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Fender CS Michael Landau Model 試奏 Tokyo Guitar Show

King of Tone!

Gitaar Meppel

Voyage-Air Guitar, VAD-2, Premier Series Acoustic

waanzinnige reisgitaar!

Bill Evans & Robben Ford

Copyrights: BMG Rights Management
Bill Evans & Robben Ford - Soulgrass meets Blues, Miles & Beyond
(Estival Jazz Lugano 2010)
1. Lateral Climb
2. Cool Eddie
3. Don't Worry 'bout Me
4. Oasis
5. Celtic Junction
6. Don't Let The Sun Catch You Crying
7. Sweet Tea
8. Supernatural
9. Ode To The Working Man
10. Spoonful
Robben Ford - guitar
Bill Evans - saxophone
Etienne Mbappe - bass
Ryan Cavanaugh - banjo
Toss Panos - drums

• 
  

Guitar Pee

Joe Bonamassa and his Skinner Burst at Rumble Seat Music

Jimi Hendrix Purple Haze 10 Live @ Rainbow Bridge Maui, Hawaii, USA 1970

MILES DAVIS "Perfect Way"Scritti Politti

   

Love the One You're With

If you're down and confused
And you can't remember who you're talkin' to
Concentration slips away
'Cuz your baby is so far away

Well there's a rose in a fisted glove
And the eagle flies with the dove
And if you can't be with the one you love
Honey love the one you're with
Love the one you're with
Love the one you're with
Love the one you're with

Don't be angry, don't be sad
Don't sit cryin' of about the good times you had
There's a girl right next to you
And she's just waiting for something to do

There's a rose in a fisted glove
And the eagle flies with the dove
And if you can't be with the one you love
Honey love the one you're with
Love the one you're with
Love the one you're with

Love the one you're with
Love the one you're with
Love the one you're with
Love the one you're with

Turn your heartaches run into joy
She's a girl and you're a boy
Get it together, make it nice
Ain't gonna need anymore advice

There's a rose in a fisted glove
And the eagle flies with the dove
And if you can't be with the one you love
Honey love the one you're with
Love the one you're with
Love the one you're with
Love the one you're with

James Taylor You've Got A Friend

In a career marked by artistic triumphs, the past two years for James Taylor have been notable for both creative virtuosity and recognition of exceptional achievement. In 2012, he was awarded the distinguished Chevalier of the Order of Arts and Letters by the French government and in 2011, was awarded the National Medal of Arts by President Barack Obama in a ceremony at the White House. Both medals are their nation's highest honors for artistic excellence recognizing "outstanding achievements and support of the arts." In 2011, Taylor was also honored with a Carnegie Hall Perspectives series, which consisted of four concert evenings presented by Carnegie Hall and featuring Taylor and personally selected musical guests. The first of these concerts was a gala benefit celebrating the 120th anniversary of Carnegie Hall. Three months after the National Medal of Arts ceremony, Taylor returned to the White House to perform for President Obama and German Chancellor Angela Merkel at a state dinner held in the Rose Garden.

James Taylor's music embodies the art of songwriting in its most personal and universal forms. He is a master at describing specific, even autobiographical situations in a way that resonates with people everywhere. For more than forty years Taylor has been a compass for his fans, articulating moments of pain and joy, and letting his listeners know that they are not alone.

