I took lessons from Joe when I was in Miami in 1975 at 25 years old. I was living with my mother and saving to go West. Joe was always gracious and humble around me regardless of his immense talent and musical superiority. I was working at a place loading large glass tables onto trucks and making crates for shipping as well as doing tile work. My hands would be shot by the end of the day. Joe told me I should quit that job. When I mentioned that then I wouldn't be able to pay him the $15 (which seemed high in those days - he had an ad in the paper) for the lessons the subject was dropped. He was always excited about music and the guitar and very inspiring, brimming with ideas and concepts to share. I would ask him to show me stuff like Sunny and Lullaby of Birdland and he would reluctantly show approaches to the 'old corny' tunes eventually adding substitutions and ideas until he had destroyed them. Usually by the end he would comment that the tune had more possibilities than he'd thought. He got me onto the Jerry Coker book. There wasn't the plethora of information that we have now back then. He was a fountain of creativity. He lived in a small apartment that was close to a pancake house. The AC was broken and there was a gold Cadillac in the driveway that didn't run. One time after I paid him for the lesson he said " I'm going to grab some food next door, Come on along." He got a tuna fish sandwich which he attacked like a starving man. Halfway through he sheepishly looked up and asked me if I wanted a bite. I told him I was fine but thanks. I was so amazed at his empathy and couldn't understand how a player of his caliber was struggling to survive. He was playing the hotel tourist bars with Wally Cirillo and Ira Sullivan at that time I believe. He would complain about how he couldn't really open up in these gigs. Even though he was my musical superior I gave him two pieces of advice: 1) try to play the tunes fairly straight until you got going so the audience had a fighting chance to be drawn in. Remember who you're playing for, these aren't jazz clubs, 2) Get out to California where there was a much better chance you would be understood and appreciated. I left for the West coast first and then a few years later saw Joe featured in magazines and indeed he had made the trek. His enthusiasm was boundless. He was the first person I had ever met that was what they call wall-eyed. It took me a minute to figure out which eye was the one to look at when he spoke That might be related to how he could see something from so many angles.I still am working on some of Joe's concepts 50 years later. He transmitted more than notes and ideas, he got you into the spirit of exploring the unknown with savage glee. I still have a picture of him in my music room from an interview with the quote " Life is really boring without the guitar "
Thanks so much Scott for sharing! It's a special treat to hear from a former student of Joe's. I guess he did better in LA than Miami, although I think he should have gone to NY at the time.
@@RichieZellon Too darn cold I guess (on many levels) after acclimating to Florida weather. And remember the summer of love was only a few years old at that point so the West still seemed like the place to go.I lived in NYC before going to Miami and was lucky enough to get a few lessons from Barry Galbraith in 1970. If you ever cover him I will chime in. One thing I notice is that most of the great players I have met are open, friendly and supportive and their attitude is easy going with every level of musician. As they used to say: Music should be a collaboration not a competition. By the way I am really enjoying your videos. For someone that has been playing a while it's hard to find things that aren't just repetitions of the basics. You have a good genuine webside manner and don't have the bad habit that many do of loving to hear themselves talk like a know it all professor.
@@scottbaekeland9750 Thanks for the feedback...much appreciated! As far as Barry Galbraith goes, he's another player from an older generation deserving wider recognition. Most that know him do so from his books or as a sideman on one of the many recordings he played on. It's too bad he hardly recorded anything as a leader. Bet you must have heard some interesting anecdotes from him. He played with everyone!
I was living in NYC my first summer in college(Berklee) 2003 and scraped together enough money to sit in the back of the Birdland Jazz Club when Joe came to town. Joe's wife spotted me enraptured but sitting alone before a set break, and invited me over and introduced me to Joe. Joe not only sat me at the front row table with his wife for the rest of night, but introduced me as his "student" to the doorman so I could come back for free the next night. I know it's hard for people to enjoy Joe's music when it's so technical, but I hope the next time you listen to him play, you hear how much love he had for life and music in all forms, and realize that he's playing in that moment just for you.
I was fortunate to study with him as a graduate student at the University of Southern California. He was a true gentleman, and had a great sense of humor. It was fun watching the faces of the younger students when Joe would perform at a seminar or group lesson. I remember one story: he was teaching a group lesson on chords on day, and just as he played one of his beautiful, “outside” voicings, one of the Classical Guitar faculty (who shall remain nameless!) entered the room. As soon as he head that chord, he exclaimed disapprovingly “Oh, I don’t know about that chord, Joe.”, then walked away. Joe didn’t need to say a word- the look on his face had us rolling on the floor! He will be missed.
