@001 Christian, Charlie \ Charlie Christian was born in Dallas, Texas,
in either 1916 or 1919 (the date is not certain). He died in New York
City, March 2, 1942.

Charlie grew up in Oklahoma city with his four brothers (who were also
musicians). His father was a singer/guitarist. Charlie started his musical
career on the trumpet but, due to a chest condition, turned to the guitar
at the age of twelve. He also played the bass and the piano.  During the
early 1930's he played in his brothers' band "The Jolly Jugglers". Charlie
first experimented with the electric guitar after hearing Eddie Durham and
Floyd Smith in the mid 30s.

His reputation on the electric guitar grew quickly and jazz lovers came
from far and wide to hear his new and original guitar style. His single
note lines sounded like a mellow tenor saxophone. During these years, he
developed many original ideas into his jazz improvisations.  He used
augmented and diminished chords in a way that would later be known as Be
Bop. Though his jazz ideas were very individual, he particularly loved the
guitar style of Django Reinhardt.

In 1939, while playing with the Leslie Shefield Band, he was heard by the
influential jazz promoter John Hammond who persuaded band leader Benny
Goodman to go and hear Christian play. Goodman was at first, reluctant to
hear the young guitarist, but it took only a few bars for the great
clarinet player to recognize the Christian's special genius and talent
(after Charlie had been sneaked on stage during a break). Goodman was so
impressed that he signed him up on the spot!

After playing at night with Goodman, Charlie would go and play long into
the early hours of the morning at Mintons' club in Harlem.  Experimenting
and playing, his exciting improvisations directly influenced the now
legendary jazz artists Thelonious Monk, Dizzy Gillespie, Kenny Clarke,
Charlie Parker, and others. Fortunately, some of these sessions were
recorded for posterity on the Estoreric Label by Jerry Newman.

Late nights, and Charlie's lust for living the high life, unfortunately,
did not help his generally poor health. He had suffered from tuberculosis
for most of his life and in the summer of 1941, he suffered a serious
relapse. He was taken into Bellevue Hospital and remained there until his
death on March 2nd, 1942.

Selected recordings:

"Charlie Christian with Benny Goodman" - Columbia
"Solo Flight" - Columbia
"Celestial Express" Edmund Hall Quintet - Blue Note
"Minton Sessions" - Estoreric
"Charlie Christian-live" - Jazz Archives
"Charlie Christian/Lester Young - Together" - Jazz Archives
"King of the Guitar" - Beppo
"Trumpet Battle at Minton's" - Xanadu

@002 Reinhardt, Django \ Django Reinhardt was born in Liverchies, Belgium
on January 23rd, 1910. He died in Fontainebleu, France on May 16, 1953.

Django was born into a Gypsy family and spent his childhood travelling
through Belgium and France as a member of a caravan. In those days, he
learned to play the violin, banjo, and guitar. His early jazz playing has
been described as "Provencale, flaming in colorful decoration". A most
fascinating personality, Django was a true Gypsy. A natural musician who
did not read music, but even if he could, he would still probably have
preferred to improvise.

In 1928, on November 2, Django was involved in a serious fire which broke
out in his caravan home which was parked on the outskirts of Paris.
Returning home from playing late that night, he accidently tipped over a
candle which started a fire which engulfed the entire caravan. He and his
first wife managed to escape, but Django suffered severe burns to his body
and hands. The injury caused the third and fourth fingers of his left hand
to be left withered and unusable.

Django joined Stephane Grappelli in 1934 and they formed their historic
"Quintette du Hot Club de France". The group consisted of three guitars,
violin, and bass. Their unique sound is still imitated by many well-known
groups all over the world. Django's instrument of choice was the French-
made Maccaferri guitar which has a distinctly recognizable shape and sound
although in the later years, he often used various American-made electric
guitars which had been presented to him by the manufacturers.

As the popularity of the "Hot Club" grew, they made numerous recordings
and travelled extensively throughout Europe and Britain. American
musicians visiting Paris would always seek out and enjoy playing with the
legendary Django. Some of these musicians were: Coleman Hawkins, Benny
Carter, Bill Coleman, Dickie Wells and Rex Stewart. The "Hot Club" has
been regarded by many as the most important influence in the pioneering of
jazz in Europe and Britain up to 1945.

As with many other great men of genius, death came all too early to
Django. In May 1953, he suffered a stroke after an afternoon of fishing.
Within a few short hours, the great Django was dead. The world had lost
one of its most outstanding jazz guitarists and musicians.

One of his many compositions "Nuages" reached the hit parade in several
countries and is still a favorite solo piece for jazz guitarists.

A selection of some of the most important Django recordings:
"Reinhardt Selection" - Pathe/EMI 20 Records
"Reinhardt Selection" - Vogue 5 Records
"Django - The Later Years" - La Roulette
"Django" - Polydor
"Bruxelles 48" - Vogue

@003 Kessel, Barney \ Barney Kessel was born in Muskogee, Oklahoma on
October 17, 1923.

Music and the guitar were Barney Kessel's main passions by the time he was
twelve, in spite of having parents who were not keen on this idea.  He
bought his first guitar with savings earned by selling newspapers.  Barney
was virtually self-taught with the exception of a few basic guitar lessons
he received at school. At fourteen, he was the only white musician playing
in a band in Muskogee.

Barney's reputation was already so great that when Charlie Christian came
to Oklahoma City to visit his family, he dropped by to hear him.  After
meeting and playing with Christian, Barney became determined to become a
professional musician and in 1942, headed for Hollywood. Once there, he
took a job as a dishwasher, but soon his talent as a musician shone
through and he eventually was hired to play with the Chico Marx orchestra,
led at the time by drummer Ben Pollack. After touring for a year, Barney
settled in Los Angeles, where he became the number one guitarist on the
radio networks.

He appeared in the historic jazz film "Jammin' the Blues" - (1944), the
only white musician to have this honor. Over the next few years, he played
with many famous big bands, including those of Charlie Barnett, Artie
Shaw, Benny Goodman, Hal McIntyre, and Shorty Granz' "Jazz at the
Philharmonic" touring group in 1947. But Barney longed to return to the
jazz scene and subsequently began to record and tour with the Charlie
Parker group.

In 1952, Barney joined the Oscar Peterson trio, which eventually gave him
the world-wide recognition that repeatedly made him winner of every
leading jazz poll, including those of "Downbeat", "Metronome", "Esquire",
"Playboy", and "Melody Maker". Barney's first LP under his own name was
recorded in 1953. It was the first of nearly 40. All Barney's albums have
been very influential to jazz guitarists.  Particularly outstanding are
the original Poll Winner's albums with Shelley Manne on drums and Ray
Brown on bass. These records introduced the "guitar trio" (guitar, bass,
drums) as a complete and individual sound - a great step forward in the
evolution of the jazz guitar. His "moving voice" guitar chordal backing
for Julie London's "Cry Me A River" was a smash recording in the 50's.

