Resources

Hello Everybody!
This “resources” page will be an arena for transcriptions and other educational materials that are
close to my heart. If you like anything here and would need any other assistance or even private
lessons then please contact me using the contact form.
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Access the 65 Artist Transcription Recordings

Access the 354 “Contemporary Latin Jazz Guitar” Play along tracks

Contemporary Latin Jazz Guitar Neff Irizarry Instructional Videos

Jose Eduardo Gramani’s rhythmic concept is one of the best, (if not the best) rhythmic pedagogical resources of Brazilian music. The following example will give you a brief introduction to his work.

Afro Cuban Latin Jazz Guitar

By Neff Irizarry II M.M.

Much has been written, recorded, and documented about the guitar’s evolution on the Brazilian side of Latin Jazz. However, on the original Afro Cuban/Puerto Rican/NYC side of Latin Jazz, there remains a wealth of recordings known to fans and experts but unknown or sometimes forgotten to the mainstream Latin Jazz audience and guitarists alike. These recordings provide insight into those guitarists, bandleaders, composers, and arrangers who pioneered the instrument’s role within the style.

Searches reveal lackluster attempts by some instructional books to show the guitar’s role. However, the art and mystery behind how the actual guitarists in Latin Jazz executed the part on an existing recording with and without traditional instruments are without mention.

The guitar is no stranger to Latin music and Jazz. Traditionally the guitar accompanied the tres, cuatro, and requinto to provide harmonic, melodic, and rhythmic support. But, fate dealt a considerable blow to the guitar when Arsenio Rodriguez decides to replace then guitarist Marcelino Guerra for the piano. The results make the piano a dominant force in Latin music and Latin Jazz to this day. But, I think that the guitar’s unique sonorities and its link to its traditional cousins: Tres, cuatro, and requinto, make it a new and fresh sound that should open the eyes and ears of all to the possibilities it can still offer in Latin Jazz.

At the JAZZ FUEL SITE, a compilation of ten selected recordings in chronological order shed light upon the artists’ pioneering efforts that bring out the guitar’s uniqueness in Latin Jazz by replacing the tres, cuatro, requinto, and piano. I chose these ten recordings for their exceptional portrayal of some of the main crucial Latin Jazz Guitar elements in this role. These elements include the guajeo/montuno and other idiomatic devices featured in Latin Music blended with Jazz’s harmonic sophistication and Latin swing. When listening to these recordings, keep a lookout for those crucial elements of Latin Jazz Guitar.