As a bass student at BIT 88-89 I made a point to attend many of Mr. Diorio's classes and performances being so happy to absorb his amazing contributions to modern music and was quite moved at his love for giving and sharing. Such a unique force and beautiful individual. God Speed Joe Diorio!
Oh man, I went to a GIT summer session in about 1986 and when I saw a concert he put on, I was absolutely floored and honestly wondering if I really should even be playing guitar. Of course, it turned into an inspiration after I got my head together after that show and picked my soul and brains off the floor. Then I went to a full year in 87-88, and Joe was there and he had a room where he would just be there a couple of days a week jamming and you could sit there and either play with him or watch him play with one of many students brave enough to. I did a couple of times. He was nice about it, even if you were blowing it! He really was one of the most unique of the jazz guys, fully modern and deep and non jazz cliché. Even used effects, often an octaver and maybe a chorus sometimes. Always a fully blown mind hearing him play. Sorry to hear he is gone. Thank you Joe for taking it to new heights and playing music for music's sake.... Just discovering your channel, thanks for it!
I got to study with joe at M.I in 1986, I got to hang with him everyday for a year :) He was the kindest soul and very generous person with his time teaching, RIP Joe
What a treat to be able to hang out for a year with such a great player and person! We're all dying to hear what kind of stuff he would teach during his lessons...
In recent years, Wes Montgomery has given Diorio new life. It’s amazing how a guy who died 50+ years ago could do this, but it’s true! There is an old tv interview on TH-cam where Wes is asked to name some guitar players he likes. And one of the names he drops: Joe Diorio. This has caused an uptick in TH-cam searches for Joe, and people are discovering what an amazing player he was! Solo Guitar is one of my favorite jazz records.
I saw Joe at Birdland with Larry Coryell and Jack Wilkins..I went all 3 nights, all six sets..after that gig was when he had a heart attack...Sorry to hear this. He was incredibly great.
In 1960 and 1961, I recall, I first heard Eddie Harris’ “Exodus to Jazz” album on “Symphony Sid”. I was immediately impressed with Joe’s very melodic soloing throughout the album. I thought his solo on “Exodus” was one of the best I’ve ever heard, so tasteful. Sadly, it was left off the 45RPM version that hit the juke boxes back then, but fortunately remains on the album. I also loved the albums on the “Spitball” label, the Italian label, and his work with Ira Sullivan. I attended a Fred Hersch (sp?) trio gig years ago featuring Joe as a special guest. What a treat that was. I also attended a gig where he played with Ira Sullivan and Red Rodney. He was a life long inspiration for me and probably others, though I always go back to his earlier, more melody friendly playing. Thanks for posting!
Thanks for sharing George! There seem to be several great recordings with Joe on them, but sadly like I mentioned, they are so difficult to find, especially the earlier "more melody friendly playing" like you mentioned.
Wow...thanks so much James for taking the time to share all these precious memories about Joe with us. I hope people will take the time to read it as it is truly inspiring!
Thanks so much for this Richie! I remember seeing Joe around the halls of Musicians Institute in 1994. I didn’t have the opportunity to study privately with him, but did get to all of his Improv Concepts workshops. Joe was absolutely adored my everyone at the school.
To me, it appeared to make complete sense as you were explaining it. Immediately afterward, however, attempting to mentally visualize and hear it in my own soloing contexts, I felt completely lost. Years ago, when I first attempted Jazz Guitar Lessons in Nashville, my Teacher, Steve Blalock(RIP), had been a student of Joe Diorio. Steve had tremendous respect for Joe Diorio's approach to improvisation and I'm sure he applied as much in his professional gigging.
I enjoy Joe diorio tutorial vid I saw one time ... I don't understand the theory enough ... your hat reminds me of Joe zawinul ... cheers !!! And thank you !!!
Thank you again for this overview of JD. It is a nice complement of your previous lesson on McTyner quartal. You have very nice and inspiring lines when it come to quartal. Thanks again.
I saw Joe once at IAJE. But I used to study with his teacher Vincent Bredice in Miami, fl. He told me once that Joe would sit under a tree in Connecticut and play guitar all day and that he would fall asleep at night with his guitar on his bed!