Barney remained in the Hollywood studio scene enjoying the very lucrative
work of films and television shows until 1969 when he gave this up in
order to dedicate himself to the music and the way of life he loves. He
now tours the world jazz circuit for much of the year, playing to packed
houses wherever he goes. The rest of his time is devoted to conducting his
famous seminar, "The Effective Guitarist" in many countries, making new
recordings, and composing. He also writes a regular column in "Guitar
Player" magazine and has worked for the U.S.  State Department behind the
Iron Curtain as "Ambassador of Jazz".

Selected Records:
"Easy Like" - Contemporary
"Plays Standards" - Contemporary
"To Swing or not to Swing" - Contemporary
"The Poll Winners" No. 1 - Contemporary
"The Poll Winners Ride Again" - Contemporary
"The Poll Winners Three" - Contemporary
"The Poll Winners-Exploring the Scene" - Contemporary
"The Poll Winners-Straight Ahead" - Contemporary
"Just Friends" - Sonet
"Plays Carmen" - Contemporary

@004 Pass, Joe \ Joe Pass was born Joseph Anthony Jacobi Passalaqua in New
Brunswick, New Jersey, on January 13, 1929.

Joe Pass was the eldest of four children. He spent his youth in the
Italian area of Johnstown, Pennsylvania. His father, Mariano Passalaqua,
was a steel mill worker. Joe began playing the guitar at the age of nine
and took his first lessons from friends of his father.  His father, always
encouraging, saw that Joe used most of his spare time for practice while
he took his weekly lessons. Joe was already playing gigs for weddings and
dances by the time he was fourteen.

He was completely captured by the sounds of Be Bop as he grew into his
'20s, at which time he moved to New York where he could listen to the
finest jazz musicians of that time. Unfortunately, while digging the music
scene, he became addicted to drugs. For the next twelve years, until about
1960, his brilliance was smothered under the influence of drugs. Before
entering Synanon, a center for drug rehabilitation, he was arrested
several times and served time for his addiction.

While living at Synanon, he recorded with a group made up of other
musicians living there. It was entitled "Sounds of Synanon" and when the
jazz critics heard it, they raved about Joe's playing. A stay of three
years totally cured him of the habit and he proceeded to get on with his
musical career.

Fully cured, he left Synanon and began working in and around the Los
Angeles area with many top jazz players. He became involved in the studio
scene in 1968 and played sessions for about five years or so before being
persuaded to join Norman Granz's world jazz concert tours. Granz
immediately recognized Joe's genius and signed him to a contract with his
Pablo recording company.

The past few years have seen a meteoric rise to fame for Joe Pass under
the guidance of promoter Norman Granz. He is often titled the "Virtuoso of
the Jazz Guitar" and also the "Art Tatum of the Guitar".  His unique style
of solo playing can certainly be linked to the virtuoso piano style of the
late Art Tatum. With the Pablo label, Joe Pass not only records solo but
plays with many different lineups. In all areas of guitar playing, Joe now
has become one of the few all time greats of the Jazz Guitar. His albums
"For Django" and "Virtuoso" are definitely required listening.

Selected Records:
"Sounds of Synanon" - Fontana
"A Sign of the Times" - World Pacific
"Catch Me" - Fontana
"For Django" - Fontana
"Intercontinental" - MPS CRM
"Take Love Easy" with Ella Fitzgerald - Pablo
"Duke Ellington's Big 4" - Pablo
"Portrait of the Duke" - Pablo
"Dizzy Gillespie's Big 4" - Pablo
"Two for the Road" with Herb Ellis - Pablo
"Seven come Eleven" with Herb Ellis - Pablo
"Virtuoso" - Pablo
"Take Love Easy" (Ella Fitzgerald) - Pablo
"Virtuoso 2" - Pablo
"Tudo Bem" - Pablo

@005 Montgomery, Wes \ Wes Montgomery was born John Leslie Montgomery in
Indianapolis, Indiana, on March 6, 1925. He died on June 15, 1968.

Most of the world's best guitarists began playing the instrument in their
early years. Not so, in the case of Wes Montgomery, who took up the guitar
at age nineteen. In 1942, inspired by recordings of the great Charlie
Christian, he decided to take up the guitar. His personal style was to
play single notes, octaves, and chords. Wes developed a technique in which
he used his thumb instead of a pick.

Wes needed to have a quiet method of practicing so as not to disurb the
neighbors. This, of course, is what gave him his unique and distinctive
sound. After playing for only six months, he was hired by a band to only
play Charlie Christian's solo's - note for note.  Wes didn't read music!
However, his magnificent musical ear showed it's strength and helped his
rapid progress. With his brothers Monk on bass, and Buddy on piano, the
Montgomery Brothers soon became a vital part of the Indianapolis jazz
scene.

Until 1959, Wes remained virtually unknown outside Indianapolis, even
though he spent two years on the road with the renowned Lionel Hampton
Band. While touring with this band he acquired the nickname of "Rev"
Montgomery because he was a teetotaller.

Wes was a devoted family man and having seven children, the usually
inevitable "life on the road" of most musicians certainly did not appeal
to him. He did, however, have an insatiable thirst to play. He would work
a day gig from 7 a.m. until 3 p.m., grab a brief rest, then head off to
his first playing gig in the nearby Turf Bar from 9 p.m. 'til 2 a.m., and
finally play more jazz in an afterhours club, the Missile Room, from 2:30
a.m. 'til 5 a.m.  Whew!

On a chance visit for a one night gig to Indianapolis, jazz saxophonist
Cannonball Adderly heard Wes in the Missile Room, and was so knocked out
with Wes's brilliance, that he immediately phoned Orrin Keepnews (then
head of the very successful "Riverside" jazz recording company) and urged
him to sign Wes up immediately. Coincidentally, Keepnews had just read an
article in "The Jazz Review" which said: "The thing that is most easy to
say about Wes Montgomery is that he is an extraordinary, spectacular
guitarist. Listening to his solos is like teetering continually on the
edge of a brink. His playing at its peak becomes unbearably exciting to
the point where one feels unable to muster sufficient physical endurance
to outlast it."

Within days, Keepnews was to listen to Wes at the Turf Bar and the Missile
Room and without delay, signed him up to Riverside. His first record was
done in New York on October 5th and 6th, 1959.

Wes' playing totally captured audiences and every record was eagerly
awaited by his growing number of fans. He began to dominate the jazz polls
in the '60s. One of the strongest quartets consisted of pianist Wynton
Kelly, bassist Paul Chambers and drummer Jimmy Cobb. Their album "Smokin'
at the Half Note" is a must for listeners.  Wes toured extensively,
headlining at festivals all over the States and Europe, breaking
attendance records wherever he played. Returning from a tour on June 15,
1968, Wes suffered a fatal heart attack at the age of 43.

