Greene recorded one album, Solo Guitar, which was produced by William Perry and Leon White, and released in 1977 on PMP Records. He used a large variety of chord voicings, often creating the effect of two simultaneous players. Greene used counterpoint to improvise in a variety of styles, playing, for instance, a jazz standard such as Autumn Leaves in Baroque style. Other notable techniques included playing songs with a walking bass line with simultaneous melodies. His playing style included techniques such as harp-like arpeggios combined with gentle, tasteful neck vibrato, creating a "shimmer" to his sound. He wrote four books on the subject of jazz guitar performance and theory: Chord Chemistry, Modern Chord Progressions: Jazz and Classical Voicings for Guitar, and the two-volume Jazz Guitar: Single Note Soloing. While he was a sought-after session musician, he derived much of his income from tutoring. Greene typically worked as a vocal accompanist, which he preferred because he found group settings restrictive. He would also make occasional live appearances at clubs in the San Fernando Valley, usually playing a Fender Telecaster. Bach would be re-written for guitar with useful analysis applicable to any musical setting. For example, many transcriptions of the chorales of J. A voracious reader of almost any book on music theory, especially from the common practice period (circa 1600–1900) he distilled complex concepts regarding the structure of western music and would write out more accessible versions for students to understand (handed out to students in the form of lesson "sheets"), often applying keyboard concepts to the guitar. He was known to guitarists for his role as a music educator, which included private teaching, seminars at the Guitar Institute of Technology, columns for Guitar Player magazine, and his instructional books on harmony, chord melody, and single-note soloing. He was again called on in 1977 to provide guitar tablature for three arrangements of Bix Beiderbecke's piano music for the Ry Cooder album Jazz, which Byrd arranged and produced.Īlthough Greene is often regarded as a jazz musician, he played many musical styles. During the late 1960s and early 1970s he did commercial studio work with Byrd. He was a friend and collaborator with Joseph Byrd, on whose Columbia Masterworks album The American Metaphysical Circus he was featured (he also provided the whimsical name of the studio band who performed it, "The Field Hippies"). In the 1960s he was a member of the rock band Natural Selection and a blues rock group called Bluesberry Jam, which included future Canned Heat drummer Fito de la Parra. He briefly studied accounting at California State University, Northridge, but dropped out to devote his time to music. Greene began his own guitar studies at the age of 11, and was an accomplished player while still in high school, occasionally collaborating with local rock and R&B bands.
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