Garrison Fewell: Readers' responses to "Jazz Improvisation…"

Thank you, Mr. Fewell for your wonderful book, Jazz Improvisation for Guitar.

I went to Berklee in the late 70's and have been playing and teaching for many years. I'm always looking for new books to study from for me and my students. I have hundreds of books and maybe I'll get one lick from each, but your book is filled with the most beautiful and expressive lines. After studying your book one night I went to a late night jam session and out of the blue I used your techniques and man, I've never sounded better. The lines you taught are lines that have been played since the beginning of jazz but you broke it down using tab and something I've heard all the masters play became underneath my fingers. Thank you again for writing such a fantastic book for me and my students in the jazz world.

If you want to hear your influence on my play, please go to : http://www.myspace.com/michaeltgeorge.

Thank you again,

I am a 49 year old guitar teacher from Cornwall, England. I recently came across your book, "Jazz Guitar Improvisation" and I just want to say what a fantastic book it is! It is so helpful. It is helping me to develop my playing so much and leading me to an even greater enjoyment of the instrument.

In the book I'm just starting the bit about voice leading in major keys and I'm beginning to see what the rhythm guitarist is seeking to do when comping. The CD backing tracks are very useful and I'm beginning to play one or two nice bits. The parts about direct and indirect approach etc are very useful because of the importance of seemlessly putting it all together. This takes alot of doing but I mean business.

Dear Mr.Fewell,
I am a jazz “dilettante” guitarist. I have just finished “jazz improvisation for guitar” and I’m very gratefull to you for this clear and usefull manual. It is up-to-date the best guitar book I’ve studied (and I’m a really good Amazon client). I know that I’ll need years to employ this knowledge but I’m encouraged to do it. Thank you again.

Dear Mr Fewell,
I recently purchased your Berklee Press book "Jazz Improvisation, A Melodic Approach". I believe this may be the best instructional book I've seen yet on jazz guitar. Most books I've bought have been of either the "theory/scale" or "collection of licks" variety. What impressed me about your book was that both of those topics are covered, but in a "real world", usable way. All of the examples can be put to use in any standard tune. Even the practice progressions are invaluable examples of comping behind a soloist, and will give me hours of inspiration. I have enjoyed listening to you demonstate the solos & comping on the CD with your warm tone and tasteful playing. The original tune as the last track was an added bonus and as a result I will soon be picking up some of your CDs.

It should come as no surprise that this book is as good as it is, I enjoyed your lessons in Guitar Player magazine a few years back.

Hi Mr. Fewell, I felt I had to contact you. I have literally every jazz guitar, jazz improv., play along and etude book on the market (hundreds). This is the first time I am contacting an author. I think this book is fantastic. Direct, to the point, and full of useful info. The sound and trio playing are great.

I’m a 47 year old guitarist who just 2 months ago retired from my regular gig to spend more time practicing and playing. As an advanced amateur, I'm trying to make up for lost time and would like to get on the fast track. Your samples of Kenny B., Jimmy Raney, Grant Green and Wes are the real deal.

Hi Garrison, I picked up your book a few weeks ago. Although having played jazz guitar for a number of years there were still more questions than answers. Your book may not have all the answers but it certainly will fill a lot of holes I had in my knowledge. Many thanks for your efforts in creating an educational guitar approach that is anchored in the real world.

Rating: ***** 5 Stars
Many of us learned to improvise by running scales and modes, and then applying them to different chords in jazz progressions. The problem with that approach is that many of our solos sound like scale exercises instead of improvisation. Meanwhile, instead of learning the fretboard, we learned patterns. Now all of that may get you by, but you will always feel limited. The difference between this book and so many of the others is the triad approach: learning the basic chords and extending them musically in your solos. Study this material and your solos will sound more like jazz and less like a finger exercise. Learning the fretboard is a natural byproduct of this study. This book is not for beginners, but most intermediate players will be able to jump in and learn right away. Highly recommended.