Selected Records:
"The Trio" - Riverside
"Boss Guitar" - Riverside
"Moving Along: - Riverside
"Willow Weep for Me" - Verve
"Movin' Wes" - Verve
"Bumpin" - Verve
"Smokin' at the Half Note"
"Full House" - Riverside
"Tequila" - California

@006 Hall, Jim \ Jim Hall was born James Stanley Hall in Buffalo, New York
State on December 4, 1930.

As a child, Jim Hall was surrounded by music. His Grandfather played the
violin, his mother played the piano and an uncle, the guitar. It was his
uncle who influenced Jim to take up the guitar at the age of ten. He began
taking guitar lessons and soon it was evident that he had talent. Although
it was against union rules, he was playing in dance bands professionally
at the age of thirteen.  Like so many of today's jazz greats, Jim was
greatly influenced by the sounds of the great Charlie Christian.

Jim's family moved to Cleveland when he was sixteen where he studied and
obtained a degree from the Cleveland Institute of Music.  It was around
this time that Jim discovered the guitar genius of Django Reinhardt and
this obviously affected the further development of his guitar style. He
decided to move to Los Angeles because he was not happy with the economic
prospects as a musician in Cleveland. In Los Angeles, he felt he could
continue to studies at U.C.L.A. and earn a living at the same time.

Chico Hamilton, famed jazz drummer, was busy forming his first outstanding
Quintet. John Grass, the late french horn player, recommended Jim for the
job. He got the position with this highly successful group, staying with
it for one and a half years. This was his first step up the ladder to the
top of the list of great jazz guitar players. At the tail-end of 1959, Jim
joined up with another very successful group, the Jimmy Giuffre trio. This
too was a very innovative group and Jim won well-earned praise from
critics and jazz fans the world over.

Jim became known all over the world as a jazz guitarist of very high
caliber. He went on to play and record some very fine albums with Bill
Evans, Red Mitchell, Sonny Rollins, Lee Konitz, Art Farmer, and the great
Ella Fitzgerald. A very notable duo album with Bill Evans, "Undercurrent"
stands out as one of Jim's best.

In the mid '60s, the popularity of jazz in general, seemed to wane and
during this time Jim Hall seemed to drop from sight as did many other
great players. However, since the beginning of the '70s, he has once again
risen to the top of the pack. In the past few years, Jim has made some
very outstanding albums with bassist Ron Carter as well as various other
artists. These are definitely among the best guitar music available today
and show that he certainly lives up to the title he is often referred to:
"The Poet of Jazz".

Fans consider him to be one of the most lyrical and inventive musicians of
today. Jim lives and works out of New York City at the present time and
plays at jazz festivals and all of the well-known jazz clubs in that city.
In his current group, Jim has expanded to a quartet which now includes a
piano.

Selected Records:
"Chico Hamilton Quintet" - Vogue
"Jim Hall Trio" - Vogue
"Undercurrent" (duo with Bill Evans) - United Artists
"Intermodulation" another duo with Bill Evans) - Verve
"Jim Hall Live" - Horizon A & M
"Live in Tokyo" - A & M Horizon
"Jim Hall/Red Mitchell Duo" - Artists House
"Alone Together" (Ron Carter) - Milestone
"The Bridge" (Sonny Rollins) - RCA Victor

@007 McLaughlin, John \ John McLaughlin was born in Kirk Sandell near
Doncaster, Yorkshire, England on January 4, 1942.

John McLaughlin's mother was a violinist and his three brothers were also
musicians. His background was in classical music. At nine years of age, he
studied the piano. He took lessons for three years.  At age twelve he got
his hands on a guitar belonging to one of his brothers. His first
influences were the blues stylings of Muddy Waters, Lead Belly and Big
Bill Broonzy.

At fourteen, John first heard Django Reinhardt and soon after, Jim Hall,
Barney Kessel, and Tal Farlow. His music, as one can see, had taken quite
a different direction. Soon, he organized his own band at school and began
listening to the music of Miles Davis and John Coltrane as well as the
works of such classical composers as Debussy and Bartok. All of these
elements were to lead John to his distinctive and individual style.

The next six years would see John gaining experience playing all styles of
music in all types of groups; rhythm and blues, mainstream, and avant
garde. At twenty-one, he played his first major gig with the Graham Bond
organization. Ginger Baker and Jack Bruce were other players in this
group. At this time, he also played with Georgie Fame and Brian Auger. It
was during these years in London that John began experimenting with the
kinds of electric sounds and concepts that these days are regarded as
average or everyday things by rock/jazz guitar players.

In 1968, McLaughlin left England for the United States. It wasn't long
before drummer Tony Williams hired him to play with his group "Lifetime".
Williams was a great admirer of McLaughlin's vigorous and original style.
So was the great Miles Davis who later recorded several times with John.
In fact, Miles named a tune, "John McLaughlin".

Meeting the guru, Sri Chinmoy gave John a change of attitude towards life
and gave him the motivation to form his own group and to play a new style
of music which was greatly influenced by the East. The "Mahavishnu
Orchestra" was formed in which John was the driving force, usually playing
his specially built, double-necked guitar. Many people loved the exotic
sounds and rhythms of this group and believed them to be one of the best
things to happen to jazz and rock.

Since he first formed the "Mahavishnu Orchestra", John's love for the East
and it's cultures have further influenced his playing. The group "Shakti"
which is made up of Indian musicians and singers has caused even more of a
sensation than his original "Mahavishnu Orchestra". John plays on a custom
built acoustic guitar by Gibson which incorporates "drones" which can be
found on Eastern instruments.

John remains very active playing at festivals and concerts all over the
world.

Selected Records:
"Bitches Brew" with Miles Davis - Columbia
"Extrapolation" - Polydor
"My Goals Beyond" - Douglas
"Natural Elements" (Shakti )- CBS
"John McLaughlin Electric Guitarist" - CBS
"Spaces" (Larry Coryell) - Vanguard
"In A Silent Way" (Miles Davis) - Columbia
"Inner Mounting Flame" (Mahavishnu Orchestra) - Columbia

@008 Metheny, Pat \ Pat Metheny was born in Lee Summit, Missouri on August
12, 1954.

Pat Metheny is known for the "sound" which he created in the '70s. It
consists of a combination of digital delay and chorus to produce a
shimmering, sweet effect. The more traditional guitar sound was a much
dryer sound. His playing style combines mid-Western country with Ornette
Coleman.

Pat Started on the guitar at the age of 14 and was influenced by trumpeter
Miles Davis as well as guitarist Wes Montgomery. While he was still in
high school in Kansas City, Metheny played in various jazz groups. He won
a "Downbeat" magazine scholarship to a stage band camp. Here he met Atilla
Zoller who invited him to New York to see and hear the New York jazz scene
at first hand.  This visit made Pat decide that he wanted to be a jazz
musician.

