Відео

Oh yeah. I'm getting.

Genius

Chords are wrong

man this would have been ten times easier with the 8va sign

Very nice. A couple things I noticed while reading through. Bar 5: 7th 16th-note is D natural (instead of D#); Bar 10: I'd attach a G natural grace-note to the 3rd 16th-note of beat 3 (the F#); Bar 11: the last septuplet in beat 3 is a Bb (instead of B natural)); Bar 25: 1st grace-note and 3rd 16th-note are F naturals (or E#'s if you prefer).

Great as always! Hoping for some Coryell

Mr. Grasso is like Art tatum and Paganininn had a kid.

Epic!

Coooool!

Wonderful. Excellent work!

Thank you so much for this!!

A legato touch at that tempo is quite an accomplishment on guitar.

Been working at this by ear, but this will speed things up significantly. THANK YOU!

think bar 193 is Gb-Bb-D to F-A-C# (I hear an F# on top but it might just be a harmonic).

What a modern blues it is!

Thanks for all your efforts, truly.

Que trabalho lindo! Parabéns pela transcrição! Sensacional!!

Great Work! Respect!

Wooooooooo!!!! YES!!

thanks for posting this. In New York City back in the late 70s I took lessons with Chuck Wayne at his house in Staten Island. - he was the consummate jazz guitarist, a very rare talent he had. He was a lovely guy as well. I was I think first year College at that point and I went to his house for an hour lesson and I’d be there for about two hours maybe 2 1/2 hours and he was as kind and incredibly adept at music as possible. A wonderful man who wrote Solar, although Miles Davis claimed that he wrote it. He had a duo with Joe Puma at that time, who was a very excellent musician and played on a couple of Billy Holiday cuts.

Beautiful my friend ❤

Are the chords same as the ones on Wes version?

Wow how lucky

⭐️⭐️⭐️⭐️⭐️

Django on an electric!

This is one of the most inspiring transcriptions iv heard in a while thank you

Joe Pass' masterful comping for Ella Fitzgerald started my life-long love affair with jazz guitar some 3 decades ago. Can't stress enough how much I appreciate these transcriptions.

Very cool, thank you!

7:39 Come on Come over Quote!

1:33 Move Quote !!

Very precise indeed however the third chord should have a Cb in the root instead of a Bb. And I don't hear an ""A" in the "Fmaj7" (not #11) a couple of bars later and think the voicing is F-C-F-C-E-G. Cheers!

that's not "I want a Little Girl" - it's "Little Girl". This is "I want a little girl": ua-cam.com/video/XzoMNIeTEC8/v-deo.html

This is fantastic!

Amazing, gorgeous song so beautifully done here

Magnifique.. c'est exactement l'enregistrement que j'affectionne depuis des décennies 🎶❤️🎶🌹

Love this tune and Eds touch wonderfull

This is going on the music stand NOW. Thanks.

I loved this exercise, are you having any else???

Thank you! I had the amazing pleasure of meeting Barney Kessel when I was a young teenager. I went to hear him at an L.A. club. Shockingly, there was lots of noise with diners talking loudly and clinking glasses. Everyone was ignoring Kessel. They clearly didn't know who he was. He looked out over the crowd and starting playing senseless sweep picking passages. No one noticed. I'm so glad I got to meet this wonderful man between sets. When he heard I was learning guitar, he handed his guitar to me to play some blues. I was embarrased given I was a total newbie. But I did play for him. What a gracious man. RIP Mr. Kessel.

Fantastico!

¡Kojonudo, tío! Saludos desde Madrid.

beautiful harmony

This is my favourite context for Barney Kessel, absolutely gorgeous & a perfect blend with Julie London & Ray Leatherwood (I think on bass?). For me - perfect. I worked out their version of Cry Me A River, I believe note for note, from audio cassette, (years ago when that was all that was available, I'm not a masochist!), it took some attempts! I knew, pretty much, no music theory then but I enjoyed the end results & learned from doing it. I wouldn't have been able to, or be able to write it out, & so beautifully as you have here, or at all. I salute you! And Thank you.

Great stuff. The intonation is fine with me and I've no problem with the tonics.

Great transcriptions but the intonation, on his high E string particularly, puts my teeth on edge. And man he's heavy on the tonics isn't he.

the syncopations would be easier to read if the downbeats where more clearly expressed. I especially point to bar 14 with the tied eighths crossing beats one and two, a flagged eighth on the downbeat of three followed by a whole note covering the and of three and the downbeat of four. This is just hard to read rhythmically.

can anyone explaing why playing Cmin7 over most of the A section works? is this common for jazz players?

Amazing!!!

In a class by himself. Untouchable technique, flow of ideas and multiple influences.

Thank you!!