Chords for Rare Joe Pass footage not seen for over 30 years

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_ _ [Db] _ _ [Ab] If you're musical in that environment, in [C] Andalusia, [Eb] southern Spain, the time I was
[Em] growing up, the immediate thing, the obvious thing was to play the guitar because people
around you play the guitar and [E] sang flamenco and danced and so on.
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_ [Eb] [D] There are stories that I had seen [E] a [D] cowboy in a movie called Gene Autry and he had a
guitar and a horse and I wanted the horse and I got the guitar.
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My father put me on it.
He was what we call nowadays, I suppose, a sessioned or a guitarist, an orchestral guitarist
played in the ABC show band, the old radio [C] show band that was in Melbourne in the 40s.
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_ _ [Eb] _ _ _ [Cm] I started playing because since [C] the time I was, before I can [E] remember, music just answered
something for me.
[Ebm] It's doubly interesting related to the [Em] whole question of improvising how all the great
composers of that era were great improvisers.
They were known for sitting at the organ and improvising.
[D] And you know, maybe Bach had [Em] played around with the chaconne as if, you know, one might
have been Joe on tour. _
_ [Dm] _ _ So the chaconne tune, as you'll all recognize, is, _ [E] _ _ [A] _ _ _ [Bb] _
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that's a sort of, if you like, I was referring
[B] earlier to composition and improvising, that's a written out thing that was first of all
in his head before he wrote it down or first of all in Joe's or Paco's head before they play it.
You know, it's sort of in your head that split second [E] before you play it, isn't it?
So it's a_
May I say something?
That what you were playing sounds to me as so-called, quote unquote, a jazz or improvised player.
It sounds, I mean, it's something that would just as attuned to my ears, I could follow
that and improvise around it without really knowing exactly where you're going.
I just, it's one of those things that I have learned in the course of playing.
I mean, I've been [Gm] playing for about seven years [N] now.
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_ [E] I mean, [Dm] don't play some obscure Leo Brower.
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I mean, I don't want to appear that_
I'm improvising by using my ear and hearing what he's doing and he's sort of playing the
same changes, which is not really difficult because, you know, it's coming out.
[G] But I know that Paco can do the very same thing and so can Leo.
So it's not like I'm doing something really_
The only thing Nick can't do_
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I [B] do very little improvisation.
I do it when I'm in trouble, when I'm compelled to.
_ I've asked, I'm fascinated by it