Interesting! I taught for several years at FIU in Miami and met several former students of Vincent Bredice. I remember hearing some weird stories about him. One guy said he told him to break up with his girlfriend so he could have more time to practice. I also heard he would create rivalry between students to motivate them to compete and get better. Another one told me he was a good teacher but not much of a player. Just curious, what was your experience?
This is enlightening for me. I have heard of Joe from a few other guitarists but never heard his music. The transcriptions you share in this video have given me the nudge to seek out some of Joe’s recordings. Personally I love the sound and the concepts and hope to be able to work on some of them. Thanks, Richie.
Joe had a book when he was working at the Guitar institute in Los Angeles. I cant remember the name but it had a lot interval studies probably similar to the book you mentioned here. Very cool info here in this vid! Thanks!!
Joe had a pile of cassettes tapes that were recorded on a cassette deck of Joe playing a duo with bassist Bob Magnuson in a bunch of little clubs around So Cal in the 90's. They were converted to mp3s (and .mov strangely enough) and I managed to get the collection some 20 years ago. The fidelity is surprisingly good actually. I have all of his other 'legit' albums too. I didn't know him well, but we had a bunch of mutual friends. Good lesson BTW...
Wow that sounds interesting! I wonder if there is some legal way of releasing that. If someone knows his wife or family it would be worth looking into. Joe made several unique contributions to the evolution of jazz on guitar. He was definitely underrated. Not enough recordings and poor distribution throughout his career....
@@RichieZellon I got these from another jazz guitarist in LA that was responsible for digitizing the tracks so I just count myself fortunate to get them. The same guitarist also digitized Jimmy Wyble's analog master tapes that had been packed up in closet. (It was Sid Jacobs that did all the salvaging - he was head of the guitar curriculum at MI for a long time). Sid saved this stuff from oblivion, bless his heart. Maybe one day Joe's stuff will be released but I wouldn't be the one to talk to about it. In the meantime I think I'll listen to what is here for kicks and giggles. There are 6 or 7 live recordings of different evenings from the 90's with Bob Magnusson and live at Dontes from 85. And The Comeback Inn (undated). I have all of the stuff jJoe did under his name as leader, with Hal Crook, with Mick Goodrick and with Robben Ford. I have a bunch of seminars too it appears. Did I say I was a pack rat of jazz tracks? lol...
Just learning of his passing. Was a fan and follower as a younger player, still have his "Intervallic Designs" method book. Your right about him not being fairly appreciated. RIP, Joe. I am happy to have found your channel though and have just subscribed. Thanks.
The examples have a laconic feel like a soundtrack would have for a character in a Tennessee Williams play. Thus, I'm thinking of Patricia, by Lee Konitz.
Richie, I’m one of those guitarists who have no idea what you’re saying, but enjoyed it anyway. How does one ‘imply’ a scale? Sounds impossible to me! I’m a big fan of George Barnes, a brilliant guitarist with an amazing career. I find his work a little easier to understand. 😂👍 Thanks for the lesson and the beautiful way you present it.
He was offered record top record deals while he was in Chicago when he was 23. He didn’t know what to do , was insecure he stated in into interview and he turned them down. never was able to get on the label of that stature again.
