorme .
4-Al Di Meola (1954-alive)
Al Di Meola (born Al Laurence Dimeola, 1954 in Jersey City, New Jersey) is an acclaimed American jazz fusion and Latin jazz guitarist, composer, and record producer of Italian origin (from Cerreto Sannita).
With a musical career that has spanned more than three decades, he has become respected as one of the most influential guitarists in jazz to date.
Di Meola went on to explore a variety of styles, but is most noted for his Latin-influenced jazz fusion works. He is a four-time winner as Best Jazz Guitarist in Guitar Player Magazine‘s Reader Poll.
In addition to a prolific solo career, he has engaged in successful collaborations with bassist Stanley Clarke, keyboardist Jan Hammer, violinist Jean-Luc Ponty, and guitarists John McLaughlin and Paco de Lucía.
In 1980, he also toured with fellow Latin rocker Carlos Santana.
5-Al Viola (1919-2007)
The favourite guitarist of Sinatra.
Al grew up in Brooklyn, New York, and got his start playing the guitar by learning the basics from his mother and older brother. As a teenager he listened to and learned from to the work of Charlie Christian and Oscar Moore.
In 1941 he entered the army and was assigned to play in the army band, in Sacramento, CA. There he met a young piano player, Page Cavanaugh, and the Page Cavanaugh Trio was formed.
When their army duty was over, the Page Cavanaugh Trio moved to Los Angeles where they began playing local clubs and recording. In 1946, the Page Cavanaugh Trio accompanied Frank Sinatra to New York where they played nightly behind Sinatra at the Waldorf Astoria Hotel.
Later that same year Al Viola took up residence again in Los Angeles and settled into the music scene there.During this time Al Viola began playing with Frank Sinatra again, and this association continued for many years. Al Viola took up the classical guitar in the late 1940’s and in the next three decades made the solo guitar recordings for which he was best known. An early pioneer of the electric guitar, was able to swing to acoustic guitar.
Well into the 21st century Al Viola stayed active in the LA music scene. He was frequently heard at places like Monteleone’s West and the 72 Market Street Restaurant.
6-Albert Bello (1976-alive)
Albert Bello (Hospitalet de Llobregat, June 24, 1976) is a Spanish manouche jazz guitarist and one of the representative figures and dynamic style in Spain.
He currently serves on two groups, Shine also composed Senra Hernán Rodrigo Villar to dobro and double bass,and Folkincats group composed of David Salleras sax, violin and Saña Oriol Oriol Gonzalez on bass. He has toured Europe and South America. Graduated el Aula Modern Music and Jazz Conservatory of Liceo de Barcelona and a degree in the School of Music of Catalonia.
Since 1997 he combines his activities as a teacher with the interpreter, when taking his first steps in the manouche jazz with Les deux guitares threesome group.
In 2004, when the School of Music is created – Center for the Arts of L’Hospitalet de Llobregat (Barcelona), happens to be the coordinator of the department of manouche jazz having designed the curriculum and developing teaching materials currently being prepared for publication.
Since 2008 coordinates the weekly jam sessions jazz manouche in Barcelona, held in Barcelona Pipa Club.
Creator in 2007 and president of the Association of Musicians and Fun of Jazz Manouche. This charge carries you to organize the first day of jazz manouche within “Mercè Festival” highlighting the first performance in the city of Barcelona of Rosenberg Trio.
Impeller (impulsor) and director of L’H Django Festival since 2010, the first specialized in jazz manouche of Spain.
7- Allan Holdsworth (1946-alive)
Probably, with Sariani the 2 best jazz-fussion guitarrists now.
Allan Holdsworth was born in 1946. Is an English guitarist and composer. He has released twelve studio albums as a solo artist and played a variety of musical styles spanning a period of more than four decades, but is best known for his work in jazz fusion.
His unique legato soloing technique stems from his desire to originally play the saxophone,
Holdsworth has been cited as an influence by such renowned rock, metal, jazz and instrumental guitaristsas Eddie Van Halen, Joe Satriani, Greg Howe, Shawn Lane, Richie Kotzen, John Petrucci, Alex Lifeson, Kurt Rosenwinkel, Yngwie Malmsteen, and Michael Romeo. Frank Zappa once lauded him as “one of the most interesting guys on guitar on the planet”.
Holdsworth’s compositions are primarily instrumental.
Early in his career he occasionally played violin (Velvet Darkness, Sunbird, The Things You See and I.O.U.) and acoustic guitar (Velvet Darkness, U.K.,Gazeuse! and Metal Fatigue).
Holdsworth is noted for his advanced knowledge of music, combining elements of jazz and progressive rock. He incorporates a vast array of complex chord progressions and intricate solos, the latter comprisingmyriad scale forms derived from those such as the diminished, augmented, whole tone,chromatic and altered scales.
In his solos he extensively uses various fast legato techniques such as slides, hammer-ons and pull-offs (the latter being a personalised method which works more akin to a ‘reversed’ hammer-on); all of which result in an extremely fluid lead sound. One of the reasons for his renowned emphasis on legato, as opposed to picking,stems from a desire to make the sound between picked and legato notes indistinguishable.
Another of his most identifiable traits is the use of rich, fingerpicked chords (often awash with delay, chorus and other complex effects), which are articulated and sustained using volume swellsto create sounds reminiscent of the horn and saxophone.
He was influenced greatly by such saxophonists as John Coltrane,Cannonball Adderley, Michael Brecker and Charlie Parker, whilst some of his favourite guitarists were Django Reinhardt, Joe Pass, Wes Montgomery, Jimmy Raney, Charlie Christian and Hank Marvin. Holdsworth
8-Andreas Öberg (1978-alive)
Andreas Öberg is a Swedish virtuoso guitarist, and song writer, producer/vocal producer and educator.
A highly accomplished guitar player/composer with an advanced knowledge of the fretboard, he is noted for his very fast chops and innovative use of altered scales and harmony. With a repertoire which transcends many genres,his primary influence on the guitar is George Benson.
Since early 2012 Andreas has been focusing on his career as pop/rnb song writer and producer, writing for artists on the Asian.
Öberg was born in Stockholm on August 6, 1978. He began playing guitar at the age of 8 years old andstudied at the Royal College of Music in Stockholm.
As a song writer, Andreas have been working with artists including: Girls’ Generation, Inna, TVXQ, Dirty Loops, Kim Hyun Joong, SHINee, Mohombi, Sexy Zone, Danny Saucedo, Christina Milian and many more.
In 2009, Öberg created the Andreas Guitar Universe, together with ArtistWorks Inc, founded by former AOL executive David Butler. AGU is an interactive internet guitar training program with students of different styles and levels from all over the world.
He won the Hagström Guitar Award & the Gevalia Award in 2004, followed by the Gibson International Guitar Competition Audience Prize in Montreux in 2006. His 2008 album My Favorite Guitars on Resonance Records reached 22 on the US radio instrumental charts. It pays tribute to George Benson, Pat Martino and others. His 2010 album Six String Evolution reached 15 on the US jazz radio charts. Andreas was also a featured soloist/performer on the album Resonance Big Band which received a 2010 US Grammy Award. The Grammy also led to a live performance at Hollywood Bowl in June 2011 w the legendary Bill Cosby as the MC.
Öberg is also at times a teacher and lecturer at the Musicians Institute (formerly GIT) in Hollywood.
9-Angel Rubio (1955-alive)
Ángel González Rubio (La Espina, Asturias, 1955) is a guitarist, lute player, percussionist and composer of Spanish jazz fusion.
He began his career in 1973, accompanying singers like Elisa Serna, Antonio Mata and Pablo Guerrero. In 1985, he formed his first group, Madera Jazz, with whom he won first prize in the Madrid Jazz III sample. With this band, he released three albums. Then he creates “La Big Band del Foro”, in 1990, with drummer José Vázquez “Roper”, recording two albums. Then until mid-1990, carries out its work with small groups, and accompanying jazz singers such as Sonia Vallet, Paula Bas and Maria Joao. In 1995 he build the ethnic fusion group Black Market, with musicians such as Tom Hornsby, Nirankhar Khalsa or Evaldo Robson. Beginning in 1998, and while working with Black Market, Rubio launches a new group, Jazzhondo, group that conducts its work in the field of flamenco jazz. He recently lived in Tangier and performs educational activities.
In 1994 he won the National Prize for Composition II SGAE, for his song “For Duke”, dedicated to Duke Ellington.In 1995, he was elected “best Spanish jazz guitarist” by the magazine “Sachtmo”. In 1996, he received the Prix Monaco jazz composition for her song “Soft Machine”.
10-Angelo Debarre (1962-alive)
Angelo Debarre, born in St-Denis, France, started playing guitar at the age of 8.
In the manush (gipsy) community, tradition is transmitted orally in family parties and gatherings, where music always occupies a prominent place.
Angelo recently confirmed this to Michel Bedin of Jazz Hot magazine: “In any gathering of three to four hundred caravans there is no shortage of music”.The gipsy jazz musical tradition launched by Django Reinhardt is the heart of this culture and Angelo Debarre quickly became one of its jazz masters. He founded his first group “The Angelo Debarre Quintet” in 1984, and the following year, he began touring the world with gipsy musicians. This is music that he knows inside and out, and at concerts and festivals his enthousiasm and passion prove it. For Angelo Debarre, Django Reinhardt”s music never loses the dynamism and richness of the past : it is everlasting, a living music .
He has also mastered with equal ease the gipsy Music of Eastern Europe, a repertory that he became interested in through his contacts with Serge Camps at La Roue Fleurie, a favorite meeting place of the gypsies in Paris where he played regularly between 1985 and 1987. Another regular at La Roue Fleurie during this period was Jon Larsen, who was fascinated by the music he heard there decided to bring Angelo Debarre, Serge Camps and Frank Anastasio together in the recordings studio to produce “Gypsy Guitars”. A recording that would showcase the group’s dynamism and the incredible variety of the gipsy repertory. The album is still essential for every aficionado of the gipsy music of the Eastern European tradition and gipsy jazz.
11-Avner Strauss (1954, live on)
Strauss picked up the electric guitar at age 14, and began playing in rock bands in the late 1960s. In 1971 he formed the first Israeli Blues band, and wrote one of the first Israeli Twelve-bar blues; ” I got a Telephone, Ain’t got no one to call “. Drawn to jazz guitar, Avner went to Boston in 1975 to study at the Berklee College of Music (graduated in 1978).
Upon returning to Israel in 1978, he began recording and teaching music, and received an appointment as a guitar professor at the Jerusalem Academy of Music and Dance.
Avner Strauss’ musical instrument store in Jerusalem (“Effect”) in the 1980s was the first Israeli store dedicated solely to guitars.
Avner also produced an instrumental guitar album (“Courtyard”, MCI records 1990) that highlights his many different musical facets and playing styles.
During the years Strauss devoted many years to the research of catalogs and collecting whistles (silbidos), he published hundreds of articles about the subject and about the History of whistle manufacturers in the 19th century and is considered one of the world’s foremost authorities on the subject of collecting whistles, some of his articles and samples of his collection which might be the largest known, can be found on the Whistle Museum.
Avner Strauss is the founder of “Strauss Mifaaley Tarbut” and “Sal Tarbut Strauss” that were involved witheducation for the arts in the educational system in Israel since 1986, producing music, dance, theatre, cinema, literature and plastic arts shows and activities for schools.
12-Bernard Addison (1905 – 1990)
Bernard began his career as a banjo player in the early 1920s and by 1929 was playing the guitar.
He made a name for himself in the late 1920s and early 1930s with groups with names like “The Swamplanders” and “The Seminole Syncopators”.
In 1930 he recorded with Jelly Roll Morton’s Red Hot Peppers and with Louis Armstrong.
In 1935 he was working with Freddy Jenkins in New York when they recorded two Addison songs “Toledo Shuffle” and “Swingin’ em Down”. Both prominently featured Addison’s guitar with Toldeo Shuffle recognized as Addison’s Opus.
As a testament to Addison’s musicianship he worked and recorded with the best jazz players of his day,including Sidney Bechet, Mezz Mezzrow, Benny Carter, Henry Allen among others and with many rising stars such as Billy Holiday, Ella Fitzgearld and Coleman Hawkins.
Addison continued an active performance and recording schedule well into the 1960s. Late in his career he made a record with Eubie Blake.
Bernard Addison was a solid rhythm player, and also a creative soloist. Cut with Freddie Jenkins remain the outstanding examples of his work
Biel Ballester studied classical guitar at the prestigious Luthier School in Barcelona, Spain. There he spent two years under the instruction of teacher/concertist Alex Garrobé and four years with teacher/concertist Fernando Rodriguez. Complimenting his formal musical studies, Biel has also taken guitar master classes from respected musicians such as José Tomás, David Russell, Aniello Desiderio, Manuel Barrueco, Marco Socias, Hopckinson Smith and Jordi Savall (the last two specializing in Baroque music).
Biel finished his curriculum at Barcelona’s superior conservatorium in the year 2000.
Subsequent demand for his awe-inspiring style and technique have enabled him to perform in several countries such as Spain, France, Holland and Germany including multiple appearances at Barcelona’s International Jazz Festival, The International Jazz Festival of Terrassa, and the International Guitar Festival of Mallorca.
Making waves on both sides of the Atlantic, two of Biel’s tracks featured here were selected for inclusion on the Various Artists compilations, Django Festival Volumes 3 & 4, produced by Hot Club Records in Oslo, Norway, placing the Catalan guitarist in the company of international jazz stars such as Jimmy Rosenberg and Angelo Debarre among others.
A young talent holding great promise, Biel Ballester is on the short list of possible artists slated to perform at several upcoming international Django Reinhardt Tribute Festivals including those in the United States. So be on the lookout for the Biel Ballester Trio performing in a city near you.
14-Billy Bean (1933 – 2012)
He was a very good guitarist but his recordings were few. Is that the reason why he is not so famous as other good guitarists of his time.
Bean was born into a musical family; his mother played piano, his father guitar, and his sister was a professional singer. Bean studied privately on his instrument and played locally in Philadelphia in the late 1940s and early 1950s. He moved to California in 1958, where he became associated with the West Coast jazz scene.
Is a guitarist of Mr Sandole as Jim Hall, Harry Leahey, John Collins, Dale Bruning, Joe Diorio, Tom Giacabetti, and Pat Martino.
He recorded a duet with fellow guitar legend John Pisano in the late 1950s. The made two of the most incredible recordings to come out of that period; Take Your Pick and Makin’ It.
A biography about Bean’s life entitled Billy Bean: The Life and Music of a Jazz Guitar Legend was published in 2013 by Midoriyama Publishing. Authored by musicologist Seth Greenberg, two editions were released: a two-volume unabridged and a single-volume abridged. The former edition parlayed from Greenberg’s PhD dissertation; the latter edition focuses exclusively on the biographical elements without any of the musical analyses found in the unabridged version.
He is talked about in the same context as the great guitar players who came up in the 1950’s like Johnny Smith, Jimmy Raney and Jim Hall. But, when you try to find examples of his recorded work you quickly learn there are few examples and they are difficult to find. If you find and hear a Billy Bean guitar solo and you immediately realize why this guitar player is held in such high esteem by other guitarists.
In the early 1960’s Bean made a couple of recordings with Herbie Mann and the standout 1961 LP The Trio with Hal Gaylor and Walter Norris.
There are also some very rare recordings of duets Billy Bean made with Dennis Budimir (guitarist) that have been released on the String Jazz label in England.
15-Billy Mackel (1910 – 1986).
He was so good that could perfectly have been included among the 50 giants of Jazz Guitar if not were for a problem of number. His style was alike to Charlie Christian.
Billy played with Lionel Hampton for more than thirty years. He started playing with Hampton in 1944, continued until 1947, when for a short time, Wes Montgomery replaced him. He joined Hampton again in 1949 and continued to play with the band until the early 1980’s.
Like most of Hampton’s guitar players, Mackel was predominantly a rhythm player but he also did many solos. By the simple measure of the number of solos he was given on recordings it could be said Billy Mackel and his guitar had a different relationship with Hampton then any other guitar player. Some observers have even suggested that Billy Mackel contributed as much to making the Hampton sound as Hampton himself. Clearly, his guitar was evident everywhere.
Like most of the players from this period, Billy Mackel started out playing the banjo and then transitioned to the guitar. By the time he joined Hampton in 1944, he was an accomplished musician capable of playing in any venue from big band, swing and bop to small group blues. And, he was already playing the new electric guitar in the style of Charlie Christian.
This new guitar sound was heard on, Tempo’s Boogie, where Mackel’s guitar provided fills behind Hampton’s vibes and behind the full orchestra. Hampton was using the guitar in a different way than he had before.
In 1946 Hampton and Mackel made the recording Hamp’s Salty Blues, which was a showcase (escaparate) for the blues stylings of Mackel’s guitar. On tunes like Ridin’ on the L & N (1946), Chord a Re-Bop (1946) and Bebop is Turning Blue (1947), Mackel turned in some solid performances and moved effortlessly from boogie-woogie blues to bebop.
During a trip to Paris in 1953, Hampton recorded enough material for 3 ten-inch LP’s for Vogue (Vogue LD 166, 167, 168). This new format allowed Hampton’s soloists to stretch their solos out into full choruses, which was very rare on the 78 format. On Walkin’ At The Trocadero, he plays a very creative full chorus solo.
He was an excellent guitarist in the tradition of Charlie Christian and he brought a new dimension to the Hampton organization. He did not attain the prominence of some of the other Hampton guitar alumnus, but his work is definitely worth another listen. He was an early pioneer of the electric guitar and the quality of his playing and musicianship earned him the distinction of featured soloist with the Hampton organization and helped move the guitar out of the rhythm section to the front line.
16-Biréli Lagrène (1966-alive)
Biréli Lagrène is a French guitarist and bassist. He came to prominence in the 1980s for his Django Reinhardt-influenced style on the guitar, as well as for being a jazz fusion virtuoso on the electric guitar. He often performs within the swing, jazz fusion and post-bop mediums.
Biréli Lagrène was born in Soufflenheim, Bas-Rhin Alsace, France, in a traditional Manouche–Romani people(Gypsy) family and community. He started playing the guitar at the age of four. He grew up in the loving but tough environment of the “tzigane“. His father Fisso (a very gifted violinist), his mother Berga and his brother Gaiti were his biggest influences. When, at the age of eight, he covered Django Reinhardt‘s repertoire, his relatives were already calling him a child prodigy. Winning a Romani music festival in Strasbourg at the age of twelvegave him the opportunity to tour in Germany and, later, to record his performance on the LP Routes To Django – live At The Krokodil.
Back to a more traditional style, Lagrène recorded Gipsy Project and Gipsy Project and Friends in 2002.Along with his usual cohorts Diego Imbert (double bass) and Hono Winterstein (rhythm guitar), the latter session featured Henri Salvador and Thomas Dutronc (son of legendary French pop pair Françoise Hardy and Jacques Dutronc).
Jazz, Brazilian, Rockabilly, Clasical…..and many more
Guitar licks of Bob Bain have been heard by many more sets of ears.
He was so busy in the Hollywood recording studios during the ’50s and ’60s that he actually would leave his instruments lying around rather than take them home. Film composer Henry Mancini made regular use of Bain’s work on soundtracks and studio albums, the match working to everyone’s benefit as the instrument’s popularity expanded due to the influence of rock music.
The heavy, sizzling guitar part on the theme to Peter Gunn? That was Bain. The guitar became so much in demand, in fact, that composers would bring in as many as five guitar players at a time for orchestrations. The theme from the western Bonanza featured Bain, Tommy Tedesco, Al Hendrickson, and Laurindo Almeida all at once, which is probably good news for frustrated guitarists who have attempted to play this theme all alone.
Bain’s work backing up pop vocalists includes some very famous records, including Frank Sinatra’s “I’ve Got You Under My Skin” and Nat “King” Cole’s “Unforgettable.”
On his own, Bain cut several sides for Capitol in the early ’60s that cling to the style of Brazilian guitarist Laurindo Almeida.
Bain wound up helping create Guitars Unlimited, a collaboration with Jack Marshall and Howard Roberts.This group recorded several albums on Capitol
Bain’s musical life began playing bass with the high school orchestra and guitar on the side. After graduating, he hit the road playing bass with a trio featuring guitarist Joe Wolverton.
Bain settled into the Los Angeles club scene and continued playing bass behind guitar mentors, most important of all the great Les Paul.
In 1942, he joined Freddy Slack’s band where he met Barney Kessel, who sat in one night. This contact led to Bain joining a group called the Phil Moore Four and One More, one of the first West Coast groups to play the new bebop style and one of the first interracial bands on the L.A. scene.
This group also led to the first contact with Sinatra, when the singer decided to cut his own disc in the bop style, “Bop Goes My Heart.”
During the second World War, Bain wound up in a U.S.O. group in Europe. He returned home in 1945 and joined thebig band of Tommy Dorsey, featuring Buddy Rich on drums. Sick of the constant spatting between this egotistical drummer Dorsey, Bain moved after two years to the more relaxed Bob Crosby Big Band.
Meanwhile, the guitarist’s own band, the San Fernando Playboys, was making recordings in the studio of Les Paul (i.e., his living room).
Bain later played and recorded with Harry James and his big band and Andre Previn’s trio. Previn was working at MGM and was one of the first film composers to write parts for the electric guitar, which he brought Bain in to play. The guitar intro section to Nat King Cole’s “Mona Lisa” was Bain’s idea.
Bain was ahead of the pack when it came to sight-reading, a talent many guitarists got by without in the ’40s. This led to his first-call status in the world of jingles, radio broadcasts, and film and television scores. He played guitar on the themes from M.A.S.H., the Mission Impossible series, and The Munsters.
Sometimes he recorded on other string instruments, such as mandolin and banjo.
By the ’70s, a new crowd of studio guitarists began to dominate. Bain continued to record, write, arrange, produce, and for 22 years held the guitar chair for The Tonight Show band.
Although no one in the family played a musical instrument, deVos spent much of his youth listening to the big band and blues records that his parents owned. He picked up the guitar at age twelve and within weeks he was memorizing guitar solos from these albums and performing professionally at age thirteen. As a teenager, he toured nationwide with a famous rock group, but chose jazz over rock in his twenties saying, “I needed more chord changes…”
DeVos started in jazz as a student of Harry Leahy and Dennis Sandole. In 1970, when Sandole sent his leading students out to audition for the organist Trudy Pitts, deVos was chosen to step in for Pat Martino. DeVos went on to be the guitarist for groups led by Richard “Groove” Holmes, featuring saxophone legend Sonny Stitt, and Jimmy McGriff and Hank Crawford. He later toured and recorded extensively with organist Charles Earland‘s group.
Currently deVos plays with an organ trio with organist Richard Holmes with whom he has released the CD, Shifting Sands. This album spent 28 weeks in the top twenty on Jazz Week‘s Top 50 Nationwide Jazz Airplay Chart.
19-Bob Hames (1920-1998)
Hames graduated from Wolfe City High School in Texas in 1937.
In the mid-1940s Hames was a member of the Jan Garber Orchestra and the Orrin Tucker band before enrolling at the University of North Texas. In 1945 he enrolled at the University of North Texas College of Music. One of his high-school students, Jack Petersen, went on to become a well-known jazz educator and jazz guitarist. Hames introduced Petersen to jazz recordings of Karl Kress, Tal Farlow, Chuck Wayne, Herb Ellis (then a student at North Texas), Barney Kessel, Barry Galbraith,Remo Palmieri, Oscar Moore, and Charlie Christian.
In 1951 Hames received a bachelor of music from the University of North Texas College of Music and during the early 1950s Hames also played guitar for several well-known bands, including Stan Keller and His Orchestra.
He died in Texas in 1998.
20- Brian Setzer (1959-alive)
Brian Robert Setzer is an American jazz man and rockabilly guitarist, singer and songwriter. He first found widespread success in the early 1980s with the 1950s-style rockabilly revival group Stray Cats, and revitalized his career in the late 1990s with his Swing revival band, The Brian Setzer Orchestra.
After performing locally from New York to Philadelphia under various band names with no real success, singer and lead guitarist Setzer, drummer Slim Jim Phantom (born James McDonnell) and bassist Lee Rocker (born Leon Drucker) decided in June 1980 to go to London, England where they believed people would better appreciate their sound and style.
To obtain the money for their plane tickets, Setzer, Rocker and Phantom went to Sam Ash Music on 48th Street to sell their instruments for enough money for three one-way plane tickets. Upon their arrival, they decided to call themselves the “Stray Cats”, a name suggested by Rocker because of their status as ‘strays’.After performing for only a few months they drew the attention of the British record producer Dave Edmunds, and released a series of successful singles in the UK, which countered the already-entrenched punk scene in London.
After releasing several singles and two albums in England, the Stray Cats finally caught America’s attentionwith the 1982 album Built for Speed, which included the two Top Ten hits, “Rock This Town” (#9) and “Stray Cat Strut” (#3).
After only four years, the Stray Cats separated in 1984, but reunited briefly to record albums and mount tours several times all the way through the early 1990s. From 1985 to early 1986, Setzer was the lead guitarist for the touring version of Robert Plant‘s ensemble band, The Honeydrippers.
In the summer of 1986, Setzer released his first solo album, The Knife Feels Like Justice. The album has become a cult favorite among those who understood the message Setzer was trying to attempt. His second solo album “Live Nude Guitars” was a cross between his first solo venture and Stray Cats Recordings and once again became a cult favourite included on many critics top ten lists for the year.
Brian Setzer plays with his orchestra on June 29, 2006 in the East Room of the White House, during the entertainment following the official dinner in honor of Japanese Prime Minister Junichiro Koizumi’s visit to the United States.
Setzer was awarded the Orville H. Gibson Lifetime Achievement Award at the 1999 Gibson Awards. As of 1999, the previous recipients of this award were B. B. King, Emmylou Harris, Vince Gill and John Fogerty.
Since 2000, Setzer has earned three Grammy Awards: Best Pop Performance Duo/Group for “Jump Jive An’ Wail”, and two Best Pop Instrumental Performance awards for “Sleep Walk“and “Caravan“. In December 2006 he received his seventh Grammy nomination for his version of “My Favorite Things“, again in the Best Pop Instrumental Performance category.
21-Cal Collins (1933-2001)
Another great guitarist to the same level of giants of jazz guitarist. Cal Collins style — a mix of jazz, country picking and twang.
Cal began playing the guitar by emulating some of the pianists he heard on the radio as a young man. Nat King Cole and Art Tatum were early influences on his style. He also listened to the guitar stylings of Irving Ashby and John Collins.
As a teenager he began playing professionally in and around Cincinnati and by the early 1950’s he was finding steady work at the radio studios in the area. He became and remained a staple of the Ohio and Indiana jazz scenes throughout the 1950’s, 1960’s and 1970’s, before he was “discovered” by Benny Goodman in 1976. He spent three years with the Goodman band and was invited to join Concord Records as the house guitarist in 1977.
At Concord Records he made numerous recordings as a sideman and a series of recordings under his own name starting with Cincinnati To LA, in 1978, and the last being Ohio Style, in 1991. By Myself andCross Country were recorded in the format of the solo guitar. And, like George Van Eps and Bucky Pizzarelli, used the form to demonstrate his complete mastery of the instrument. Both recordings are infused with the Cal Collins style — a mix of jazz, country picking and twang, rich full chord melody, and, the steady pulse and drive that are hallmarks of Collins’ playing.
His rendition (interpretación) of Autumn in New York is a gem (joya), delivered by a complete musician and guitarist.
In the 1990’s Cal Collins appeared on the Tribute To Wes Montgomery recordings
He continued to play in and around Cincinnati.
22-Carmen Mastren (1913 – 1981) (a man!!!!)
Carmen was considered an important exponent of the chordal style of guitar playing that dominated the 1930’s. He followed closely in the footsteps of Carl Kress, Dick McDonough and George Van Eps.
His first important work as a guitarist came in 1934 when he joined the Wingy Manone/Joe Marsala group.
In 1935 Carmen Mastren, Roy Eldridge, Joe Marsala and Sid Weiss recorded the historically important Swingin’ on That Famous Door.
In 1936 Mastren joined the Tommy Dorsey Band. He appeared on dozens of Dorsey recordings between 1936 and the mid-1940’s. Patient listeners of these early recordings will hear Mastren’s strong rhythm guitar propelling the band along. Mastren’s guitar was occasionally heard on introductions and every now and then on a short solo.
In the 1940’s Mastren made several recordings with The Sidney Bechet – Muggsy Spanier Big Four. These recordings were the best examples of Mastren’s rhythm and solo playing. With just the guitar and bass providing rhythm for the two horns, Mastren’s guitar is easily heard. These sides were recorded for the new longer 12″ 78 RPM format. This format gave all the soloists opportunities to stretch out and Mastren provided some very nice extended solos.