After leaving school, Pat went to the University of Miami where he taught
guitar for a year, as well as doing club and studio work. His first major
break came when he met vibist Gary Burton in Wichita, Kansas.

Of this meeting, Burton says: "Pat introduced himself and said he was from
Lees Summit, Missouri. He also said he knew most of my group's tunes and
wanted to sit in. My reaction was: Is he kidding? This kid who looked
about fourteen, all smile, teeth everywhere, there in the middle of
Kansas?). Then, he proceeded to say how one of my early records (with Bob
Moses, in fact), had first influenced him to take up the guitar and try
jazz music. A great compliment, of course, but I was still skeptical and
feeling older by the minute. But after I heard him, I had to admit he
played pretty well; an incredible blend of Missouri, hip, chops, and all
those teeth".

"Well, you just can't help liking this kid, and he is persistent. He kept
turning up, one place or another, and soon, Pat moved to Boston - guitar
heaven, or the opposite, depending on your viewpoint (there are more
guitarists in Boston than anywhere on earth)".

At the time, Mick Goodrick was playing guitar in Burton's group, but
Metheny was added as the second guitar. Burton says: "Since then Pat's
already impressive talent has been growing wonderfully, knocking out
everyone wherever we go". Pat taught for a period at Berklee School of
Music and then started his own group with friend and pianist Lyle Mays.

They went on to make many very successful albums. One of Pat's most
memorable albums is "80 / 81" with Michael Brecker, Dewey Redman, bassist
Charlie Hayden, and Jack DeJohnette. He teamed up with Ornette Coleman,
one of his main musical influences for the album "Song X". These days, Pat
is in great demand at all the major festivals and concerts. He has played
with almost all of the great current jazz players.

Selected Records:
"Bright Size Life" - Pat Metheny Trio - ECM
"Water Colors" - Pat Metheny Trio - ECM
"Pat Metheny Group" - ECM
"New Chautauqua" - ECM
"80 / 81" ECM
"Song X" - Geffen
"Letter From Home" - Geffen

@009 Benson, George \ George Benson was born in Pittsburgh, Pennsylvania
on March 23, 1943.

George Benson is known for a very straight-ahead, traditional jazz guitar
sound, as well as fine vocal capabilities. His trademark is his ability to
sing along in perfect unison with his improvised lines. His guitar style
comes from the Grant Green, Wes Montgomery school.  In his early records
George played as a sideman with Jack McDuff in the organ-trio format. This
gave him his no-nonsense, bluesy approach to playing jazz.

In 1976 his record "Breezin'" achieved world-wide sales which passed the
2,000,000 mark. He was voted by several popular and jazz polls as the
world's number one jazz guitarist. Although the bulk of the sales were to
a non-jazz audience, purchasing the record for Benson's fine vocal ability
and "in" guitar sound, there is no doubt that he opened the ears of many
young listeners to his fine jazz guitar playing and has encouraged this
audience to listen to many other fine jazz guitarists.

Benson's stepfather, Thomas Collier, was a Charlie Christian fan and he
taught George to play the ukulele at an early age. By the time he was
eight, George was already doing nightclub work with his stepfather,
singing, dancing, and also playing the ukulele.

In 1954, he began to study the guitar, borrowing guitars at friends'
houses and then playing an electric guitar made for him by his father.  By
the time he was seventeen, he was already leading his own Rock and Roll
group. Listening to records of various jazz artists including those of
Hank Garland, Grant Green, Charlie Parker and in particular, the late Wes
Montgomery, George was encouraged to turn his musical talent towards jazz.
In 1962, Jack McDuff hired George. This association lasted for three
years, giving the young guitarist valuable playing experience with top
jazz artists.

When Wes Montgomery died an early death in 1968, Benson was an obvious
choice for Creed Taylor, the producer of Wes' records.  Taylor hoped that
George's guitar sound, so similar at the time to Montgomery's jazz style,
would achieve the same popular success.

Taylor's choice was to prove right, but the huge and popular success he
had hoped for Benson did not actually happen until 1976 when Benson's
Warner Brother's record "Breezin" even surpassed all the record sales that
Wes Montgomery had ever achieved.

George, being a talented singer, allows his guitar style to often veer
towards Soul, and Rhythm and Blues music. Yet it can't be denied that he
is still is a very fine swinging jazz guitarist who can produce wonderful
single note improvisations on the guitar. Although his popular success may
mean that his full jazz potential may be overshadowed by his vocal
recordings for now, he does have the real ability to play fine jazz
guitar.

Selected Records:
"New Boss Guitar" - Prestige
"Benson/McDuff" (two albums) - Prestige
"George Benson's Cookbook" - CBS
"The Other Side of Abbey Road" - A & M
"White Rabbit" - Creed Taylor
"Breezin'" - Warner Bros.
"Weekend in L.A." (two albums) - Warner Bros.
"In Concert / Carnegie Hall" - CTI

@010 Ellis, Herb \ Herb Ellis was born in Farmersville, Texas (about 40
miles Northwest of Dallas, Texas) on August 4, 1921.

Herb Ellis was born in the same area that produced Charlie Christian,
Eddie Durham, Oscar Moore, the South West. He studied guitar at North
Texas State College in 1941. Here he met and befriended many now well
known jazz musicians including Jimmy Giuffre, Gene Roland, and Harry
Babasin. Herb joined Glen Gray's band after two years at college and in
1945, joined the Jimmy Dorsey big band for a period of three years.

Following this Herb formed his own instrumental/vocal trio called the
"Softwinds" which played together for five years. During this time Herb
wrote several successful tunes such as "Detour Ahead" and "I Told You I
Love You-Now Get Out". But the real turning point in Herb's jazz career
came when he took over Barney Kessel's seat in the Oscar Peterson Trio.
There is no doubt that during his five year stay with Oscar, and his
subsequent four years accompanying the renowned jazz singer Ella
Fitzgerald all over the world, Herb developed his musical abilities to the
fullest and became recognized world-wide as being among the elite of
modern jazz guitarists.

In fact, when Herb decided to leave the trio, Peterson decided to change
the guitar seat in his trio to drums, after experiencing a short and
unsuccessful period with Kenny Burrel on guitar. This decision was due
mainly to the impossibility for Peterson to replace Herb at that time with
any comparable guitarist.

Herb settled in Hollywood and for a time was very active in the recording
studios and on television. For many years, he was a regular member of the
Don Trenner Band which was featured on the famous "Steve Allen Show" and
was one of the most sought after musicians in the Hollywood Studios,
featured with artists such as Della Reese and Joey Bishop. He has made, in
recent times, several excellent jazz records including some with fellow
guitarists Joe Pass, Charlie Byrd, and Barney Kessel, and many other
musicians including bassist Ray Brown and pianist Ross Tomkins.

Herb is currently actively involved in jazz particularly playing at
festivals throughout the world especially in the company of fellow
guitarists Barney Kessel and Charlie Byrd, "The Great Guitars".  He
recorded a great duo record with Joe Pass for the Concord label.

