Reviews of Garrison's recordings have been published in a
international jazz magazines:
His beautiful tone and effortless, fluid lines draw the listener
in as only a
select few have done...a fine guitarist who appeals on the
level of a Bill Evans or a Jim Hall. -James Rozzi, Wired
His active imagination is restless; his musical intelligence is
standards are high.-Thomas Conrad, DownBeat
Continually surprising change-ups in phrasing, technique
and timing, along
with a perceptive balance between forward linear motion
are the hallmarks of Fewell's style.-Milo Fine, Cadence
With phrasing that is simply flawless he digs into harmonies
with a clear
and unique style, free of clich.-M. Ariodante, Axe (Italy)
Guitarist Garrison Fewell is a find one of the music's best
kept secrets. A
fine composer and a sure stylist with a hearty mahogany
Garrison Fewell performs flawlessly on guitar, gliding over
effortlessly.-Steven Loewy, All Music Guide
Guitarist Garrison Fewell has the maturity to appreciate the
connecting the dots: fitting ideas together and making them
Jacobson, All About Jazz
The very title of Fewell's first Accurate CD - A Blue Deeper
Than the Blue -
suggests the layered indigo shades and poetic echoes
heard from his guitar.
Each note has shape and substance, each solo definition
legato phraseology, ripe emotions, pristine beauties of
sound. - Jazz Times
More Recording Reviews:
A Blue Deeper Than Blue (1993, Accurate Records):
Awarded Best Jazz
Recording 1993, by the Boston
Music Awards, Top Ten by Coda Magazine, UPI, and Guitar
...a subtle jewel of a debut album, one that instantly places
him in the top
rank of jazz guitarists anywhere.-Boston Herald
Reflection of a Clear Moon (1995, Accurate Records):
Awarded Top Ten Best Jazz of 1995 by the Philadelphia
Birdland Sessions (2000, Koch Jazz):
Birdland Sessions is probably most significant for his
originals. several deserve to be interpreted by other players
and have the
potential to become future standards.- All Music Guide
Red Door Number 11 (2003, Splasc(H) Records):
Red Door is a lot like the timeless '60s duet recordings Bill
Evans made with
Jim Hall in more than a few ways. In the best ways, really.
Provided you have
the maturity to appreciate understatement, Red Door
Number 11 is an
unqualified success.- All About Jazz
When it comes to playing traditional jazz guitar - nimble,
inflected lines on a honey-
toned archtop - few contemporary pickers can match
Garrison Fewell. -
Andy Ellis, Guitar Player
magazine. May '04
Good Night Songs (2006, Boxholder):
Voted Best Jazz Recording of 2006 by the Boston Phoenix
Tchicai posses an unfailing melodic instinct that turns his
improvisation into a miniature act of
spontaneous composition. Guitarist Garrison Fewell whose
brings out a more lyrical
side in Tchicai, seems to drift along beneath his
collaborators, providing a
fluid bed over which they
can serenely flow. - Shaun Brady, Philadelphia Citypaper
Big Chief Dreaming (2005, Soul Note):
Voted Best of 2005 by Jazz Review (UK), and the Montreal
Like no other album to come across my desk this year, this
one demands to
be heard again and again.
It unfolds over time and reveals no small charms. Tchicai
and company make
an evocative team. They
also bring the scorched earth of free jazz back to life with a
flower or two. -
Dan Rose, One Final Note
Garrison Fewell's writing often bears similarities to Sun Ra
and Don Cherry
with its open forms. Case in
point is the album's centerpiece: 'The Queen of Ra.' - Troy
Primary Instrument: Guitar
Location: Somerville, MA
Willing to teach:
Intermediate to advanced students
An internationally respected jazz educator, Garrison has been a Professor of
Guitar and Ear Training at Boston's Berklee College of Music since 1977 and
has given clinics at more than 40 prestigious conservatories in Europe alone.
He is the author of three textbooks, most recently "Jazz Improvisation for
Guitar - A Melodic
Approach" is a best-seller for Berklee Press/Hal Leonard, and "L'Arte
dell'Improvvisazione" is on Carish Jazz Lab, newly translated in Italian.
Garrison served as a lesson
contributor to Guitar Player, Guitar Club, Chitarre, and Axe magazines, and is
the recipient major music
grants such as the National Endowment for the Arts, Arts International,
Artslink, Pew Caritable Trust,
and ACULSPEC from the U.S. Information Agency.
Information on correspondence lessons is available at:
Improvisation - A Melodic Approach: Using my textbook on Berklee Press, demonstration of triads and non-scaleular concepts for improvising over chord changes, including intervallic and motivic development.
Melodic Approach to Harmonic Substitution: The principle elements of playing substitute changes to create more harmonic interest in a solo.
Melodic Counterpoint - The Music of J.S. Bach and Charlie Parker:Demonstration of counterpoint in single line improvisation using examples form Bach and other jazz musicians, notably C. Parker.
The Futuristic Sounds of Sun Ra: A presentation of the myths and realities of legendary pianist, composer, band leader and poet, Su Ra and his Afro-Centric aspproach to improvised and composed music.
Modal harmony: The music of Wayne Shorter, Herbie Hancock, Miles Davis, McCoy Tyner and others. The 60's influence of modal style on the development of jazz.
Ear Training: Learning to hear and feel music through listening and singing. Relating melody to harmony. Singing solos by Miles Davis.
Contemporary Use of Hybrids and Polychords
Tonic systems - 2, 3, & 4
Application of Diminished concepts to improvising.
Subdominant Minor and Modes of the Melodic Minor Scale:
Einstein’s theory of harmonic relativity. Eb = Mc2.
Guitars: 1947 Gibson L5 w/ one pickup, Campellone Deluxe
w/ single pickup.
Fender amps: 1968 Pro Reverb w/ 1 15" JBL, 1968 Deluxe