I took lessons from Joe when I was in Miami in 1975 at 25 years old. I was living with my mother and saving to go West. Joe was always gracious and humble around me regardless of his immense talent and musical superiority. I was working at a place loading large glass tables onto trucks and making crates for shipping as well as doing tile work. My hands would be shot by the end of the day. Joe told me I should quit that job. When I mentioned that then I wouldn't be able to pay him the $15 (which seemed high in those days - he had an ad in the paper) for the lessons the subject was dropped. He was always excited about music and the guitar and very inspiring, brimming with ideas and concepts to share. I would ask him to show me stuff like Sunny and Lullaby of Birdland and he would reluctantly show approaches to the 'old corny' tunes eventually adding substitutions and ideas until he had destroyed them. Usually by the end he would comment that the tune had more possibilities than he'd thought. He got me onto the Jerry Coker book. There wasn't the plethora of information that we have now back then. He was a fountain of creativity. He lived in a small apartment that was close to a pancake house. The AC was broken and there was a gold Cadillac in the driveway that didn't run. One time after I paid him for the lesson he said " I'm going to grab some food next door, Come on along." He got a tuna fish sandwich which he attacked like a starving man. Halfway through he sheepishly looked up and asked me if I wanted a bite. I told him I was fine but thanks. I was so amazed at his empathy and couldn't understand how a player of his caliber was struggling to survive. He was playing the hotel tourist bars with Wally Cirillo and Ira Sullivan at that time I believe. He would complain about how he couldn't really open up in these gigs. Even though he was my musical superior I gave him two pieces of advice: 1) try to play the tunes fairly straight until you got going so the audience had a fighting chance to be drawn in. Remember who you're playing for, these aren't jazz clubs, 2) Get out to California where there was a much better chance you would be understood and appreciated. I left for the West coast first and then a few years later saw Joe featured in magazines and indeed he had made the trek. His enthusiasm was boundless. He was the first person I had ever met that was what they call wall-eyed. It took me a minute to figure out which eye was the one to look at when he spoke That might be related to how he could see something from so many angles.I still am working on some of Joe's concepts 50 years later. He transmitted more than notes and ideas, he got you into the spirit of exploring the unknown with savage glee. I still have a picture of him in my music room from an interview with the quote " Life is really boring without the guitar "
Thanks so much Scott for sharing! It's a special treat to hear from a former student of Joe's. I guess he did better in LA than Miami, although I think he should have gone to NY at the time.
@@RichieZellon Too darn cold I guess (on many levels) after acclimating to Florida weather. And remember the summer of love was only a few years old at that point so the West still seemed like the place to go.I lived in NYC before going to Miami and was lucky enough to get a few lessons from Barry Galbraith in 1970. If you ever cover him I will chime in. One thing I notice is that most of the great players I have met are open, friendly and supportive and their attitude is easy going with every level of musician. As they used to say: Music should be a collaboration not a competition. By the way I am really enjoying your videos. For someone that has been playing a while it's hard to find things that aren't just repetitions of the basics. You have a good genuine webside manner and don't have the bad habit that many do of loving to hear themselves talk like a know it all professor.
@@scottbaekeland9750 Thanks for the feedback...much appreciated! As far as Barry Galbraith goes, he's another player from an older generation deserving wider recognition. Most that know him do so from his books or as a sideman on one of the many recordings he played on. It's too bad he hardly recorded anything as a leader. Bet you must have heard some interesting anecdotes from him. He played with everyone!
I was living in NYC my first summer in college(Berklee) 2003 and scraped together enough money to sit in the back of the Birdland Jazz Club when Joe came to town. Joe's wife spotted me enraptured but sitting alone before a set break, and invited me over and introduced me to Joe. Joe not only sat me at the front row table with his wife for the rest of night, but introduced me as his "student" to the doorman so I could come back for free the next night. I know it's hard for people to enjoy Joe's music when it's so technical, but I hope the next time you listen to him play, you hear how much love he had for life and music in all forms, and realize that he's playing in that moment just for you.
It's great to hear from so many that Joe wasn't only an awesome musician, but also a humble, down to earth musician. Thanks for sharing Daniel!
I was fortunate to study with him as a graduate student at the University of Southern California. He was a true gentleman, and had a great sense of humor. It was fun watching the faces of the younger students when Joe would perform at a seminar or group lesson. I remember one story: he was teaching a group lesson on chords on day, and just as he played one of his beautiful, “outside” voicings, one of the Classical Guitar faculty (who shall remain nameless!) entered the room. As soon as he head that chord, he exclaimed disapprovingly “Oh, I don’t know about that chord, Joe.”, then walked away. Joe didn’t need to say a word- the look on his face had us rolling on the floor! He will be missed.
That's a great anecdote...thanks so much for sharing Bill!!
As a bass student at BIT 88-89 I made a point to attend many of Mr. Diorio's classes and performances being so happy to absorb his amazing contributions to modern music and was quite moved at his love for giving and sharing. Such a unique force and beautiful individual. God Speed Joe Diorio!
Oh man, I went to a GIT summer session in about 1986 and when I saw a concert he put on, I was absolutely floored and honestly wondering if I really should even be playing guitar. Of course, it turned into an inspiration after I got my head together after that show and picked my soul and brains off the floor. Then I went to a full year in 87-88, and Joe was there and he had a room where he would just be there a couple of days a week jamming and you could sit there and either play with him or watch him play with one of many students brave enough to. I did a couple of times. He was nice about it, even if you were blowing it! He really was one of the most unique of the jazz guys, fully modern and deep and non jazz cliché. Even used effects, often an octaver and maybe a chorus sometimes. Always a fully blown mind hearing him play. Sorry to hear he is gone. Thank you Joe for taking it to new heights and playing music for music's sake.... Just discovering your channel, thanks for it!