Selected Records:
"Man With the Guitar" - Dot
"The All Stars" - Epic
"Hello Herbie" (with Oscar Peterson) - MPS
"Seven Come Eleven" (with Joe Pass) - Concord
"Two for the Road" (duo with Joe Pass) - Pablo
"Great Guitars" (Vol. 1 & 2) - Concord
"Soft and Mellow" - Concord
"The Oscar Peterson Trio" - Verve

@011 Ritenour, Lee \ Lee Ritenour was born in Hollywood, California on
November 1, 1952.

Lee's roots are in jazz and rock. His sound has featured his trusty Gibson
335 (with a light string setup) for many years, although, lately he has
recorded with a heavier setup: e.g.: on his album "Stolen Moments". His
playing is always melodic, sometimes featuring an overdrive sound.

Regarded by many musicians as one of the most musically talented
guitarists based in Los Angeles, Lee began to play the guitar at the age
of eight and diligently poured himself into intense study of the
instrument. By the time he was twelve, he was already featured in a
nineteen piece band called "The Esquires" and at seventeen, he quickened
his progress on the guitar by studying with jazz guitarists Joe Pass and
Howard Roberts, as well as classical guitarist Christopher Parkening.

Lee's first major professional break came when he joined the Sergio Mendes
band, "Brazil 66". Travels with this band took him to such far off places
as Japan. On his return to Los Angeles, he was often featured with
guitarist John Pisan at "Dante's" which, every week, had a regular
"guitar-night".

Lee became very active as a Los Angeles studio musician and his youthful
vigorous, jazz/rock style is very much in demand for recordings. After the
death of Jack Marshall, Lee took on the tutorship of Marshall's guitar
workshop at the University of Southern California. Some of the many top
musicians with whom Lee has recently recorded are Dave Grusin, Herbie
Hancock, Peggy Lee, Gato Barbieri, and Oliver Nelson.

On many of his records, he has teamed up with pianist, producer Dave
Grusin, notably on "The Captain's Journey". His more recent album, "Stolen
Moments" features a more traditional guitar approach with less of the
overdrive sound. Lee is a very accomplished classical guitarist and he
also enjoys playing his electric classical at concerts.

Selected Records:
"First Course" - Epic
"Captain Fingers" - Epic
"Friendship" - Electra
"Feel the Night" - Electra
"Guitar Player" - MCA
"The Captains's Journey" - Electra
"Gentle Thoughts" - JVC
"Stolen Moments"

@012 Paul, Les \ Les Paul was born in Waukesha, Wisconsin, on June 9,
1916.

Les Paul, is today, one of the most well known names among the millions of
guitarists throughout the world. This is partially because of his
development of multi-track recording and the many solid body electric
guitars designed by Les and made by the Gibson company in the U.S.A..
However, many people still don't realize that Les Paul is also an
outstanding guitarist who won many jazz polls in the late '40s.

Les Paul fell in love with the guitar at an early age. He was self taught
both on the harmonica, which he played mounted on a harness so that he
could play both instruments simultaneously. His first professional work
was really as a "one man band", playing for tips at roadside restaurants.
He used to call himself "Rhubarb Red" and his reputation soon earned him
some local radio broadcasts, particularly when he teamed with Joe
Wolverton, whose stage name was "Singing Joe".

In the early '30s, he left for Chicago where his obvious natural talent
earned him many jobs in the various local radio stations. His dual ability
to play country and western under the name of "Rhubarb Red", and jazz as
Les Paul, ensured that he was kept very busy.

It is interesting to note that in a 1934 "Gibson Guitar" catalogue, he is
shown as a Gibson guitar user, but under the name of "Rhubarb Red".  After
five years in Chicago, Les move to New York where he had his own trio in
which he played electric guitar. This trio (which included George Atkins,
Chet Atkins' brother) appeared with Fred Waring and his Pennsylvanians. By
the mid '40s, he was regarded as one of America's foremost jazz guitarists,
obviously greatly influenced by Django Reinhardt, and he was chosen to
appear in Norman Granz's "Jazz at the Philharmonic".

Besides the obvious importance of his exceptional development of the
solid-body electric guitar, Les Paul is also renowned for his brilliant
multi-track guitar recordings with singer Mary Ford. His first experiments
into this field began as early as 1937, but it was not until 1946, under
the persuasion of the late Bing Crosby, that Les built his own studio to
develop and perfect his multi-track recording techniques. Multi-track
recording is part and parcel of the music scene today but it was in Les's
home studio that he made the first historic multi-track recordings,
"Lover" and "Brazil". When these records were released, they received
unprecedented commercial success.

Not long after the release of the first Les Paul multi-track records, Les
was involved in a serious car accident in which he almost lost his right
arm. Miraculously, his arm was saved by an astute doctor who was a Les
Paul fan and immediately recognized the guitarist.  With the use of a
metal plate, the doctor was able to set the right arm in such a way that
Les could still play the guitar.

After his release from hospital (and because of his disability), Les was
anxious to further develop his experiments with the solid body guitar,
which he had begun in the '30s. He realized the compactness of the solid
body guitar would now suit his damaged right arm better than the
conventional hollow body guitars.

In 1949, he met and married singer Colleen Summers (Mary Ford) and they
were to make many very successful multi-track vocal and guitar hits
together. Over the years, Les became more and more convinced that there
was a demand for a solid body guitar and by the early '50s, he persuaded
the Gibson company to produce the first Les Paul solid guitars. At first
these only received a cool reception.

It was not until the mid '60s with the arrival of Rock and Roll, that the
Les Paul guitar suddenly became a runaway success. (Mike Bloomfield is
thought to be the first noted Les Paul player.)  The Gibson Les Paul solid
body guitar has become probably the most popular, and the most copied
guitar the world has ever know.

Today, Les Paul resides at his home in Mahwas, New Jersey, and after a ten
year break from professional work, he now tours the U.S.A. playing and
recording with a variety of artists. He is without doubt, one of the most
popular figures in the music industry, his very individual guitar style
and sound still instantly recognizable. For the last few years, he has
played on Monday nights at Fat Tuesday's in New York City.

Selected Records:
"Jazz at the Philharmonic" - Verve
"Bye Bye Blues" - Capitol
"The Hit Makers" - Capitol
"Les Paul Now" - Decca
"Les Paul Trio - Air Shots" - Glendale
"Time to Dream" - Capitol
"Chester and Lester" (with Chet Atkins) - RCA
"Guitar Monsters" (with Chet Atkins) - RCA

@013 Abercrombie, John \ John Abercrombie was born in Portchester, New
York, on December 16, 1944.

John Abercrombie has proved to be one of the most influential jazz
guitarists of the '70s. He has been closely associated with musicians such
as Billy Cobham, Gato Barbieri, Jack DeJohnette, and also most recently
with fellow guitarist Ralph Towner.