23-Cliff Gallup (1930 – 1988)
A mix of country-jazz & rock´n roll
At any rate Rockabilly and Rock and Roll owe a debt to Bob Wills and his Texas Playboy and his great guitarists of the 30’s, 40’s and 50’s. Guitarist Jimmy Wyble who was a Texas Playboy from late 1943 until Spring 1945 waxed some of the finest guitars solos on record in any genre with Bob Wills. He had great sessions with guitarist Cliff Gallup.
In February 1956, local radio DJ “Sheriff Tex Davis” heard Gene Vincent performing at a talent show in Norfolk, Virginia, became his manager and put together a band of local musicians to back him. In May 1956, the band recorded in Nashville, Tennessee. Gallup was the guitarist of this band and played on 35 tracks with Vincent, including his biggest hit “Be-Bop-A-Lula“, and established a reputation as one of the most technically proficient guitarists in early rock and roll.
In the mid 1960s Gallup made a solo album for the local Pussy Cat record label in Norfolk, Straight Down the Middle, in a mellow country- jazz instrumental style akin (parecido) to Chet Atkins (country) and Les Paul(jazz).
He occasionally played with local bands, while working in school maintenance. At the time of his death from a heart attack in 1988, he was the Director of Maintenance and Transportation for the Chesapeake, Virginia city school system, where he worked for almost 30 years. He played guitar up until the day he died. He last played in Norfolk with a group called the H-Lo’s 48 hours before he suffered a fatal heart attack.
He is remembered principally for his influence on such guitarists as Eric Clapton and Jeff Beck. The latter recorded an album of Gene Vincent songs, Crazy Legs, in 1993 considered by music critics to be a tribute to Gallup and Vincent.
His right hand playing technique is based on a flat pick in conjunction with fingerpicks on his middle and ring fingers, using his little finger to work the vibrato bar. ´
Chema Saiz is a spanish jazz guitar player who has worked with such relevant people in the Jazz world as Lou Bennet, Frank Lacy, Bobby Martínez, Jorge Pardo y and Chano Domínguez among others.
He has collaborated as a teacher and Jazz guitar player from 1995 to 1999 in the International Guitar Stages of Alsacia (East of France).
In 1997 he published in quartet “Mi Carro” CD (SRP) and in 1999 in solitary “Solo Album” (Plectrum). These recordings were extensively toured at international or guitar festivals of Ukrania, France, Germany, Italy, Mexico and most of the Iberian peninsula.
In June 1999 he achieved the High Certificate of Guitar (Título Superior de Guitarra) at the Royal Superior Conservatory of Music of Madrid.
In June 2000 he participated in the Festival Internazionale de Chitarra “Grandi chitarristi dal mondo” (International Guitar Festival “Greatest Guitarists of the World”) Sardinia – Italy.
In February of 2001 he participated both as a teacher and guitar player in the III International Guitar Week of Mexico organised by the National University of Mexico (UNAM).
In the last years he’s been a member of the Jorge Pardo & José Luis Gutiérrez Quintet, and leaded his own project, with whom he toured Mexico in 2003 playing at famous Eurojazz Festival at Mexico City (at the National Arts Centre and Spanish Cultural Centre) as well as other shows in Puebla (Universidad Autónoma Benemérita) and Guadalajara (Zapopan Art Museum). Also in this tour he performed clinics at the Mexico Superior School of Music.
In 2004 Satchmo Jazz Records label released “De fuera a dentro” (From outside to inside) with Bobby Martínez, Germán Kucich, Tom Warburton and Guillermo McGill, a recording which was toured in several and well-known jazzistic events and festivals such as the IX Cuidad Lineal Jazz Festival, Galapajazz 2005 and the 3rd Soto del Real Festival, where he’s been honoured in 2004 with the Artistic Creation Award.
In 2005 he was involved in a trio project with Toño Miguel (double bass) and Borja Barrueta (drums),whith a album recorded in January 4th, 2006 that will be released in March by Satchmo Jazz Records label.
Nowadays he’s involved in his brand new duet project with Ángela Cervantes, releasing a new album “Recordando a Ella Fitzgerald & Joe Pass” ((“Remembering to Ella Fitzgerald & Joe Pass”))
25-Chuck Loeb (1955-alive)
Chuck Loeb was born in Nyack, New York. He is a guitarist who performs numerous styles of music, most notably jazz. His own solo projects have generally been commercially successful crossover jazz, such as “contemporary” or “smooth” jazz.
He originally came from a musical background of pop and rock rather than jazz, listening to 1960s rock acts such as Jimi Hendrix, Eric Clapton, Cream, Led Zeppelin, The Beatles, The Rolling Stones and Bob Dylan. It was until he was 16 years old that he discovered jazz and learning about artists such as Wes Montgomery, George Benson, John McLaughlin and Pat Martino.
He studied with local music teachers until he traveled to Philadelphia where he was a student of jazz guitarist Dennis Sandole and later in New York City with Jim Hall. After studying with Hall for two years, Loeb attended Berklee College of Music for two years.
After leaving in 1976, he sought professional work in the New York City-area.
Loeb played in Stan Getz‘s group from 1979 for two years.
In 1988, Loeb pursued a solo career with his debut album My Shining Hour
As of 2007, Loeb has recently toured the U.S. and Spain with fellow band members drummer Josh Dion, bassist Brian Killeen and Matt King on keyboards, who all also performed with him on Loeb’sPresence.
Loeb has also played on numerous movie soundtracks including The Untouchables (under the name “Ennio Morricone”), You’ve Got Mail and Hitch. Chuck Loeb was also during a number of years the guitarist of the famous jazz-fusion band Steps Ahead, featuring Michael Brecker and Mike Mainieri.
26-Chuck Wayne (1923 – 1997)
Chuck began his jazz guitar career in the 1940’s playing with such groups as Woody Herman’s Herd and the Dizzy Gillespie bands.
He came to prominence while playing with the George Shearing Quintet.
Wayne’s distinctive single string style stood out on these early bebop recordings — a style marked by clear articulation, blazing speed and wonderful melodic structures. In Wayne’s later playing he mastered a method of playing chord melody with a pick and three fingers on this right hand.
This style dominates his later recordings, but can also be a heard on his early 1957 album String Fever.
Like all the great guitarists, Wayne was also an accomplished accompanist and he can be heard providing greatbacking to Tony Bennett on Bennett’s Cloud 7.
In the 70’s he teamed up with Joe Puma for some duet playing in the tradition of Barnes/Kress and Ellis/Pass.
He also taught guitar and produced guitar teaching materials.
Wayne continued playing and recording right into the 1990’s. His CD Alberta Clipper was released in 1990’s.
Wayne was also an accomplished banjo player and he included a banjo piece on his recording Tapestry.
27- Coco Schumann (1924-alive)
Heinz Jakob “Coco” Schumann was born in Berlin, Germany.
His father was Christian and his mother was Jewish. Schumann became passionate about Swing after having heard it during the Berlin Olympics.
He was transported first to Theresienstadt, where he became a member of the Ghetto Swingers. Finally he and Martin Roman (French jazz pianist) were transported to Auschwitz, where he came face to face with Josef Mengele. When Mengele inquired of the blue-eyed, nineteen-year-old Coco where he came from and what he did, Schumann shouted, “Berlin, Herr Obersturmbannfuhrer! Plumber, Herr Obersturmbannfuhrer!”[
28-Dale Bruning (1934-alive)
Teacher of Bill Frisell in the Denver-Aurora metropolitan area
Dale was born in Carbondale, Pennsylvania, USA. As a small child Bruning played piano and when in high school moved on to guitar. He also became adept at several other instruments, including tuba, double bass, vibraphone and drums. It was on guitar, however, that he went on the road with various small groups. Later, he played for four years in US Navy bands.
Early in his career, Bruning was influenced by a wide range of jazz musicians, but also listened to classical music, in particular that of Bach, Debussy, Ravel and Bartok.
Is a guitarist of Mr Sandole as Jim Hall, Harry Leahey,Billy Bean, John Collins, Joe Diorio, Tom Giacabetti, and Pat Martino.
In 1961, he led the house band on The Del Shields Show on NBC in Philadelphia, Pennsylvania, thus attracting considerable attention. Among musicians with whom he performed during the 50s and following decades wereDennis Sandole, his mentor and principal tutor (Dennis was also John Coltrane’s mentor from 1946 until the early 1950), Jim Hall, Red Norvo, Dave McKenna, Dizzy Gillespie, Erroll Garner, Marian McPartland, Michael Moore, Gus Johnson, Bill Frisell, and Chet Baker.
In 1964 he moved to Denver, Colorado, and for domestic reasons remained in that state thereafter.
Although much respected in the region in which he lives, winning not only recognition but also many awards, it was not until the late 90s that Bruning’s reputation began to spread both nationally and internationally. In part, this was thanks to his book, The Dale Bruning Jazz Guitar Instruction Book Series, Vol. I: Phrasing & Articulation, which was published in 1997, and new albums, which received critical acclaim.
Another contributory factor to his rising profile was a series of theme concerts, conceived in collaboration with writer-producer Jude Hibler, celebrating the music of Duke Ellington, Hoagy Carmichael, Harold Arlen, Harry Warren, Johnny Mandel, Michel Legrand, Cole Porter and Kurt Weill, among others. Bruning has also composed several songs and is an accomplished arranger.
This excellent jazz guitar player that I met in Paris has not biography known.
30-Danny Cedrone (1920 — 1954)
Danny was the first guitarist of Comets
Cedrone was born in Jamesville, New York. Cedrone’s musical career began in the 1940s as a jazz man, but he came into his own style in the early 1950s, first as a session guitarist hired by what was then a country and western musical group based out of Chester, Pennsylvania called Bill Haley and His Saddlemen. In 1951, Cedrone played lead on their recording of “Rocket 88” which is considered one of the first acknowledged rock and roll recordings.
At around this time, Cedrone formed his own group, The Esquire Boys and this is believed to be one of the reasons he never joined Haley’s group as a full-time member.
In 1952, Cedrone played lead guitar on Haley’s version of “Rock the Joint“, and his swift guitar solo, which combined a jazz-influenced first half followed by a lightning-fast down-scale run, was a highlight of the recording. (Haley’s piano player, Johnny Grande, later described this solo as a “gimmick” that Cedrone often used.)
Cedrone’s involvement with the Esquire Boys kept him off of Haley’s recording schedule for most of 1952 and 1953 (noted jazz guitarist Art Ryerson replaced him).
During this time, Cedrone made a number of recordings with the Esquires
Cedrone returned to work with Haley’s group in 1954, by which time it had been renamed The Comets. He played a key role in the band’s first recording session for Decca Records on April 12, 1954 when they recorded “Rock Around the Clock” in New York City. The resulting solo is widely considered one of the greatest rock and roll guitar solos of all time. Cedrone was paid only $21 for his work on the session.
On June 17, ten days after this session, Cedrone died of a broken neck after falling down a staircase (some sources say he died of a heart attack). His place as session musician in the Comets was taken by Franny Beecher, who would later graduate to full Comets member.
His family had attempted to get Cedrone named to the Rock and Roll Hall of Fame where his guitar has been on display in the Hall since 1998 (this is due to the Hall changing its rules a few years back to allow noted session musicians and backing groups to be admitted separately; previously only Bill Haley (not The Comets or individual members thereof) was a member of the Hall). Cedrone was finally inducted into the Rock and Roll Hall of Fame as a member of the Comets in 2012, by a special committee aiming to correct the mistake of not inducting the band with Bill Haley in 1987.
Numerous guitar players over the years, including Jimi Hendrix, Pete Townshend, Chris Spedding, Brian Setzer, Danny Gatton, Reverend Horton Heat and the group Ten Years After have gone on record as naming Cedrone’s solo on “Rock Around the Clock” as an influence on their own work.
31-Dave Cliff (1944-alive)
Dave Cliff is a British jazz guitarist.
David John “Dave” Cliff was born in Hexham, Northumberland. He began his career playing rhythm and blues in the Newcastle area. In 1967, he moved to Leeds and gained a diploma in jazz studies from Leeds College of Music while studying with bassist Peter Ind and Bernie Cash.
His first album under his own name, The Right Time, was recorded in 1987. It featured Geoff Simkins on alto, and was the first of a number of albums with Simkins, with whom Cliff has collaborated extensively.
Cliff has appeared frequently at Ronnie Scott’s Jazz Club in varied settings including Georgie Fame‘s Blue Flames, Mike Carr Trio, Irene Reid, the Dick Pearce Sextet and the Bruce AdamsQuartet. He has worked extensively with visiting American musicians, including Slide Hampton, Nina Simone, Kenny Davern, George Masso, Spike Robinson, Herb Geller, Lanny Morgan, Harry Allen, Buddy Childers, Lew Tabackin, Mundell Lowe, Bucky Pizzarelli, Jack McDuff, Eddie “Lockjaw” Davis, Richie Cole, and Ken Peplowski.
In 1998 Cliff won the BT Jazz Awards in the guitar category.
Cliff’s influences on guitar include Charlie Christian and Wes Montgomery, and he has also been extensively influenced by the Lennie Tristano (pianist) school, whose influence he encountered when working and studying with Peter Ind.
Cliff is involved in Jazz education, teaching jazz guitar at London Trinity College of Music, The Royal Welsh College of Music and Drama & Birmingham Conservatoire. Cliff also teaches at the Glamorgan Summer jazz school, the Jamie Aebersold Summer School in London and at the Christians and jazz course in Norway.
32–Dave Barbour’s (1912 –1965)
Dave Barbour was an American musician. He was a jazz banjoist and guitarist, a pop songwriter, an actor, and the husband of Peggy Lee for nine years. Another alcoholic more in jazz history, another drama.
Barbour was born in Long Island, New York started off as a banjoist with Adrian Rollini in 1933 and then Wingy Manone in 1934. He switched to guitar in the middle of the decade and played with Red Norvo in 1935-1936.
He found much work as a studio musician and played in ensembles with Teddy Wilson and Billie Holiday (1937), Artie Shaw (1939), Lennie Hayton, Charlie Barnet (1945), Raymond Scott, Glenn Miller, Lou Holden, and Woody Herman (1949). He also recorded with André Previn in 1945.
He played with Benny Goodman in 1942, and while a member of Goodman’s ensemble, he fell in love with lead singer Peggy Lee, and the pair quit the group to marry in 1943. Soon after they moved to Los Angeles, Johnny Mercer put them to work as a songwriting team, and they wrote a number of Lee’s hits, such as “Mañana (Is Soon Enough for Me)” and “It’s a Good Day“. The couple had a daughter, Nicki, in 1943. Barbour was an alcoholic and had domestic troubles with Lee; this eventually split apart their marriage, which ended in 1951. Dave Barbour and His Orchestra had the best-selling version (USA) of the peppy song “Mambo Jambo.”
Barbour’s remaining career was far less successful than Lee’s (who would marry three more times). His songwriting royalties sustained him, as the tunes he co-wrote with Lee were covered by many hitmakers of the 1950s.
He died in 1965 in Malibu Beach, California, aged 53.
33- Dennis Budimir (1938-alive)
Guitarist Dennis Budimir has been a busy session, studio and recording artist ince the mid-’50s. In my opinion is an atypical jazz guitarist and not good enough for be included in his serie but many compilations, not all, collect his name.
Dennis Budimir was born in 1938.
He began playing guitar in the late ’40s after studying piano.
He began working in Los Angeles during the early ’50s, playing with bands led by Ken Hanna, Keith Williams and Harry James. He joined Chico Hamilton’s group in 1959, then played with Bud Shank and accompanied Peggy Lee during the early ’60s. He worked with Julie London and toured Japan with Bobby Troup, while performing around Los Angeles with Shank and Emil Richards.
It published four LPs for the California Revelation label, played as soloist with Chico Hamilton as well as Eric Dolphy, Harry James and Bud Shank together and developed to a desired Studiomusiker, which co-operates with artists of Randy Newman to Peggy Lee.
Bud Shank (sax alto) gave Dennis Budimir the place and the time to develop in long club sessions own ideas.
The military service brought Dennis to Germany, where it and others with Benny Bailey played. With its return to the USA 1963. The clubs closed and it began the time of the small independent jazz labels like e.g. Revelation record in Los Angeles.
Together with the old and tenor saxophonists Gary Foster developed for first LP under Dennis the Budimirs name.
There are also some very rare recordings of duets Billy Bean made with Dennis Budimir (guitarist) that have been released on the String Jazz label in England.
Budimir spent 1961 to 1963 in the army, then became a prolific studio player back in Los Angeles. He was involved in the music of hundreds of films.
34-Dennis Sandole (1913 —2000)
Dennis was an American virtuoso jazz guitarist, composer, and especially music educator. He was Dale Bruning ´s mentor and John Coltrane’s mentor from 1946 until the early 1950s, introducing him to theory beyond chords and scales and exposing him to the music of other cultures.
Dionigi Sandoli, Dennis Sandole was born in 1913 in Philadelphia, Pennsylvania. He was self-taught and began playing the guitar sometime in his late teens. He progressed quickly on to piano, theory, composition, and arranging, eventually playing in a group with his brother Adolph, a saxophonist. Both Sandole brotherswould go on to become jazz musicians and teachers, and would collaborate musically on and off throughout their lives.
Sandole’s performance career began in Atlantic City, New Jersey where he played in the city’s numerous nightclubs before moving to the west coast. He relocated to Hollywood California in the late 1930s, becoming a staff guitarist/composer/arranger for MGM Studios. It was there that he began working with artists such as Billie Holliday and Frank Sinatra and also played and recorded with bandleaders as Tommy Dorsey. Around this time, he also became interested in teaching and began work on pedagogical literature for jazz musicians and composers using his experience and close interaction with orchestral musicians to help shape his ability to eventually teach musical concepts to all types of instrumentalists.
Mr. Sandole taught advanced harmonic techniques that were applicable to any instrument, using exotic scales and creating his own. Sandole taught privately until the end of his life. His other students over half a century included saxophonists James Moody, Michael Brecker, Rob Brown, and Bobby Zankel;pianists Matthew Shipp and Sumi Tonooka; guitarists Jim Hall, Joe Diorio, Pat Martino, Jon Herington, and Harry Leahey and other musicians such as Rufus Harley, Bob deVos and Frank Gerrard.
He returned to Philadelphia in the mid 1940s to devote the rest of his life to teaching, performing and recording only sporadically thereafter and it was here that John Coltrane became one of his weekly private students at The Granoff Studios, a school that provided training in both jazz and classical music, from 1946 until the early 1950s and both men “remained close.”
His skills as a performer, composer, and teacher were held in high regard by many influential modern jazz artists such as Stan Kenton, Sonny Stitt, and Charlie Parker, who reputedly asked Sandole for a lesson. He also completed two pedagogical texts during his career which were reportedly finished by the time he returned to Philadelphia from the west coast. These were the influential guitar method book Guitar Lore, first published in 1976, and Scale Lore, an unpublished text consisting of some of Sandole’s techniques for constructing unique scales as well as material dealing with scalar and harmonic substitution in jazz composition and improvisation.
Among the best known of Sandole’s large roster of students include saxophonists John Coltrane, James Moody, Benny Golson, Michael Pedicin, Jr., Danny Turner, Bobby Zankel, Billy Root, and Rob Brown; trumpeters Art Farmer and Randy Brecker; pianists Ron Thomas, Matthew Shipp, and Sumi Tonooka; jazz bagpiper Rufus Harley;bassists Craig Thomas and Fred Weiss; and guitarists Jim Hall, Harry Leahey, Billy Bean, John Collins, Dale Bruning, Joe Diorio, Tom Giacabetti, and Pat Martino.
He died in Philadelphia, on September 30, 2000.
35-Dick Crockett (1934-alive)
Jack Petersen won a course in guitar from a radio contest. The teacher was Bob Hames, an ex-GI attending North Texas from Wolfe City, TX. Hames introduced Petersen – and Petersen’s friend, Dick Crockett – to jazz recordings of Karl Kress, Tal Farlow, Chuck Wayne, Herb Ellis, Barney Kessel, Barry Galbraith, Remo Palmieri, Oscar Moore, and Charlie Christian.
During Petersen’s high school years, he and his friend and guitarist, Dick Crockett (né Richard Neville Crockett; born 1934), spent a lot of time listening to the North Texas Lab Bands and small groups that performed on campus.
36-Dick Garcia (1931-alive)
Dick started playing the guitar at age 9 and by age 19 recorded with Tony Scott (clarinetist and arranger).
Between the years 1950 and 1955 he recorded with Lenny Hambro, Joe Roland Johnny Glasel and Milt Buckner.
In 1955 he recorded his only album as leader A Message from Garcia.
In 1956 Garcia made a series of sides with Joe Puma, which can be found on the ABC release, Four Most Guitars. The Garcia/Puma collaboration on I’m Old Fashioned from this record ranks with the very best of guitar duet performances!!!!!!!!
Garcia came to national prominence while playing with the George Shearing Quintet and he appeared on several Shearing recordings.
Whether playing duets, leading his own small groups or playing in ensembles, Dick Garcia demonstrated enormous facility on the guitar. His recordings with Lenny Hambro (sax), and Johnny Glasel (trumpeter) stood out asexcellent examples of his work, from tight unison playing with Hambro to his exceptional rhythm, comping and solos.
37-Don Arnone (1920-2005)
Arnone began his professional career in New Jersey at the age of 18. He was strongly influenced by his father who never had the opportunity to play the guitar in Sicily. He spent several years playing the local clubs of New Jersey and soon joined the Tune Toppers Quartet.
Mostly self-taught, Don was influenced by the late George Van Eps. He felt his approach was “purely musical”.Don’s two other influences were the late greats Wes Montgomery and Joe Pass, who Don listened to endlessly.
Early on, Don was also extremely lucky to be asked to play on Tal Farlow’s first album, The Tal Farlow Quartet. Don credits his luck in getting this career breaking “gig” on his ability to read well.
In 1953, Don soloed on the album Serenade in Blue Serenade, where he was accompanied by Barry Galbraith.
After serving in the army, Don returned to the States, where he would shortly cross paths with his life-long friend, guitarist Al Caiola, who Don credited the most for his successful career.In the early 1960’s, he did Great Pickin’ and Soft Guitars with Al Caiola and can be heard on many of Tony Mottola’s recordings including Mr. Big and The Quad Guitars.
In 1966, along with Bucky Pizzarelli, Gene Bertoncini, Barry Gailbrath and Howie Collins, Don Arnoneplayed the “gut-string guitar” on Introducing the Passion Guitars. Don also played with Mundell Lowe on his album, The Mundell Lowe Quintet.
Much of Don’s work may never be entirely known to the public, largely at his request and due to his extremely humble personality.
His style spanned many genres, including jazz, classical, flamenco, country and a bit of rock and roll.
The endless list of recording artists Don accompanied included Bette Midler, Barbara Streisand, Aretha Franklin, Buddy Holly.
On some recordings, Don can be heard playing the mandolin and the banjo.
Known as a master of chords, Don has influenced many great guitarists over the years.
He retired from the recording industry at the age of 58, primarily due to Carpel Tunnel Syndrome. Shortly before his own death, Tony Mottola said, “Don was not only one of the finest musicians I have ever known, but he was also one of the nicest guys I have ever met”.
38- Doug Raney (1956-alive)
Raney began his career in his father’s band, with Al Haig, at the age of 18. He later played in a duo with his father. He recorded as a leader for Steeple Chase extensively in the 1970s and 1980s, and worked with mKenny Barron, Joey DeFrancesco, Billy Hart, Duke Jordan, Jesper Lundgaard, Horace Parlan, Niels-Henning Ørsted Pedersen, Tomas Franck, Bernt Rosengren, and Chet Baker among others.
Doug Raney moved to Denmark in 1977
39-Duke Robillard (1948-alive)
After playing in various bands and working for the Guild Guitar Company, he co-founded the band Roomful of Blues with pianist Al Copley in 1967. He has also been a member of The Fabulous Thunderbirds which included Kim Wilson, replacing Jimmie Vaughan on guitar. Also experienced in jazz, swing, and rock and roll, aside from his preferred blues music, Robillard has been generally regarded as a guitar player keeping the blues style of T-Bone Walker.
He did a swing recording with Herb Ellis (“More conversations in swing guitar”).
He has recorded with artists such as Jimmy Witherspoon, Snooky Prior, Jay McShann, Hal Singer, Pinetop Perkins, Joe Louis Walker, Todd Sharpville, Tom Waits and Bob Dylan. In the summer of 2006, Robillard accompanied Tom Waits on a tour of the Southern United States.
40-Ed Bickert (1932-alive)
He is a very good player, could be among the giants of jazz guitar.
He was born in 1932, in Manitoba, Canada, has long been recognized as one of Canada’s premier jazz guitarists. After his arrival in Toronto in the 1950’s he quickly rose to prominence as a studio and session player.
It was only after twenty years of steady contribution to the jazz scene in Toronto that he was exposed to American audiences. When Paul Desmond accepted an engagement at Bourbon Street, a Toronto nightspot, guitaristJim Hall recommended that he sign on Bickert as part of his rhythm section. Desmond was so impressed with Bickert’s playing that he used him on his next recording, Pure Desmond. That recording exposed Ed Bickert to a broader American audience and started a succession of US based recordings that continue today.
What Paul Desmond discovered in Ed Bickert’s playing in 1974 was a very full, chordal style that caused him, as he said in the liner notes of The Paul Desmond Quartet Live, to turn “… around several times a night to count the strings on his guitar”. It is this chordal style that has become the hallmark of Bickert’s playing and has drawncomparisons to George Van Eps and Ted Greene.
In the recordings he has made under the Concord Record label such as I Wished On The Moon and Bye Bye Baby, and especially Third Floor Richard, Bickert really steps out and demonstrates the richness, subtlety and complexity of the music he coaxes from his old worn Telecaster whether he’s comping chords or playing single string melodies.
Jim Hall had known about Ed Bickert for many years before he recommended him to Desmond. Like another Canadian guitarist Lennie Breau, Bickert had already established a reputation for himself with guitarists outside of Canada.
41-Eddie Cochran (1938 –1960) (21 years!!!)
Edward Raymond ‘Eddie’ Cochran was an American rockabilly guitar. He did not play jazz but the transition jazz-rocabilly is not possible to understand without the biography of Eddie. Cochran’s rockabilly songs, such as “C’mon Everybody“, “Somethin’ Else“, and “Summertime Blues“, captured teenage frustration and desire in the late 1950s and early 1960s.
He was also able to play piano, bass and drums.
His image as a sharply dressed and good-looking young man with a rebellious attitude epitomized the stance of the 50s rocker, and in death he achieved an iconic status.
Cochran was born in Minnesota and moved with his family to California in the early 1950s. He was involved with music from an early age, playing in the school band and teaching himself to play blues guitar. In 1955, he formed a duet with the guitarist Hank Cochran (no relation), and when they split the following year, Cochran began a song-writing career with Jerry Capehart.
In 1987, Cochran was inducted into the Rock and Roll Hall of Fame.
One of the first rock and roll artists to write his own songs and overdub tracks, Cochran is credited also with being one of the first to use an unwound third string in order to “bend” notes up a whole tone!!!!!!!!!!!!!!!!—an innovation (imparted to UK guitarist Joe Brown, who secured much session work as a result) that has since become an essential part of the standard rock guitar vocabulary.
42-Féliz Santos Guindel
The spanish jazz player Felix Santos Guindel was “cum laude” graduated Berklee College of Music in 1974. From 80 until today trained generations of musicians and served as prominent composer, musician and professional arranger. His absolute mastery of the material and exceptional teaching skills for decades have attracted countless students.
Until recently had a personal web felixsantos.com, but it seems that no longer exists for having given way to your MySpace account. There are more of his videos on youtube, all highly recommended.
43-Floyd Smith (1917 –1982)
He spent his early career in territory bands, playing in groups such as the Jeter-Pillars Orchestra, the Sunset Royal Orchestra, Eddie Johnson‘s Crackerjacks, Andy Kirk‘s band, and the Brown Skin Models.
His 1939 Floyd’s Guitar Blues lap steel guitar instrumental with Andy Kirk and the 12 Clouds of Joy’s was the first ever electric guitar hit record!!!!!!!!!!.
He produced two albums with R&B star, Loleatta Holloway for Aware Records of Atlanta.
In the late 1970s, he produced tracks on several albums with the artist for Gold Mine/Salsoul Records.
He managed the former gospel singer and later married her.
This excellent jazz guitar player has not a biography known.
45-Frank Gambale (1958-alive)
Frank Gambale is an Australian jazz fusion guitarist.
Gambale graduated from the Guitar Institute of Technology in Hollywood, with Student of the Year honors. He also taught there from 1984 to 1986.
In that same year, he toured with Jean-Luc Ponty and shortly afterwards began a six-year stint with the Chick Corea Elektric Band in 1987. During his time with the latter, he has participated in five albums and shared a Grammy Award (with two nominations).
The 1990s began for Gambale with a pair of albums—Truth in Shredding (1990) and Centrifugal Funk (1991)—as part of The Mark Varney Project. These were collaborations with fellow guitarists, Allan Holdsworth and Shawn Lane, in a jazz fusion supergroup concept put together by Mark Varney.
Around this time, he served as head of the guitar department of the Los Angeles Music Academy.