As a recording and touring artist, Taylor has set a precedent to which countless young musicians have aspired. His warm baritone is among the most recognized voices in popular music and his distinctive style of guitar-playing has been enormously influential. He has sold close to 100 million albums throughout his career, beginning in 1968 when he was signed to The Beatles' Apple Records. In 1971, Taylor was featured on the cover of Time magazine, heralded as the harbinger of the singer-songwriter era. Forty years later, his voice has been a constant in a changing world for his first generation of fans and their children. His songs have had a profound influence on songwriters and music lovers from all walks of life: "Fire and Rain", "Country Road", "Something in the Way She Moves", "Mexico", "Shower the People", "Your Smiling Face", "Carolina In My Mind", "Sweet Baby James", "Don't Let Me Be Lonely Tonight," "You Can Close Your Eyes," "Walking Man," "Never Die Young," "Shed a Little Light", "Copperline", "Enough to be On Your Way", "Caroline I See You" and many more. He has earned 40 gold, platinum, and multi-platinum awards and five Grammy Awards for a catalog that runs from James Taylor (1968) and Sweet Baby James (1970) to Hourglass (1997) andOctober Road (2002). His first greatest hits album earned the Recording Industry Association of America's elite Diamond Award, given for sales in excess of 10 million units in the United States. For his artistic accomplishments, Taylor was honored with the 1998 Century Award,Billboard magazine's highest accolade, bestowed for distinguished creative achievement.

Taylor released his breakthrough album Sweet Baby James in 1970. It went triple-platinum and spawned his first top 10 hit, the intensely personal "Fire and Rain." The following year saw the release of another million-seller, Mud Slide Slim and the Blue Horizon, with the #1 single "You've Got a Friend", written by his longtime friend Carole King. The recording won a Grammy Award in 1971 for Best Pop Male Vocal. In 1972, Taylor scored another gold album with One Man Dog, followed up in 1973 with Walking Man. The album Gorilla (1975) included two more major chart entries: "How Sweet It Is (To Be Loved By You)" and "Mexico". Following his final Warner Brothers recording, In the Pocket, Taylor moved on to Columbia Records and released a string of critically praised and commercially successful albums: JT, his 1977 double-platinum Columbia debut; Flag (1979); Dad Loves His Work (1981); That's Why I'm Here(1985); Never Die Young (1988); New Moon Shine (1991); the double-disc Live album (1993);Hourglass (1998), garnering Taylor his first Grammy Award for Best Pop Album; and October Road (2002)—all certified platinum.

The year 2000 saw Taylor's induction into both the Rock and Roll Hall of Fame and the prestigious Songwriters Hall of Fame. The National Academy of Recording Arts and Sciences selected him as its MusiCares Person of the Year in 2006, and his One Man Band (2007) was nominated for an Emmy Award in the category of Outstanding Variety, Music, or Comedy Special. In 2008, Taylor released Covers and Other Covers that features Taylor's full band and is his own musical interpretation of tunes from the '50s, '60s and '70s. In May 2010, Taylor released the Live at the Troubadour CD/DVD of his November 2007 live performance with Carole King at the Troubadour nightclub in Los Angeles. Their subsequent Troubadour Reunion tour was one of the most successful concert tours of the decade. Most recently, Morgan Neville's acclaimed documentary, Troubadours: The Rise of the Singer-Songwriterwas nominated for the Jury Prize at the 2011 Sundance Film Festival and was recently broadcast on PBS as part of its prestigious American Masters series.

James Taylor has received honorary doctorates of music from Williams College and the Berklee School of Music. Raised in North Carolina, he lives in western Massachusetts with his wife Caroline and their sons Henry and Rufus.

August 2012

Michael McDonald - Ohne Filter Extra 1993

Henco Wellink playing a Zinky Superfly Boutique Amp

Christopher Cross - Sailing [HD]

Awesome Song!

Robben & Mark Ford Mellow Down Easy

Transcriptie never be clever Herman Brood

George Benson sings with Earth, Wind and Fire!

Wow!

George Benson with Marcus Miller

jazz musician; guitarist; singer

Personal Information

Born March 22, 1943, in Pittsburgh, PA; wife's name Johnnie; seven children, three deceased.

Career

Guitarist, vocalist, and composer. Played electric guitar in quartet of jazz musician Jack McDuff, 1962-65; worked as sideman and led own quartets as guitarist and vocalist, 1965-; signed recording contract with Columbia label, 1965; worked with producer Creed Taylor, first at A&M Records, then at CTI, 1968-74; signed with Warner Brothers label, 1976; released Breezin', one of the top-selling jazz albums of all time, 1976; moved to GRP label, 1995; released Standing Together, 1998.