John first became interested in music and the guitar during his school
years in Greenwich, Connecticut. Originally influenced by popular artists
such as Bill Haley and the late Elvis Presley, John decided to take up the
guitar and during the late '50s, he was already playing in various rock
bands at high school. It was at this time he heard Barney Kessel, Tal
Farlow, Jimmy Raney, and Johnny Smith in particular, caused a deep
impression on the young musician.

The result was his decision to enter the Berklee College of Music from
1962-1966 in order to study his chosen instrument and music in depth. He
was fortunate to be able to study under teachers such as Jack Peterson and
Herb Pomeroy. The most important factor of his stay at Berklee was not
just the general musical environment of this excellent school, but that
John learned how to better bringing out his own musicality.

After leaving Berklee, John spent eight years in Boston gaining experience
with various groups. His first job found him playing 1967-68 with organist
Johnny "Hammond" Smith. He says that at this time, the guitar style of Jim
Hall made a great impression on him.  After Boston, John left for New York
and played for a short while with drummer Chico Hamilton's group. After a
brief return to Boston, he joined Hamilton in 1971 to play at the Montreux
Jazz Festival in Switzerland. He was given the opportunity to write for
the group on a regular basis and this no doubt helped broaden his musical
ability.

Like many of the younger jazz players, John Abercrombie has been
influenced by Rock music and his style over the last few years has
developed into one of the most tasteful and fluent of the ever growing
list of jazz/rock musicians. He also sometimes teaches at such summer
music schools as The Banff School of Fine Arts in Canada.

John has recorded many albums for the ECM label. His sound features a
heavy dose of reverb/chorus. He is always going for interesting interval
combinations both in his improvisation and composition. He has most
recently been touring with an organ/drums combination.

Selected Records:
"Sorcery" with Jack DeJohnette - Prestige
"Timeless" - ECM Records
"Gateway" - ECM Records
"Saragossa Sea" with Ralph Towner - ECM Records
"Gateway 2" - ECM Records
"Characters" - ECM Records
"New Directions" (Jack DeJohnette) - ECM
"Cloud Dance" - ECM
"Abercrombie Quartet" - ECM
"Dreams" - ECM

@014 Green, Freddie \ Freddie Green was born in Charleston, South
Carolina, on March 31, 1911.

Freddie Green is the undisputed king of the rhythm guitar as opposed to
the solo guitar and has proved to be one of the most unique guitarists in
jazz history. His fantastic rhythm guitar playing was the backbone of the
legendary Count Basie band beginning in 1937, and in fact, in many jazz
lovers' opinions the sound of his guitar was as much the Count Basie sound
as the Count's unique piano style. To be a Big Band (or rhythm) guitarist,
demanded a wide harmonic knowledge and the ability to make the whole
rhythm section blend together. The "four-to-the-bar" approach contributing
to a smooth, compact sound to the rhythm section. In order to "take care
of business", the guitarist (sometimes gifted with more knowledge of
harmony, etc. than the soloists) had to sacrifice taking solos himself.

At the age of 12, Freddie Green moved from South Carolina to New York City
and began to teach himself music and the guitar. John Hammond heard him
play in Greenwich Village at a club and recommended him to Count Basie.
Since then,, Freddie has played continually with the Basie band, setting
unsurpassed standards in the art of rhythm guitar. Except for one or two
bars of obligato chords, he has never taken a solo with the Basie band,
and he has never played the electric guitar. Yet his unique ability is a
legend in jazz, and has left its mark on virtually every Count Basie
recording, as well as being much in demand for recordings by many other
top jazzmen including Lester Young, Lionel Hampton, Benny Carter and
Benny Goodman.

Selected Listening:
"Pee Wee Russell's Rhythm Makers 1938" - BYG*
    *Freddie Green plays a sixteen bar rhythmic chord
     solo on the track "Dinah" on this record.
"Chairman of the Board" (Basie band) - Roulette
"Rhythm Willie" (with Herb Ellis) - Concord
"Mr. Rhythm" - French RCA
"Buck Clayton Jam Sessions" - Phillips
"The Atomic Mr. Basie" (Count Basie) - Roulette
"Basie Swings - Joe Williams Sings" - Columbia

@015 Farlow, Tal \ Tal Farlow was born in Greensboro, North Carolina, on
June 7, 1921.

Talmadge Holt Farlow set out to be a commercial painter and artist and
didn't start playing the guitar professionally until he was twenty-two.
But, from the age of eight, Tal had played the guitar as a hobby.  His
father played guitar, banjo, ukulele, and violin. Tal listened and taught
himself on one of his father's instruments.

It was in the 1940's that Tal first heard the great Charlie Christian on
some Benny Goodman records. He immediately started playing as much like
Christian as he could, listening to the records over and over again until
he could play Christian's guitar solos note for note.

Up until 1943 music was still a hobby for Tal and sign painting was his
profession. The establishment of a large Army Air Force training base at
Greensboro created a sudden demand for musicians to play at the U.S.O.
dances. One of the many musicians that Tal played with at these was Jimmy
Lyons the jazz pianist. After the war, Farlow joined a group led by the
well-known female pianist, Dardanelle. He later joined the Red Norvo Trio.

The sound of the Red Norvo trio became very popular in the '50s, and their
recordings were constantly among the hottest selling records. Tal appeared
with this trio on the first ever color television show and it was then
that he was fully recognized, not only for unbelievably fast technique,
but for the brilliance of his improvisations and musical concept.

Playing an instrument of his own design, with a finger board over an inch
shorter than the standard pattern, Tal achieve a most individual sound,
recognized by its softness of tone in comparison to his contemporaries.
While with the Norvo trio, he developed original rhythm techniques, often
confusing listeners into thinking that a drummer had been added to the
line-up. He was able to play chords while tapping out rhythm on the guitar
body and strings with his finger tips.

In 1954, Farlow won the "Downbeat" New Star Award and in 1956, the
"Downbeat" critics' poll. By this time, Tal was recognized world-wide as
one of America's leading jazz artists and he recorded several LP's under
his own name with such stars as Ray Brown, Chico Hamilton, Eddie Costa,
Vinnie Burke, and Stan Levey.

Tal married in 1958 and also in that year, played his last important
public appearance for several years at the Composer" club in Manhattan.
He moved to a new home in Sea Bright, New Jersey, on the Atlantic coast
and entered virtual semi-retirement, spending much of his time at his old
love, sign painting. Nevertheless, he never neglected his playing
completely, and from time to time, many of the world's top guitarists took
time off to visit him, play, and talk guitar. Tal made a brief comeback in
1968, appearing to packed houses for seven weeks, with his trio, at the
"Frammis" club on Manhattan's East Side.