In 2001 released a duet featuring classical guitarist Maurizio Colonna.
Gambale has also been a member of the jazz fusion band Vital Information since 1988,
A reunion with Chick Corea came about in 2004, and Gambale subsequently toured with the Chick Corea Elektric Band.
He has been ited as an influence by many notable guitarists including Synyster Gates (lead guitarist and backing vocalist of the band Avenged Sevenfold) . ,Dweezil Zappa (rock guitarist, the son of musician Frank Zappa, ,Greg Howe (jazz fusion) and Pat Metheny.
46-Frank Vignola (1965-alive)
He is a very good jazz guitar player, showman and educator.
Vignola began on guitar at age five. While he never listened to jazz exclusively, he has a wide range of influences, such as Les Paul, Eddie Van Halen and Frank Zappa. He later studied at the Cultural Arts Center of Long Island.
In 1993 he signed with Concord Jazz, when he was 27 and has released several albums under his own name since then. He has written 18 instructional guitar books and has recorded multiple instructional CD-ROMs for Truefire.com. Frank lives in New York state.
47-Franny Beecher (1921-2014)
Is a jazz man very good in rockabilly, incredible.
Francis “Franny” Beecher also known as Frank Beecher, was the lead guitarist for Bill Haley & His Comets from 1954 to 1962, and is best remembered for his innovative guitar solos combining elements of country music and jazz.
By the time Beecher became associated with Bill Haley, he already had had a lengthy career as a guitarist, having performed and recorded with Buddy Greco in 1947 and the Benny Goodman Orchestra, which he joined in 1948. Franny Beecher was the lead guitarist in the Benny Goodman Orchestra in 1948-49. He appeared on The Toast of the Town show (which later became The Ed Sullivan Show) on CBS television with the Benny Goodman band in December, 1948. He is featured on two Benny Goodman albums, Modern Benny on Capitol and Benny Goodman at the Hollywood Palladium. Personnel lists generally refer to him as Francis Beecher.
Beecher first worked with the Comets in fall 1954 as a session musician, replacing the recently deceased guitarist Danny Cedrone. Beecher’s first work with Haley was the single “Dim, Dim the Lights”. Beecher had to be instructed to make his guitar solos less jazzy. “They wanted to play a more basic style than I was used to, more country really, they called it rockabilly.”
His guitar work influenced young musicians playing the same venues in the Philadelphia/Reading area where the Comets were based, among them the guitarist and future legendary comic-book writer-artist Jim Steranko.
Beecher had the ability to send his voice into a high pitch (making it sound like that of a small child). This gimmick was used for the opening of the hit Haley single’s “See You Later Alligator“, “(You Hit the Wrong Note) Billy Goat” and “Rip It Up“.
In 1958, he and the other Comets recorded under the name The Kingsmen, releasing several 45 singles for East West Records.
Beecher left the Comets in 1960.
After Haley’s death in 1981, Beecher toured with a short-lived Comets reunion group. Starting in 1987, the surviving members of the 1954-55 Comets reunited and proceeded to tour the world and make new recordings for the next two decades. Beecher performed with this group until July 2006, after which the group announced he had retired; although it was announced that the 85-year-old guitarist would tour Europe with the Comets in early 2007, this did not occur.
With the Comets, Franny Beecher played a black 1956 Gibson Les Paul Custom.
In 2012, the Rock and Roll Hall of Fame inducted Beecher as a member of the Comets by a special committee, aimed at correcting the previous mistake of not inducting the Comets with Bill Haley.
48-Frode Kjekstad (1974-alive)
He was born in Lier, Norway. He is a jazz musician (guitar), married to jazz singer Aina Fridén, and known from cooperations and recordings with jazz musicians like Lonnie Smith, Eric Alexander, Frank Foster, Johnny Griffin, Don Menza, Jim Morrison,Mark Nightingale, Claire Martin, Deborah Brown, and Wendell Brunious. Kjekstad released his debut solo album New York Time in 2004, with Lonnie Smith, Eric Alexander and Byron Landham. The follow up album didn’t come before until 2012, The Italian Job, receiving favourable reviews in the international jazz press.
He works as a music teacher at Rud Upper Secondary School.
2013: Asker Jazzklubb honory award
49- Gabor Szabo (1936 –1982)
Like Attila Zoller, Gabor is a hungarian jazz man. He was one of the most important influences of Carlos Santana. Another victim of drug habit.
Gábor Szabó was born in Budapest, Hungary and began playing guitar at the age of 14, inspired by jazz music heard on Voice of America radio broadcasts. He escaped Hungary in 1956, a year of attempted revolt against Soviet-dominated Communist rule, and moved to the United States where he attended the Berklee School of Music in Boston.
In 1958, he was invited to perform at the Newport Jazz Festival. Szabó then went on to perform with the quintet of Southern California drummer Chico Hamilton from 1961 to 1965, playing what has been described as chamber jazz, with “a moderate avant-gardism.”. In 1962 and ’63, Hamilton’s bands cuttwo albums consisting entirely of saxophonist Charles Lloyd compositions, with the title track of Man From Two Worldsfeaturing Szabó’s guitar on top of a propulsive beat, parrying with Lloyd’s tenor sax. The CD reissue of the album features a cut called “Lady Gabor” that had been composed by Szabó.
Beginning in 1966 he recorded a well-received span of albums under his own name on the Impulse! label.In the late 1960s he co-founded the short-lived Skye record label along with Cal Tjader and Gary McFarland. Szabó recorded an album with Lena Horne on Skye in October and November 1969.
Szabó had been part of Lena Horne’s backup band. Szabó had been first introduced to Lena Horne by her long time accompanyist and his former band leader Chico Hamilton.
Gábor Szabó’s mid-1960s jazz/gypsy guitar work also strongly influenced Carlos Santana‘s playing. Indeed, Szabó’s composition “Gypsy Queen” was used as the second part of Santana’s 1970 treatment of Peter Green’s composition “Black Magic Woman“, almost down to identical guitar licks. Santana’s 2012 instrumental album Shape Shifter includes a song called “Mr. Szabo”, played in tribute in the style of Gábor Szabó.
During a 1977 engagement at the Catamaran Hotel in San Diego, he complained to the audience about George Benson‘s success with “Breezin'” (composer, Bobby Womack). He indicated that he had recorded that song before Benson and that Benson had plagiarized the arrangement from him. Szabó’s earlier version can be heard on the High Contrast album with Bobby Womack.
Gábor Szabó died in Budapest in February, 1982 from liver and kidney disease while on a visit to his homeland. He had arrived in the previous July to produce a record album and had planned to stay until the summer. His trip was also partly to find treatment for the drug habit he had been battling for years.
This excellent jazz guitar player has not biography known
51-Gene Bertoncini (1937-alive)
Bertoncini was born in New York City, where he was raised in a musical family. His father played guitar and harmonica. Bertoncini began playing guitar at age seven and by age sixteen was appearing on television. He graduated from high school and attended the University of Notre Dame, where he obtained a degree in architecture. Then, Bertoncini resides in New York City.
In 1966, along with Bucky Pizzarelli, Barry Gailbrath and Howie Collins and Don Arnone, played the “gut-string guitar” on Introducing the Passion Guitars.
Bertoncini had a long-running duo with bassist Michael Moore. He was part of the staff orchestras on shows featuring Merv Griffin, Jack Paar and The Tonight Show Starring Johnny Carson. After hearing a Julian Bream record at the advice of Chuck Wayne, Bertoncini began studying classical guitar and brought the instrument into playing jazz.
For some eighteen years, Bertoncini played Sunday and Monday evenings at the Bistro La Madeleine on West 43rd St. in New York City.
Gene Bertoncini is now on the faculty of William Paterson University in Wayne, New Jersey. He is also on the staff of the Tritone Jazz Fantasy Camps.
52-George M. Smith
This excellent jazz guitar player has not biography known
The all-acoustic Gonzalo Bergara Quartet plays a modern variant of 1930s Django Reinhardt inspired gypsy jazz. Composer and lead guitarist Gonzalo Bergara mixes a cascade of arpeggios with the sounds of Paris and his native Argentina.
His first CD, Porteña Soledad, was Editor’s Pick in Guitar Player Magazine, and Vintage Guitar Magazinecalled it a “masterpiece.”
The Gonzalo Bergara Quartet consists of Gonzalo Bergara on lead guitar, Jeffrey Radaich on rhythm guitar, Leah Zeger on violin, and Brian Netzley on upright bass.
The music is heavily influenced by Django Reinhardt and the Hot Club of France, as well as the traditional jazz and music of Bergara’s true home, Buenos Aires. “Gonzalo Bergara’s music exists in a way that very little music does.
54- Greg Howe (1963-alive)
Gregory “Greg” Howe is an American jazz fusion guitarist and composer.
After leaving high school and playing the club circuit around the New Jersey, New York and Pennsylvania areas with his brother Albert (a singer) for most of the 1980s, Greg Howe officially began his solo career after sending a demo tape to Shrapnel Records in 1987, upon which he was immediately signed by founder Mike Varney.
His self-titled debut album was released in 1988, during the popular shred era, and went on to become his highest-selling album; a 2009 article in Guitar Worldmagazine ranked it tenth in the all-time top ten list of shred albums.
Hyperacuity (2000) is his most prominent experimentation with jazz fusion.
55-Guthrie Govan (1971-alive)
Guthrie Govan was born in Chelmsford, Essex, England. He is an jazz fusion guitarist and instructor, known for his work with the bands The Aristocrats, Asia (2001–2006), GPS, The Young Punx and The Fellowship as well as Erotic Cakes (a vehicle for his own music).
He is a noted guitar instructor through his work with the UK magazine Guitar Techniques, Guildford’s Academy of Contemporary Music, Lick Library and currently the Brighton Institute of Modern Music.
He is the 1993 winner of Guitarist magazine’s “Guitarist of the Year” competition.
Govan now regularly travels internationally, teaching at various clinics around the world.
Govan began playing guitar aged three, encouraged by his father but initially learning mainly by ear. Govan’s earliest influences were Jimi Hendrix and Cream-era Eric Clapton but he was heavily influenced by Zal Cleminsonof the Alex Harvey Band who he considers to have been “his Jimmy Page”. At the age of nine he and his brother Seth Govan played guitar on a Thames Television programme called Ace Reports. Also he cites the imagination of Steve Vai (as well as Frank Zappa, with whom Vai played). Jazz and fusion elements are an important part of his style: he cites Joe Pass and John Scofield as pivotal influences in this respect
In 1991 he sent demos of his work to Mike Varney of Shrapnel Records. Varney was impressed and offered him a record deal; ultimately however, Govan declined. Regarding his reasons he has explained: “it was as though all I really wanted to know was that I was good enough […] I found I was getting a bit wary of the shred movement.”
In 1993, he won Guitarist magazine’s “Guitarist of the Year” competition with his instrumental piece Wonderful Slippery Thing (a version of which would eventually appear on his debut solo album.
Since the late 1990s, Govan has taught at the Guitar Institute in Acton, Thames Valley University, and the Academy of Contemporary Music; he currently teaches at Brighton Institute of Modern Music, but is regularly invited to teach in seminars and clinics all around the world.
Govan’s debut solo album, Erotic Cakes, was released through Cornford Records in August 2006.
The Erotic Cakes band line up, with the addition of saxophonist Zak Barrett, also forms jazz-fusion band The Fellowship. The band used to play at the Bassment club in Chelmsford, Essex, every Thursday night and did so for several years.
In late 2011, Govan announced a new tour with new band The Aristocrats, featuring Bryan Beller on bass and Marco Minnemann on the drums. Their self-titled album was released worldwide in September 2011.
In 2013, Govan played a series of gigs with Paul Gilbert, a great guitar player but not a jazz fusion player, the reason why he is not included in this compilation.
Satriani said “What sets Guthrie apart, is that no matter what he’s doing—picking, tapping, slapping, playing legato, whatever—he mixes everything up gracefully and absolutely nails each approach. And all the while the music sounds natural.”
56-Hank Marvin (1941-alive).
Hank Brian Marvin also known as Hank B. Marvin is an English musician, a multi-instrumentalist, non-jazz pure style guitar player but either a pop/rock guitar player. He is other thing. His gift is comparable to the most important guitarist in the jazz history. Best known as the lead guitarist for the Shadows.
He chose the name Hank Marvin while launching his music career. The name is an amalgamation of his childhood nickname of Hank, which he used to differentiate himself from a number of friends also named Brian, and Marvin Rainwater, a country and western singer.
When Marvin was 16, he travelled with his Rutherford Grammar School friend Bruce Welch to London, where he met Johnny Foster, Cliff Richard’s manager, at The 2i’s Coffee Bar inSoho. Foster was looking for a guitarist for Richard‘s upcoming tour of the UK, and Marvin agreed to join as long as there was also a place for Welch.
Marvin and Welch joined The Drifters and after that The Shadow, beginning their careers as professional guitar players.
In Canada, Richard and The Shadows met with success, especially from 1961 to 1965 when they enjoyed several top 10 hits.
Canadian guitarists Randy Bachman and Neil Young have credited Marvin’s guitar work as influential.Marvin influenced many other guitarists, including George Harrison, Eric Clapton, David Gilmour, Brian May, Mark Knopfler, Peter Frampton,Steve Howe, Roy Wood, Tony Iommi,Pete Townshend, Ritchie Blackmore and Jeff Beck.
As well as playing with The Shadows, Marvin has had a successful solo career.
In 1970, Marvin and Welch formed Marvin, Welch & Farrar, a vocal-harmony trio which failed to appeal to many Shadows fans or to contemporary music fans, despite cutting two critically acclaimed albums later re-evaluated by many fans. ‘They became ‘Marvin & Farrar’ for a vocal album early in 1973 and then reverted to being The Shadows in late 1973, for the all instrumental Rockin’ with Curly Leads album.
As a writer, Marvin was solely responsible for “Driftin'”, “Geronimo”, “Spider Juice” (his daughter’s name for orange juice), “I Want You to Want Me” for The Shadows.
In 1969 and 1970 he teamed with Cliff Richard for two ‘Cliff & Hank’ hit singles, his own song;’Throw Down A Line’ (also recorded by Marvin, Welch & Farrar), and ‘The Joy of Living’, while Richard also had a hit with his ecology themed song ‘Silvery Rain’.
In 1988, Marvin collaborated with French keyboardist and composer Jean Michel Jarre on the track “London Kid”.
Marvin and The Shadows reformed for a 2004 Final Tour, which was successful and a 2005 European tour was also organised.
Marvin dueted twice with French guitarist Jean-Pierre Danel – on his 2007 and 2010 albums, both top-ten hits and certified gold. Their two singles hit the iTunes charts in France, Norway, Finland and Germany.
While his Shadows colleagues Welch and Bennett accepted the honour of an Officer of the Order of the British Empire (OBE) in the 2004 Queen’s Birthday Honours List for services to music, Marvin declined, citing “personal reasons”
57-Harry Leahey (1935-1990)
Leahey received his first guitar at the age of thirteen. He went on to study with Lou Melia, at Sayer’s Studio in Plainfield; leading jazz and studio guitarist Johnny Smith and Dennis Sandole, teacher of such students as Pat Martino and John Coltrane.
Leahey’s career began in the early 1960s and continued until his death in 1990.
He was on the Grammy award winning Phil Woods Six – Live from the Showboat (1977) album. His composition “Rain Danse” and his arrangement of Django Reinhardt‘s “Manoir de mes Rêves (Django’s Castle)” were featured on the album.
From 1978 to 1990 he performed with his own trio, featuring Roy Cumming on bass and Glenn Davis on drums and in duo settings with various bass players. As leader, he recorded one album with his trio, one duo album with bassist Steve Gilmore and one solo album.
A dedicated and practical family man, he chose to devote himself to teaching the guitar, teaching privately at his home in Plainfield, New Jersey, and from 1974 to 1988 at William Paterson University (then William Paterson College).
Over the course of a thirty-year career as a guitar teacher, Leahey taught literally thousands of students,many of whom went on to successful careers. Among his former students are Vic Juris, Bob DeVos, Jon Herington, Walt Bibinger, Larry Barbee, and Chuck Loeb.
Leahey died at the age of 54. A few representative quotes: “Harry was a master.” – Glenn Davis. “The most complete guitarist I ever heard.” – Vinnie Corrao. “I was flabbergasted by his playing.” – Warren Vaché. “He was the top of the heap. He was the best guitar player that I had ever played with and I played with every [one].” – Phil Woods. “I don’t think there’ll ever be another Harry Leahey.” – Jack Six. “He was a great guitarist and a very beautiful man.” – Leo Johnson.
58-Harry Volpe (1906 – 1995)
The teacher of Johnny Smith, Sal Salvador and Joe Pass among others.
Harry was a pioneer of the guitar before that phrase was coined. He was an established teacher, studio and recording musician in New York already in the 1920’s and 1930’s. He was the first guitarist selected to the Radio City Music Hall staff where he was a featured soloist.
A prolific composer, Harry Volpe wrote several pieces for the guitar including his interpretation of Rachmaninoff’s Prelude in C# Minor. Among his other compositions are Volpette, June Memories, Two Guitars and Marreqita. The early guitar duets he penned and recorded with Frank Victor in 1936 remain classics of the guitar duet form.
Some of his teaching materials are still available through Mel Bay Publications.
For many years Harry Volpe ran a music store in New York where he offered lessons to the young guitarists seeking their fortunes as jazz guitarists. Among his students were Johnny Smith, Sal Salvador and Joe Pass.
Although his playing was not purely in the jazz idiom, Harry Volpe remains a significant figure in the history of jazz guitar if for no other reason than that he played with and taught some of the best guitarists of the last century.
https://www.youtube.com/watch?v=pk-ri7fiLZU (Rob MacKillop)
https://www.youtube.com/watch?v=w5_-rmMnO-A (Rob MacKillop)
59–Howard Alden (1958-alive)
George van Eps was a strong influence on later seven-string players such as Howard Alden (with whom he recorded four CDs for Concord Records in the early 1990s), Bucky Pizzarelli, and John Pizzarelli (Bucky’s son).
After hearing recordings of Barney Kessel, Charlie Christian, Django Reinhardt and other jazz guitar greats, he got a six-string guitar and started teaching himself to play that as well. As a teenager he played both instruments at various venues in the Los Angeles area. He studied guitar with Jimmy Wyble when he was 16. By 1977 (19 yrs) he was studying jazz guitar at the Guitar Institute of Technology in Hollywood, California with Howard Roberts.
Alden made his first trip to the east coast in the summer of 1979, playing in a trio led by the legendary vibist Red Norvo for 3 months at Resorts International in Atlantic City. Alden moved to New York City in 1982 to play an extended engagement at the Café Carlyle with jazz pianist/songwriter Joe Bushkin. Soon afterward, he was discovered by Joe Williams and Woody Herman.
60-Howard Robert (1929 – 1992)
Roberts was born in Phoenix, Arizona, and began playing guitar at the age of 8. By the time he was 15 he was playing professionally locally.
In about 1956, Bobby Troup signed him to Verve Records as a solo artist. Around that time he decided to concentrate on recording, both as a solo artist and session musician, a direction he would continue until the early 1970s.
In 1961, Roberts designed a signature guitar which was originally produced by Epiphone. The guitar wasa modified Gibson ES-175 (Epiphone is owned by Gibson and during this period Epiphone guitars were manufactured in the same factory as Gibson guitars in Kalamazoo, Michigan), with a round sound hole and a single pickup. A redesigned version was later produced byGibson. The Howard Roberts signature was borne by two other models made by Gibson: the Howard Roberts Custom and the Howard Roberts Fusion III.
In 1963, Roberts recorded Color Him Funky and H.R. Is A Dirty Guitar Player, his first two albums after signing with Capitol. Produced by Jack Marshall, they both feature the same quartet with Roberts (guitar), Chuck Berghofer (bass), Earl Palmer (drums) and Paul Bryant alternating with Burkley Kendrix on organ.
From the late 1960s, Roberts began to focus on teaching rather than recording. He traveled around the countrygiving guitar seminars, and wrote several instructional books. For some years he also wrote an acclaimed column called “Jazz Improvisation” for Guitar Player magazine. Roberts developed accelerated learning concepts and techniques, which led to the founding of Playback Music Publishing and the Guitar Institute of Technology. As a co-founder of GIT, now known as the Musicians Institute, Roberts’ philosophy remains an integral part of the curriculum.
Roberts died of prostate cancer in Seattle, Washington on June 28, 1992. His wife Patty, also active in musical education, continued in this field after his death.
Howard inspired the opening of Roberts Music Institute in Seattle, Washington, which is currently owned by his son, Jay Roberts.
61-Hy White (1915-2011)
Hy was a jazz-blues player and educator.
Mr. White was born in Boston, Mass. He moved to New York in the early 1940s to begin a career as a musician. After his two sons, Kenneth and Alan, were born, he moved with his wife, Edith, to Riverdale. He lived on Netherland Avenue in Riverdale for the last 56 years.
Mr. White started his music career as a member of the Woody Herman Orchestra (1939-1944). From the guitar chair in the Herman rhythm section he delivered a solid rhythm and when called upon, excellent solos. He was a frequent soloist on Herman penned (escribió) blues such as Blue Upstairs and Red River Blues.
After leaving Herman in 1944, White played and recorded with the bands of Les Brown, Gene Krupa, Tony Pastor and the Dorsey brothers. He also had credits with Coleman Hawkins, Georgie Auld and Ben Webster.
He reached higher acclaim as a guitarist in Ray Bloch’s orchestra on the Ed Sullivan Show during 15 years. The unique style Mr. White developed in the Woody Herman Orchestra can be heard on songs such as “Blues Upstairs” and “Red River Blues.”
“Guitarists in the rhythm sections of top big bands are expected to provide completely fill in whatever gapsexist, and not get in the way of anything else. White did this, and is in fact considered one of the masters of such playing,” wrote critic Eugene Chadbourne for All Music Guide, who also wrote that Mr. White was an accomplished soloist who “would spit forth fine solos when the bandleader pointed at him.”
Mr. White was also a dedicated guitar educator. He wrote instructional music books, including Leeds Guitar Method and Song Folio, Folklore for Guitar and Hy White’s Guitar Plus.
After his wife died in 1976, Mr. White revamped his music career and started playing at local senior centers and nursing homes, including the Hebrew Home at Riverdale.
As a freelance artist in New York during the 1940’s and 1950’s he recorded with Bing Crosby, Doris Day, Rosemary Clooney, Ella Fitzgerald and Pearl Bailey. He performed on stage with Frank Sinatra, Eddie Fisher and Danny Kaye.
He died in 2011, due to complications from an infection. He was 95.
62- Ike Isaacs (1919 –1996)
In 1946 he moved to England, where he freelanced for many years; he played in the BBC Show Band, as well as with George Chisholm (1956) (Scottish jazz trombonist and vocalist). and Barney Kessel (1968).
https://www.youtube.com/watch?v=ygEc7xvKaBw (double bass)
63- Jack Marshall (1921 – 1973)
Jack Marshall was an American guitarist, conductor, and composer. He is the father of producer-director Frank Marshall and composer Phil Marshall.
He also released a number of albums under his own name that featured his own finger-style jazz guitar playing. He was a close friend of Howard Roberts and Jack Sheldon (trumpet), and produced several of their best albums on Capitol.
He wrote his own arrangements, many of which had a big-band, jazzy sound to them. His most popular arrangement was for Peggy Lee‘s “Fever“, using only percussion, bass and finger snaps, which won him several awards.
Marshall is perhaps best known for composing the theme and incidental music for the 1960s TV series The Munsters. (The theme music was nominated for a Grammy Award in 1965.) He also composed music for the movies The Missouri Traveler, Thunder Road and The Deputy, a western television series starring Henry Fonda, The Investigators and The Debbie Reynolds Show. His interment was at Forest Lawn Hollywood Hills Cemetery.
64-Javier Malosetti (1965-alive)
Javier Malosetti was born in Buenos Aires and he is a guitar and bass player argentine and son of legendary jazz guitarist Walter Malosetti (1931-2013) .
Drummer at the beginning, Javier decided to switch instruments since 1986 and became one of the most required and important scene of Argentina bears. Among the international guitarists of international with which he worked are Larry Coryell, Jim Hall, Herb Ellis, among others.
In early 1993 he decided to record his first solo album called Javier Malosetti, which received rave reviews from the press. After several tours with various artists, in 2000 he received the Clarín Award “jazz revelation of the year” .
In 2001 he was released his second album, Spaghetti boogie, recorded with a quintet formed by Guillermo Romero (keyboards), Ricardo Cavalli (on sax), Americo Bellotto (trumpet), and Fernando Martínez (on drums). In the same year he won another Clarín award as “jazz artist of the year” .
The following year he recorded Villa, this time with a quintet formed by Andrés Beeuwsaert (on electric piano and organ Americo Bellotto (trumpet), Gustavo House (on tenor and alto sax) and Pepi Taveira (on drums). On this album, Javier , showed her talent on guitar, drums and percussion, plus bass and voz.
A year later (2003), he releases his fourth album Malosetti I live (recorded with the same musicians from above) won the award for “Best Jazz Album” by Villa and decided to form a trio with Andres Beeuwsaert (on keyboards) and Pepi Taveira (on battery) .
In 2004 he releases his disco Onyx. For recording he invited his father play and rock and blues guitarist Norberto Pappo Napolitano. The following year he won a Star Award Mar 2005 (for “musical work”), Gardel to Music 2005 (“Best Jazz Album” by Onyx) and Konex Award 2005 (“certificate of merit”.)
In 2005 he recorded his sixth album, Boy. In 2007 enters the studio to record with Rubén Rada Warsaw. Also in this year won the award “Best Jazz Album” for his album Niño.
From 1987 to 2004 he gave private lessons in electric bass and since then in the field of teaching makes only sporadic clinics and seminars for amateur and professional bassists around the country.
In 2013 he toured the interior of Argentina with his band JM4.
65-Jimmy Bryant (1925-1980)
With a dizzying jazz/country style, he was billed as “The Fastest Guitar in the Country”.
Guitarist Jimmy Wyble who was a Texas Playboy from late 1943 until Spring 1945 waxed some of the finest guitars solos on record in any genre with Bob Wills on hits like Roly Poly and Texas Playboy Rag. His licks can be traced directly to almost note for note rip offs on Gene Vincent‘s recordings from his great sessions with guitarist Cliff Gallup. He also heavily influenced Hank Garland in Nashville and Jimmy Bryant on the coast in CA.
Ivy J. Bryant, Jr. was born in Moultrie, Georgia, the oldest of 12 children. During the Great Depression he played the fiddle on street corners to help the family buy food, pushed to do so by his father.
After being wounded in World War II, he began working seriously on his guitar playing, influenced heavily by Django Reinhardt. After the war, he returned to Moultrie, then moved to Los Angeles county where he worked in Western films and played music in bars around L.A.’s Skid Row, where he met pioneering pedal steel guitarist Speedy West.
In 1957 Jimmy Bryant was a part of one of the first integrated television shows featuring popular radio and television star Jimmie Jackson who hosted the show along with black Jazz violinist and recording star, “Stuffy” Smith and black jazz percussionist and recording star, George Jenkins.
In the early 1970s Bryant ran a recording studio in Las Vegas, but finally relocated to Georgia before settling in Nashville in 1975, the same year he reunited with Speedy West for a reunion album produced by Nashville steel guitarist Pete Drake. Bryant played in Nashville bars and did some recording work but his personality did not mesh well with Nashville’s highly political music and recording industry.
In 1978, in declining health, Bryant learned that had lung cancer; he was a heavy smoker. He died in Moultrie in September 1980 at the age of 55.
66-Jimmy Rosenberg (1980-alive)
In 1995 he was in the trio together with Johnny Rosenberg on guitar and Rinus Steinbach on bass. With this group he toured in Oslo, New York and the Django festival in Paris until he pursued a solo career in 1997. Rosenberg has often taken part in the Norwegian Django Festival in Oslo, his first attendance having been made at only twelve years of age.
His life is documented in the Dutch film The Father, The Son, and the Talent (2007). The film is an account of Jimmy’s relationship with his father and his struggles with drugs, in addition to live performances.
The documentary film Jon & Jimmy, about his long lasting, but turbulent relationship with jazz guitarist Jon Larsen, was released (TV and DVD) in 2010 (produced by the Oscar winning Storm Studio). Jon & Jimmy won the prestigious Dutch Edison Award (jazz) 2010.
67- Jimmy Shirley (1913 – 1989)
Leonard Ware (guitarist) played on clarinetist/saxophonist Sidney Bechet‘s first recordings as leader in November 1938 for the Vocalion label (“What a Dream”, “Jungle Drums”). Soon after, Bechet teamed Ware with fellow guitarist Jimmy Shirley, making the group perhaps the first to include two electric guitars.
Jimmy made his first documented recordings with ‘Creole’ George Guesnon in early 1940 and later that year with Clarence Profit.
In 1941 he recorded with Artie Shaw’s Orchestra.