That's great to hear...thanks so much for sharing Robert!
I studied with Joe at GIT in 1988-1989. He was a beautiful person, incredible teacher and musical treasure. R.I.P. Maestro.
Thanks for sharing Charlie.... What a privilege to get to study with Joe!
Pappa Joe was a true genius... every guitarist should be aware of this and should know some of his ideas.... RIP Joe Diorio....
I got to study with joe at M.I in 1986, I got to hang with him everyday for a year :) He was the kindest soul and very generous person with his time teaching, RIP Joe
What a treat to be able to hang out for a year with such a great player and person! We're all dying to hear what kind of stuff he would teach during his lessons...
In recent years, Wes Montgomery has given Diorio new life. It’s amazing how a guy who died 50+ years ago could do this, but it’s true! There is an old tv interview on TH-cam where Wes is asked to name some guitar players he likes. And one of the names he drops: Joe Diorio. This has caused an uptick in TH-cam searches for Joe, and people are discovering what an amazing player he was! Solo Guitar is one of my favorite jazz records.
I saw Joe at Birdland with Larry Coryell and Jack Wilkins..I went all 3 nights, all six sets..after that gig was when he had a heart attack...Sorry to hear this. He was incredibly great.
Wow! I wish they would have recorded that!
Thanks for this Sir! R.I.P Joe Diorio , he surely lives ❤️❤️❤️
In 1960 and 1961, I recall, I first heard Eddie Harris’ “Exodus to Jazz” album on “Symphony Sid”. I was immediately impressed with Joe’s very melodic soloing throughout the album. I thought his solo on “Exodus” was one of the best I’ve ever heard, so tasteful. Sadly, it was left off the 45RPM version that hit the juke boxes back then, but fortunately remains on the album. I also loved the albums on the “Spitball” label, the Italian label, and his work with Ira Sullivan. I attended a Fred Hersch (sp?) trio gig years ago featuring Joe as a special guest. What a treat that was. I also attended a gig where he played with Ira Sullivan and Red Rodney. He was a life long inspiration for me and probably others, though I always go back to his earlier, more melody friendly playing. Thanks for posting!
Thanks for sharing George! There seem to be several great recordings with Joe on them, but sadly like I mentioned, they are so difficult to find, especially the earlier "more melody friendly playing" like you mentioned.
I’ve never heard anyone who sounds like Joe. Genius.
I attended GIT in the early 90’s. I was a total beginner. But surprisingly, I do have quite a few memories of Joe Diorio. I didn’t even realize it until I started writing this. Forgive me if it’s long one. If you aren’t in the mood for an essay, please just skip to the next comment ;)
Joe was the undisputed star of the faculty at that time. I distinctly remember Sid Jacobs and Scott Henderson (both great players themselves) following him around the school like he was the big boss! He was always quiet and polite, and seemed to radiate an inner strength and calm. He was revered by most of the other teachers, and kind of whispered about with respect when he walked around the hallways with his ES-175 in that khaki-colored gig-bag he always wore on his back. I remember that gig bag well because believe it or not, gig bags that you could wear on your back didn’t really exist back then! I guess maybe they did, but not khaki colored canvas ones. Anyway, most of us carried our guitars around in hard cases and gig bags with backpack straps weren’t common. I thought it was very cool.
I still have a photocopy Joe gave us of his handwritten chord diagrams for comping on Blue Bossa. “© Joe Diorio” is scribbled in the upper right-hand corner.
At GIT there were really only a handful of students ready to work with Joe in any meaningful way. The rest of us were doing our theory and technique instruction with the workaday instructors who taught the meat-and-potatoes stuff to the large classes of intermediates and beginners. But Joe was accesible to everyone at his drop-in sessions, where you could sit in a small practice room with a teacher and a circle of 5 or 10 students to play and discuss ideas. I went to several of those sessions but was always too intimidated to plug in (that’s where I got the Blue Bossa handout though). I remember that many of the kids who did play in those sessions were often overly confident, “chops and licks” players, and not particularly sensitive or musical. In hindsight it must have been pretty annoying, but Joe was kind and respectful to all, and never dismissive. He always looked for something deep. He tried to bring people back down to the level of being musical in a zen-like way.