Life's Work

George Benson is one of the few musicians who has successfully crossed the divide between jazz and black popular music, neither ignoring the commercial possibilities in jazz nor abandoning his artistry when he achieved commercial success in the late 1970s and early 1980s. His hit recordings featured his light yet expressive singing voice, and to the general public he is known as well for his vocal work as for his guitar skills. But Benson came out of the jazz world, where he had a loyal cadre of fans, and returned to jazz when his connections with that world threatened to become stretched too thin. He is one of the figures most responsible for the presence of sophisticated jazz musicianship in the world of black popular music generally.

Born on March 22, 1943 in Pittsburgh, Pennsylvania, Benson showed prodigious talent from an early age, winning a singing contest when he was only four years old and enjoying a short career as a child radio performer under the name of "Little Georgie Benson." He started playing the guitar when he was eight, but it was as a vocalist that he spent much of his vast musical energy as a teenager, organizing and performing with a succession of rhythm-and-blues and rock bands around Pittsburgh. He made recordings for RCA Victor's X Records subsidiary in the middle 1950s. But Benson's stepfather encouraged his instrumental efforts by constructing a guitar for him, and in his late teens he began to concentrate exclusively on guitar. Seeking out the music of modern jazz's golden age, he became more and more interested in jazz, and was particularly inspired by recordings of saxophonist Charlie Parker and guitarists Charlie Christian and Grant Green.

Discovered by John Hammond

In 1961 Benson jumped to the national stage when he joined the group backing jazz organist Jack McDuff. He played and recorded with McDuff for four years. Then he struck out on his own: he moved to New York City, then the capital of the jazz universe, and formed his own band. There Benson made two acquaintances who proved crucial in setting him on the path to jazz stardom: guitarist Wes Montgomery, whose soft tone and graceful octave playing provided Benson with his most important stylistic inspiration, and Columbia Records producer and executive John Hammond, whose unerring eye for talent brought such seminal musicians as Bob Dylan and Bruce Springsteen to the label. Impressed by Benson's growing list of sideman credits, which included work with such luminaries as Herbie Hancock, Freddie Hubbard and later Miles Davis, Hammond signed Benson to Columbia in 1965.

Benson's first two Columbia albums were It's Uptown and Benson Burner. His 1960s LPs, two of which were produced by Hammond himself, were in the main bop-influenced vein of the jazz of the time, and they garnered the guitarist, who was still in his early twenties, plenty of positive attention in the jazz community. Searching for wider public recognition, Benson switched labels several times, landing first with Verve (1967), and then with A&M (1968) and CTI (1970-71). He came under the influence of jazz producer Creed Taylor, who had also worked with Montgomery, and who encouraged Benson's natural versatility, backing him with various ensembles and cutting vocal tracks with him that reawakened Benson's interest in singing.

Success with Pop Vocal Track

It was another label move that paved the way for Benson's breakthrough to mass success. Signing with Warner Brothers in late 1975, he released the album Breezin'; the following year. While much of the album reprised the light guitar-and-strings sound that was common in Benson's CTI work, he took two great and accessible steps forward. First, Benson included on the album afrankly pop-oriented vocal, the Leon Russell composition "This Masquerade." The song reached the Number One position on jazz and R&B charts and drove the album to the same position on the pop charts. Benson's second innovation on Breezin'; was the introduction of what would become his trademark: scat singing along with his guitar, doubling it at the interval of an octave.

The combination was irresistible, and by some accounts Breezin', which won three Grammy awards, became the best selling jazz album of all time. Benson's pop vocals were self-assured and pleasant; he was in front of the curve which would lead to the highly successful, jazz-inflected "Quiet Storm" formats in black radio of the 1980s. The scat singing seemed to connote a satisfying kind of oneness between Benson and his guitar. "When I pick up the guitar, it's an extension of what I am," Benson told Guitar Player magazine. A series of commercially successful albums followed, most of which emphasized Benson's singing. All six of Benson's Warner Brothers albums of the late 1970s and early 1980s were certified gold (sales of 500,000 copies), and four of them went platinum (sales of 1,000,000 copies). Benson credited his success in part to his conversion to the faith of the Jehovah's Witnesses.