In the mid 1940s Shirley played and recorded with Coleman Hawkins, Ella Fitzgerald and many others.
In the late 1940s into the 1950s Jimmy Shirley recorded more blues than jazz although he was a jazz man more than a blues man. At that time he recorded with singers like Wynonie Harris, Jimmy Rushing, Screamin Jay Hawkins and Little Willie John. He also accompanied several female singers during this period, most notably Rose Murphy and Barbara Lea.
Jimmy Shirley recorded three times as leader. At Blue Note in the 1940s he recorded six or seven tracks. Europe in the 1970s he recorded the album China Boy on Black & Blue 33081.
Jimmy Shirley played in most of the music idioms of his time from New Orleans jazz to early bebop with Coleman Hawkins.
He was most prominently featured in the trios of Clarence Profit, Billy Kyle, Ram Ramirez, and Herman Chittison.
He died in 1989
The guitarist Joaquín Chacón was born in Madrid, getting from very small inherited musical flamenco influences of his father. He studied at the Conservatory of Madrid, feeling quickly attracted by the Jazz, studying in the pioneer schools in our country, also attending more than ten international seminars, and completing studies Jazz in the Netherlands, particularly in the Koninkligk Conservatorium, and in Germany, with musicians of the caliber of John Abercrombie, Dave Liebman, Joe Henderson, Barry Harris, Bruce Forman, Richie Beirach and Jerry Bergonzy. Professional for 15 years, has worked on own projects and as a sideman alongside musicians like Mike Richmond, Chano Domínguez, Uffe Markussen, Jorge Pardo, Ben Besiakov, Jim Snidero, Bobby Floyd, Ben Stivers, and etc
Also developed an intense teaching activity around the Jazz, in private schools, and teaching seminars. Currently has three CDs to his name for the Fresh Sound label, as well as multiple collaborations with other musicians of different styles.
69-Joe Cinderella (1929-2012)
Jazz guitar player and educator.
Joe began playing the guitar when he was nine years old. By the time he was sixteen he was being compared to players like Django Reinhardt and Charlie Christian. He studied the guitar with Frank Staffaand he attended The Essex Conservatory where he earned a degree in music.
In the 1950’s he recorded with Vinnie Burke (East Coast Jazz 2) and Chris Connors (Sings Lullabys For Lovers). In 1959 he was recognized in Downbeat Magazine as anOutstanding Guitarist.
During this time he recorded with Gil Mellé for Blue Note and Prestige Records. The Mellé recordings Primitive Modern and Patterns in Jazz earned Joe Cinderella the Concert Associates Player of The Year award. These recordings along with Mellé’s Quadrama and Gil’s Guests established Cinderella as one of the most progressive of modern jazz guitarists.
In the 1960’s Cinderella ‘dropped out of sight’ as a studio guitarist when he focused on recording sessions, radio and TV work and film scores in the New York studios. During these years he recorded with artists as diverse as The Beach Boys and John Cage and he played on recording sessions for many pop singers like Billy Joel.
Joe Cinderella served as staff musician for the Kraft Music Theater in New York and other formal venues in the New York and New Jersey areas.
In 1969 Joe Cinderella became an Adjunct Professor of Music at New Jersey’s Paterson Sate College as Paterson’s first guitar instructor. Joe established a jazz guitar curriculum at Paterson that became a model for other university jazz programs throughout the US. Joe has also authored guitar instruction material.
In the year 2000 Joe Cinderella released Concept which featured his own compositions and arrangements played on custom made 8-string guitars!!!.
70-Joe Dorio (1936-alive)
Is a guitarist of Mr Sandole as Jim Hall, Harry Leahey,Billy Bean, John Collins, Dale Bruning, Tom Giacabetti, and Pat Martino.
Joseph Louis Diorio was born in 1936, Waterbury, Connecticut, USA. Following in the footsteps of an uncle, Diorio took up the guitar, studying formally in the early 50s at a local music school. He worked for a while with local bands, but in the early 60s he ventured into New York City where he played with several jazz musicians.
He is an American jazz guitarist. He has performed with legends of jazz like Sonny Stitt, Stan Getz, Pat Metheny, Horace Silver, and Freddie Hubbard among others. He released also 10 albums under his name.
In April 2005 he struggled (esforzó) to regain the full use of his left hand following a stroke he suffered at his West Coast residence in San Clemente.
He was also one of the first instructors for the Guitar Institute of Technology. He has publishedseveral instructional books and videos,
Diorio currently teaches at the University of Southern California.
71-Joe Puma (1927 – 2000)
He could be among the 50 giants of jazz guitar.
Joe began his jazz guitar career in the 1940’s the contemporary of Chuck Wayne, Jimmy Raney, and Johnny Smith. He stayed close to New York throughout his career appearing and recording with artists like Joe Roland,Herbie Mann, Artie Shaw and Don Elliott.
In 1957 he won the New Star Award for Guitar from Metronome Magazine.
With the exception of the recordings Joe Puma, Joe Puma Jazz, Wild Kitten and Shining Hour, most of the examples of Puma’s recorded work were done as a sideman for other artists
Joe Puma and Joe Puma Jazz appeared about 25 years before Shining Hour and all three displayed the typical Joe Puma style; clean melodic lines, perfect comping behind the other players and a humorous ad lib quality that showed up as out of tempo playing or quoting other melodies.
Joe Puma with Eddie Hall produced one of the most unusual jazz albums entitled Like Tweet. Hall identified and notated authentic birdcalls (reclamos) and then with Dick Hyman wrote them out in arrangements for jazz orchestra. Puma provides guitar and bass on this recording and produces some very interesting results. Barry Galbraith also appeared on this recording.
In the 1970’s Joe Puma teamed up with Chuck Wayne for some duet playing in the tradition of Barnes/Kress and Ellis/Pass. Their album Interactions is one of the best in this genre.
Puma continued playing right into the 1990’s. He appeared at the JVC Tributes to Tal Farlow in 1996 and Barney Kessel 1997.
72-Joe Satriani (1956-alive)
Joseph “Joe” Satriani is an American instrumental rock-fussion progressive guitarist but in his early years he played jazz.
In 1978, Satriani moved to Berkeley, California to pursue a music career
Early in his career, Satriani worked as a guitar instructor, with many of his former students achieving fame, such as Steve Vai, Larry LaLonde, Rick Hunolt, Kirk Hammett, Andy Timmons, Charlie Hunter, Kevin Cadogan, and Alex Skolnick. He is a multipleGrammy Award nominee.
In 1994, Satriani toured with Deep Purple as the lead guitarist.
He has worked with a range of guitarists during the G3 tour, which he founded in 1995. His G3 collaborators have included Vai, LaLonde, Timmons, Steve Lukather, John Petrucci, Eric Johnson, Yngwie Malmsteen,Brian May, Patrick Rondat, Paul Gilbert, Adrian Legg, Steve Morse and Robert Fripp.
Satriani was influenced by blues-rock guitar icons such as Jimi Hendrix, Eric Clapton, Jimmy Page, Ritchie Blackmore and Jeff Beck, as well as jazz fusion guitarist Allan Holdsworth.]Satriani created his own recognizable style and is an influential guitarist.
Satriani has received 15 Grammy nominations and has sold over 10 million albums worldwide.
73- John Collins (1913 – 2001)
Is a guitarist of Mr Sandole as Jim Hall, Harry Leahey,Billy Bean, Dale Bruning, Joe Diorio, Tom Giacabetti, and Pat Martino.
John Elbert Collins was an American jazz guitarist who accompanied many swing era names from 1935 to 1950, including Art Tatum, Roy Eldridge, Billie Holiday, Buck Clayton, J.J. Johnson, Coleman Hawkins, Harry Carney, Teddy Wilson, Chubby Jackson, Shadow Wilson and Lester Young.His longest association was with Nat King Cole, 1951-65. Known for his rhythm work, Collins soloed infrequently.
He later taught music in the Los Angeles area.
Collins was inducted into the Alabama Jazz Hall of Fame in 1993.
74-John Etheridge (1948-alive)
Between 1967-70, Etheridge’s studies (history of art at Essex University) took him away from the London scene.
A crucial discovery for him during this period was John McLaughlin‘s debut album Extrapolation.
Back in London, he stayed with Icarus for their subsequent tour of Romania.
In late 1972, he joined Curved Air violinist Darryl Way‘s band Wolf, which went on to record three albums in the progressive rock canon for the Deram label, Canis Lupus (1973), Saturation Point (1973) and Night Music (1974).
A recommendation from fellow guitarist Allan Holdsworth led to him joining Soft Machine, now in full fusion mode having just released Bundles. Etheridge went on to record two albums with the band, Softs (1976) and Alive & Well: Recorded in Paris (1978). He also played on the more recent British Tour 1975.
With Soft Machine’s activities slowing down and ultimately (by 1978) stopping completely, Etheridge developed parallel ventures, including a long-term collaboration with French violin legend Stéphane Grappelli (numerous world tours from 1976–81), and the band 2nd Vision with fellow Soft Machine member, violinist Ric Sanders, which released a self-titled album in 1980, but fell victim to the hostile post-punk environment and broke up in 1981.
The 1980s saw Etheridge remain very active on the live front (including a reunion with Soft Machine for the band’s final series of concerts at Ronnie Scott’s club in 1984). In 1984 he also toured England with his own trio.
Between 1989-93, he was a member of Danny Thompson‘s group
In 1994, he released a duo album, Invisible Threads, with longtime friend Andy Summers (ex- Soft Machine and ex-Police).
In addition to countless one-off line-ups assembled for jazz gigs, Etheridge is involved in several projects: a guitar duo with John Williams, Tribute to Grappelli in 1998; Tribute to Frank Zappa and Soft Machine Legacy. This last released two studio albums (both including Etheridge compositions), Soft Machine Legacy (2005) and Steam (2007), and two live releases, Live in Zaandam (2005) and Live At The New Morming (2006), the latter also a DVD, filmed just weeks prior to Dean’s passing.
75-John McLaughlin (1942-alive)
John McLaughlin was born in Doncaster, West Riding of Yorkshire, England, is an English guitarist, bandleader and composer. His music includes many genres of jazz, and rock, which he coupled with an interest in Indian classical music to become one of the pioneering figures in fusion.
After contributing to several key British groups of the early sixties and making his first solo record Extrapolation (with Tony Oxley and John Surman) he moved to the USA where he played with Tony Williams‘s group Lifetime and then with Miles Davis on his landmark electric jazz-fusion albums In A Silent Way, Bitches Brew, A Tribute to Jack Johnson and On The Corner.
His 1970’s electric band, the Mahavishnu Orchestra, performed a technically virtuosic and complex style of music that fused electric jazz and rock with Indian influences.
He is known for using exotic scales and unconventional time signatures. Indian music has had a profound influence on his style, and, it has been written, he is one of the first westerners to play Indian music to Indian audiences.
McLaughlin has been cited as a major influence on many 1970s and 1980s fusion guitarists. Examples are prominent players such as Steve Morse, Eric Johnson, Mike Stern, Paul Masvidal, Al Di Meola, Pebber Brown, Shawn Lane, and Scott Henderson. His influence did not stop in the 80’s, though; hardcore punk guitarist Greg Ginn of Black Flag cited Birds of Fire by The Mahavishnu Orchestra which inspired him to record more progressive guitar work and even record instrumental songs.
In 2010, guitarist Jeff Beck called him “the best guitarist alive”.
76-John Petrucci (1967-alive)
John Peter Petrucci is an American jazz fusion guitarist, composer and producer. He is best known as a founding member of the progressive metal/rock band Dream Theater. He also sings backing vocals for Dream Theater.
Petrucci was named as the third player on the G3 tour six times, more than any other invited guitarists. In 2009 he was named the No. 2 Best metal guitarist by Joel McIver in his book The 100 Greatest Metal Guitarists. He was also named as one of the “Top 10 Greatest Guitar Shredders of All Time” by GuitarOne magazine. In 2012, Petrucci was ranked the 17th greatest guitarist of all time by a Guitar World magazine readers poll.
John Petrucci was born on July 12, 1967 in Kings Park, New York to an Italian American family. He picked up the guitar at the age of eight. However, he decided to quit the guitar when his attempts to stay up late were unsuccessful. He picked up the guitar again at the age of 12. Petrucci has said he committed to practicing guitar 6 hours a day when he discovered it was his passion. His early influences were bands like Rush, Yes, Iron Maiden, Dixie Dregs and Metallica.
Eventually, his childhood friend and future Dream Theater keyboardist Kevin Moore invited John to join his cover band.
John attended Berklee College of Music in Boston with childhood friend John Myung (bass), where they met future bandmate Mike Portnoy (drums).
While Petrucci is most commonly associated with Dream Theater, he is also in the project band Liquid Tension Experiment.
Petrucci has released a guitar instructional video, Rock Discipline, and he also has a book named “Guitar World presents John Petrucci’s Wild Stringdom“, which was compiled from columns he wrote for Guitar World magazine under that title.
In 2001, Joe Satriani and Steve Vai invited Petrucci to tour with them on the popular G3 guitar tour, which exposed him to a massive number of new fans and inspired a solo album.
In 2012, Petrucci was invited once again to join Joe Satriani in his G3 tour with Steve Morse. His Dream Theater drummer Mike Mangini, and his former G3 bass player Dave LaRue accompanied him on the tour.
Dream Theater bandmate Jordan Rudess revealed in an interview that Petrucci is a practicing Catholic. He currently lives in St. James, New York with his wife Rena Sands, a guitarist in the all-female heavy metal band Meanstreak. . He is the uncle of Jake Bowen, a guitarist in the progressive metal band Periphery.
Petrucci is respected for his variety of guitar styles and skills.
John is notable for frequent use of the seven-string electric guitar, which he says he uses as a writing tool, taking advantage of the extended range for heavier riffing and to play extended range runs as part of a solo. Moreover, Petrucci often combines his metal shredding technique with a slower, emotive soloing style. His influences as a guitarist include Steve Morse, Al Di Meola, Steve Howe, Allan Holdsworth, Stevie Ray Vaughan, Randy Rhoads, Joe Satriani, Steve Vai, Alex Lifeson, Yngwie Malmsteen and David Gilmour.
77-John Pisano (1931, is alive)
Although he chose the role of supporting player, John Pisano has left an indelible mark on the history of jazz guitar.
John began his musical career on the East Coast playing the piano. At age 14 he took up the guitar. Later, in the 1950’s, he entered the service where he played guitar with the Air Force Band.
Upon leaving the Air Force, he followed Howard Roberts and Jim Hall into the guitar chair in the Chico Hamilton quintet and his first significant recordings were made with Hamilton. The recordings, Chico Hamilton Quintet (1957) andSouth Pacific (1958) were especially noteworthy examples of Pisano’s already advanced comping, rhythm and single string solo techniques.
Throughout the later 1950’s, Pisano recorded with members of the Hamilton band, mainly Paul Horn and Fred Katz. Pisano’s work with Fred Katz (cellist) was a natural extension of the Hamilton organization in style and format. His early progressive solo work with Hamilton and Katz were the West Coast equals of the work being done by guitarists Joe Cinderella and Lou Mecca.
It was also in 1958 that John Pisano and Billy Bean recorded two albums for Decca, Makin’ It and Take Your Pick. Guitar duos were not new in 1958, but the combination of Pisano and Bean, both powerful bebop players, was a new extension of this format.
Despite these exceptional accomplishments as a soloist, Pisano favored and chose the role as supporting player. In his own words, the background was his “comfort zone”. His skills as a comping and rhythm player made him the perfect match for Joe Pass who was already a formidable bebop soloist when the two met in the early 1960’s. Their first recording together, For Django was just the first of many excellent recordings from this long relationship, culminating in Duets in 1991. This recording was as much a showcase for Pisano’s backing skills as it was for Pass’ soloing skills.
Pisano’s greatest commercial success came with the Herb Alpert band. He played and recorded for many years with Alpert and published some of his own compositions while with the band.
Today John Pisano continues to influence the jazz guitar community and further the value of jazz guitar with his fabled Guitar Nights and his duet recordings Among Friends, Conversation Pieces, Affinity with Ray Walker and Homage with Adrian Ingram.
78-John Pizzarelli (Bucky’s son) (1960-alive)
George van Eps was a strong influence on later seven-string players such as Howard Alden (with whom he recorded four CDs for Concord Records in the early 1990s), Bucky Pizzarelli, and John Pizzarelli (Bucky’s son).
He has recorded twenty-three albums of his own, as well as other joint recordings with his father, Bucky Pizzarelli.
Particularly lauded for his swinging interpretations of jazz standards, Pizzarelli also composes his own songs, some of which have achieved a sort of modern “standard” status in their own right. He is also a fan of bossa nova and released an album entirely composed of that type of music.
Perhaps his most famous and highly regarded album, though, is Dear Mr. Cole, an album featuring Pizzarelli’s versions of some of Nat “King” Cole’s most famous songs. Interestingly, the John Pizzarelli Trio only appears together on track one of the album, “Style is Back in Style“. The rest features Pizzarelli performing with Christian McBride on bass and Benny Green on piano.
On October 30, 2012, the book “World on a String: A Musical Memoir”, an autobiography of Pizzarelli by John Pizzarelli and Joseph Cosgriff, was published.
This excellent jazz guitar player has not biography known.
80-Jon Herington (1954-alive)
Guitarist of Steely Dan
Jonathan Reuel Herington, Jon Herington, was born in Paterson, New Jersey. He is an American guitarist, singer-songwriter, record producer, and session musician. He is Steely Dan‘s lead guitarist. He has been active on the New York City music scene since 1985.
His first band (called Highway) opened for local Bruce Springsteen on several occasions.
He started playing piano and then saxophone, but began playing guitar when his friends left their guitars at his house.
In 1999, toward the end of the recording of their 2000 released album Two Against Nature,Donald Fagen and Walter Becker of Steely Dan wanted to hire another rhythm guitar player for some tracks. Ted Baker, a close friend of Herington’s, was playing keyboard for the band and Becker and Fagen asked for a recommendation for a guitarist.
81-Jon Larsen (1959-alive)
He is an autodidact guitarist, composer, surrealistic painter, and record producer with heavy influence on the revival of Gypsy jazz worldwide. Founder of the Hot Club de Norvège (1979-), the Django Festival (1980-), Hot Club Records (1982-), Symphonic Django (2005-), Zonic Entertainment (2007-), and Den Gyldne Banan (“The Golden Banana”, art book publishing company) (2009-), and theProject Stardust (micrometeorites), in 2010.
In 2007 he received the Buddy Award for his lifelong contribution to jazz.
He had his first concerts at the Moldejazz and meet with the Norwegian pioner jazz guitarist Robert Normann, with whom he started work on reissuing his collected recordings, completed 1988.
He has produced more than 450 jazz records for Hot Club Records, including CDs with Chet Baker, Stephane Grappelli, Warne Marsh, Nappy Brown, Philip Catherine, and most of the prominent Gypsy jazz musicians, like Biréli Lagrène, Jimmy Rosenberg, Andreas Öberg, Angelo Debarre, Florin Nicolescu, Babik Reinhardt, Stochelo Rosenberg and Adrien Moignard.
In recent years he has been leading the Strange News From Mars project, featuring various Frank Zappa alumni: Tommy Mars, Bruce Fowler, Arthur Barrow, Don Preston, Bunk Gardner, Jimmy Carl Black, etc.
He is also working as a producer for the label Zonic Entertainment, exclusively dedicated to music inspired by Zappa.
Jonathan Bratoeff was born in France but is a Berlin-based guitarist.
83-Joscho Stephan (1979-alive)
He began playing the guitar at the age of six, when influenced by his father who had been a member of a local cover band. He is particularly noted for his virtuosity on the acoustic guitar in the style of Gypsy jazz.
His debut album was named CD of the month by the American Guitar Player magazine in July 2000.
In May 2004 the Acoustic Guitar magazine wrote that Joscho Stephan represented the future of the Gypsy jazz guitar tradition.
84-Jose Luis Gámez (1965-alive)
Jose Luis was born in Barcelona in 1965 and studied jazz from the prestigious international jazz seminars(with Bill Dobbins, Quest, Marc Johson and Walter Bishop Jr., among others) that took place in Spain around 1980.
He took up guitar lessons from Luis Murillo, Sean Levitt, Steve Brown, Joe Pass, and then later with Pat Metheny and John Abercrombie, taking theory classes from Ze eduardo, Bill Dobbins, Kenny Weeler, Alvaro Is, Lluis Vidal and Chuck Israels.
His first album as leader came in 1993, with “Dr. Jekyll” (on the Fresh Sound New Talent series) and presented it among the XXV Barcelona International Jazz Festival, following up the appearance with in 1995 at the XXVII Barcelona International Jazz Festival , in which he showed off, for the first time,his Homage To Wes Montgomery,a firm favourite of José’s throughout his life….
Performed on different national and international jazz festivals: Barcelona,Madrid, San Sebastián, Vitoria, Finland, Paris, Berlin, Cologne, Den Haag and JVC Jazz Festival in New York.
As a sideman, José has played with stars such as Tete Montoliu, Bob Moses, Michel Camilo,Jack Walrath, Marc Johson, Jimmy Owens, Michael Kaupa, Perico Sambeat, Jorge Rossy,Ze eduardo, Lluis Vidal, Jorge Pardo, Steve Brown, Peter King, Bruce Barth and Michael Mossman, and has taught, in one of his many teaching roles, at jazz seminars in Cádiz, Zaragoza, Vitoria,Gratz -Austria-, The New School (New York City), Zarautz, Valencia and Barcelona.
Conducted the Taller de Músics Big Band & TETE MONTOLIU (1992-97).
85-Julian Lage (1987, is alive)
Lage has played with such renowned artists as Jim Hall, Mark O’Connor,Ambrose Akinmusire, Dayna Stephens, Walter Smith III, Taylor Eigsti, Gary Burton, Eric Harland, Larry Grenadier, Fred Hersch, Béla Fleck, Antonio Sanchez, and Nels Cline, among others.
Lage’s second album, titled Gladwell was released April 26, 2011, to positive reviews.
A former resident of Boston, Lage moved to New York City in October 2010.
Lage primarily plays a Linda Manzer Blue Note Archtop, which he has owned since he was 11.
86-Ken Sykora (1923-2006)
Charles Kenneth Sykora, Ken Sykora , was born in Fulham, London, to a Czech cavalry officer, Karel “Charles” Sykora (born 1884), and a Swiss mother, Rosa Von Dach (born 1895), who had eloped whilst pregnant and married in Westminster in 1911.
He studied geography at the University of Cambridge, where he organized the Cambridge University Band Society. He then studied business and economics at the London School of Economics. During World War II, he served as an intelligence officer in the Far East.
After the war he taught in London at the London School of Economics and the College for Distributive Trades.
Influenced by guitarist Django Reinhardt, he led his own band in the 1950s, appearing with other bandleaders such as Ted Heath. During this time he appeared on the Melody Maker reader’s poll for best British jazz guitarist for five consecutive years and won it twice.
He hosted the popular BBC programme Guitar Club.
In the 1970s, Sykora and his family moved to Scotland, where the couple ran a hotel in Colintraive on the Kyles of Bute. After five years he sold the hotel as Helen (wife) who had a drinking problem had struggled with such ready access to alcohol.
Sykora died in Blairmore on 7 March 2006.
In 2012, Linda Chirrey and Marc Mason created a documentary film about his life and career, The Man with the Jazz Guitar
87-Knut Værnes (1954-alive)
Knut Værnes was born in Trondheim, Norway. He is a jazz musician (guitar), composer and band leader, known from several recordings in the jazz rock genre.He grew up at Bøler in Oslo, where he already as young, mark himself as an accomplished guitarist.
Værnes is a graduate from the University of Oslo and has attended master classes at the Manhattan School of Music, and played within pop and rock bands like «Salt & Pepper», «Shimmy», and the fusion band «Vanessa» with the record release City Lips (1975).
Then musical studies in Oslo and Bergen brought him on to the Norwegian jazz scene with albums like Anatomy of the guitar (1979), in collaboration with his guitar teacher Jon Eberson, within Nils Petter Molvær‘s funk band «Punktum» and Håkon Graf’s «Graffiti». In the 1980s, he studied with John Scofield at the Manhattan School of Music.
Værnes led his own Trio and Quartet with co-musicians Morten Halle (saxophone), Edvard Askeland (bass) and Frank Jakobsen (drums). The guitar quartet composed of Knut Reiersrud, Bjørn Klakegg and Frode Alnæs released «4G» (2000).
Værnes was chairman of the «Association of Norwegian jazz musicians» for a period, and was chairman of the Committee for Spellemannprisen.
He also teaches at the «Nordic Institute for Stage and Studio».
Gammleng-prisen 2001 in the category jazz
A jazz guitarist was not what Lage Lund dreamt of becoming as a kid. “My first career goal was to move to New York and be a breakdancer in the subway stations.” Pro skater was his next ambition, one that he devoted all of his time to over the next 6 years. Incredibly frustrated with being a skateboarder in an area of the world that is covered with snow 4 months of the year, Lage diverted his attention to music at age 13.
While Skien, Norway might not be the birthplace of jazz, Lage was drawn to the music. This, along with a scholarship to Berklee, led him to relocate to Boston right after graduating high school. There he found a great community of musicians through the schools and through a steady gig at famed Wally’s jazz café. In 2002 a grant from the Fulbright foundation offered him the opportunity to move to New York, and in 2003 he entered the Juilliard schools full scholarship jazz program as the first electric guitarist in the history of the school.
Lage has been a fixture in the jazz clubs since he relocated to NY, frequently leading bands at Smalls, 55bar, The Jazz Gallery, as well as larger venues like Jazz at Lincoln Center, Blues Alley and the Kennedy Center. At the same time he is a busy sideman working with a variety of highly established musicians like Carmen Lundy, Ingrid Jensen, Wynton Marsalis and the LCJO, Eric Revis, Seamus Blake and others.
Taking the first place at the 2005 Thelonious Monk International Jazz Competition made people outside of New York take notice of this guitarist, and with a couple of records in the works this trend will hopefully continue.
89-Larry Coryell (1943-alive)
He also played with the Checkers from nearby Yakima, Washington.
In 1967 and 1968, he recorded with Gary Burton (vibraphonist).
Also during the mid-1960s he played with the Free Spirits.
His music during the late-1960s and early-1970s combined the influences of rock, jazz and eastern music. He formed his own group, The Eleventh House, in 1973. The album sold well in college towns and the ensemble toured widely to support that.
In 1979, Coryell formed The Guitar Trio with jazz fusion guitarist John McLaughlin and flamenco guitarist Paco de Lucia. The group toured Europe briefly, eventually releasing a video recorded at Royal Albert Hall in London entitled “Meeting of Spirits”.
In early 1980, Coryell’s drug addiction led to him being replaced by Al Di Meola.
|Larry Barbee, is a jazz guitarist, song writer, and teacher.
A graduate of Berklee College of Music in Boston, Massachusetts Larry continued his studies with master guitarist Harry Leahey (RCA).
The Larry Barbee Group plays original contemporary instrumental music which is the culmination of long standing interests in blending elements of folk, jazz and world music.
In 1990, Larry organized the contemporary jazz group, Passages, which in 1993 released the CD Unspoken Dreams on Turnip the Music label. The CD garnered very favorable reviews and received air play from radio stations throughout the country.
His latest recording, Larry Barbee Cushetunk, features original compositions by Larry.
Larry has been involved with music education at every level from pre-K through college. In addition to RVCC, he teaches at the Purnell School in Pottersville, NJ. He has developed curriculum and taught at colleges in New Jersey and New York and has a long-standing private teaching practice. He is a member of the visual and performing arts faculty at Raritan Valley Community College in North Branch, New Jersey where he teaches courses in guitar and the history and culture of Jazz and Rock and Roll.
Other music projects include development and performance for the interactive instructional CD-ROM Chordmaster Digital Guitar Chord Dictionary by Zentech Co., compositions and performance for the instructional video Hand Drumming Styles by the Wright Hand Drum Co. and the World View CD by N. Scott Robinson.
91-Larry Koonse (1961-alive)
Born into a musical family, Larry has been playing the guitar since he was seven years old. At the age offifteen he recorded an album with his father, guitarist Dave Koonse, entitled “Dave and Larry Koonse; father and son jazz guitars.” In 1984, Larry was the first recipient of a BM (BM, BME, MM, and DM programs) in Jazz Studies at the University of Southern California.
Immediately after graduating from USC Larry toured extensively for six years as a member of the John Dankworth quartet, traveling all across the globe and backing up Cleo Laine. He is currently a member of Billy Child’s landmark chamber sextet which just released a CD entitled “Lyric” featuring Brian Blade and received agrammy nomination for instrumental jazz album of the year.
At an invitation of Nelson Mandela and UNICEF, Larry traveled to South Africa to perform for the first annual SAMIX festival with the Steve Houghton quintet.
He also performed with Gary Willis in Sao Paulo for a government sponsored concert at SESC Ipiranga.
