Exploring the Soulful Sounds of Solo Jazz Guitar with Reno De Stefano

Here are some of my recent musings on the « Art of Solo Jazz Guitar ». I love playing solo jazz guitar, however, it has many challenges. I believe a guitar player should first be really comfortable and competent playing in a duo setting or trio setting to gain that most valuable experience, before attempting a solo jazz guitar gig. Solo jazz guitar, as exemplified by players like Joe Pass, Martin Taylor, Lennie Breau, George Van Eps, Ted Greene, etc. encompasses a particular technique (most often «fingerstyle»), a knowledge and fluency of linear harmonic movements, a profound knowledge and understanding of the tune itself, a fluent melodic jazz vocabulary with inherent voice-leading, imbued with personal creativity and imagination. One only needs to listen to the exemplary work of Joe Pass or the great pianist Art Tatum, to fully realize what is needed in this art form.

Solo jazz guitar requires that rhythm, melodies, harmonic movements, bass lines, inner-voice movements, and improvisation, counterpoint all be integrated and fused into a coherent, smooth-flowing organic whole. When playing solo jazz guitar many things are insinuated musically and not actually played (Martin Taylor). Therefore the aforementioned elements must be heard and executed at the right place with a good time «feel». If there is overplaying or too much harmonization the music becomes heavy and the rhythm awkward. This type of performance must become second-nature without too much thinking while performing. Joe Pass has mentioned this a few times in his interviews. In the most simple words, « It's all about creating the kind of things that you think are beautiful » (Chick Corea).

I have come to appreciate that Solo Jazz guitar is actually a sub-domain or a sub-art of the «Art of Jazz Guitar», and not all guitar players choose to dedicate themselves to this specific endeavor. However, it can be highly rewarding for those who choose this particular path.