Like other jazz players who have followed commercially oriented paths, Benson has taken criticism from jazz purists who felt that he had abandoned his early artistry. Writing about 1978's In Your Eyes, for example, Richard S. Ginell observed in the All-Music Guide to Jazz that "[f]or jazz fans, Benson's albums at this point become a search for buried treasure, for his guitar time is extremely limited." Benson apparently took the criticism to heart, for in 1989 he made a full-blast return to jazz, recording Tenderly, an album of standards, with the legendary jazz pianist McCoy Tyner, and touring with Tyner's trio that year. In 1990 he recorded the album Big Boss Band with Count Basie's orchestra.

Moved Between Jazz and Pop

The music he made when he returned to jazz showcased part of what was best about Benson's music: his versatility. He was equally at home with small ensembles, with a big band, with a string section, with hard bop, with Latin-inflected selections, with popular stylings. Through the 1990s Benson, his popularity assured, appeared in a wide variety of concert situations, and continued to manage well the balance he had achieved between the worlds of jazz and pop. He moved to the jazz-oriented GRP label in 1996, releasing the album That's Right, a quiet-storm-styled work, and following it up 1998's Standing Together in the same smooth-jazz vein.

For all his success, Benson's life has been shadowed by personal tragedy. He has lost three of his seven sons, one to kidney failure, one to crib death, and one to gunshot injuries stemming from a bar fight. His losses led to an unusual commission in 1998: he was asked by father Mohammed Al Fayed to write s song in commemoration of Dodi Al Fayed, who died along with his friend Princess Diana of England in a 1997 automobile crash in Paris. "During the writing, I asked my wife to come listen to what I had written," Benson was quoted as saying in Jet. "But when I got to certain parts, it became too difficult. My lips were trembling. I was thinking about my own losses and couldn't get past it. It stopped me cold."

Awards

Many Grammy awards, including Record of the Year 1977; Best Instrumental Performance, 1977; Best R&B Male Vocal Performance, 1980; Best Jazz Vocal Performance, 1980; and Best Pop Instrumental, 1983. Platinum and gold record certifications for numerous albums.

Works

Selected discography

• George Benson/Jack McDuff, Prestige, 1965.
• It's Uptown, Columbia, 1965.
• Benson Burner, Columbia, 1966.
• The George Benson Cookbook, Columbia, 1966.
• Giblet Gravy, Verve, 1967.
• The Shape of Things to Come, A&M, 1968.
• The Other Side of Abbey Road, A&M, 1969.
• Beyond the Blue Horizon, CTI, 1971.
• White Rabbit, CTI, 1972.
• Bad Benson, CTI, 1974.
• Breezin', Warner Bros., 1976.
• In Flight, Warner Bros., 1977.
• Weekend in L.A., Warner Bros., 1978.
• Livin' Inside Your Love, Warner Bros., 1979.
• Give Me the Night, Warner Bros., 1980.
• In Your Eyes, Warner Bros., 1983.
• 20-20, Warner Bros., 1984.
• Twice the Love, Warner Bros., 1988.
• Tenderly, Warner Bros., 1989.
• Big Boss Band (with the Count Basie Orchestra), Warner Bros., 1990.
• Love Remembers, Warner Bros., 1993.
• That's Right, GRP, 1996.
• Standing Together, GRP, 1998.

Further Reading

Books

• Contemporary Musicians, volume 9, Gale, 1993.
• Erlewine, Michael, et. al, The All Music Guide to Jazz, Miller Freeman, 1998.
• Kernfeld, Barry, ed., The New Grove Dictionary of Jazz, St. Martin's, 1995.
• Romanowski, Patricia, and Holly George-Warren, The New Rolling Stone Encyclopedia of Rock & Roll, Fireside, 1995.