In his travels, he has performed at Carnegie Hall and has been a featured soloist with the L.A. Philharmonic, the Philadelphia Orchestra and many other orchestras throughout the world.
Larry has recorded with Jimmy Rowles, Lee Konitz, Clay Jenkins, Linda Ronstadt, and many other jazz artists.
The founder of the Player’s School, the renown bassist Jeff Berlin, contacted Larry in 1995 to write a guitar curriculum which is currently used for their program.
He was co-leader of the L.A. Jazz Quartet which released their fourth CD, “Conversation Piece” (NAXOS Records) in September, 2000. The quartet’s first three CD’s, “Astarte” (GOWI), “Look To The East” (NAXOS), and “Family Song” (NTR), have received critical acclaim for their originality and musical depth.
Larry’s most recent recording, “Storybook” is now available through Jazz Compass (www.jazzcompass.com).He has two other releases on the Jazz Compass label: Americana ( a recording featuring Scott Colley on the bass) and Dialogues of the Heart (featuring his father Dave Koonse in a guitar duo setting).
Larry has been a faculty member at the California Institute of the Arts since 1990.
92-Lennie Breau (1941 –1984)
Lennie could be among the giants of jazz guitar.
Like another Canadian guitarist Bickert, Lennie Breau established a reputation for himself with guitarists outside of Canada
Leonard Harold “Lenny” Breau was a Canadian guitarist and music educator. One of the most admired guitarists of his generation in musician’s circles in the United States, he was known for blending many styles of music including: jazz,country, classical and flamenco guitar.
Breau, inspired by country guitarists like Chet Atkins, used fingerstyle techniques not often used in jazz guitar, and with his use of the 7-string guitar and approach to the guitar like a piano, opened up new possibilities for the instrument.
Breau was born in Auburn, Maine. His francophone parents, Harold “Hal Lone Pine” Breau and Betty Cody (née Coté), were professional country and western musicians who performed and recorded from the mid-1930s until (in Hal Breau’s case) the mid-1970s. Their son began playing guitar at the age of eight.When he was twelve, he started a small band with friends, and by the age of fourteen he was the lead guitarist for his parents’ band, billed as “Lone Pine Junior”, playing Merle Travis and Chet Atkins instrumentals and occasionally singing. Breau made his first professional recordings in Westbrook, Maine at the age of 15 while working as a studio musician. Many of these recordings were released posthumously on a CD titled Boy Wonder.
The Breau family moved to Winnipeg, Manitoba, in 1957, and their new band travelled and performed around the city and province as the CKY Caravan. Their shows were broadcast live on Winnipeg’s CKY. One of their regular listeners was Randy Bachman (in the future lead guitarist and a founding member for rock band The Guess Who), who was sixteen years of age at the time. On one occasion Bachman bicycled to a Caravan performance in his West Kildonan neighborhood and ended up meeting Breau. Breau and Bachman soon became friends, and Breau informally began teaching Bachman, who has since described those lessons as “…the beginning of my life as a guitar player.”
Around 1959 Lennie met pianist Bob Erlendson, who began teaching him more of the foundations of jazz.
Breau’s fully matured technique was a combination of Atkins’ and Travis’ fingerpicking. His harmonic sensibilities were a combination of his country roots, classical, modal, Indian, and especially jazz, particularly the work of pianist Bill Evans.
In 1967, recordings of Breau’s playing from The Lenny Breau Show had found their way into the hands of Chet Atkins.
He lived in various Canadian cities until 1976 when he returned to the United States. He spent the next several years moving between Nashville, Maine, Stockton, California and New York City, eventuallysettling in Los Angeles in 1983.
These years were spent performing, teaching, and writing for Guitar Player magazine.
Breau had continual drug problems from the mid-1960s, which he managed to get under control during the last years of his life.
Breau was a big fan of jazz pianist Bill Evans and often adapted his compositions such as “Funny Man” for guitar. Breau said in relation to this: ” I play the guitar like a piano, there’s always two things going on at once. I’m thinking melody, but I’m also thinking of a background. I play the accompaniment on the low strings.”
A documentary entitled The Genius of Lenny Breau was produced in 1999 by Breau’s daughter Emily Hughes. It includes interviews with Chet Atkins, Ted Greene, Pat Metheny, George Benson, Leonard Cohen, and Bachman, as well as family members.
One Long Tune: The Life and Music of Lenny Breau by Ron Forbes-Roberts (University of North Texas Press 2006) is considered the definitive work on Breau. Nearly 200 people were interviewed for the book, which includes a thorough analysis of Breau’s music and an extensive comprehensive discography of his recordings.
CBC Radio presented a documentary-soundscape on Lenny Breau entitled “On the Trail of Lenny Breau”(the title is in reference to Breau’s parents’ song “On the Trail of the Lonesome Pine”). It was first broadcast on September 13, 2009 as part of a regular weekly program called Inside the Music. It was narrated by Lenny’s son Chet Breau. The one-hour feature was produced inMontreal by John Klepko.
93-Lee Ritenour (1952-alive)
The jazz-funk in last period of Grant Green influenced Lee Ritenour & Zachary Breaux
Ritenour was born in Los Angeles, California. He played his first session when he was 16 with the Mamas & the Papas and given the moniker, “Captain Fingers”, because of his manual dexterity on the guitar.
Throughout his career, Ritenour has experimented with different styles of music. A true fusionist, he has often incorporated elements of funk, pop,rock, blues, Brazilian and most recently with Amparo (2008), classical music with jazz.
Ritenour’s solo career began in 1975 with the recording of his album First Course. Released in 1976, the album gave a strong representation of the mid-1970s L.A. Jazz/Funk sound.
In the 1970s, Ritenour would often use effects like wah-wah, phasers, chorus, and flangers on his electric instruments. Also, during the late 1970s, Ritenour can be heard using the 360 Systems guitar synthesizer (he is pictured sitting in front of it on the back cover of his Captain Fingers album).
In 1985, he recorded his first album for GRP with Dave Grusin (pianist), entitled Harlequin. It featured Lee primarily on his classical acoustic guitar and also featured Brazilian singer/songwriter Ivan Lins. Up to this point, this album along with Rio arguably gave the strongest representation of Lee’s Brazilian influences.
Ritenour continued in a direction strongly featuring other artists in 1987, with Portrait. The album itself has something of a ¿strong? smooth-jazz sound, and Ritenour can be heard here playing with The Yellowjackets, Djavan, and Kenny G.
In 1988, his smooth jazz-influenced Brazilian music came to the forefront with Festival — another album strongly featuring his work on nylon-string acoustic guitars.
He did however, change direction completely again with his straight-ahead jazz album Stolen Moments. Sounding similar to Wes Montgomery, Ritenour played alongside long-time collaborator, saxophonist Ernie Watts, pianist Alan Broadbent, bassist John Patitucci (playing only acoustic) and drummer Harvey Mason. Continuing in a Wes Montgomery mood, Ritenour paid tribute to the man himself in 1992, with his album Wes Bound. The album featured a number of covers of Montgomery compositions, as well as some seemingly tributary pieces from Ritenour himself.
Also seen in this decade was a 1994 collaboration album with guitarist Larry Carlton called Larry & Lee.
In February 2004, Ritenour completed a project looking back on his career involving musicians he has worked with throughout his career called Overtime.
In June 2010, in order to celebrate his fifty years as a guitarist, Lee Ritenour released the album 6 String Theory (in reference to 6 musical areas covered by the use of guitar). The album featured famous guitarists such as Steve Lukather, Neal Schon, John Scofield, Slash, Pat Martino, Mike Stern, George Benson and B.B.King, but also younger players such as Andy McKee,Joe Robinson and Guthrie Govan.
Ritenour, YamahaCorporation, The Berklee College of Music, Concord Records, Monster Cable, and D’Addario Strings collaborated to create the 2010 Yamaha 6 String Theory Guitar Competition. The winner of that international competition, that included guitarists from over 45 countries, was 16-year-old Canadian classical guitarist Shon Boublil (classical guitar).
His prolific career includes a Grammy Award for the collaborative work Harlequin (1985), and 19 other Grammy nominations. In 1991 Lee Ritenour, together with keyboard player Bob James, formed the Grammy-nominated contemporary jazz group Fourplay.
94-Leonard Ware (1909 – 1974)
Leonard Ware was was one of the early electric guitarists in jazz.
Ware was born in Richmond, Virginia and attended Tuskegee Institute in his youth, where helearned to play oboe. He switched to guitar and began leading his own trio, which performed in New York’s Greenwich Village during the 1930s and 1940s.
Leonard Ware played on clarinetist/saxophonist Sidney Bechet‘s first recordings as leader in November 1938 for the Vocalion label (“What a Dream”, “Jungle Drums”). Soon after, Bechet teamed Ware with fellow guitarist Jimmy Shirley, making the group perhaps the first to include two electric guitars.
Besides his work with Bechet, Ware also recorded with Buddy Johnson, Don Byas and Big Joe Turner. In December 1938, he played at Carnegie Hall with the Kansas City Six (Lester Young and Buck Clayton); in 1939 he recorded with Benny Goodman (“Umbrella Man”).
Ware was the co-composer of “Hold Tight” (which he recorded with Bechet) and “I Dreamt I Dwelt in Harlem”(with Jerry Gray and Buddy Feyne), which was covered by Glenn Miller and The Delta Rhythm Boys in 1944.
He recorded as a leader in 1947; shortly thereafter, he quit the music industry and worked at the postal service.
95-Les Paul (1915 –2009)
His innovative talents extended into his playing style, including licks, trills, chording sequences, fretting techniques and timing, which set him apart from his contemporaries and inspired many guitarists of the present day. He recorded with his wife Mary Ford in the 1950s, and they sold millions of records.
Among his many honors, Paul is one of a handful of artists with a permanent, stand-alone exhibit in the Rock and Roll Hall of Fame. He is prominently named by the music museum on its website as an“architect” and a “key inductee” along with Sam Phillips and Alan Freed. Les Paul is the only person to be included in both the Rock and Roll Hall of Fame and the National Inventors Hall of Fame.
Les Paul was born outside Milwaukee, in Waukesha, Wisconsin. His family was ofGerman ancestry. Paul’s mother was related to the founders Stutz automobile. His parents divorced when he was a child. The Prussian family name was first simplified by his mother to Polfuss and then to Polfus, though Les Paul never legally changed his name. Before he took his stage name of Les Paul, he also used the stage names Red Hot Red (had it influence in Red Hot Chili Peppers?) and Rhubarb Red.
While living in Wisconsin, at about age eight, he began playing the harmonica. After an attempt at learning the piano, he began to play the guitar. It was during this time that he invented a neck-worn harmonica holder, which allowed him to play both sides of the harmonica hands-free while accompanying himself on the guitar. The device is still manufactured using his basic design.
By age thirteen, Paul was performing semi-professionally as a country-music singer, guitarist and harmonica player. Paul began his first experiment with sound. He wired a phonograph needle to his guitar and connected it to a radio speaker, using that to amplify his acoustic guitar. As a teen Paul created his first solid body electric guitar using a 2-foot piece of rail from a nearby train line.
Paul moved to Chicago in 1934, where he met pianist Art Tatum, whose playing influenced him to a career devoted to guitar rather than original plans of taking on the piano.
Paul’s jazz-guitar style was strongly influenced by the music of Django Reinhardt, whom he greatly admired. One of Paul’s prize possessions was a Selmer Maccaferri acoustic guitar given to him by Reinhardt’s widow.
Paul formed a trio in 1937 with singer/rhythm guitarist Jim Atkins (older half-brother of guitarist Chet Atkins) and bassist/percussionist Ernie “Darius” Newton. They left Chicago for New York in 1938.
In 1945, Richard D. Bourgerie made an electric guitar pickup and amplifier for professional guitar player George Barnes. Barnes showed the result to Les Paul, who then arranged for Bourgerie to have one made for him.
While experimenting in his apartment in 1941, Paul nearly succumbed to electrocution. During two years of recuperation!!!!!!!!!!!, he relocated to Hollywood, supporting himself by producing radio music and forming a new trio.
As a last-minute replacement for Oscar Moore, Paul played with Nat King Cole and other artists in the inaugural Jazz at the Philharmonic concert in Los Angeles, California, on July 2, 1944. The recording, still available as Jazz at the Philharmonic- the first concert- shows Paul at the top of his game, both in his solid four to the bar comping in the style of Freddie Green and for the originality of his solo lines. His solo on Body and Soul is a fine demonstration both of his admiration for and emulation of the playing of Django Reinhardt, as well as his development of some very original lines.
Also that year, Paul’s trio appeared on Bing Crosby‘s radio show.
Paul was particularly enamored by the famous Andrews Sisters, who hired The Les Paul Trio as their opening act while they toured in 1946. Lou Levy, the sisters’ manager and a music publishing giant of the big band era and beyond, once said, “Watching his fingers work was like watching a locomotive go.”
In January 1948, Paul shattered his right arm and elbow in a near-fatal automobile accident on an icy Route 66 just west of Davenport, Oklahoma, the land of Charlie Christian.. Doctors at Oklahoma City’s Wesley Presbyterian Hospital told Paul that they could not rebuild his elbow. Their other option was amputation.Paul was flown to Los Angeles, where his arm was set at an angle—just under 90 degrees—that allowed him to cradle and pick the guitar. It took him nearly a year and a half to recover.
Les Paul invented Sound on Sound recording using a machine by placing an additional playback head, located before the conventional erase/record/playback heads. This allowed Paul to play along with a previously recorded track, both of which were mixed together on to a new track.
Les Paul bought the first Ampex 8-track recorder in 1957.
Paul met country-western singer Iris Colleen Summers in 1945. They began working together in 1948, at which time she adopted the stage name Mary Ford. They were married in 1949.
In 1965, Paul went into semi-retirement, although he did return to the studio occasionally. He and Ford had divorced in December 1962, as she could no longer cope with the traveling lifestyle their act required of them.
In 1987, Paul underwent heart surgery. He then returned to active live performance, continuing into his 90s even though he often found it painful to play the guitar because of arthritis in his hands.
In 2006, at age 90, he won two Grammys at the 48th Annual Grammy Awards for his album Les Paul & Friends: American Made World Played. He also performed every Monday night, accompanied by a trio which included guitarist Lou Pallo, bassist Paul Nowinski (and later, Nicki Parrott) and guitarist Frank Vignola and for a few years, pianist John Colaianni. Originally Paul, Pallo and Nowinski performed at Fat Tuesdays, and later at the Iridium Jazz Club on Broadway in the Times Square area of New York City.
Les and his trio held court at the Iridium Jazz Club for many years, playing two sets every Monday night. Often, a wide array of other artists would appear and sit in with or sing in front of the trio. A tribute trio still plays the Monday dates.
Upon learning of his death many artists and popular musicians paid tribute by publicly expressing their sorrow. After learning of Paul’s death, former Guns N’ Roses guitarist Slash called him “vibrant and full of positive energy.”, while Richie Sambora, lead guitarist of Bon Jovi, referred to him as “revolutionary in the music business”. U2 guitarist The Edge said, “His legacy as a musician and inventor will live on and his influence on rock and roll will never be forgotten.”
96- Lloyd Wells
He did his first professional work playing for square dances while still attending high school. He attended the University of Southern Mississippi, graduating with a Bachelor of Arts in Music Education.
In 1964, with encouragement from Mundell Lowe, Wells moved to New York City, where he soon got work in the pit orchestras of Broadway shows. He remained in New York for 10 years, where he was a self-described “work-a-day guitar player.” According to Wells, he “… made a decent living, bought a house, raised a family, lived in Manhattan for six years and then moved to Englewood, New Jersey… Mundie (Mundell Lowe) opened a lot of doors for me. I did a lot of subbing. Mundie had The Merv Griffin Show at the time and I did subbing there and then he had The Tonight Show Band and I got to do a lot of subbing there.”
In 1973, Wells and his family moved to Nashville, Tennessee, where he took a job as arranger and music director for Opryland USA theme park, remaining in that position for 23 years. During that period, he wrote about 5,000 arrangements. Wells also did a lot of jingle work in studios in New York and Nashville.
Wells cites his most memorable jobs, naming two appearances at the White House (with Tennessee Ernie Ford) and playing on Sesame Street and The Electric Company form the top penthouse of Radio City Music Hall.
Lloyd is a member of the W. C. Handy Jazz All-Stars, regularly performing at the annual W. C. Handy Music Festival, performing alongside noted jazz musicians such as vibraphonist / drummerChuck Redd, drummer Bill Goodwin, pianist / vocalist Johnny O’Neal, pianist / vocalist Ray Reach, bassist Neal Starkey, trumpeter Ken Watters, saxophonist Rick Bell and guitarist Mundell Lowe.
He is now best known for his work on TV and as Music Director at Opryland USA theme park in Nashville.
He is an inductee of the Mississippi Music Hall of Fame
97-Lou Mecca (1927-2003)
Chiropractor and musician. He could be among the 50 giants of jazz.
In 1954, when Gil Melle recorded Volume 3 in his famous series, The Gill Melle Quartet/Quintet (Volumes 1 – 4), the guitarist he used on Volumes 1 and 2, Tal Farlow, was not available. Instead, he chose another young guitarist named Lou Mecca to play the significant and daunting guitar parts. And, as they say, the rest is history.Melle also chose Lou Mecca for Volume 4.
Like the recordings Melle made with Tal Farlow and Joe Cinderella, the two with Mecca were way ahead of their time and they remain highly prized collectors items. For guitar players they remain some of the best examples of early, modern solo guitar as practiced by three of the best guitarists of all time.
A year later, in 1955, Lou Mecca cut his first recording as leader, The Lou Mecca Quartet. Then, for many years, he pursued his career as a liscensed chiropractor, surfacing from time to time to play in local New Jersey Clubs. In 1999!!!!!, Lou Mecca released his second recording as leader, The Lou Mecca Trio “Bridging The Gap”.
Lou Mecca was truly one of the great ones. And after 45 years he had not lost a step. The clarity of tone, meticulous phrasing and flowing improvisations of his first recordings were still there.
Despite his talents in the spine-tuning chiropractic arena, it is really as a guitarist that this man has received the most recognition, including being selected outstanding jazz guitarist of the year by the Canadian Broadcasting Corporation and receiving the “new star” category in jazz guitar from Down Beat magazine.
It all began with trumpet studies at the age of eight under the watchful eye and earplug-laden ears of his father.The boy changed to guitar a year later. In his senior year, he quit high school to become a professional musician. He took a position at a music school in New Jersey and played the bars and clubs at night, setting a standard of double-duty that would become a lifestyle.
In 1947, he befriended jazz guitarist and educator Johnny Smith who, along with Tal Farlow and Joe Pass, are Mecca’s greatest influences on his instrument.
In 1955, he recorded for Blue Note as a leader of his own quartet, featuring Jack Hitchcock on vibes, Vinnie Burke on bass, and Jimmy Campbell on drums.
Mecca has also performed and recorded with Ella Fitzgerald and Bill Evans, among others.
His work as a chiropractor ran concurrently with his busy music schedule, basically out of a desire to balance his bank account. He attended the Chiropractic Institute of New York for six years at night while teaching guitar students in the day. When his classes were over, he would hit the stage at a nightclub, unless a better-paying private function had given him a call. After his graduation in 1967, Mecca worked for the next 25 years as a so-called back-breaker in New Jersey, the developing of this medical practice definitely cutting into the time alloted for playing guitar.
Eventually, he retired from his practice and relocated to the New Jersey shore (orilla). During a sabbatical in Florida, he started to perform again at concerts and festivals with a new intensity and headed back to his New Jersey stomping grounds. Various venues in this state, as well as New York, began hoasting Mecca’s combo projects, including duos, trios, quartets, and a quintet. His fellow players include guitarists Andy MacKenzie and Adrian Ingram, bassist Mickey Golizio, and drummer Nat Garratano. As an instructor, Mecca developed the first guitar department at Fairleigh Dickinson University in Rutherford, NJ, where he held a position as adjunct professor of guitar for seven years. He continues to teach at clinics and workshops and worked on a book of guitar technique.
This excellent jazz guitar player has not a biography known.
99-Louis Shelton (1941-alive)
During the 1960s, Shelton was a session musician working in recording studios around Hollywood, and among his more notable session work was for The Monkees. . Even after the Monkees began playing on their own records, Shelton remained a favorite among their session players.
Shelton also worked with: Simon and Garfunkel, Stevie Wonder,, Gladys Knight & the Pips, The Jackson 5, Neil Diamond, John Lennon, Barbra Streisand,The Carpenters, The Mamas & the Papas, Marvin Gaye, Ella Fitzgerald, Boz Scaggs, James Brown, Diana Ross, Whitney Houston, Joe Cocker, Kenny Rogers andQuincy Jones. He played the guitar solo on Lionel Richie‘s hit “Hello“.
He remains active and continues to record, produce, and perform.
He currently lives in Australia and is half of Soniiq Duo.
He is currently living in Queensland, Australia.
He has five albums to date: “Touch Me” , “Guitar”, “Hot & Spicy”, “Urban Culture” and “Nashville Guitars”.
100-Martin Taylor (1956-alive)
Dr Martin Taylor is a British jazz guitarist who has performed in groups, guitar ensembles and as an accompanist.
He is best known for his solo fingerstyle performances, in which he provides bass and chordal accompaniment in addition to a melody.
At the age of four he received his first guitar from his father, bassist William ‘Buck’ Taylor. His father frequently played the music of the Quintette du Hot Club de France and Taylor became inspired by their legendary guitarist Django Reinhardt. At age eight he was playing regularly in his father’s band andat 15 he quit school intent on becoming a professional musician.
Ike Isaacs took the younger man under his wing. In addition to performing with Taylor as a duet, Isaacs helped develop his sense of jazz harmony and started him on the road to developing his unique fingerstyle technique.
Through Isaacs, Taylor was introduced to Stephane Grappelli, former violinist in Quintette du Hot Club de France with Django Reinhardt. When one of Grappelli’s regular band members was injured, Taylor was invited to play a few European dates. Suitably impressed, Grappelli invited him to join full-time. He accepted, and performed and recorded with the Frenchman for the next eleven years—occupying the position once held by his idol, Reinhardt.
This success was tempered by a difficult period in the mid 80s after Grappelli suffered a heart attack. Although the Frenchman fully recovery, it was some time before he could tour again.
Taylor found it difficult to replace the Grappelli gig an d he became disenchanted with music, and virtually didn’t touch guitar for almost a year.
Suddenly found his passion for playing re-ignited.
Taylor started to perform as a solo act. His individual style and engaging stage personality paid off and the gigs proved successful. After a few years he stopped touring with Grappelli and, aided by a recording contract with Scottish label Linn Records, he concentrated on his solo career.
Around the mid-90s Taylor started a band inspired by the music of Django Reinhardt and the Hot Club, which he named Spirit of Django. He recorded and toured successfully with this band while continuing his solo commitments.
Since 2010, he’s been teaching his solo method of guitar to students around the world at the Online Fingerstyle Guitar School with Martin Taylor.
101-Marty Quinto (1902-1943)
Mario Giaquinto Marty Quinto, was born in Caserta Italy. Marty studied violin from about the age of six with his father, Louis Giaquinto, who was trained in the music tradition and methods of the Naples Conservatory. It was while still in Italy that he had also begun to play guitar and mandolin. The family immigrated to America in 1913 and settled in Hartford, CT. By 1919 Marty had also been playing banjo for several years, and began working professionally with the Felix Ferdinando Orchestra, touring from Maine to Cuba, all along the east coast.The orchestra played classical music arranged in dance tempo, a style gaining popularity at that time with well-known bands such as that of Paul Whiteman.
By the early 1920’s Marty was touring mostly in the mid-west with the Barney Rapp Orchestra (originally from New Haven, CT). In that time he also added saxophone to his repertoire, as noted in various band photos.
It was then in about 1926 that he started with the Arnold Johnson Orchestra, the band hired for the original “George White’s Scandals”. The Johnson band remained popular, also doing a series of recordings from 1927 – 1928.
From approximately 1929 to 1932, as noted by his family, and, Mr. Bozy White, Bunny Berigan’s biographer, Marty was staff guitarist at CBS under Fred Rich, doing radio shows as well as recording with the Fred Rich Orchestra for Columbia.
Starting from about 1932, Marty worked at NBC.
Due to his musical background, he was knowledgeable and experienced in performing many types and styles of music.
Musicians that Marty worked with for on air and/or recording work included Artie Shaw, Dick McDonough and Tommy Dorsey among others.
Marty suffered a fatal heart attack in early January of 1943, while in Hartford for Christmas with his family.
102-Mary Osborne (1921 – 1992)
Mary began her musical career in Minot, North Dakota before she was 11 years old. In a few years she was doing radio work and soon was playing with some of the big bands then playing in the upper Midwest. She met Charlie Christian in North Dakota and she was heavily influenced by his style. But, like most of the great players she also developed her own unique approach and sound.
In the late 1930’s she moved east to Pittsburgh and later to New York. There her talents as a jazz player caught the ear of some of the jazz greats like Coleman Hawkins, Dizzy Gillespie and Art Tatum all of whom used her as rhythm and solo guitarist in their bands. In the period of 1945 – 1947 she made a number of recordings with several important jazz figures; Mercer Ellington, Mary Lou Williams, Coleman Hawkins, Stuff Smith and Meryl Booker.
During that same period she formed her own group, The Mary Osborne Trio in which she also supplied the vocal interest. Her trio made a series of successful public performances and recordings that were originally released on 78 RPM records.
In the 1950’s she recorded with Tyree Glenn and produced a long playing record under her own name, A Girl and Her Guitar.
In 1968 Mary Osborne moved to Bakersfield, California where she operated the Osborne Guitar Companyand performed in local venues. In 1977 she made a recording with Marian McPartland entitled Now’s The Time with a lineup of some of the best women jazz musicians of the day. In 1982 Stash records released Now And Then which included new material and material from A Girl and Her Guitar.
Mary Osborne died in Bakersfield, California in 1992.
Max Max Sunyer or Suñé (Joaquim Sunyer: Puebla de Masaluca, Tierra Alta, in the province of Tarragona, Catalonia, 1947) is a Spanish jazz-rock guitarist.
His father introduced him to the study of music theory and violin at age 7. At 14, and in Barcelona, he got the interest in electric guitar. Self-taught before in the art of playing this instrument in 1964 began performing with several sets of dance music.
From 1968 to 1972 he learned classical guitar with Gracià Tarrago (1892-1973), a disciple of Miquel Llobet. He did not overlook the world of the electric guitar; nor jazz, which would gradually introducing professionally as a composer and performer.
One such group was “Vértice” (1970). Max participated in the recording of the single distributed by Movieplay.
In 1971, played in Tapiman. Con Tapiman Max, Max recorded the self-titled LP album, hard rock.
Max became part of Kroners group accompanying Tony Ronald (Tony Ronald and Kroners) and that would be the seed of Iceberg. Tony Ronald stopped singing for a season dedicated to producing albums, and was then, in 1974, when some of the Kroners formed “Iceberg”.
Since 1979, Max Sunyer be devoted to acting with various groupings, the most common of them as trio, especially with bassist Carles Benavent and drummer Salvador Niebla.
In 1982, he formed the group “Pegasus”.
In 1985 he won the Grand Prix du Disque from the Generalitat de Catalunya.
In 1986 he received the following awards:
“Live Jazz” Award, Jazz Quàrtica magazine.
Spanish Television Award.
National Radio Award Spain.
In 1999, he founded the group Guitarras Mestizas, with whom he recorded two double CD. The group is a guitar quintet dedicated to different musical styles: jazz, blues, flamenco, and other heavy rock styles.
104-Michael Sagmeister (1959-alive)
Sagmeister gained first prominence when he performed in 1975 at the Frankfurt Jazz Festival. The following year he founded the Michael Sagmeister Trio with Udo Kistner (playing bass) and Michael Kuettner on drums which became his most successful ensemble. In the 1980s he toured as a supporting act with the United Jazz and Rock Ensemble by which he became well known in the jazz scene.
Sagmeister published three primers (libros elementales) about Jazz guitar. Sagmeisters Jazz Gitarre became a standard reference in the German-speaking world.
105- Michael Walker
This excellent jazz guitar player has not a biography known.
106-Mike Walker (1962-alive)
He is a jazz guitar player from Salford, England. Walker has played and recorded with George Russell, Peter Erskine, Steve Swallow, Kenny Wheeler, John Taylor and performed with Dave Holland, Tal Farlow, Anthony Braxton, Bill Frisell and many others.
Mike Walker was initially influenced by his father’s piano playing, his mother’s singing, and his brother’s guitar playing.
Mike’s playing drew the attention of Alan Butler, a vibraphone player. Mike joined Alan’s quartet in the mid-80’s, where he needed to rapidly grasp the new vocabulary of bebop oriented standards, and more contemporary jazz compositions.
During the last decade Mike has also visited the United States, and most of Europe, as George Russell‘s guitarist, recording with him on several occasions. Also, as a member the Creative jazz Orchestra, Mike has played with Vince Mendoza, Anthony Braxton, Bill Frisell, Tim Berne, and Mark-Anthony Turnage.
