Editing Joe Pass (section)

== Artistry ==
===Technique===
Pass's playing style was particularly noted for his ability to simultaneously play melody, [[harmony]] and [[walking bassline|basslines]] at extremely high tempos.<ref>{{cite book |last1=Yanow |first1=Scott |title=The Great Jazz Guitarists |date=April 1, 2013 |publisher=Backbeat Books |page=148 |quote=His technique was conventional (no tapping) but was at such a high level that he could play melody, harmony and bass lines simultaneously at blazing tempos.}}</ref> Pass's single-note playing style is similar to the instrumental stylings of classic [[bebop]] and [[hard bop]], drawing comparisons to the tones and timbres of [[wind instruments]] used in jazz music, such as the [[saxophone]] and [[trumpet]], as well as other string instruments such as the [[piano]]. [[Jazz education|Jazz educator]] Wolf Marshall said Pass's musical flavorings were "hornlike and on par with his wealth of ideas and immense vocabulary, allowing single-note improvisations to flow like a saxophonist's [[stream of consciousness]]."<ref>{{cite book |last1=Marshall |first1=Wold |title=Jazz Guitar Icons: An In-Depth look at the Styles of 25 Masters |date=2012 |publisher=Hal-Leonard |pages=94–95 }}</ref> 

As Pass's career progressed, he developed an increasingly harmonic approach to improvisation that made extensive use of chord-melody solos, which produced a similar effect to that of a piano. He also employed a variety of different picking techniques such as [[fingerpicking]], [[hybrid picking]] and "flat picking".<ref>{{cite book |last1=Marshall |first1=Wold |title=Jazz Guitar Icons: An In-Depth look at the Styles of 25 Masters |date=2012 |publisher=Hal-Leonard |pages=94–95 }}</ref>

Pass's style was also said to have exhibited a "tougher funky aspect" by incorporating string bends, double stops and partial chords that variously borrow from [[blues music|blues]], [[R&B music|R&B]] and [[Swing jazz|swing]] styles.<ref>{{cite book |last1=Marshall |first1=Wolf |title=The Great Jazz Guitarists |date=2012 |publisher=Hal-Leonard |page=95 }}</ref>

===Influences===
Throughout the 1940s, Pass became interested in modern jazz sounds that were emerging from [[New York City]], where he would jam with many quintessential bebop musicians. Pass cited [[Dizzy Gillespie]], [[Charlie Parker]], [[Art Tatum]] and [[Coleman Hawkins]] as influences during this time. Pass was later influenced by the piano stylings of [[Oscar Peterson]]. Ironically, only three of the various jazz musicians he had cited as influences on his playing were actually guitarists; he cited [[Charlie Christian]], [[Django Reinhardt]] and [[Wes Montgomery]] as instrumental in his development as a musician.<ref>{{cite book |last1=Marshall |first1=Wolf |title=The Great Jazz Guitarists |date=2012 |publisher=Hal-Leonard |page=95 }}</ref>