Periodicals

• Down Beat, October 1991.
• Guitar Player, June 1999, p. 135.
• Jet, September 7, 1998, p. 55.

— James M. Manheim

Read more: http://www.answers.com/topic/george-benson#ixzz2cLHXmtnp

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Renegade Creation Awesome !!

Robben Ford (Guitar); Michael Landau (Guitar); Jimmy Haslip (Bass); Gary Novak (Drums) With engineering and production legend Ed Cherney (Rolling Stones, Bonnie Raitt, Bob Dylan) at the helm, Renegade Creation, featuring guitar greats Robben Ford and Michael Landau, bassist Jimmy Haslip and drummer Gary Novak, re-entered the studio to record Bullet, the super-charged follow-up to their critically acclaimed 2010 debut. Delivering a set of rootsy, blues/rock vocal tunes, the band draws on the unique guitar interplay between guitar giants Robben Ford and Michael Landau who inspire each other to new personal bests. Bullet is a guitar tour de force riding on the fierce rhythmic foundation of bassist Jimmy Haslip and drummer Gary Novak - one of the finest rhythm sections around. Renegade Creation brings to mind the essence of classic Blues Rock crossed with hypnotic vocal melodies and a touch of the adventurous sophistication of fusion, allowing each player’s phenomenal abilities to shine. The well-arranged compositions on Bullet, while brimming with fantastic soloing, exhibit a synergy rarely heard in music today. Demanding repeated listening, Bullet is guaranteed to remain on heavy rotation in any fans playlist. Michael Landau is a renowned session guitarist and solo artist who has played on albums since the early 1980s by such notable artists as Miles Davis, Michael Jackson, Richard Marx, Joni Mitchell, Steve Perry, Seal, James Taylor, Laura Branigan and many others. Robben Ford began his recording career in the ‘70’s with the Charles Ford Band, a blues band with his highly musical siblings. As Robben progressed more as a player he delved deeper into Jazz, joining Tom Scott’s band in 1974. After more than 30 years as a solo artist, Ford is widely regarded as one of the greatest guitarists in the world. Jimmy Haslip is an in demand bassist and record producer, known by many fusion fans as a founding member of the pioneering fusion group, “Yellowjackets.” He was one of the first high profile players to routinely use a 5-string electric bass. Haslip has worked with many notable artists, including Tommy Bolin, Marty Friedman, Bruce Hornsby, Gino Vannelli, Allan Holdsworth, Chaka Khan, Donald Fagen and Anita Baker. He continues to be one of the most in demand bassists in the industry. Gary Novak was born into a musical household and began drumming at age eight. After years of studying and working as a drummer he landed a gig with George Benson and subsequently joined Chick Corea’s band. He has also toured with many highly acclaimed musicians including Bob Berg and Allan Holdsworth. In 1998 he joined Canadian pop star Alanis Morissette’s band, recording and touring with her for over a year.

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Frank Gambale / Acoustic improvisation / Fortune /