He runs Guitar Summer Schools in various places. He also runs The Music Place Summer School in Altrincham with Iain Dixon and is a tutor for the National Youth Jazz Collective.
He lives in Rossendale with his two children.
107-Mick Goodrick (1945-alive)
Metheny entered the wider jazz scene in 1975 when he joined Burton’s band, where he played alongside resident jazz guitarist Mick Goodrick.
He is an American post bop jazz guitarist and educator, most noteworthy for his work with vibraphonist Gary Burton’s band from 1973 to 1976, where for part of that time he was playing alongside guitarist Pat Metheny. Metheny has since cited Goodrick as an influence.
Goodrick is a 1967 graduate of Berklee College of Music, where he also was an educator for a few years prior to joining Gary Burton.
After working with vibraphonist Gary Burton, he began teaching at New England Conservatory and at Berklee College of Music where he still works today. His most recent recordings have been for Greg Hopkins, Laszlo Gardony, Gary Chaffee and Steve Swallow.
Over the course of his career, Goodrick has had many notable students. Moreoaver Pat Metheny he had to Julian Lage, Lage Lund, ,John Scofield, Avner Strauss, Rale Micic and Bill Frisell.His first book, The Advancing Guitarist, is an instruction manual for guitarists of all styles. Goodrick has also written a series of books addressing the intricacies of harmonic voice-leading.
108- Monroe Quinn
This excellent jazz guitar player has not a biography known
109-Mundell Lowe (1922-alive)
He started playing the guitar as a young boy and before he was a teenager he was playing with local hillbilly bands in his native Mississippi. He later settled in New Orleans for a brief period playing with dance bands and small groups before entering the service in 1941. While in the army he met John Hammond who later helped Lowe get a job with the Ray McKinley band in 1945. Lowe played with McKinley for more than a year and then settled in New York to pursue a very active studio and recording career. He started showing up on recordings of other artists early in 1950’s and by 1954 he was leading his own recording sessions.
He was the discoverer of great pianist Bill Evans
Mundell Lowe has produced a succession of successful recordings while simultaneously maintaining a busy composing, teaching and performing schedule.
He is an excellent musician who has stayed busy in the studios for most of his career, but he has also developed a distinctive jazz guitar style. His style is defined by clearly articulated melodic lines and subtle chords voicings. Two recordings from 1953 that Lowe made with Georgie Auld already exhibited the unique Mundell Lowe sound that is so recognizable. His single string improvisation technique, heard on Hefti’s Lucky Duck (1953), and his introduction and backing of Auld’s saxophone on Gershwin’s I’ve Got a Crush On You bear the unique Mundell Lowe sound so familiar today.
In the 1990’s, Mundell Lowe continued to record and has a long list of credits with Andre Previn, Tete Montolu, The Great Guitars, and some new duets with Sal Salvador.
In 2000 he recorded a tribute to Charlie Byrd with guitarist Lloyd Wells.
In 1966, along with Bucky Pizzarelli, Gene Bertoncini, Barry Gailbrath and Howie Collins, Don Arnone played the “gut-string guitar” on Introducing the Passion Guitars. Don also played with Mundell Lowe on his album, The Mundell Lowe Quintet
110-Nono Garcia (1959-alive)
Nono García was born in Barbate, Cádiz. He is a jazz guitarist and Spanish flamenco.
In Granada, whose University studying philosophy, he began professionally accompanying songwriters from “Manifiesto Canción del Sur”. In 1980 did his first tour with Carlos Cano, also played with Antonio Mata, Enrique Moratalla and Aurora Moreno. While in Granada composes music for theater productions and assists in the flamenco club ” La Platería”. Also he was part of the group of Andalusian rock and jazz rock, La Banda del Tío Paco. Moved to Madrid, acts in jazz clubs with Tito Alcedo, who also performs with European tours, and accompanied Elisa Serna. Later, based in Belgium, is joined by guitarist Antonio Toledo and pianist Chano Dominguez, who will participate in the recording of their first album, “Las Quimeras del Momento”. In this period, study in Section Jazz Conservatory in Brussels.
In 1988 he joins the Belgian group Vaya Con Dios, with whom he made several world tours.
After he created his first quartet, “Nono García Belgian Band” and collaborated with musicians from Africa, Hungary and Brazil (“Cheiro de Choro”), recording several albums.
He returned to Madrid in 1996, where he taught at the School of Creative Music. Since his return, he worked and recorded with singers like Martyrdom, Gema y Pavel, Javier Ruibal, Gladstone Galliza, Clara Montes, Las Hijas del Sol, Carmen Paris, the timplista José Antonio Ramos, the Digitano project as well as in different feature films and documentaries. Along with the harmonica player Antonio Serrano, has performed in cities around the world.
Sees the light in 2001 his second album, “Atún y Chocolate”, produced by actor Gabino Diego. On this album the singer Eva Duran and musicians such as Jorge Pardo, Guillermo McGill, Tino de Geraldo, Javier Colina and Tommy, among others involved.
In 2002 he received the Best Album Award Revelation Lead Guitar in the 3rd edition of the Critics Awards Flamenco Now (3ª Edición de los Premios de la Crítica Flamenco Hoy).
In 2004 he was commissioned by Pablo Carbonell to compose the soundtrack of the film would receive the same title as his album, “Tuna and Chocolate”, whose title track sings his own daughter Esther Garcia.
Nono Garcia performed the musical direction and arrangements for the show “Abraçados” which the dancer David Morales premiered at the Jimena Festival (2005).
Nono García’s music is characterized by its natural fusion with jazz instrumentalists who bring originality and freshness to his compositions. Often develops adaptations of classic jazz themes, song, South American music and cante jondo. It is a versatile guitarist, plus pioneer, notable for his clear Flamenco inspiration.
111- Nick Webb (——died in 1998)
Nick Webb was educated at Berkhamsted School, Ashlyns School Berkhamsted, LAMDA and Leeds College of Music, where he studied in what was then the only jazz degree course in the UK. Captivated by the artists of the 1960s folk boom – particularly John Martyn – he began playing and performing as a teenager and ran his own folk club, the Portcullis Club, in Berkhamsted.
Subsequently James left the partnership to study flamenco guitar in Spain, leaving Webb to promote the record on his own. Webb turned to a rock guitarist named Greg Carmichael, whose background complemented his own – while Webb had studied jazz at Leeds College of Music, Carmichael had studied classical at London College of Music.
After two more records on MCA (Natural Elements in 1988 and Blue Chip in 1989), Acoustic Alchemy moved to GRP, which would be their home for the better part of the 1990s. Reference Point, released in 1990, wasnominated for a GRAMMY® Award, and marked the beginning of a successful run on GRP that included Back on the Case (1991), The New Edge (1993), Against The Grain (1994) and Arcanum (1996). During this time the band repeatedly toured the United States, where they had a significant following.
Positive Thinking (1998) was to be Acoustic Alchemy’s last recording with Webb, who had been diagnosed with pancreatic cancer at the outset of the project. His condition worsened to the point where he was unable to appear on any of the tracks, though he continued to write for and supervise the recording. He died in February 1998, and the album was released later that year. Webb is survived by his wife, Kay, and daughter, Alexandra.
112-Oscar Aleman (1909 – 1980)
He was the fourth child of seven born to pianist Malcela Pereira (a native Argentine of the Toba people),and Jorge Alemán Moreira, who played guitar in a folk quartet, with his own children, Carlos, Jorgelina and Juan.
At the age of six, he joined the family ensemble, by then the “Moreira Sextet”, and played the cavaquinho, a Brazilian instrument before taking up the guitar.
Orphaned by the age of ten!!!!!!, after his mother had died and his father had committed suicide (1919), Alemán found himself working sporadically as a dancer and musician on the streets of Santos, Brazil. When he saved enough money, he bought a guitar and started to play professionally in party venues, forming the “Los Lobos” duo with his friend, Brazilian guitarist Gastón Bueno Lobo, with whom he would return to Buenos Aires in 1925 to work under contract for the comedian Pablo Palitos.
In Buenos Aires, they formed a trio with violinist Elvino Vardaro. They added tango to their repertoire, and recorded with Agustín Magaldi and later played with Carlos Gardel and Enrique Santos Discépolo.
In the 1930s, having discovered American jazz via Eddie Lang and Joe Venuti, Alemán moved to Paris where he was hired by Josephine Baker to lead her band, the Baker Boys at the Cafe de Paris. This provided him an opportunity to play regularly with American musicians who would come to see Baker and sit in with her band.
He made the acquaintance (conoció a ) of Django Reinhardt while in Paris, and would sometimes substitute for the notoriously unreliable (impredecible) gypsy, but never recorded with him.
Alemán later formed his own nine-piece band, which would play nightly at the Le Chantilly in Paris.
The Nazi invasion of France during World War II forced him to return to Argentina. He continued playing there with his hit “Rosa madreselva”, and continued to record and perform with both a swing quintet, as well as with a nine-piece orchestra.
In 1972 at the age of 63, Alemán recorded a new album, which helped re-launch his career with the reissue of many of his previous recordings, along with concert dates and television appearances.
He continued to teach and perform in his native country until his death in 1980 at 71 years of age.
113-Patrick Saussois (1954-2012)
Patrick Saussois is a gypsy jazz guitarist, born in Paris, and The guitar from his father, an amateur guitarist, fascinates and he learned to play the instrument itself, with the distinction of being lefty and playing on a guitar right-handed. He listens to all kinds of music and is captivated by a disk of Django Reinhardt recorded in 1953 and later learned that Django also played acoustic guitar.
In 1976 he played in a trio and started making balls. He began a professional career in 1977 and worked with Gilbert Leroux and Daniel Garcia.
In 1980 he met Didier Roussin, with whom he played as a duo for 9 years, and recorded his first album, If you knew in 1982.
By 1988, Patrick Saussois created his own record Djaz Records.
He lived in Montrouge, where he organized an annual Night of gypsy jazz.
In March 2009, he suffered a stroke, which generates an entrapment syndrome, leaving him unable to continue his career.
He died Sept. 21 at 2012 Paris .
114-Per Arne Ferner (1985-alive)
Ferner is a graduate of the Copenhagen Rhythmic Music Conservatory. His first album Peninsulator (2010) was described as “a joyful roller coaster of youthful, exuberant energy” by the critique Jakob Baekgaard of the international Jazz journal All About Jazz.
Ferner started the duo Ferner/Juliusson in 2008 together with Per Gunnar Juliusson, fellow student at the Copenhagen Rhythmic Music Conservatory. When they won the Norwegian Jazz Intro in 2010, Karin Krog, Norway’s jazz queen and member of the JazzIntro jury, stated that “this is a duo with humor and charm, showing great potential through elegant interaction and warmth”, not bad praise from one of the really big Jazz stars.
The references ranging from folk and 1900s classical music to free improvisation and jazz. But most of all their aesthetic references give associations to many of the 1970 ECM album by guitarist Ralph Towner, John Abercrombie and Jan Garbarek as well as Pat Metheny. Their first album was Undertowed released in 2012. Other responses to the album was: “These guys are just fantastic!” – John Kellman, editor of the All About Jazz.
The music of Per Lofgren combines the elegance of European classical music with the passion and flare of American jazz. The sound is produced with a somber, eloquent respect for perfection. Per, a native of Stockholm Sweden, has been a presence in the south Florida jazz music scene. performing not only solo Jazz guitar guitar and Spanish guitar, but also playing in groups ranging in in size from duos to symphony orchestras.
He has appeared with greats as Sid Ceasar, Robert Gulet, Bob Hope, Steve Allen, Jacov Smirnoff, Billy Eckstine, Jack Jones, John Rait and Maynard Fergusson and Liza Minelli.
He has played for the President of the United States at a function honoring John Glenn’s historic shuttle flight.Per has performed at numerous concerts and festivals, weddings, bar mitzvahs and corporate functions.
The Per Lofgren Trio is upbeat and vigorous, but not frenetic. They are ideal for the stylish and sophisticated affair. In addition to Per’s concert appearances he has performed at a variety of functions for Corporate Clients, such as Cadillac, The Sun Sentinel, N. Broward Hospital District, Florida Atlantic University, Ft. Lauderdale Jazz at Riverwalk, and the American Cancer Society.
According to Chuck Berg of the University of Kansas and writer for “Jazz Times” and “Down Beat” Magazines: “While their rapturous playing will please jazz connoisseurs, let me quickly add that their rhythmic finesse, melodic abandon and overall musicality will offer a striking sound that will please everyone.”
116-Phil Miller (1949-alive)
He was born in Isle of Wight (England).
He was a self-taught musician. He had his first guitar at 8 and has been playing seriously since 15. His first band was Delivery formed in 1966 when he was 17. It included my brother Steve on piano and vocals and our childhood friend Pip Pyle on drums along with bass player Jack Monck.
Delivery had had the distinction of backing visiting American blues legends such as Lowell Fulson, Eddie Boyd and Otis Span and were playing upstairs at Ronnie Scott’s quite regularly. The band’s repertoire started to include pieces by Keith Jarrett and Tony Williams and I began my own writing career at this time. Compositions of mine were included on Fool’s Meeting: ‘Miserable Man’, ‘Blind To Your Light’, ‘The Wrong Time’, ‘Fool’s Meeting’ ‘and We Were Satisfied’.
In late 1970, Delivery underwent some personnel changes with the departure of Pip Pyle to Gong and his replacement Laurie Allan. Eventually Roy Babbington left to join Nucleus and Carol Grimes was replaced by Judy Dyble, formerly of Fairport Convention. The band’s name changed to DC & The MB’s – for Dyble/Coxhill and the Miller Brothers. This line-up made a tour of Holland and the UK during the summer of 1971, playing almost entirely improvised music.
A close friend then recommended me to Robert Wyatt who had just left Soft Machine and was in the process of forming his own band Matching Mole which he joined with Dave Sinclair (organ) from Caravan and Bill MacCormick (bass) from Quiet Sun. That combination remained together for just under a year with one line-up change: Dave MacRaefrom Nucleus was added, then took over from Dave Sinclair.They recorded two albums.
In the summer of 1972 while work was underway on the second album, he began rehearsing with his brother Steve and Richard Sinclair (bass and vocals) both having just left Caravan and Pip Pyle back from his stint with Gong in France. That line-up took the name of Delivery and played a couple of gigs in August, notably at the Tower of London.
After various shiftings in the keyboard department involving Alan Gowen (who went on to form his own band Gilgamesh) and Dave Sinclair (who eventually rejoined Caravan) the band settled down early in 1973 with Dave Stewart on keyboards.
His next band National Health was an idea born in the minds of keyboardists Dave Stewart and Alan Gowen following two double-quartet gigs by Hatfield and Gilgamesh in 1973. Alan and I had been friends since 1968.
Between the break-up of National Health in March 1980 and the formation of In Cahoots in 1982 I was involved in various projects including a duo with ex-NH fellow guitarist Phil Lee and a trio with Lol Coxhill and my brother Steve.
In Cahoots was formed by me in 1982 and has been a vehicle for my compositional output throughout its various line-ups.
In 1994-95 I gigged occasionally with Short Wave, the Miller-Baker Duo and In Cahoots. The duo was augmented by Peter Lemer on several occasions, some gigs were done as a duo with Pete Lemer.
In May 1998 my brother Steve was diagnosed as suffering from terminal cancer. In June we played a reformed Delivery benefit concert for Steve at London’s Vortex Jazz Bar with Pip Pyle, Lol Coxhill and Carol Grimes with Fred Baker replacing Roy Babbington. Steve died in December that year.
117-Raphael Fays (1959-alive)
Raphael Fays guitar was born in the arms of a father Jazz guitarist who has experienced a meteoric start and promising career. He revisits the repertoire of his master Django Reinhardt and is recognized as gifted heir of tradition.
He has a passion for flamenco in 1987 when he met Paco de Lucia to Paris. At that time, he was already recognized as a virtuoso classical guitar as well as jazz guitar. Although his technical ease promotes rapid learning flamenco technique he interprets the “poua” called plectrum, it seems that, for modesty no doubt he will have waited many years before daring to focus its work on this style.
He has composed numerous works of flamenco inspiration Bulerias, Alegrías, Fandango, which he expresses brilliantly in his extraordinary and original interpretation.
Raphael Fays synthesize two gypsies styles. He realizes that, beyond the borders of Spain and Eastern Europe is common to both gypsy communities that are European and gypsy Spanish-Andalusian. History them away but their story is common.
Few musicians in the style of Raphael Fays have been able to invest musical fields as diverse and demanding with the same conviction, the same integrity and the same happiness. More than the performance, it is humanity and generosity of the approach is to be welcomed today.
He goes his way and has his own style!
118-Rale Micic (1975-alive)
One of the most successful and critically acclaimed jazz musicians to emerge from Serbia. Micic moved to United States in 1995, after receiving a scholarship from the Berklee College of Music, where he studied with George Garzone (sax) and Bob Brookmeyer (trombonist, pianist, arranger, and composer). It was also by that time that the guitar guru, Mick Goodrick, became Rale Micic’s mentor.
Micic moved to New York City in 2000. Micic’s debut album Bridges (CTA Records, 2003) mixed jazz with Balkan music. His second release, Serbia, featured jazz trumpeter Tom Harrell, and according to All About Jazz, established Micic as one of the most inventive voices on the music scene today.
119-Ralph Towner (1940-alive)
Unbelievable, very good. A mix of classical and jazz guitar.
Ralph Towner was born in Chehalis, Washington. He is an American multi-instrumentalist, composer, arranger and bandleader. He plays the twelve-string guitar, classical guitar, piano, synthesizer, percussion and trumpet.
Born into a musical family, his mother a piano teacher and his father a trumpet player, Towner learned to improvise on the piano at the age of three. He started trumpet lessons at the age of five, but did not take up guitar until attending the University of Oregon, where he also studied composition with Homer Keller. He first played jazz in New York City in the late 1960s as a pianist and was strongly influenced by the renowned jazz pianist Bill Evans. He began improvising on classical and 12-string guitars in the late 1960s/early 1970s; formed alliances with musicians who had worked with Evans, including flautist Jeremy Steig, bassists Eddie Gomez, Marc Johnson, Gary Peacock, and drummer Jack DeJohnette;
Abercrombie has toured with this excellent guitarist, pianist and composer named Ralph Towner
Towner has made notable recordings of jazz, third stream under strong influence of folk and world music. He began his career as a conservatory-trained classical pianist, who picked up guitar in his senior year in college, then joined world music pioneer Paul Winter‘s “Consort” ensemble in the late 1960s.
Along with bandmates Paul McCandless, Glen Moore, and Collin Walcott, Towner left the Winter Consort in 1970 to form the group Oregon, which over the course of the 1970s issued a number of highly influential records mixing folk music, Indian classical forms, and avant-garde jazz-influenced free improvisation.
Unlike most jazz guitarists, Towner eschews (evita) amplification, using only 6-string nylon-string and 12-string steel-string guitars. As a result, he tends to avoid high-volume musical environments, preferring small groups of mostly acoustic instruments that emphasize dynamics and group interplay.
Towner also obtains a percussive effect (e.g., “Donkey Jamboree” from Slide Show with Gary Burton)from the guitar by weaving a matchbook among the strings at the neck of the instrument. Both with Oregon and as a solo artist, Towner has made significant use of overdubbing, allowing him to play piano (or synthesizer) and guitar on the same track; his most notable use of the technique came on his 1974 album Diary, in which he plays guitar-piano duets with himself on most of the album’s 8 tracks.
This excellent jazz guitar player, Walter Molosetti´s nephew, has not a biography known.
121-Ray Benson (1951-alive)
Since then, the group has released more than 20 albums and earned 9 Grammy awards. Though the band’s lineup has changed greatly over the years (about 90 people have been part of Asleep at the Wheel at some point), Benson has always remained at the helm as the band’s driving force.
In addition to his work with Asleep at the Wheel, Benson is also an accomplished producer whose credits include albums by Dale Watson, Suzy Bogguss, Aaron Watson, James Hand and Carolyn Wonderland; also single tracks for Willie Nelson, Aaron Neville, Brad Paisley, Pam Tillis, Trace Adkins, Merle Haggard, and Vince Gill.
In 2003, Benson released his first solo album entitled Beyond Time.
Benson is also a founding member of the Rhythm and Blues Foundation, which raises money to help aging R&B artists, and a member of the board of directors of the SIMS Foundation, which provides low-cost mental health services to Austin musicians and their families. He is also a trustee for the Texas chapter of NARAS, a board member of St Davids Community Health Foundation, and a board member and founding member of Health Alliance for Austin Musicians (HAAM).
Ray Benson is the host of the Texas Music Scene TV show. In an interview, Benson said that when he was on the Board of Directors for Austin City Limits, he urged them to start a spin-off show that focused on Texas bands because Austin City Limits had grown beyond its original scope to become an international show. Later he had the opportunity to work with executive producer Tom Hoitsma to host the Texas Music Scene TV, which showcases Texas bands. Benson is 6 feet, 7 inches tall with size 16 EEE feet.
Nine times Grammy Award
122-Remo Palmieri (1923 – 2002)
Remo hit the New York jazz scene as a teenager in the 1940’s and almost immediately found himself playing with some the premier jazz artists of the time. He teamed up first with Coleman Hawkins and then Dizzy Gillespie and Charlie Parker. In 1945 he recorded with Gillespie and Parker and Red Norvo. His talents as a jazz guitarist and musician were in great demand and during this same period he recorded with Teddy Wilson.
Then for health reasons, he took up a staff position at CBS and for more than 27 years he pursued a very successful career as a studio musician. If you listened to the Arthur Godfrey radio show on CBS in the 1960’s and early 1970’s you heard Remo Palmieri’s guitar in the background.
In 1972 Remo Palmieri left the studio when the Godfrey show was canceled and he returned to playing in local nightspots in New York. Then in 1977 his friend Herb Ellis convinced Carl Jefferson to invite Remo Palmieri to the Concord Jazz Festival in Concord, California. At that festival Palmieri and Ellis teamed up for some duetplaying and later that year they made the recording Windflower. That recording marked the end of a 30 plus year hiatus from recording for this talented jazz guitarist. Then in 1979 Concord Jazz produced the first recording on which Remo Palmieri was billed as the leader, Remo Palmieri.
In the 1990’s Remo Palmieri continued to perform. He was heard at the 1998 JVC Tribute To Herb Ellis With Love, at the 1997 Tribute To Barney Kessel With Love From Your Friends, and at the 1996 Tribute to Tal Farlow.
He is nephew and disciple of Walter Malosetti
The guitarist Ricardo Pellican has been performing in the jazz scene for more tan forty years. Nowadays, he plays with his trio and with the Djanjo Trio, along with Osvaldo Gallo, in double-bass and Pablo Farsa, in guitar. The band is inspired by the gipsy swing or jazz manouche form the French Hot Club.
They interpret moreover their own songs and also pay tribute to Duke Ellington & Cole Porter,
The members of the band are: Osvaldo Gallo (double-bass), Pablo Forsa (guitar) and Ricardo Pellican (guitar). The invited solo artists are Andrés Pellican (double-bass) and Joe Troop (violin).
124-Richie Kotzen (1970-alive)
Richard Dale “Richie” Kotzen, Jr was born in Reading, Pennsylvania. He is a jazz-fusion guitarist, singer, songwriter and producer.
Richie Kotzen began playing piano at the age of five. At the age of seven he was inspired by the band KISS to learn the electric guitar.
In 1991, at age 21, Kotzen joined glam-metal band Poison. In late 1993, he was dismissed from the band for having an affair with drummer Rikki Rockett’s fiancee, Deanna Eve.
In 2002 Kotzen bought a commercial building in Los Angeles and established a recording studio and production company. He has since produced acclaimed solo albums and collaborated with various figures in rock (Gene Simmons), jazz and fusion, including jazz legend Stanley Clarke.
Kotzen has described his style as a mix of rock, blues, jazz, fusion, and soul music.
Based in Amsterdam (The Netherlands), the Robin Nolan Trio (RNT) is an all-acoustic gypsy jazz band inspired by the legendary guitarist Django Reinhardt.
Personally endorsed by Bill Wyman of the Rolling Stones, Willie Nelson, and the late George Harrison of The Beatles (who regularly hired them to perform at private parties on the grounds of his English country estate), RNT began as street musicians in 1991 busking the busy tourist districts of Amsterdam.
They have since performed at some of the world’s most prestigious musical events including the Montreal, North Sea, Barcelona and St. Louis Jazz Festivals. Having the distinct honor of playing the world’s premier Django Tribute Festival for the third time in June 2003 at Samois-sur-Seine, France where the gypsy guitar king is laid to rest.
The Trio also appeared the following month at New York’s Lincoln Center Django Festival commemorating the 50th anniversary of Reinhardt’s passing. American demand brought RNT back to The States only three months later in September 2003 when they toured select cities in support of their sophomore CD, Boulevard of Broken Dreams.r-night festival date at the 3rd
While RNT’s inspiration lies in gypsy jazz, Latin and Hot Club de France, The Trio has a decidedly contemporary feel and fire up their music with their own expressive “je ne sais quoi.” Peppered with hypnotic rhythms and rippling melodic themes, RNT’s repertoire features jazz standards from the greatest composers of the 20th century (e.g., Ellington, Gershwin, Waller, etc.), as well as an increasing list of original compositions.
Two of eleven originals on their debut CD, Mediterranean Blues, were featured in the MGM major motion picture film,Autumn in New York, directed by Joan Chen and co-starring Richard Gere and Winona Ryder.
RNT will return to North America in June 2004 to perform jazz festivals in Canada as well as some US dates including a three-night Django Fest in the San Francisco Bay.
126-Robben Ford (1951-alive)
Robben Ford was born in Woodlake, California and raised in Ukiah, California. He began playing the saxophone at age 10 and the guitar at age 14. Robben and his brothers created the Charles Ford Blues Band in honor of their father.
At age 18, Ford’s band was hired to play with Charlie Musselwhite and recorded two albums The Charles Ford Band and Discovering the Blues. He recorded two albums with Jimmy Witherspoon called Live and Spoonful. In the 1970s, Ford joined the jazz fusion band, L.A. Express, led by saxophonist Tom Scott. In 1974 the band supported George Harrison on his American tour and played on the Joni Mitchell albums, Court and Spark, Hissing of Summer Lawns and Miles of Aisles.
In 1982, Ford was one of several guitarists who appeared on the KISS album Creatures of the Night, playing lead guitar on the songs “Rock And Roll Hell” and “I Still Love You”.
In the 1990s he released the albums, Robben Ford and the Blue Line, and Tiger Walk.
127-Robert Normann (1916-1998)
Normann was an autodidact performer on the accordion and tenor saxophone, and eventually on the guitar as his main instrument.
He was one of the swing era’s most sought guitar soloists in Norway, and was also a pioneer of electric guitar. His first electric guitar was enabled in 1939 by constructing a pickup of copper wire, magnets and pitch, stolen from public phones, Normann told in an interview with Jon Larsen.
Normann began his musical career as a wandering street and backyard musician at age 12. He was a professional musician in 1937. On Oslo jazz scene he performed in several swing jazz groups. He played with Freddy Valier in 1938, String Swing in 1939–42, Gunnar Due in 1939–41, and simultaneously led his own quartet.
In this period he also played tenor saxophone in the Pete Brown Big Band from 1945.
Normanns play can mislead people into thinking that Django Reinhardt was the inspiration, but by his own account he never listened recordings with the French guitarist, but to American musicians Teddy Wilson and Leon Chu Berry, and various accordionists. From 1955, he was less active in the jazz context, for example because of significant alcohol problems.
Normann was one of the first that started with trick recordings in Les Paul style.
Normann retired as an active musician in 1982, and devoted his time to small scale farming and inventions. Inspired by the re-release of his recordings by Hot Club Records, produced by guitarist Jon Larsen, Normann entered the studio again in 1992, for the last time with the music he called “Syv stubbær for én gitar og trommer” (Seven pices for the guitar and drums).
Robert Normanns Venner was founded in 1999 with the purpose to collect and disseminate information about Normanns artistic work. The Association was previously located in Sarpsborg, Østfold, but is currently under Normann Records, operated by Normann family with Wenche Normann as manager.
128-Romero Lubambo (1955, is alive)
Romero Lubambo started learning classic piano at a very early age. At 13, he started learning the classic guitar, studying at the Villa-Lobos Music School. At the same time he studied engineering at PUC University in Rio de Janeiro. Since 1985, he has lived in the USA.
After arriving in New York City, Romero quickly established himself as a “first call” session and touring guitarist who was in demand not only for his authentic Brazilian sound, but also for his command with a variety of styles.
Lubambo has performed and recorded with many outstanding artists, including Astrud GilbertoDiana Krall, Wynton Marsalis, Gal Costa, Paquito D’Rivera, Larry Coryell, among many others.
He has also established himself as a composer and performer on his own critically acclaimed recording projects as well as on those of Trio Da Paz, a Brazilian jazz trio Lubambo formed with Nilson Matta and Duduka da Fonseca.