	Readers' reviews and responses to ""Jazz Improvisation, A Melodic Approach" Thank you, Mr. Fewell for your wonderful book, Jazz Improvisation for Guitar. I went to Berklee in the late 70's and have been playing and teaching for many years. I'm always looking for new books to study from for me and my students. I have hundreds of books and maybe I'll get one lick from each, but your book is filled with the most beautiful and expressive lines. After studying your book one night I went to a late night jam session and out of the blue I used your techniques and man, I've never sounded better. The lines you taught are lines that have been played since the beginning of jazz but you broke it down using tab and something I've heard all the masters play became underneath my fingers. Thank you again for writing such a fantastic book for me and my students in the jazz world. If you want to hear your influence on my play, please go to : http://www.myspace.com/michaeltgeorge. Thank you again, Michael George I am a 49 year old guitar teacher from Cornwall, England. I recently came across your book, "Jazz Guitar Improvisation" and I just want to say what a fantastic book it is! It is so helpful. It is helping me to develop my playing so much and leading me to an even greater enjoyment of the instrument. In the book I'm just starting the bit about voice leading in major keys and I'm beginning to see what the rhythm guitarist is seeking to do when comping. The CD backing tracks are very useful and I'm beginning to play one or two nice bits. The parts about direct and indirect approach etc are very useful because of the importance of seemlessly putting it all together. This takes alot of doing but I mean business. MANY THANKS!!! Matthew Whittingham Cornwall, England Dear Mr.Fewell, I am a jazz “dilettante” guitarist. I have just finished “jazz improvisation for guitar” and I’m very gratefull to you for this clear and usefull manual. It is up-to-date the best guitar book I’ve studied (and I’m a really good Amazon client). I know that I’ll need years to employ this knowledge but I’m encouraged to do it. Thank you again. Francisco José Martín Peña Dos Hermanas Spain Dear Mr Fewell, I recently purchased your Berklee Press book "Jazz Improvisation, A Melodic Approach". I believe this may be the best instructional book I've seen yet on jazz guitar. Most books I've bought have been of either the "theory/scale" or "collection of licks" variety. What impressed me about your book was that both of those topics are covered, but in a "real world", usable way. All of the examples can be put to use in any standard tune. Even the practice progressions are invaluable examples of comping behind a soloist, and will give me hours of inspiration. I have enjoyed listening to you demonstate the solos & comping on the CD with your warm tone and tasteful playing. The original tune as the last track was an added bonus and as a result I will soon be picking up some of your CDs. It should come as no surprise that this book is as good as it is, I enjoyed your lessons in Guitar Player magazine a few years back. Keith Fraser, Hawaii Hi Mr. Fewell, I felt I had to contact you. I have literally every jazz guitar, jazz improv., play along and etude book on the market (hundreds). This is the first time I am contacting an author. I think this book is fantastic. Direct, to the point, and full of useful info. The sound and trio playing are great. I’m a 47 year old guitarist who just 2 months ago retired from my regular gig to spend more time practicing and playing. As an advanced amateur, I'm trying to make up for lost time and would like to get on the fast track. Your samples of Kenny B., Jimmy Raney, Grant Green and Wes are the real deal. Pete Walshak, New York Hi Garrison, I picked up your book a few weeks ago. Although having played jazz guitar for a number of years there were still more questions than answers. Your book may not have all the answers but it certainly will fill a lot of holes I had in my knowledge. Many thanks for your efforts in creating an educational guitar approach that is anchored in the real world. Juergen Mueller, Toronto, Canada Rating: ***** 5 Stars Many of us learned to improvise by running scales and modes, and then applying them to different chords in jazz progressions. The problem with that approach is that many of our solos sound like scale exercises instead of improvisation. Meanwhile, instead of learning the fretboard, we learned patterns. Now all of that may get you by, but you will always feel limited. The difference between this book and so many of the others is the triad approach: learning the basic chords and extending them musically in your solos. Study this material and your solos will sound more like jazz and less like a finger exercise. Learning the fretboard is a natural byproduct of this study. This book is not for beginners, but most intermediate players will be able to jump in and learn right away. Highly recommended. Reviewed by Frank Zito www.wholenote.com
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