FRANK GAMBALE BIOGRAPHY Grammy winning guitar virtuoso, Frank Gambale, exploded on the L.A. scene in the early ‘80’s. His meteoric rise to fame is a testament to his passion powered playing – a style “Rolling Stone Magazine” calls “ferocious”! Gambale is an inspired songwriter with over 200 songs published on 20+ albums. His music touches on many styles from funk and jazz to R&B and some Latin and Brazillian influences. As a legendary guitarist, Gambale is the undisputed genius who originated the sweep picking technique ( a new way to play the instrument ) and elevated it to a precise art form now standard in the guitar lexicon. The "Gambale Sweep Picking Technique" continues to inspire generations of musicians. Jazz, rock, metal and progressive artists alike are united in their awe of Frank as both an amazing technician and an unsurpassed musician. As jazz legend, Chick Corea, describes Frank: “Everything you touch with your guitar turns gold – always has.” While John McLaughlin’s tongue-in-cheek response to his finesse is “I’d like to cut his hands off.” A musician’s musician, gifted composer, brilliant innovator and author of numerous instructional books and DVDs, Frank continues to reach unprecedented sonic and technical heights. His six string prowess and seemingly limitless vision point towards an exciting future of ground-breaking music. Early Years Frank Gambale was born into a family of talented musicians in his native Canberra, Australia. He quickly absorbed the pantheon of ‘60’s and ‘70’s blues and rock guitar greats. As a teen, Frank’s musical horizons expanded with the influence of jazz and vocal based music under the generous tutelage of a local import record shop owner. At 17 he started playing piano and almost gave up guitar altogether. It was 2 years before he would return to the guitar at the insistence of his older brother. He returned to the guitar with renewed enthusiasm and continues to play piano. It was a leap of faith for Frank to leave for Los Angeles, to be in the middle of “where all the music I loved was being made,” and set off to the Guitar Institute of Technology in the early ‘80’s. Meteoric Rise Frank’s shining prowess and dedication to practice garnered him “Student of the Year” upon graduation from GIT, landing him a four-year teaching gig as well as a publishing deal for his first instructional book “Speed Picking”. In 1985 he signed a 3-album recording contract and began his illustrious recording career. In the summer of 1986 he toured with jazz violin great Jean-luc Ponty. Soon after that tour his widening reputation led to an invitation by jazz legend Chick Corea to join his groundbreaking “Elektric Band.” Frank began a major endorsement with the Ibanez guitar company and began to create the FGM series of guitars, which became a very popular series. He also signed a 3 DVD contract for instructional videos. Fresh-faced Gambale graced the cover of “Guitar Player” magazine in June 1988 entitled “Fire Meets Finesse”. Numerous publications and accolades soon followed. Fire meets finesse, indeed! On the Road Frank’s musical journey has taken him “at least twenty times around the world,” by his accounts with his own groups and as a collaborator with “Vital Information” and several of Chick Corea’s bands. 25 years have produced over 20+ solo records, another 9 with his 16 year collaboration with Vital Information, 3 blazing albums with his off-shoot project, “Gambale, Hamm, Smith,” as well as dozens of other guest record projects. His fruitful 25+ year alliance with Chick Corea has totaled 6 recordings and a live DVD recorded at Montreux Jazz Festival and garnished aa Grammy Award and 2 Grammy Nominations. World tours with drum legend, Billy Cobham, led to Cobham’s enthusiastic participation on Frank’s album, “Raison D’Etre,” which introduced Frank’s “Gambale Tuning System” to the world. Sweep Picking and Guitars Nearly 40 years seeped in all things guitar, Frank discovered his revolutionary “Gambale Tuning.” This system aligns the chordal capabilities of piano onto a reachable and familiar fret board - yet another of his monumental contributions to the guitar alongside the Sweep Picking Technique. Yamaha quickly jumped in to arm Frank with a new double-neck guitar, necessitated by the quick change-over in tunings while flying on the new adventurous tracks. The new Frank Gambale DV Mark Signature line of amplifiers fires up the incredible new Gambale Signature FG1 Guitar by Carvin corp. This semi-hollow guitar was a year in the making at Carvin’s Custom Shop. Frank’s instructional materials are used in many schools and universities throughout the world. His mystifying sweep picking technique, featured in his first instructional book and masterfully demonstrated in the Monster Licks and Speed Picking video, continues to amaze and inspire guitarists. Frank generously conducts master classes around the world. On the road in 2011 In 2011, the all-star “Return to Forever IV” (Chick Corea, Stanley Clarke, Jean- luc Ponty, Frank Gambale, Lenny White) ignited the greatest stages around the world with over 100 concerts starting in Australia which included a performance at the famed Sydney Opera House. The World Tour culminated in November at the renowned Blue Note in New York with an acoustic performance of RTF-IV (Chick Corea, Stanley Clarke, Frank Gambale, and Lenny White) marking the beginning of Chick Corea’s month-long appearance at the acclaimed venue to kick off the celebration of his 70th birthday. The "Elektric Band" closed the month-long birthday bash, playing to sold out shows reuniting all the original members of this iconic Grammy award winning group featuring Chick Corea, Frank Gambale, Eric Marienthal, John Pattitucci, and Dave Weckl. Newest Release in 2012 2012 brings more terrific new directions for Frank Gambale that will delight dedicated fans and new audiences alike. An album Gambale’s wanted to make for 30 years, his newest release “Soulmine” is a return to Frank’s vocal roots, and the first collaboration with inspirational songstress and muse, BOCA. Gambale and BOCA wrote, arranged and produced this release that features Boca’s sexy, strong and evocative vocals and inviting lyrics luring listeners to “stir their soul”, and Gambale’s soulful guitar playing and signature sweep-picking prowess throughout this Adult Contemporary Album. “Soulmine” has seriously catchy tunes punctuated with shining vocal harmonies, unexpected sass, funky rhythms and saucy guitar lines. The delicious guitar tones that tie the new tracks together are complimented by the combination of the new Frank Gambale DV Mark Signature line of amps firing up the incredible Gambale Signature FG1 Guitar by Carvin’s Custom Shop. The Frank Gambale Soulmine feat. BOCA is Frank's remarkable new release. A Soulmine World Tour starts in Europe in June 2012. The first single, “Forbidden Kiss,” hit the radio waves and video channels in January 2012. Released on www.Youtube.com and FrankGambaleTV (FGTV), the video for "Forbidden Kiss" was created and directed by the legendary Nigel Dick. This award-winning, British born filmmaker boasts a resume of more than 300 music videos, multiple commercials and numerous films. His creativity and vision enhances the key elements of musical expression and sensuality that comes through Gambale and BOCA’s collaboration. Whether Gambale is touring the world with his Fusion Jazz Trio, the Natural High Trio, his new vocal group Soulmine, or joining forces in an iconic jazz super group, Frank continues to amaze audiences around the world. - Dura and Matthew X. Curry