Romero Lubambo is considered by critics to be “the best practitioner of his craft in the world today… the guitarist’s facility, creativity and energy are in a class all their own.”
129-Rune Gustafsson (1933 – 2012)
Rune Urban Gustafsson was a Swedish jazz guitarist and composer.
Rune Gustafsson was born in 1933 in Gothenburg. He moved to Stockholm in the 1950s to work with Putte Wickman (Swedisk Jazz Kings, EP, 1957) and Arne Domnérus Radio band and Radio Jazz Group. His first published works were Young Guitar (Metronome, MLP 15 072, 1961) with Arne Domnérus, Jan Johansson, Jimmy Woode, Bjarne Nerem, Börje Fredriksson and Jan Allan.
Rune at the Top was published in 1969 and included the Norwegian drummer Jon Christensen.
He played in the Arne Domnérus duo (Dialog, 1972) and his various orchestras, with Jan Johansson, Georg Riedel, Cornelis Vreeswijk. Rune Gustafsson Himself Plays Gilbert O’Sullivan (1973),Killing Me Softly (1973) and Move (1977), was recorded with Egil Johansen, who was one of Gustafsson’s most popular jazz partners. On a Clear Day (Sonet, SLP 2581, 1976) included Red Mitchell and Duke Ellington‘s drummer Ed Thigpen. He played with Zoot Sims on two recordings: The Sweetest Sounds and In a Sentimental Mood, the latter was Sims last album.
Rune Gustafsson died in 2012 in Stockholm after short illness.
Gustafsson received the Albin Hagstrom Memorial Price in 1997, The Thore Ehrling scholarship in 2001, and Guitar People’s Prize in 2004. In 2009 he was awarded the Lars Gullin Award, for having been “the trend for young guitarists in Sweden and abroad”. In 2010 he was awarded the Monica Zetterlund memorial fund scolarship.
130-Sal Salvador’s (1928 – 1999)
Soloist of Stan Kenton Band.
Accordin to critics and jazz historians Sal career paralleled those of Johnny Smith, Chuck Wayne, Jimmy Raney and Mundell Lowe. In fact, from his earliest days in New York, Sal Salvador was in an elite group of guitarists that came up in the 1940’s but for me is one-two steps down.
Before he was known as a featured soloist in his own right, he appeared as part of the rhythm section on an early Mundell Lowe recording, became friends with and was mentored by Johnny Smith and jammed with his room mates Jimmy Raney and Tal Farlow. And, although some of them might be better known outside of jazz guitar circles, Sal Salvador was their equal in every way.
Sal Salvador started out professionally in the 1940’s. He worked for a number of years on the road perfecting his playing and then moved into the studios. He was on the staff of Columbia Records and at the Radio City Music Hall in the late 1940’s and early 1950’s. In the early 1950’s he joined Stan Kenton’s Band where he was a featured soloist. After two years with Kenton he formed his own quartet making some recordings under his own name for the first time in 1954 and 1955. In 1958 he was featured at the Newport Jazz Festival with his performance captured for posterity in the feature film/video Jazz on a Summer’s Day.
Sal Salvador was certainly one of the most active guitarists in the last half of the 20th century from this elite group. (Mundell Lowe being another). And, when you follow his career through his many recordings it is easy to conclude he was also one of the most versatile guitarists and musicians from this list.
In recordings from early in his career he already exhibited an exceptional comping and rhythm guitar which was utilized by Mundell Lowe on his 1954 recording The Mundell Lowe Quintet. At the same time, his single note solo playing had reached a very advanced level. The recording from the same period The Sal Salvador Quintet demonstrated the single note playing style that would become the hallmark of this guitarists’ outstanding career. And throughout his career he played successfully in a wide variety of venues from the small group to the big band, to the duet, always bringing something new to these settings.
In the 1990’s Sal Salvador was one of the outstanding teachers of jazz guitar method and technique. He produced a long list of books and videos covering all aspects of jazz guitar playing. He also contributed lessons to Just Jazz Guitar and taught at his studios in Connecticut and New York.
Stand Kenton is quoted on the back of the 1954 LP Sal Salvador as saying, “Sal Salvador’s life has no meaning without jazz; he is completely dedicated to his guitar”.
131- Samy Daussat (1972-alive)
Samy Daussat was born in Lannion (France).
Awareness of music from an early age, he began learning classical guitar at 7 years. Teenager, he developed a passion for jazz and in 1989 enrolled at Paris Pierre Cullaz courses. He attended the Chope des Puces where gypsy jazz of Django Reinhardt is a revelation.
In 1996, Moreno Winterstein integrates it into his trio. Then he joined to Alma Sinti in Minor Swing Quartet, accompanies to Raphael Fays for six years in France and abroad.
Met at the Django Reinhardt Jazz Festival Samois-sur-Seine, Babik Reinhardt hired him with Florin Niculescu and Jean-Marc Jafet. He built with David and Noé the “Trio Reinhardt” in 2002.He makes with Noah and David Reinhardt Trio in 2002.
Guitarist Ninine Garcia said of him: “With humility, Samy spent ordeal school rhythm by adopting the good principle, walk before you run.” …
In 2008 he created his own band and recorded his first album as a leader. His group is scheduled for the centenary of the birth of Django Festival Samois-sur-Seine, in June 2010 In 2011 he released “In Time” a second album as a leader for the West label and publish the secrets of gypsy jazz to Guitarist magazine acoustic.
In 2012, he appeared in the feature film the son of the wind, formed a band in tribute to Django and Grappelli Costel Nitescu and David Reinhardt and turns in August in Latvia.
Contributor to methods for the practice of gypsy guitar (books, CD, DVD), he teaches, supervises courses and master classes.
“New Wave” his 3rd album as a leader was released August 26, 2013 in West Label
132-Scott Henderson (1954-alive)
Born in West Palm Beach, Florida, United States, Scott Henderson began playing guitar at an early age. His formative musical years were spent listening to rock, blues, funk, and soul, while his interest in jazz developed later on, thanks to the music of John Coltrane, Miles Davis, and others. He still professes to being a blues player at heart.
After graduating from Florida Atlantic University, Henderson moved to Los Angeles and began his career in earnest, playing rock with Twilight, a four-piece cover band that included Alice Long on bass and vocals. Soon, Henderson was recording with violinist Jean-Luc Ponty, bassist Jeff Berlin and “Players”, and Weather Report‘s Joe Zawinul.
Henderson first began receiving serious attention as the original guitarist for the Chick Corea Elektric Band. But he stayed only six months with Corea and left after a disagreement.
Henderson formed Tribal Tech with bass player Gary Willis in 1984. Under the direction of Henderson and Willis, Tribal Tech became one of the most highly regarded fusion bands of the 1980s. He toured and recorded with the band up until their dissolution following the 2000 album Rocket Science, and during that time brought himself to the forefront of modern jazz/fusion guitar playing.
In 1991 he was named ‘#1 Jazz Guitarist’ by Guitar World magazine, and in January 1992 he was voted best jazz guitarist in Guitar Player magazine’s Annual Reader’s Poll.
Henderson has more recently moved back to his blues roots, releasing the blues album Dog Party in 1994, and Tore Down House (1997).
He has repeatedly stated that he is enjoying playing in bands which do not have keyboard players!!!!!!!! as it allows him to branch out more and properly explore the guitar’s full potential as an instrument.
Tribal Tech released its first album in over a decade with 2011’s ‘X’.
Henderson released the fusion trio album HBC in October 2012 with bassist Jeff Berlin and drummer Dennis Chambers.
133-Scotty Moore (1931-is alive)
In my opinion Scotty is pure rockabilly guitar player but is a legend of the guitar and rockabilly is a son of the jazz (with touchs of country) whereas the blues, country and spiritual are jazz brothers. Scotty was the guitar player of Elvis!!!!!!. Moore is given credit as the pioneer rock ‘n’ roll lead guitarist.
Winfield Scott “Scotty” Moore III is an American guitarist and recording engineer. He is best known for his backing of Elvis Presley in the first part of his career, between 1954 and the beginning of Elvis’sHollywood years. He was ranked 44th in Rolling Stone magazine’s list of 100 Greatest Guitarists of All Timein 2011. He was inducted into the Rock and Roll Hall of Fame in 2000.
Scotty Moore was born near Gadsden, Tennessee. He learned to play the guitar from family and friends at eight years of age. Although underage when he enlisted, Moore served in the United States Navy between 1948 and 1952.
Moore led a group called the “Starlite Wranglers” before Sam Phillips at Sun Records put him together with then teenage Elvis Presley. Elvis, Bill Black (bass) and Moore then formed the Blue Moon Boys.
For a time, Moore served as Elvis’s personal manager.
Moore played on many of Presley’s most famous recordings, including “That’s All Right“, “Good Rockin’ Tonight”, “Milk Cow Blues Boogie”, “Baby Let’s Play House”, “Heartbreak Hotel“, “Mystery Train“, “Blue Suede Shoes“, “Hound Dog“, “Too Much”, “Jailhouse Rock“, “Hard Headed Woman“. Moore and the Blue Moon Boys also perform (and have additional small walk-on and speaking roles) with Elvis in three of his movies (Loving You, Jailhouse Rock, King Creole and G.I. Blues ) filmed in 1957, 1958 and 1960.
In 1960, Moore commenced recording sessions with Elvis at RCA, and also served as production manager at Sam Phillips Recording Service.
Moore’s playing on his Gibson with his unique finger-picking style using a pick, as on the Sun and early RCA recordings, was unique and exciting, representing a move of the Chet Atkins (country) style into a more rockabilly mode.
Moore is given credit as the pioneer rock ‘n’ roll lead guitarist.
As a guitarist, Moore was a noticeable presence in Presley’s performances, despite his introverted demeanor. He became an inspiration to many subsequent popular guitarists, including Bruce Springsteen and Keith Richards of the Rolling Stones.
Richards has stated many times (Rolling Stone magazine, Life autobiography) that he could never figure out how to play the “stop time” break and figure that Moore plays on “I’m Left, You’re Right, She’s Gone” (Sun), and that he hopes it will remain a mystery.
For his pioneering contribution, Moore has been recognized by the Rockabilly Hall of Fame. In 2000, he was inducted into the Rock and Roll Hall of Fame.
134- Shawn Lane (1963-2003)
Shawn Lane was an American jazz-fusion guitar player.
One of the most technically accomplished players of all time. Lane was named by the American Guitar Institute as the “greatest guitarist who ever lived”.
Born in Memphis, Tennessee, Lane began playing piano with his sisters at the age of eight. He started withb the guitar when he was ten. At age 12–13 he began to practice heavily. At fourteen, he became the lead guitarist for Black Oak Arkansas (BOA), alongside members including drummer Tommy Aldridgetoured over the next four years as opening shows.
Lane also played in Savage Innocence.
Lane began to play a style close to jazz fusion. During the 1980s and early 1990s, Lane played in The Willys, a band consisting of singer/keyboardist Sam Bryant, singer/bassist Rob Caudill and drummer Russ Caudill who had played in The Breaks with Susanne Jerome Taylor. Lane also performed in the fusion band Out of Bounds.
From age eighteen to twenty-six, Lane studied music and piano. He quickly developed his technique on the keyboard as well, taking influence from pianists such as Franz Liszt, Art Tatum and Georges Cziffra.
On September 19, 1992, Lane played in Guitar Player Magazine’s 25th anniversary concert at Warfield Theatre, San Francisco along side Steve Morse, John Lee Hooker, and others.
During this time Shawn developed curricula and taught at several European Conservatories including the American Institute of Music in Vienna alongside Joey Tafolla and Milan Polak.
He also wrote columns for Young Guitar Magazine in Japan which were published between February 1995 and 1996. During 1996 Shawn also wrote columns for Guitar for the Practicing Musician in their Over the Top series.
Lane played the Warsaw Summer Jazz Days festival on June 19, 1998 with Hellborg and Félix Sabal Lecco.
On April 19, 2002, HLS opened up for guitarist John Scofield at the Variety Playhouse, Atlanta, GA.
Shawn played the Swedish Jazz Celebration Festival, Stockholm, on March 29, 2003 with Hellborg, V. Umamahesh, V. Umashankar and Ramakrishnan.
Lane’s last concert performance was at Smilefest in North Carolina with Hellborg and Jim Britt on May 31, 2003. In September 2003 Shawn Lane was preparing for a new album with Hellborg and Ginger Baker.
The Shawn Lane Memorial Concert was held on August 28, 2005, New Daisy Theatre, Memphis, TN celebrating the life and music of Shawn Lane featuring Andy Timmons, Jimi Jamison, Lord Tracy, Craig Erickson, Kevin Paige, FreeWorld, Jim “Dandy” Mangrum and many others.
Musically, Lane was influenced by many other artists but an important one was Pakistani musician Nusrat Fateh Ali Khan. Called “the King of Kings of Qawwali” the devotional music of the Sufis and very popular in Pakistan, India and Southern Asia, Lane was fascinated by Khan’s wide vocal range and how his voice intertwined with the notes from his instrument.
Lane had psoriasis throughout his life. After age twelve, he also suffered from psoriatic arthritis, which caused stiffness in his joints and after 2000 was affecting his ability to play guitar (Lane stated that with proper rest he could still play live gigs, etc.). Lane had treated his psoriasis with hydrocortisone for many years, which caused his weight to increase, further loading his joints.
The required usage of cortisone over time resulted in him having Cushings syndrome.
In 2003 he started having difficulty breathing and was told that he would have to remain on medical oxygen for the rest of his life.
Lane died in a hospital in Memphis on September 26, 2003 of lung-related illnesses. His body was buried at the Memorial Park Cemetery in Memphis.
Although not a familiar name to many outside musician’s circles, today’s guitar virtuosos such as Rusty Cooley, Michael Romeo, Guthrie Govan, Paul Gilbert – who called Lane “the most terrifying guy of all time” during a guitar clinic when asked about his thoughts on Lane’s guitar playing skills – and many others regard him extremely highly. The American Guitar Institute has named him the “greatest guitarist who ever lived”. Guitar World magazine wrote in 2008, “Few, if any, guitarists can play faster than Lane could, and his arpeggio sweeps and precision-picked lines blasted more rapid-fire notes than the average human mind could comprehend.”
135-Sigi Schwab (1940-alive)
Siegfried Schwab, Sigi Schwab, was born in Ludwigshafen, Rhein, Germany.
During his guitar and double bass studies at the Musikhochschule Mannheim Sigi Schwab was active in various local music scenes, as in the fledgling rock scene (together with his student Hans Reffert) and in the Mannheim-Heidelberg jazz scene (along with bassist Wolfgang Wagner, the drummer Horst Seidelmann and the pianist and composer Wolfgang Lauth).
In 1965 Schwab was hired by the RIAS Big Band Berlin as a guitarist; In the same year he began working as a studio musician, first in Berlin and later in Ganz.
Besides composing Sigi Schwab television, film and stage music.
From 1980 reinforced concerts followed in Diabelli Trio (Wiener Klassik), in Guitarissimo Duo (with guitarist Peter Horton) and with the Percussion Academia (Guillermo Marchena and Freddie Santiago).
In 1987, Sigi Schwab was the first European to Ovation Award – This award was previously went to Larry Coryell and Al Di Meola. In 2000 he was honored by the city of Ludwigshafen with the Palatinate column, 2003 by the State of Rhineland-Palatinate with the Peter-Cornelius-badge. In 2008 he received the Culture Prize of the Bavarian State Foundation. 2013 Bavarian Culture Award, he was also, by the Bavarian Ministry of Education instituted in cooperation with the Bayern Factory awarded.
136-Staffan William-Olsson (1959-alive)
Staffan William-Olsson was born in Gothenburg, Sweden. Is a Swedish Jazz musician (guitar) and composer, known guitarist of The Real Thing, and the collaborations with the likes of Bob Berg, Lee Konitz and Palle Mikkelborg.
He played piano, guitar and drums already at the age of 7, and studied classical piano with a jazz-oriented teacher. Eventually he was oriented towards the guitar, with the blues and rock music as main sources of influence (Jimi Hendrix, Deep Purple and Led Zeppelin as main models).
When he discovered jazz-rock, Weather Report, John McLaughlin and Allan Holdsworth among others became the new sources of inspiration. George Benson‘s record Bad Benson was a turning point, it opened up his ears for the clean, undistorted guitar sound, and guitarists like Pat Martino was a great influence.
William-Olsson was after classical piano studies at Göteborg Musikhögskola (he is autodidact guitarist), the replasement for Ulf Wakenius in the Swedish fusion band Hawk on Flight, and also collaboraterd with such as Bob Berg, Lee Konitz and Palle Mikkelborg.
He moved to Oslo in 1986 and worked as a freelance guitarist before becoming a part of the hard rock band Sons of Angels in 1989. The band signed a recording contract with Atlantic Records, and toured the east coast of USA and Europe. The album sold 100,000 copies, and the band broke up.
The Real Thing was established in 1992. The solo albums Three Shades of Blue (1995) and Smile! (1998), was bouth nominated for the Spellemannprisen. Thereafter he has released two more albums, Oak Road Boogaloo (2000) and Pop! (2002).
137-Stanley Jordan (1959-alive)
Stanley is not only a great guitarist but all a showman by his differential style. He could have been included perfectly among the 50 giants.
Stanley Jordan was born in Chicago, Illinois. He began his music career at age six, studying piano, then shifted his focus to guitar at age eleven. He later began playing in rock and soul bands. In 1976, Jordan won an award at the Reno, Nevada, Jazz Festival.
He earned a BA in music from Princeton University in 1981, where he studied theory and composition with composer Milton Babbitt and computer music with composer Paul Lansky. While at Princeton in 1979 he played with Benny Carter and Dizzy Gillespie.
Jordan was the first artist to be signed by Bruce Lundvall when the latter became president of Blue Note Records in 1985 and, consequently, Magic Touch was the first release (not reissue) of the rejuvenated label.. Magic Touch was No. 1 on Billboard’s jazz chart for 51 weeks, setting a new record.
Stanley Jordan has four Grammy Nominations. His 2011 album “Friends” was nominated for an NAACP Image Award.
Jordan’s touch technique is an advanced form of two-handed tapping.
He plays guitar in all-fourths tuning!!!!!!!!, from bass to treble EADGCF (all in perfect fourths as on the bass guitar) rather than the standard EADGBE. He has stated that all-fourths tuning “simplifies the fingerboard, making it logical”.
138-Steve Lukather (1957-alive)
Steven Lee “Luke” Lukather is an American jazz-rock guitarist, singer, songwriter, arranger and record producer, best known for his work with the rock band Toto. A prolific session musician, Lukather has recorded guitar tracks for more than 1,500 albums representing a broad array of artists and genres. He has also contributed to albums and hit singles as a songwriter, arranger and producer. Lukather has released seven solo albums, the latest of which was released in January 2013.
In 1976, when Lukather was nineteen years old, he was invited by his high school friends David Paich and the Porcaro brothers Steve and Jeff to join them in forming their band, Toto. He remained a member until the band split up in 2008, and has been involved in their periodic reunion tours. Lukather’s reputation as a guitarist and his association with Paich and Jeff Porcaro, who also became established artists, allowed him to secure a solid flow of session work in the 1970s and 1980s. Lukather has been nominated for twelve Grammy awards,and has won five. While his work with Toto was predominantly based on pop rock music and his solo work ventures into progressive rock and hard rock, many of Lukather’s side-projects are focused on jazz fusion. He held a long-time collaboration with jazz guitarist Larry Carlton that produced a Grammy-winning live album, and he was a member of the jazz fusion band Los Lobotomys, a collaboration of notable session musicians.
Influenced by such blues-rock guitarists as Jimi Hendrix and Jimmy Page, and such jazz fusion players as Al Di Meola and Frank Gambale, Lukather is known for a “melodic and intense” playing style. He is also recognized for his efficiency in the studio, often recording tracks in one take using minimal sound processing. While he once used many guitar effects in the studio and on stage, he now frequently disparages such practice, and instead advocates clean tones and minimal studio processing. Lukather plays primarily a signature electric guitar manufactured by Ernie Ball Music Man bearing his nickname, Luke. He also plays Yamaha and Ovation Adamas series acoustic–electric guitars.
139-Steve Khan (1947-alive)
Born in Los Angeles, California, Khan is known for his work with artists such as Steely Dan, Billy Joel, Michael Franks, Hubert Laws, Billy Cobham,Jack DeJohnette, James Brown, Maynard Ferguson, and Weather Report.
Khan is the author of five books on jazz music: Pentatonic Khancepts, Contemporary Chord Khancepts, The Wes Montgomary Guitar Folio, Pat Martino – The Early Years, and Guitar Workshop Series.
His album Borrowed Time was a nominee for the 2007 50th Grammy Awards in the Best Latin Jazz Album (vocal or instrumental) category.
During the 1980s and 90s he was a member of the group Elements.
140-Steve Morse (1954-alive)
Steven J. “Steve” Morse is an American jazz fusion guitarist and composer, best known as the founder of the Dixie Dregs; and since 1994, the guitar player of Deep Purple. Morse’s career has encompassed rock, country, funk, jazz, classical, and fusion of these musical genres. In addition to his successful solo career, he was briefly a member of Kansas in the mid 1980s.
Steve Morse was born in Hamilton, Ohio, as the second of three sons. His father was a minister and his mother a classically trained pianist; both were also psychologists. The family moved to Tennessee, then Ypsilanti, Michigan, where Morse spent his childhood. Although familiar with piano and clarinet, Morse ultimately became interested in guitar and his real musical career began.
Morse worked briefly with his older brother Dave in a band called The Plague until the family moved to Augusta, Georgia.
While enrolled in the Academy of Richmond County, Morse met bassist Andy West and together they formed the Dixie Grit, adding keyboardist Johnny Carr and guitarist and vocalist Frank Brittingham, with Dave Morse drumming.
West and Morse continued to play as a duet billed as the Dixie Dregs until Morse’s expulsion from school in the 10th grade (for refusing to cut his hair) enabled his enrollment at the esteemed University of Miami School of Music.
Upon Morse’s graduation from the University of Miami in 1975, he and West officially named their group Dixie Dregs. Morse and the band gained an invitation to perform at Montreux Jazz Festival on 23 July 1978.
Morse was voted “Best Overall Guitarist” in the same poll, an honour that he would hold for five consecutive years (which ended his eligibility by retiring him into their “Gallery of Greats”, a distinction shared only by Steve Howe of Yes.).
After the 1983 breakup of the Dregs, Morse then formed The Steve Morse Band, a trio with bassist Jerry Peek and drummer Doug Morgan (formerly a member of Glass Moon).
In 1986, Morse joined the rock group Kansas. While with the band, they released two albums, Power and In the Spirit of Things. While he was with the band, Kansas had its last big hit, “All I Wanted,” which reached the Billboard Top 20 and on which Morse received co-writing credit. Morse left the band after touring behind the latter album. He re-joined the band for part of their 1991 tour.
From late 1987 to early 1988, Morse worked as a commercial airline co-pilot, working for Atlantic Southeast Airlines.
In 1994, Morse joined the British hard rock group Deep Purple, replacing Ritchie Blackmore (though Joe Satriani replaced Blackmore for The Battle Rages On tour). Since then, Morse has played on five studio albumsPurpendicular, Abandon, Bananas, Rapture of the Deep and Now What?!, as well as seven of their live albums.
In addition to playing with Deep Purple, Morse, together with Jimmy Barnes, Bob Daisley, Lee Kerslake and Don Airey, formed Living Loud in 2003. The group released one studio album and a live DVD in 2004/2005.
In 2011, Morse formed Flying Colors, an American supergroup composed of Mike Portnoy, Dave LaRue, Casey McPherson and Neal Morse, whose debut eponymous album was released on 26 March 2012, and debuted at No. 9 on Billboard’s Hard Rock chart, and No. 11 on the BBC’s Rock Album charts.
Morse is considered one of the hardest working guitarists in the world.
He is widely known for his stylistically diverse compositional skills and was voted “Best Overall Guitarist” by Guitar Player magazine for five years in a row, qualifying him for their “Guitar Player Hall of Fame”, the only other members being Steve Howe of Yes and Eric Johnson.
He is regularly cited by John Petrucci as a major influence. Guitarist Shawn Lane regarded Steve Morse as one of the most talented guitarists of his time.
141-Stochelo Rosenberg (1968-alive)
142-Ted Greene (1946 – 2005)
Chordal style that has become the hallmark of Ted Greene ‘s playing and has drawn comparisons to George Van Eps and Bickert
Greene began his own guitar studies at the age of 11, and was an accomplished player while still in high school, occasionally collaborating with local R&B and Blues Rock groups.
During the late 1960s and early 1970s he did commercial studio work with Byrd.
While Greene is often regarded as a jazz musician, he played many musical styles. He was known to guitarists due to his role as a music educator, which included private teaching, seminars at the Guitar Institute of Technology, columns for Guitar Player magazine, and his series of instructional books: Chord Chemistry, Modern Chord Progressions: Jazz and Classical Voicings for Guitar, and the two-volume Jazz Guitar: Single Note Soloing. He has red all related with musical theory, especially those from the ‘Common Practice Period’ (circa 1600-1900).
Often applying keyboard concepts to the guitar. For example, he has made many transcriptions of the Chorals of J. S. Bach for guitar.
He used a large variety of chord voicings, often creating the effect of two simultaneous players.
Although respected by guitarists, he was not well known to the public.
Barbara Franklin, his partner, organized and archived many of his written notes on music and guitar playing after he died. In 2009 she wrote a biography on Ted,My Life with The Chord Chemist: A Memoir of Ted Greene, Apotheosis of Solo Guitar. She died on August 13, 2011.
143-Teddy Bunn (1909 – 1978)
Teddy was a contemporary of Eddie Lang and Lonnie Johnson and played both blues (like Johnson) and jazz (like Lang). As early as 1929 Bunn played and recorded with the Duke Ellington band with Fred Guy on banjo. In the same year Bunn played with James P. Johnson (pianist) along side another great player from that period Bernard Addison. Bunn played with many of the top jazzmen of that period on guitar or banjo and sometimes he provided vocals.
In the 1930s Bunn recorded on the guitar with the Spirits of Rhythm, a group that included a suitcase in the instrumentation and some forgotten acts like Cow Cow Davenport.
Some of the 1938 Johnny Dodds material represented some of the best examples of Bunn’s skills as a rhythm player and soloist.
That same year Bunn recorded with Tommy Ladnier and His Orchestra, a band that included players like Mezz Mezzrow, Cliff Jackson and Sidney Bechet.
In the early 1940s Bunn played with Hot Lips Page (trumpet and singer) and recorded some material that represented some of his best blues guitar and vocals.
Evil Man’s Blues had Bunn featured as guitarist and vocalist.
Bunn recorded on the electric guitar with Lionel Hampton on the tunes Just for Laffs and Pig Foot Sonata.
In the late 1940s Bunn played in a wide variety of venues from jazz and blues to early rock and roll with Hadda Brooks.
He led his own groups that included Arnold Ross on piano and Pony Poindexter and Curtis Counce.
Sometimes overlooked in the history of jazz guitar, Teddy Bunn was a significant exponent of both blues and jazzand was one of the very best rhythm players of his time.
144-Thorgeir Stubø (1943-alive)
Stubø grew up in Narvik, and listened to music on radio from an early age. His attention was drawn to American Jazz an especially the music of John Coltrane, Tal Farlow, Wes Montgomery, Jimmy Raney and Jim Hall was important for his early musical development.
Stubø started playing the guitar in an environment of flowering jazz music in Narvik, but moved to Oslo to get his education in the 1960’es.
He studied philology at the University of Oslo and got a masters with the German languish as main subject.
At the Oslo Jazz scene he was soon recognised for his expressive guitar style and was often seen at the student home “Nord Norsken”, performing jazz, and played with up-coming musicians like Jan Garbarek, Knut Riisnæs, Svein Christiansen and Arild Andersen.
Returning to Narvik, Stubø started working at Frydenlund high school as a teacher of language, but he was very much into the local music life. He also was a sportsman and enjoyed good results as a local skier, and loved the Northern Norway scenery as a hiker and an inspirational source.
Even though getting a family and working as an ordernary tacher occupied much of his time, Stubø is regarded as the best Norwegian guitarist through all time.
By writing letters Stubø got in contact with the well-known guitarist Doug Raney, son of the legendaric Jazz guitarist Jimmy Raney. This led to the album Everything We Love (Hot Club, 1983/1985), with Doug Raney, Ole Jacob Hansen and Jesper Lundgaard
On the two last records Stubø was on the label Cadence Jazz Records.
Awarded the «Spellemannprisen» 1981 in the class Jazz, for the record Notice
· Awarded the Norwegian «Buddyprisen» Jazz Prize of honor 1986
· The Thorgeir Stubø Memorial Fund was established in 1987, and annually awards the «Stubøprisen» for important contributors to the Northern Norwegian jazz.
He deceased in Narvik, October 1986
145-Tiny Grimes (1916 – 1989)
One of pioneers of bebop jazz guitar.
