Joe Pass

In my book, Joe Pass is the best jazz guitarist ever to walk this earth. I personally consider his most inspired period to be the late 60's. During that period he recorded some of the best jazz guitar solos I have ever heared played on any instrument. Most of these recordings were done on the Pacific Jazz label, now owned by Blue Note. He also made a few great recordings in the early 70's on the MPS label, under his own name, and others (Art Van Damme being one of the best of these).

Starting in the early 70's, Joe began recording for Pablo and developed his unique solo guitar playing starting with the Virtuoso album. He also recorded a number of ensemble records during that period and later, including many with Oscar Peterson. While these are all great records, I personally don't find myself going back to them as I do to the early ones from the 60's, so I will not present them here.

Joe Pass was discovered on the Sounds of Synanon album which, as far as I know is not available on CD (except for a japanese reissue). The closest thing is a horrible compilation called The Best Of Joe Pass. I don't know why they don't just reissue that album as a whole - it's such a classic. Even people who don't like jazz fall in love with this album. Anyway, here are two amazing solos from that album:

CED - This solo appears in the Joe Pass Guitar Solos book (Gwyn Publishing). You really should hear the whole piece which is beautifully orchestrated and Joe's playing is golden from the unique intro to the closing cadence.
Projections - Another classic from the same album. Joe is so relaxed and inventive in his melodic lines here.

Another great album from that period is Catch Me which has been reissued by Blue Note on CD.

Catch Me - This is a fast static minor burner with a 'Night in Tunisia' bridge. Joe proves here that bebop can indeed be played convincingly on guitar. The organ comping is by Claire Fisher - a great keyboard player in his own right. Joe's touch, perfect time, articulation and melodic genius all shine through here.
Falling In Love With Love - This solo is a masterpiece of development. What you hear here is a section from the middle that really does not convey how Joe builds up the tension. The last line, which first goes up an arpeggio and then descends on a scalar line is executed so perfectly it might as well have been composed.
Summertime - You've probably heared so many solos on this tune, but none like this one. Joe develops his solo as a set of alternative melodies that are as compelling and singable as the original.

The Joy Spring album was also recently reissued on CD, and should be part of everyone's library. This was recorded in a live setting, with Joe stretching out over tens of choruses. Once again, each of these solos is a masterpiece of construction and simplicity. But the main feature, in my mind, is the fact that Joe comes up with so many melodic lines that are so singable and logical, yet completely unobvious and surprising.

Relaxing At Camarillo - This is a Charlie Parker blues tune, but you won't hear Joe playing your garden variety blues licks.

The For Django album is often cited as Joe's best work. Indeed, on this album the clarity of his musical thinking became even sharper (as if that were possible). He also switched from the Fender Jaguar to his 1963 Gibson ES-175, and replaced the keyboard comping with a second guitar played by the great John Pisano. This album is as close to perfection as anything can ever be.

Django - This is probably Joe's best and most studied solo. It also appears in the Joe Pass Guitar Solos book (Gwyn Publishing). It sounds very simple, but if you try to actually play it, you will see a whole world of complexity emerge.
Limehouse Blues - You can read Pat Metheny's most touching remarks on this solo and album on the Question and Answer part of his web site. Type Joe Pass in the Search box.

The Intercontinental album was recorded on the MPS label in 1970 with Eberhard Weber and Kenny Clare. It's a relaxed trio album which is available on CD in a Japanese reissue.

Chloe - Here Joe's sound has completely changed from the Pacific Jazz days, yet the melodic inventiveness is still at it's peak.
I Love You - Playing fast tunes in a trio is always challenging. Joe makes it sound easy.

There are quote a few web sites devoted to Joe Pass. Here are a few: