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Joe Pass Jazz LinesDVD (1991)

Joe discusses the scales and arpeggios he uses whenimprovising. As notated in the accompanying booklet, Joe alsodemonstrates nonstop improvised lines for major 7th, minor7th, and static and altered dominant 7th chord types, plustheres a special section on turnarounds.

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Some remarkable things he says:

3:30: how I look at chord changes: very basic which ismajor, minor and dominant 7th (including diminished andaugmented)4:38: simplify your thinking so you can build lines that areeasier to picture or hear with your ear12:00: in many instances, repeating a phrase an octavelower is done a lot because its an easy way to make theline longer13:00: nice example of a #11 line (Joe Pass calls it a pure11)14:00: the objective is to have a style of playing and anidentity to your playing so that when someone hears itthey know that its so and so playing14:50: if you cant repeat the line it means its not in yourhead, hands or heart (yet) so it doesnt make any musicalsense15:42: when you have a I chord for a bar you can alwaysuse a V chord as a movement23:55: a lot of playing is dictated a lot by forms that youplay from (and see)23:27: rather than have a lot of information that istheoretical (it works but you are always thinking aboutwhat you are playing) it might be a good idea to observea little bit what you are doing with your ngers and lookat it as if you are looking at a puzzle trying to gure outwhat it is you are looking at29:20: if I see a movement like ||: ii7 V :|| I completelydisregard the ii7 chord. It doesnt enter my thinking34:05: the only things you can alter in a V7 chord are theb9 #9, b5 and #5

And here is the booklet: Joe Pass Jazz Lines (4Mb .pdf le)

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Joe Pass (born Joseph Anthony Jacobi Passalaqua, January 13,1929 May 23, 1994) was an Italian-American jazz guitarist of Sicilian descent. He is generallyconsidered to be one of the greatest jazz guitarists of the 20thcentury. His extensive use of walking basslines,melodic counterpoint during improvisation, use of a chord-melody style of play and outstanding knowledge of chordinversions and progressions opened up new possibilities forjazz guitar and had a profound inuence on future guitarists.

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