Tiny began his musical career playing drums and piano. In 1938 he took up the guitar choosing the unusual electric 4-string tenor guitar. In 1940 he joined the Cats And A Fiddle as guitarist and singer.
In 1943 he joined the Art Tatum Trio as guitarist and made a number of recordings with Tatum. The early Tatum Trio recordings made for the Asch and Comet recording labels are some of the more interesting early examples of Tiny Grimes’ guitar work.
After leaving Tatum, Grimes recorded with his own groups in New York and he recorded with a long list of leading musicians; Ike Quebec, Cozy Cole, Leonard Feather and Buck Clayton, among others.
He was also selected to record with the famous Metronome All Star Band and appears on the recording Look Out, on which he shared the guitar duties with Billy Bauer.
During this time he made four recordings with Charlie Parker that are considered excellent examples of early bebop jazz; Tiny’s Tempo, Red Cross, Romance Without Finance, and I’ll Always Love You.
Tiny Grimes continued to lead his own groups into the later 1970’s and he recorded with Coleman Hawkins, Illinois Jacquet and Roy Eldridge.
Some of the key recordings from the later years of his career are: Callin’ The Blues, Blues Groove and Some Groovy Fours made in France on the Black and Blue Label.
146-Tiny Moore (1920 –1987)
Born in the Gulf Coast town of Port Arthur, Texas, in 1920, Moore was the first well-known American musician in any genre whose primary instrument was the electric mandolin. While a member of the Texas Playboys from 1946 to 1950, he played Gibson electric mandolins: at first an EM-125, and sometime after 1948, an EM-150. Although these are 8-string mandolins, Tiny used only 4 single strings instead of pairs. This gave his mandolin an electric guitarlike sound. Later, in 1952, he commissioned one of the first American-built 5-string electric mandolins from Paul Bigsby. At the time Moore was playing in a band led by Bob Wills’ brother, Billy Jack. The Bigsby 5-string mandolin had single courses of strings (rather than the paired courses on a standard mandolin) and added a low C string to the standard G, D, A and E. This tuning actually gives the instrument a wider range of notes than a guitar.
Western swing is a hybrid of country, blues, and jazz; Tiny Moore’s style of playing draws upon all of these sources. Moore and his Bigsby mandolin were strongly identified with each other for the remainder of his career.The instrument is arguably the most famous electric mandolin in the history of American popular music.
In the mid-1960s he taught group guitar lessons at the local YMCA in Sacramento, California. He taught every style of music from Old Timey folk to The Beatles. He also operated Tiny Moore Music, a music store in Sacramento, and sold copies of the Bigsby mandolin built by Jay Roberts of Yuba City.
In the 1970s he was part of “The Strangers”, which was Merle Haggard’s band. During that decade he also made two recordings with David Grisman for Kaleidoscope Records: “Tiny Moore Music” and “Back to Back,” a duet album with Jethro Burns (mandolin).
147-Tito Alcedo (1958-alive)
Is a very good guitar player
Tito Alcedo was born in Barbate, Cádiz. is a jazz guitarist and Spanish flamenco.
Endowed with exceptional musical talent and a desire for “learning” out of the ordinary, his training was entirely self-taught as a child led him to find all the “good music” that could assimilate. Crowd of rock and pop groups helped him develop his skills but among them stand out (even today) The Beatles. Tito thinks that breadth of styles has provided an “education” particularly rich as a musician and guitarist, which has allowed it to evolve, not just technically, through a wide variety of interpretation in his career as a professional musician; career that began at age 15 with local pop-rock bands (Smoke Black, Trafalgar, Mantra) provided lead guitar.
Once past the stage of pop-rock in the early 80s discovered Django Reinhardt and his musical concept. He traveled to Paris in search of his guitar “Favino” and had the opportunity to play with Rafaël Fays, the greatest French exponent of this style then.
He was given the award for Best Soloist alongside Carles Benavent and Jorge Pardo, in the contest held by the program of RTVE in 1986.
True to the music of Django, and with guitarist Fernando Bellver, gave concerts in which he showed great style Franco-Belgian gypsy guitarist.
He has made several tournes Europe, in different formations with musicians like Nono Garcia, or the French group “Rumeur Iberique”.
He has led billboard jazz festivals such as Cadiz (1982 and 1988), Mallorca (1985) with Joan Bibiloni and Larry Coryell, Córdoba (1985 and 1988) with Chano Dominguez and Philippe Catherine, Zaragoza, Ghent and Bruges (Belgium) (1987) and Oviedo (1988) with their own groups.
He participated in the album “Palabra de Guitarra Latina”, offering a great guitar version of the popular song“Suspiros de España”. The album, produced by the musician Joan Bibiloni in 1997, allowed him to share space with guitarists such as Tomatito, Larry Coryell, Bireli Lagrene, Raimundo Amador, Luis Salinas, etc.
For several years, accompanying the singer Javier Ruibal.
Paco de Lucía and Camarón, for those who feel genuine devotion, marked his introduction to flamenco so that himself entirely to the study of flamenco guitar technique, greatly enriching his vast musical background as eclectic, which provides a position unique within the flamenco guitar performance and exceptional training. As he often said, has been “lucky” to have knowledge of a jazz guitarist, pop, rock, classical, etc … while flamenco apply those technical skills. And vice versa.
Currently a duet with the great flamenco guitarist, José María Bandera Algeciras, Andalusia and giving concerts throughout the Spanish geography.
The May 24, 2014 participated in the tribute to Paco de Lucía to be held in Cancun (Mexico), residence of the Master in his later years.
Is a guitarist of Mr Sandole as Jim Hall, Harry Leahey,Billy Bean, John Collins, Dale Bruning, Joe Diorio, and Pat Martino.
Tom Giacabetti is a well known guitarist/educator in the Philadelphia and Atlantic City area. Much sought after for his versatility, Tom has performed in every major theater and showroom in Philadelphia and Atlantic City.
He has appeared in concert with Peter Nero and the Philly Pops, the Philadelphia Orchestra, the Willingboro and Mellon Jazz Festivals, as well as Temple University, Stockton Performing Arts Center, Rowan University and The University of The Arts. Some of the Jazz artists Tom has performed with include Morganna King, Nancy Wilson, Randy Brecker, Kenny Barron,The Count Basie Orchestra, Dave Brubeck and the Michael Pedicin Quartet.
Tom has been a featured artist on the national syndicated T.V.shows “The World of Guitar” and “Miles of Music” .Well respected as an educator, Tom currently teaches music at Temple University, Rowan University, Buck County Community College and the University of the Arts.
149-Tommy Emmmanuel (1955-alive)
William Thomas “Tommy” Emmanuel was born in Australian. Is a virtuoso guitarist and occasional singer, and songwriter best known for his complex fingerstyle technique, energetic performances and the use of percussive effects on the guitar. Is not a pure jazz guitar player. Mix jazz with gypsy jazz (Django), Australian folk, country and clasic music.
He received his first guitar in 1959 at age four, being taught by his mother to accompany her playing lapsteel guitar. At the age of 7 he heard Chet Atkins on the radio. He vividly remembers this moment and says it greatly inspired him.
By the age of 6, in 1961, he was a working professional musician. Recognizing the musical talents of Tommy and his brother Phil, their father created a family band, sold the family home and took his family on the road.
After his father died in 1966, the family settled in Parkes. Tommy eventually moved to Sydney where he came to be noticed nationally when he won a string of talent contests in his teen years.
By the late 1970s, he was playing drums with his brother Phil in the group Goldrush as well doing session work on numerous albums and jingles.
He gained further prominence in the late 1970s as the lead guitarist in The Southern Star Band, the backing group for vocalist Doug Parkinson.
Emmanuel became a member of Farnham’s band. He had previously been a member of Farnham’s band during the early 1980’s and featured on the album Uncovered.
Emmanuel and his brother Phil performed live in Sydney at the closing ceremony of the Summer Olympics in 2000. The event was televised worldwide with an estimated 2.85 billion viewers. When performing together the pair will sometimes share and play just one guitar with each having one hand free.
In December 2007 he was diagnosed with heart issues and was forced to take a break from his hectic touring schedule due to exhaustion, but returned to full-time touring in early 2008.
Tommy is currently a resident of Nashville.
In June 2010 Emmanuel was appointed a Member of the Order of Australia
Emmanuel can often be seen curling his left-hand thumb around the neck of the guitar onto the fretboard (like Jimy Hendrix) to play certain notes rather than using only his fingers to play, contrary to how a classical guitarist would play.
He frequently plays common three-finger chord shapes with just two fingers. He commonly uses a thumbpick, a flat pick (plectrum), his fingers or a combination of these in his playing, a style known as hybrid picking.
Although originally a session player in many a band, in recent years, Emmanuel has carved out his own style as a solo artist, releasing award winning albums and singles. In the May 2008 and 2010 issues of Guitar Player Magazine, he was named as “Best Acoustic Guitarist” in their readers’ poll. In June 2010 Emmanuel was appointed a Member of the Order of Australia (AM).
150-Tony Gottuso’s (1916-1995)
Well known for his fabulous guitar duos with John Cali.
Anthony Gottuso was born in New York, United States.
Unlike Christian, Reinhardt, Mottola and Tedesco, Gottuso‘s lengthy career. Gottuso was one of the early proponents of the lovely guitar duet setting in classic jazz. His partner was the talented John Cali, also a prominent arranger.
As a great session player he played jazz, country, western swing, often doubling on banjo.
Late-’30s recordings with bandleader Paul Whiteman, like his, may typecast this guitarist as relating mostly to the styles heard in the early decades of jazz.
With exception to Paul Whiteman, by being an effective small-group player, he nibbled his way into studio house bands that were basically helping to invent new styles.
In the early ’50s he accompanied the Deep River Boys, helping to establish the role of the amplified guitar in the popular new vocal groups.
He died on 1995 at the age of 79.
151-Tony Mottola (1918-2004)
Tony had one of the most varied careers as a musician. His output ranged from small group jazz to large orchestra.
Throughout the 1970’s and 1980’s Tony Mottola produced a large number of recordings that don’t fit into the jazz genre, but were successful guitar recordings. The many recordings he made with Enoch Light probably fit better in the popular music area and did much to enhance the popularity of the guitar. At the same time it was not uncommon for Mottola to turn up on recordings with Barry Galbraith, Bucky Pizzarelli, George Barnes and others, on records that are more generally jazz oriented.
He was one of the most sought after and respected studio musicians in the recording and general music industries.He was certainly one of the most respected guitar players to ever play the instrument.
Tony Mottola like many of his contemporaries started out learning to play the banjo and later took up the guitar. He got his first guitar lessons from his father and by the late 1930’s he was playing in George Hall’s orchestra in a rhythm section that included Johnnie Guarnieri (pianist) and Nick Fatool (drummer).
In 1941 Tony took up a staff position at CBS. His guitar could be heard on several broadcast shows including those with Frank Sinatra and Perry Como. In the early 1950’s Mottola composed his famous music for Danger.
For the jazz guitar history buff the early recordings of Tony Mottola were of more interest than his later recordings. Early in his career he had his own small jazz groups and he played with Johnnie Guarnieri (pianist), Al Duffy (violinist) , Joe Biviano (accordion) and Carl Kress (guitarist). He backed singers like Pearl Bailey and Frank Sinatra.
Many of his later recordings like Heart and Soul, Mr. Big and Two Guitars for Two In Love have held special interest for the guitar enthusiasts.
152-Tony Rizzi (1923 – 1992)
Tony is frequently one of the forgotten treasures of classic jazz guitar. He started his career in the 1940’swith such organizations as Alvy West, Carl Fisher’s Orchestra, Les Brown and Boyd Raeburn.
His most interesting work from this period is the Alvy West material from 1947. Produced on 78 RPM records under the title Alvy West and the Little Band, the eight sides have Rizzi playing rhythm, unison passages with West and a couple of solos. There is also an extended piece entitled Tony’s Guitar penned by West for Tony Rizzi.
In the 1950’s Tony Rizzi played and recorded with the Paul Smith Quartet and the Dave Pell Quintet. He appears on several recordings by both.
During this period he also cut his first recording as leader, Tony Rizzi Plays The Music of Frank Comstock.
In the 1960’s Tony Rizzi was found on the recordings of Ted and Dick Nash, Herbie Mann and others.
In the 1970’s he formed Tony Rizzi and His Five Guitars producing the famous Plays Charlie Christian.
Tony Rizzi was one of the most active studio musicians in the television and radio studios and was often heard on such TV shows as The Smothers Brothers.
153-Torsten de Winkel
Torsten de Winkel was born in Frankfurt am Main. He is a German musician, composer and philosopher primarily active in the jazz andworld music genres. He is widely known as an electric and acoustic guitarist, but also records and performs on electric sitar, keyboardsand various percussion instruments.
At the age of 10, de Winkel picked up the Charango in La Paz, Bolivia where his father worked for the UN. He proceeded to teach himself guitar and jazz improvisation and attended the Hoch Conservatory in Frankfurt, Germany for a brief period. At the age of 19, he became the youngest artist ever to be given complete creative control by a German major label with the release of “Mastertouch”, his debut recording, on which he collaborated with Michael Brecker, Billy Cobham, Kai Eckhardt, Ernie Watts, Alphonse Mouzon, Hellmut Hattler, Joachim Kühn and various other internationally renowned instrumentalists, setting a new standard for young musicians in his home country later to be followed by artists such as the successful trumpeter Till Brönner.
Upon an invitation by Steve Smith and Tom Coster, de Winkel become successor to Mike Stern andFrank Gambale in their co-led jazz-fusion group Vital Information and proceeded to tour in Europe. He accepted a full scholarship from the Berklee College of Music in Boston and graduated summa cum laude.
He can also be heard on all ten CDs of the German vanguard electronic jazz duo Tab Two and continues to tour and record with Hattler, the group of former Kraan head Hellmut Hattler. This group won the Echo Award, the German equivalent of the Grammy Award, for best jazz album in 2001.
Disenchanted with the common chord scale theory didactics!!!! (like me), de Winkel has developed an alternative approach to teaching improvisation. Under the title Training Intuition this approach considers recent developments in learning psychology and in the neurosciences. De Winkel has conducted courses, master classes and clinics at various institutions, among them the Musikhochschule Hamburg and the Berufsfachschule für Musik in Krumbach/Schwaben.
De Winkel is also active in the field of neurophilosophy ¡!!!!!!.
Since 2005, Torsten de Winkel is one of the volunteer organizers of the Bimbache openART Festival and Initiative in El Hierro (Spain), an ambitious and non-profit effort at creating a platform which seeks to bridge traditional divides, both on a musical and human level, in a globalizing world.
154-Tuck Andress (1952-alive)
Tuck & Patti are an American jazz duo.
Like others great guitarists such as Charlie Christian, Eldon Shamblin, Barney Kessel, Junior Barnard, and Jack Petersen, Tuck was born in Oklahoma.
Prior to this, Tuck had been a session performer with The Gap Band.
Tuck and Patti began performing together in California in 1981 and married in 1983. After signing with Windham Hill in 1987, they released several albums for the label before signing with Epic Records for one album in 1995. After several more on Windham Hill, their releases after 2001 have been on 33rd Street Records.
Tuck Andress’ niece (sobrina) is singer-songwriter Annie Clark, who goes under the moniker or nickname St. Vincent. As a teenager, Clark was a roadie for Tuck and Patti, and later she was an opening act for the duo.
155- Ulf Karl Erik Wakenius (1958-alive)
Ulf Karl Erik Wakenius was born in Halmstad, Sweden is a Swedish jazz guitarist. Wakenius was amember of the Oscar Peterson quartet from 1997. He was also a member of the Ray Brown trio. Wakenius also plays with his own band, and has recorded many albums.
In the 80s he played with Peter Almqvist in Guitars Unlimited.
His own U.W. Group released Venture (1991) with Jack DeJohnette on drums, Bill Evans and Bob Berg on saxes, Randy Brecker on trumpet, Niels Lan Doky on piano, Chris Minh Doky and Lars Danielsson on bass. The work with American musicians continued in New York Meeting with Niels Lan Doky piano, Ira Coleman bass, and Billy Hart drums.
Wakenius had together with Haakon Graf piano, in the early nineties the group Graffiti with members from the John Scofield group, Dennis Chambers drums, Gary Grainger bass. He appeared on Duke Ellington Swings (Telarc, 1998); with Oscar Peterson he released Summernight in Munich (Telarc, 1999) and Trail of Dreams with Oscar Peterson and Michel Legrand (Telarc, 2000). With Ray Brown he played on Summertime (1998) and Seven Steps to Heaven (1999), as well as Some of My Best Friends Are Guitar Players (Telarc, 2001).
156-Ulysses Livingston (1912 – 1988)
Ulysses began his career on the east coast working with Benny Carter and other jazz and blues musicians.
He appears on early recordings by Frankie Newton who had previously used guitarists Al Casey and Teddy Bunn.
From 1939 through 1942 he recorded with a number of notable jazz artists that included Pete Johnson (pianist), Billie Holiday and Ella Fitzgerald.
The recordings made with Pete Johnson in 1939, Vine St Bustle and Some Day Blues, represented two of the earliest recorded examples of Livingston’s solo playing.
After a short stint of military service Livingston returned to the music scene working and recording in Los Angeles with Leonard Feather (Jazz at the Philharmonic and Spirits of Rhythm).
He also worked in the studios in Los Angeles on recordings by singers like Nellie Lutcher, Sam Cooke, Big Red Alton and Johnny Taylor.
Livingston often shared the guitar chair on these studio sessions with players like Bob Bain, Barney Kessel and Howard Roberts. Recordings from this period included work with Jack McVea and Freddie Slack. Late in his career Livingston worked as a technician in the Los Angeles studios.
Ulysses Livingston was best known as a rhythm player and he was best heard in that role in small groups like Frankie Newton’s, Rex Stewart’s and The Spirits of Rhythm. He was also a capable soloist in the tradition of Eddie Lang and Charlie Christian. Some good examples of his solo playing included Jack McVea Nothin‘ But Jazz, Freddie Slack Minor Boogie and Chopstick Boogie, Rex Stewart T‘aint Like That and Pete Johnson Some Day Blues and Vine St Bustle.
157-Uwe Kropinski (1952-alive)
Uwe Kropinski is a German jazz guitarist.
Born in Berlin, Kropinski studied jazz and classic guitar at Hochschule für Musik “Hanns Eisler”, Berlin from 1973 to 1976, during which time he became influenced by Conny Bauer (trombonist).
Kropinski first travelled to the USA to play with David Friesen (bassist) in 1988.Since then, he has also played with people like Volker Schlott, John Stowell, Cecil McBee and Pheeroan Aklaff.
Since 1989 Kropinski has played special guitars with 39 frets made by the guitar maker from the Netherlands Theo Scharpach.
This excellent jazz guitar player (manouche guitar) has not a biography known..
159-Vic Juris (1953-alive)
Victor E. Jurusz, Jr., known professionally as Vic Juris is an American jazz guitarist.
Juris played with Lyn Christie (bassist) early in the 1970s and made his first recordings with Eric Kloss(saxophonist) in 1975. Soon after he joined Barry Miles (pianist) group, remaining with Miles well into the 1980s.
He recorded with Richie Cole (jazz alto saxophonist) during 1976-78 and released his first albums as a leader in the late 1970s.
In the 1990s, he became increasingly active as a sideman, working with Dave Liebman (1991-97), Ron McClure (1992), Lee Konitz and Peggy Stern (1992), Benny Waters (1993), Jeanie Bryson (1993-94), Gary Peacock (since 1994), Steve LaSpina (since 1995), Judi Silvano (1996), Ken Serio (1996, 2007) and Joe Locke (1998).
Juris has held teaching positions at The New School for Jazz and Contemporary Music, Mason Gross School of the Arts, William Paterson University and Lehigh University.
160-Volker Kriegel (1943-2003)
Volker Kriegel was a German jazz guitarist and composer born in Darmstadt, Germany, perhaps most noteworthy for his contributions to the European jazz rock genre and for his collaborations with the American vibraphonist Dave Pike.
In 1975 he was a founding member of the United Jazz and Rock Ensemble.
A self-taught guitarist, Kriegel began playing when he was fifteen and formed a trio three years later that won anaward at a 1963 amateur jazz festival.
In 1975 Kriegel spent a month teaching for the Goethe Institute, an organization he worked for at various points throughout his career.
In 1976 Spectrum broke up, and Kriegel started another band called the Mild Maniac Orchestra which stayed together in to the 1980s.
In 1977 Kriegel became the partial owner of a label called Mood Records. He also performed as a sideman for various musicians, including Klaus Doldinger (saxo).
This excellent jazz guitar player has not biography known beyond that he was a pupil of Harry Lahey.
He is one of the most talented guitarist from Argentina.
He continues the best gypsy jazz tradition in South America and Europe.
Walter has played with some of the most important guitarists like Gonzalo Bergara, Robin Nolan, Biel Ballester, Jon Larsen (he recorded with Hot Club Records), Pascal de Loutchek (is not a jazz guitar player), Walter Malosetti, Valentí Moya, Albert Bello and many others!
He start playing guitar influenced by his family. After years studying Django Reinhardt music Walter began to receive masterclasses from Walter Malosetti, the famous argentine guitarist. Walter is part of his band today, no more words, lets just listen to his music…and the s3 guitar pick in action!
163-Walter Malosetti (1931-2013)
Born in the province of Córdoba (Argentina) in 1931 and raised in a musical setting (father and older brother musicians) had his first guitar as a child and although the stylistic trend of their environment was more folk, begins a passion for the jazz he heard on the radio: Louis Armstrong, Django Reinhardt and many orchestras Jazz then become their greatest influences.
Since 1950 starts working in the Argentine jazz circuit as part of the most significant orchestras; some of them are Old Guard Jazz Band, California Ramblers, The Georgians Jazz Band and others.
He joined the trio Crazy Fingers and was part of the Blue Strings and Swing Timers groups at that time also led his own band for five years.
In 1958 obtained the title of Senior Lecturer of Guitar, a disciple of the concert Irma Costanzo and from there spent much of his life to teaching.
In 1961 he founded the School of Guitar and Jazz, this being the first of its kind and counting among his teachers students and a large number of outstanding Argentine musicians; Armando Alonso, Francisco Rivero, Botafogo Vilanova and other great guitarists of jazz, blues and rock have been his disciples and musicians Andrés Boiarsky (sax), Jorge Navarro (piano) and his son Javier Malosetti (bass and drums) have been part the prestigious “Staff” Teacher.
Jazz greats of the world also came as American guitarists Larry Coryell and Chuck Wayne, Karlheinz Miklin Austrian saxophonist and violinist Didier Lockwood French and others to give clinics and educational concerts.
In 1971 he recorded the album “The Georgians Jazz Band” for Odeon Pops and in 1972 forms the SWING group 39, the legendary set style “Hot-Club de France”which he co-founded and who recorded 6 albums for seals Microfon and RCA-Victor, begins an era of constant touring around the inside and outside of the country.
SWING 39 was built by Walter Malosetti with the bassist Héctor Basso, clarinetist Carlos Acosta, and guitarists Ricardo Pellican (nephew and disciple of Walter) andMarcelo Buscio, latter with Carlos Acosta, away from the later group’s fourth album incorporated then the violinist Héctor López Furst.
That same year he recorded the second album by The Georgians Jazz Band and “German 72” with the great Oscar Alemán.
In 1973 they recorded the first album SWING 39 and participate as a guest on two tracks on the eponymous debut album by David Lebon.
In 1975 he wrote and published “Bases for guitar improvisation” the first book in a prolific collection dedicated to teaching your instrument, also recorded two albums with SWING 39.
In 1985 they released their “Method for guitar initiation” and “Jazz Music for Spanish guitar”. Paco de Lucia praised this work.
In 1986 he presented again with SWING 39 and the Chamber Orchestra of the Mayo Foundation at the prestigious Teatro Colon, the first time a group of jazz acts in that theater.
In 1987 he joined the Buenos Aires Big Band drummer and percussion Leon Giacobson and shape with his son Javier Malosetti a quartet .
In 1991 took over a column called “History of Jazz” in the journal of musical outreach to students “The Musiquero”.
This year, opening a training studio guitar alongside his nephew Raúl Malosettiguitarist.
In 1997 he was invited to participate in a festival of gypsy jazz in the City Theatre Cosmopolite in Oslo (Norway) by guitarist and producer Jon Larsen, doing two shows with Norwegian and Argentine musicians.
Since 2002 she performed countless tours of Spain with great success, playing with major European and Argentine musicians in theaters, clubs and Jazz festivals Madrid, Barcelona, Valencia, etc.
164-Wawau Adler (1967-alive)
Josef Wawau Adler was born in Karlsruhe, Germany. He is a gypsy jazz guitarist. Born into a family of Sinti gypsies, he is heavily influenced by Django Reinhardt, but also Wes Montgomery, Charlie Parker, Pat Martino and George Benson.
165- Werner Neumann (1964-alive)
Werner Neumann was born in Duisburg, Germany. He is a jazz guitarist and music lecturer.
Neumann grew up in Gelnhausen, where he took his first guitar lessons, before studying music at the University of Cologne. He then spent a year studying jazz guitar at the Musikhochschule Arnheim and finally studying jazz guitar at the Musikhochschule Köln. He took additional lessons with great guitarist such as: Pat Metheny, Attila Zoller, Mick Goodrick, Scott Henderson, Frank Gambale, ,and Robben Ford. Moreover he took lessons from David Liebman (Flautist and saxophonist),Michael Brecker (sax)and Hal Galper (pianist) and Adam Nussbaum (drums),
From 1990 to 1995 he taught at the Münchner Gitarreninstitut, until 1997 at the University of Mainz and until 2006 at the Musikhochschule Köln, as well as between 2003 and 2005 at the Universität der Künste Berlin.
In 2005 he became a professor at the Hochschule für Musik und Theater in Leipzig, moving there in 2006.
Neumann has worked as sideman with artists such as Richie Beirach, Dennis Chambers, Keith Copeland, Yves Eigenrauch, John Goldsby, Dave King, Simon Nabatov, Dick Oats, Bill Ramsey, Ronny Verbiest and Jiggs Whigham.
From 1988 to 2006 he was guitarist with Wolf Maahn.
He has recorded over forty albums as band leader and sideman.
In 2001 he published the educational work Die Jazzmethode für Gitarre – Solo (Schott-Verlag).
166-Ximo Tebar (1963-alive)
Ximo Tebar was born in Valencia (Spain) in 1.963, and at the age of seven began playing the guitar, first studying flamenco.
At seventeen he decided to turn professional, and since then has preformed in concerts and recordings in Spain, Europe and America, leading his own group “Ximo Tebar Band” or accompanying prestigious soloists, featuring amongst others: Johnny Griffinn, Benny Golson, Eddie Henderson, Tete Montoliu, Lou Donaldson, Jan Ackerman, Lou Bennett, Louie Bellson, etc.
In December 2003 he moved to New York beginning his introduction in Manhattan jazz scene playing with Michael P. Mossman, Dave Schnitter and Arturo O’Farril in jazz clubs like; Birland, Smoke, Fat Cat, Up & Over, etc.
In April 2003 he started working by the hand of Arturo O’Farril with the Chico O’Farril Afro Cuban Jazz Orchestra playing every Sunday at Birland Jazz Club.
In March 2004 he releases his eleveth recording “The Champs” (The Jazz Guitar Trio, Vol. 4), featuring Joey DeFrancesco and Idris Muhammad. The critics unanimously acclaim it as an outstanding work describing his work as “A masterful interpretation” Aeropuerto Jazz Magazine, “A unique scheme” World Music Magazine.
In July 2004 he touring playing at important festivals such as San Sebastian Jazzaldia, Pori Jazz, Galapajazz, etc.
Currently Ximo Tebar live in New York and he is the President of Promusics – The Valencian Association of Jazz Musicians.
He spends his time touring, recording, producing, teaching master-classes, running his record company (Omix Records) and his music school (Aula de Musica Alameda) where he teaches guitar and coordinates the Department of Modern Music.
167-Zachary Breaux (1960-1997)
The jazz-funk in last period of Grant Green influenced Lee Ritenour & Zachary Breaux
Zachary Charles Breaux was born in Port Arthur, Texas was an American jazz guitarist, influenced by George Benson and Wes Montgomery and best remembered for his soul-jazz work. He played with many notable jazz musicians during his career, including Roy Ayers, Stanley Turrentine, Jack McDuff, Lonnie Liston Smith, Dee Dee Bridgewater and Donald Byrd.
He began playing at the age of 9 and after graduating from Lincoln High School, he studied music composition at University of North Texas College of Music where he had been a member of the One O’Clock Lab Band.
He was trying to save the life of another swimmer, Eugenie Poleyeff, caught by a riptide. (corriente de agua). Breaux, who saved a man from drowning while on tour in Italy in 1988, was vacationing on Miami Beach, Florida, with his family when he went to help the swimmer. Breaux was also caught by the current and suffered a heart attack. Breaux was pronounced dead at the Miami Heart Institute. Poleyeff also died.