I remember him playing a duo concert at the student auditorium with Pat Metheny, who was of course a big star. It was a rapturous moment for me. The set list was completely improvised, with brief discussions about what to play next at the end of each tune (at the time, that just blew my mind. No rehearsal!). They performed How Insensitive, a tune I was currently shedding. I will never forget their incredible telepathy. The way they traded, the way they playfully messed around using very advanced chord substitutions. At one point they took the harmony so far out that I had no idea where they were in the form, which shocked me because I felt I knew those changes like the back of my hand. The harmony seemed to be floating, with no relation to the underlying structure, and there was no way to tell if we were in the beginning or the middle of the form. Then suddenly a magical resolution happened and they were instantly playing the head again in perfect unison. The audience exploded in applause. It was such an eye-opener about what great musicians can do with a standard.
In my final semester I took an elective, an actual once-weekly class, taught by Joe! It was something about playing solo guitar. I don’t remember the name of the class but I’ll never forget my experience there. Joe started it by noting how odd it is that piano players can play lots of songs, but guitar players seem to just know little parts of songs. He asked how many students could play an entire song, alone, by memory, from start to finish? Most couldn’t. A few kids raised their hands. Joe asked them to show what they knew, and it quickly became apparent that they could either play the chords or the melody, but not both. Some of them were cocky, and he let them play a few bars before stopping them and sending them back to their seats. When he asked again, nobody raised a hand. Except me. I had been working on a version of Summertime that I got from the Emily Remler Hotlicks video in the music library downstairs. It consisted of the melody punctuated by chord stabs in between each phrase. It was my first solo piece, and it was indeed the whole song with harmony and melody in one. I was proud of it, so I volunteered. Well, I was terrible. I was a beginner. I can’t imagine how painful it must have been for Joe Diorio to sit through that. But he didn’t stop me. He let me play all the way through the tune. When it was over, he was quiet for a long time. Suddenly, I realized it sucked. We sat there in silence for 15 or 20 seconds, my face burning, the entire class waiting to hear what Joe would say. And then he said, in a soft voice: jazz is hard to play. It takes a lot of strength. Sometimes you can hear it, but your fingers aren’t strong enough to play it. That’s where you are. I think it’s going to be many years before your fingers are able to play this music well, but don’t give up because you will get there.
He was right. It did take many years. But I got there. And I have looked back on that single moment so many times over the years. His words were not judgmental or discouraging. And they were not a sunny pep-talk. They were just thoughtfully honest and perfectly clear. It was something I couldn’t see, about my own playing, and something nobody else was going to tell me. Having that little kernel of personal insight from a player as legendary as Joe pushed me through the really tough early years of learning to play jazz, and I’ll always appreciate him for it.
Ironically, I now realize that back at the time I was a student I couldn’t actually hear what made Joe such a special player (his way of playing is really and truly pretty deep). And it turns out his style isn’t really my thing, I’m more of a traditionalist, though I very much appreciate the way Joe does it. I wonder what it would be like if I could sit down with him now in a small drop-in group? I’d be SO ready to plug in this time. I’m sure I’d walk away with some heavy-duty new ideas.
Thanks Richie, for the really cool lesson about Joe Diorio. You did a lot of hard work for this. It was enlightening.
You write beautifully. Thanks for sharing this…. warm greetings from the Netherlands
Wow...thanks so much James for taking the time to share all these precious memories about Joe with us. I hope people will take the time to read it as it is truly inspiring!
Thanks so much for this Richie! I remember seeing Joe around the halls of Musicians Institute in 1994. I didn’t have the opportunity to study privately with him, but did get to all of his Improv Concepts workshops. Joe was absolutely adored my everyone at the school.
My pleasure Lindsay...Joe was a true jazz guitar innovator!
And thank you for the great tribute lesson! Well done!
To me, it appeared to make complete sense as you were explaining it. Immediately afterward, however, attempting to mentally visualize and hear it in my own soloing contexts, I felt completely lost. Years ago, when I first attempted Jazz Guitar Lessons in Nashville, my Teacher, Steve Blalock(RIP), had been a student of Joe Diorio. Steve had tremendous respect for Joe Diorio's approach to improvisation and I'm sure he applied as much in his professional gigging.