After this brief reappearance in 1968, Tal Farlow returned again to semi-
retirement at his home in Sea Bright. His desire to play along with
pressure from jazz lovers fortunately encouraged Tal to play again
regularly. He has gone on to do more recording, giving concerts and
sessions in local jazz clubs and also working on a guitar method for
"Guitar Player Productions".

Selected Listening:
"Red Norvo Trio" (2 records) - Savoy
"Tal Farlow Quartet" - Blue Note
"Early Tal" - Blue Note
"Guitar Artistry of Tal Farlow" - Verve
"Swinging Guitar of Tal Farlow" - Columbia
"Sign of the Time" - Concord
"Tal 78" - Concord
"Move" (Red Norvo) - Savoy

@016 Stewart, Louis \ Louis Stewart was born in Waterford, Ireland on
January 5, 1944.

Louis Stewart is probably the most famous Irish jazz musician. His guitar
sound, often played on a Gibson Super 400 is traditional and straight-
ahead with influences of Barney Kessel and Wes Montgomery. His early
musical experience was on the piano but by age fifteen, upon hearing a Les
Paul record, he decided to buy a guitar. Some time later, he heard a
record by Barney Kessel on a jazz radio program and this convinced Louis
that jazz was the music for him.

He soon developed a reputation around Dublin as a fine guitarist working
with various types of groups. In 1961 he was a member of a band which
visited the States. After three years of doing showband work Louis joined
a jazz trio led by pianist Noel Kelehan. This trio played on a very
regular basis in and around Dublin and the guitarist's association with
Kelehan proved very beneficial, for in the mid '60s many visiting American
musicians to Ireland, including saxophonists Gerry Mulligan and Lee Konitz
played with this trio.

In 1968, Louis was featured with the Jim Doherty Quartet at the Montreux
Jazz festival and he received the Press Award as the Outstanding European
Soloist of this Festival. Shortly after the 1968 Montreux Festival, Louis
decided to move to London, where he joined a quartet lead by the
outstanding saxophonist, Tubby Hayes.  This gave the Irish guitarist the
exposure to top line jazz that he could not get in Ireland. While he was
with Hayes, Louis was heard by Benny Goodman who invite Louis to join him.

In 1971, Louis returned to Dublin and spent much of his time in television
and recording work. The music he wrote for television included that for
the award winning program "A Week in the Life of Martin Cluxton".

In mid '75, Stewart joined Ronnie Scott's new quartet. Today, Louis lives
in Dublin, is still with Scott, and spends much of his time in London,
and touring with the group. Louis has been established as one of the few
top jazz guitarists outside the U.S.A. today. His excellent guitar work
with Scott's quartet and also that on his own recent solo and duo albums
have earned him this well-deserved fame.

Louis gained some notoriety in the U.S. when he joined pianist George
Shearing's group. They made several records together.

Selected Listening:
"Louis the First" - Hawk Jazz
"Baubles, Bangles and Beads" - Wave
"Out on his Own" - Livia
"Louis Stewart" - Pye
"Windows-George Shearing Trio" - MPS
"Drums and Friends" - Livia
"500 Miles High" (George Shearing) - MPS
"Louis Stewart" (George Shearing) - Pye

@017 Bonfa, Luiz \ Luiz Bonfa was born in Rio de Janeiro, Brazil on
October 17, 1922

Luiz is one of Brazil's most famous composer/guitarists. His compositions,
including in particular his musical score for the film "Black Orpheus"
(Manha de Carnival, Samba de Orfeu etc. have had a great impression on the
jazz world, but he is also a very fine guitarist in the traditional
Brazilian style, as can be heard on his many records.

He began to play the guitar at age 12, taught by his father who was also a
guitarist. He continued to study under Isaias Savio, one of Brazil's master
classical guitarists, and Bonfa himself became well-known as a guitarist of
high standard in the classical field. After giving several concert recitals
on the classic guitar, he decided to shift his focus to the field of
popular music. In 1946, he started his professional career in Brazil that
made him one of the top performers, both on stage and radio.  At one time,
he sang and played the guitar in a group called the "Quitandinha Singers".

In 1958, he moved to the U.S.A. where luckily his arrival coincided with
the Bossa Nova boom. Singer Mary Martin was greatly impressed by Luiz'
guitar artistry and he accompanied her for several concerts in '58-'59.
During this time, he became exposed to jazz for the first time. He then
made several very successful recordings with tenor saxophonist Stan Getz
and also some with his wife.

Today, Luiz Bonfa continues to lead a highly successful career as a guitar
player, singer and composer on the west coast of the States applying his
multi-talents to films, television and recordings.

Selected Listening:
"Le Roi de la Bossa Nova" - Fontana
"Bossa Nova" - Verve
"Braziliana" - Phillips
"The Brazilian Scene" - Phillips
"Jazz Samba/Stan Getz" - Verve
"Jacaranda" - Ranwood
"The New Face of Bonfa" - RCA

@018 Bickert, Ed \ Ed Bickert was born in Hochfield, Manitoba, Canada in
November 29, 1932.

Ed is a guitarist's guitarist. His sound, produced on his old cream-
colored Fender Telecaster emulates the traditional guitar sound rather
than the sound usually produced on such an instrument. He is best heard in
the trio format with bass and drums where his technique produces a very
complete sound combining lines and chords. Ed's sound is fairly dry using
little reverb and no other effects. In some ways, his forte is in his
mastery of chords and chord movement.

Ed Bickert grew up in Vernon, British Columbia, and started playing the
guitar at the age of eight. Both his parents were musicians playing in a
country music band and Ed sometimes played with them at dances.  By the
time he was twenty, Ed Moved to Toronto where he worked for a local radio
station as well as doing studio and jazz work. He was often featured with
the Moe Koffman Quintet and Rob McConell's Boss Brass.

For many years, Ed has played at Toronto Jazz spots, such as Bourbon
Street, and George's Spaghetti House with his own trio and accompanying
top U.S. jazz musicians, including Red Norvo, Chet Baker, Paul Desmond,
Frank Rosolino, and Milt Jackson. He also spends much of his professional
time playing in the television and recording studios of Toronto as well as
Jazz festivals all over the world.

In the last few years, Bickert has recorded several albums with his own
group and with many other jazz artists. In 1976, he played at the Monterey
Jazz Festival with Paul Desmond. He is regarded by those who know his
playing as one of the leading jazz guitarists in the world. Ed has
developed a very unique guitar style with smooth, chordal technique. This
is best demonstrated in a trio setting (bass and drums.) To this day, he
still plays exclusively on his Telecaster.  Any one of his solos is
considered by many guitarists to be a great lesson in chord voicings. He
currently records for the Concord Label.

Selected Listening:
"Pure Desmond" - CTI Records
"Paul Desmond Quartet" - A & M Horizon
"Museum Pieces" Moe Koffman Quintet - GRT
"I like to recognize the Tune" - United Artists
"Ed Bickert" - P.M. Records
"Ed Bickert" (with Rob McConell)
"Dance to the Lady" (Don Thompson / Ed Bickert) - Sackville
"Ed Bickert / Dave McKenna" - Concord

 @019 Breau, Lenny \ Lenny Breau was born in Auburn, Maine, on August
1941. He died in California in 1989.

Lenny's innovative guitar style was the first to combine melody playing
with simultaneous chordal accompaniment. (Other guitarists such as Barney
Kessel, accompanied their solos chordally but not as much simultaneously).
To accomplish this, Lenny played exclusively with five fingers in the
right hand, using a thumb pick. He would pick the melody with his third
and fourth fingers and simultaneously or contrapuntally play a three-note
voicing with the thumb and first and second fingers.

Lenny Breau, who lived most of his life in Canada, was discovered by top
country guitarist Chet Atkins in Winnipeg. He was headlined as one of
great jazz guitar find of the '60s. Certainly from the evidence of his
recordings on the RCA label, he was a most versatile and individual jazz
stylist on the guitar.

Lenny started playing the guitar at the age of seven and by the time he
was twelve, he was able to join his parents touring group (country singers
Hal Lone Pine and Betty Cody) as a member of the band.

He first became interested in jazz at seventeen. Lenny listened to, and
was influenced by, most of the leading guitar innovators of the '50s such
as Barney Kessel, Johnny Smith and Tal Farlow.  However, the particular
style of guitar playing he developed can be closely linked to the finger
style of Chet Atkins and, in a musical sense, the piano approach of Bill
Evans. When Chet Atkins heard Breau in Winnipeg he immediately recognized
the young player's huge talent and signed him to record for RCA Victor.

After the success of this first record, Breau spent some time in Los
Angeles. Here he played at drummer Shelley Manne's jazz club, "Shelly's
Manne Hole", as well as several other dates. In the later years, Lenny
lived in semi-retirement in Killaloe, Ontario, Canada, very rarely giving
public performances. Although, with the persuasion of Chet Atkins and
others, he did spend some time in Nashville teaching and occasionally
playing in the clubs. In 1989, in Los Angeles, his life was tragically
ended at the hand of an unknown assassin.

Selected Records:
"Guitar Sounds from Lenny Breau" - RCA
"Velvet Touch of Lenny Breau" - RCA
"Live at Shelly's Manne Hole" - RCA
"Lenny Breau - Now" - Soundhole
"Lenny Breau" - Direct To Disk Labs
"Five O'clock Bells" - Adelphi Jazz Line

@020 Remler, Emily \ Emily Remler was born on September 18, 1957 and died
on May 4, 1990.

Guitarist Emily Remler was a rarity - women instrumentalists have not been
all that numerous in the history of Jazz. Emily favored a Gibson 335 with
a medium setup. One of her main influences was, like many other
guitarists, Wes Montgomery.

She attended Berklee School of Music between 1974 and 1976 and graduated
at the precocious age of eighteen along with men many years older than
herself, - "and forty men to each woman". Emily held her own at school and
continued to do so for quite a few years.

She moved to New Orleans and got the gig with Dick Stabile's Fairmont-
Roosevelt Hotel orchestra for two years. During the years in New Orleans
she backed such visiting stars as Michael Legrand and Nancy Wilson. She
played in an R & B band called "Little Queenie and the Percolators".

Word began to get out on Emily Remler and it wasn't long before Nancy
Wilson took her along to New York for concerts at Carnegie Hall and Avery
Fisher Hall. When Herb Ellis played a New Orleans date, Emily asked for a
lesson and three weeks later found herself on stage at the 1978 Concord
Jazz Festival with Ellis, Monty Budwig and Jake Hanna.

In 1981, she appeared in her own right at the Concord Jazz Festival and at
the Kool (formerly Newport) and Michigan Women's festivals as well. A
major step was her booking at the '81 Berlin Jazz Days in a contemporary
quintet with vibraharpist Dave Friedman, saxophonist Jane Ira Bloom,
bassist Harvie Swartz, and the French-Swiss drummer Daniel Humair.

On her first album, "Firefly" recorded in 1980, she appeared in the
sterling company of pianist, Hank Jones, bassist Bob Maize and drummer
Jake Hanna. Emily wrote the arrangements, but it should be noted that
there were no rehearsals, just considerable warmth and empathy between the
participants. Unlike many guitarists, she enjoyed having a piano in the
group, "I like having the chords behind me - guitars have a limited range
and it's great to have just the right pianist who can be intelligent
musically." Following this album, Emily played with many well-known
musicians including a lengthy association with Monty Alexander and Larry
Coryell. She recorded several more albums, including a duo album with
Coryell.

On May 4, 1990, at the age of 32, Emily Remler, suffered a fatal heart
attack.

Selected Recordings:
"Firefly" (Hank Jones, Jake Hanna, Bob Maize) - Concord
"Emily Remler" (Don Thompson, Terry Clarke) - Concord
"Emily Remler / with Larry Coryell"

@021 Gannon, Oliver \ Oliver Gannon was born in Dublin, Ireland on March
23, 1943.

Oliver is the guitarist who performed the tunes in "The Jazz Guitarist".
His guitar style could be described as mainstream with influences of Wes
Montgomery, Barney Kessel, (pianist) McCoy Tyner and (saxophonist) Joe
Henderson. He has performed in Europe, the U.S., Russia (3 tours), Korea,
and throughout Canada.

In 1969, he graduated from Boston's Berklee School of Music and moved to
Vancouver where he currently resides. In 1970, he was asked by Buddy Rich
to join his band. For various reasons, Oliver did not go with the band but
stayed in Vancouver, busy with studio work, club dates, and playing with
the band, Pacific Salt with which he made several records. In 1982, he
teamed up with Fraser MacPherson on tenor for a duo album, "I Didn't Know
About You", which won the Juno Award (Canada's Grammy).

His association with MacPherson has continued and they can be heard in the
quartet format on records with the Concord, Sackville, and Justin Time
labels. With Fraser, Oliver has performed at many of the international
jazz festivals including Concord, Montreal, North-Sea (Holland), and
Montreaux (Switzerland). Over the years, he has accompanied many jazz
figures who have passed through the Vancouver.  One of his favorite
memories is of a duo with Barney Kessel for C.B.C.  Radio. He continues to
work in local jazz clubs.

Selected Recordings:
"Live at the Planetarium" (Fraser MacPherson) - Concord
"Live from Montreaux" (Fraser MacPherson) - C.B.C. Records
"Indian Summer" (Fraser MacPherson) - Concord
"I Didn't Know About You" (Fraser MacPherson) - Sackville
"Honey and Spice" (Fraser MacPherson) - Justin Time
"Encore" (Fraser MacPherson) - Justin Time
"Oliver Gannon and Company" - What It Be
"RIO" - Innovation
"In the Tradition" (Fraser MacPherson) - Concord
@
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