Thanks for sharing Marcus!
I enjoy Joe diorio tutorial vid I saw one time ... I don't understand the theory enough ... your hat reminds me of Joe zawinul ... cheers !!! And thank you !!!
I like to purchase the entire library of all your tutorials lock stock n barrel ❤
Great lesson as usual and Great speak on J D.!!
Thanks, glad you enjoyed it!
Thank you again for this overview of JD. It is a nice complement of your previous lesson on McTyner quartal. You have very nice and inspiring lines when it come to quartal. Thanks again.
Thanks Donat!
I saw Joe once at IAJE. But I used to study with his teacher Vincent Bredice in Miami, fl. He told me once that Joe would sit under a tree in Connecticut and play guitar all day and that he would fall asleep at night with his guitar on his bed!
Interesting! I taught for several years at FIU in Miami and met several former students of Vincent Bredice. I remember hearing some weird stories about him. One guy said he told him to break up with his girlfriend so he could have more time to practice. I also heard he would create rivalry between students to motivate them to compete and get better. Another one told me he was a good teacher but not much of a player. Just curious, what was your experience?
RIP. Such a master.
This is enlightening for me. I have heard of Joe from a few other guitarists but never heard his music. The transcriptions you share in this video have given me the nudge to seek out some of Joe’s recordings. Personally I love the sound and the concepts and hope to be able to work on some of them. Thanks, Richie.
Glad to hear that! Thanks David
Joe had a book when he was working at the Guitar institute in Los Angeles. I cant remember the name but it had a lot interval studies probably similar to the book you mentioned here. Very cool info here in this vid! Thanks!!
Was it "21st Century Intervallic Designs"?
Sounds like it!
Practice practice practice stay safe stay practicing``` Gracias maestro
Joe had a pile of cassettes tapes that were recorded on a cassette deck of Joe playing a duo with bassist Bob Magnuson in a bunch of little clubs around So Cal in the 90's. They were converted to mp3s (and .mov strangely enough) and I managed to get the collection some 20 years ago. The fidelity is surprisingly good actually. I have all of his other 'legit' albums too. I didn't know him well, but we had a bunch of mutual friends. Good lesson BTW...
Wow that sounds interesting! I wonder if there is some legal way of releasing that. If someone knows his wife or family it would be worth looking into. Joe made several unique contributions to the evolution of jazz on guitar. He was definitely underrated. Not enough recordings and poor distribution throughout his career....
@@RichieZellon I got these from another jazz guitarist in LA that was responsible for digitizing the tracks so I just count myself fortunate to get them. The same guitarist also digitized Jimmy Wyble's analog master tapes that had been packed up in closet. (It was Sid Jacobs that did all the salvaging - he was head of the guitar curriculum at MI for a long time). Sid saved this stuff from oblivion, bless his heart.
Maybe one day Joe's stuff will be released but I wouldn't be the one to talk to about it. In the meantime I think I'll listen to what is here for kicks and giggles.
There are 6 or 7 live recordings of different evenings from the 90's with Bob Magnusson and live at Dontes from 85. And The Comeback Inn (undated). I have all of the stuff jJoe did under his name as leader, with Hal Crook, with Mick Goodrick and with Robben Ford. I have a bunch of seminars too it appears.
Did I say I was a pack rat of jazz tracks? lol...
Just learning of his passing. Was a fan and follower as a younger player, still have his "Intervallic Designs" method book. Your right about him not being fairly appreciated. RIP, Joe. I am happy to have found your channel though and have just subscribed. Thanks.
thanks for this ritchie!
My pleasure!
I love it!!! Thx for posting
The examples have a laconic feel like a soundtrack would have for a character in a Tennessee Williams play. Thus, I'm thinking of Patricia, by Lee Konitz.
Thanks !
Richie, I’m one of those guitarists who have no idea what you’re saying, but enjoyed it anyway. How does one ‘imply’ a scale? Sounds impossible to me! I’m a big fan of George Barnes, a brilliant guitarist with an amazing career. I find his work a little easier to understand. 😂👍 Thanks for the lesson and the beautiful way you present it.
Have to watch it again .....
I enjoyed this
Respects 🌹
He was offered record top record deals while he was in Chicago when he was 23. He didn’t know what to do , was insecure he stated in into interview and he turned them down. never was able to get on the label of that stature again.
I didn't know that. So sad to hear.