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Jimmy Herring: Jam Session #6 Guitar Lesson emulating slide guitar

BIO

American guitarist Jimmy Herring is a musician’s musician. The North Carolina native has been playing guitar for close to 40 years and exhibits signs that he’s just getting started. A staple in the Jazz Fusion and Jam Band scene, Herring studied guitar at Berklee College of Music and the Guitar Institute of Technology. His playing style melds the influences of Jimi Hendrix’s raw emotion, the twang of Steve Morse, and the flowing phrases of jazz legends Charlie Parker and John Coltrane.

Herring was the founding member of seminal band Col Bruce Hampton and The Aquarium Rescue Unit along with Jeff Sipe, Oteil Burbridge, Matt Mundy and Bruce Hampton himself. In 1997 he joined Butch Trucks, Derek Trucks, John Popper, Kofi Burbridge, Oteil Burbridge, Marc Quinones to form Frogwings after which he joined Jazz is Dead with Billy Cobham, Alphonso Johnson, T Lavitz. Jimmy was asked to join the legendary Phil Lesh as a part of his band which continued for good part of the decade. During his tenure there, he was asked to join the The Other Ones, the project that comprised of Grateful Dead members. During this time Jimmy also founded Project Z, an experimental instrumental trio with close friends Jeff Sipe and Ricky Keller. The band released two records under their name, the self-titled album in 2000 and Lincoln Memorial (Abstract Logix) in 2006

After the death of much loved and revered guitarist Mike Houser, Widespread Panic asked Jimmy to become a full time member. Jimmy continues to perform as the full time lead guitarist of the band to date. Herring is featured on more than twenty records, and incredible has only released two solo records. In 2008, the humble guitarist broke away from working as a sideman with the release of his first solo endeavor Lifeboat (Abstract Logix). The highly melodic album boasts a personal side of Jimmy, unseen in his previous projects. With Lifeboat, Herring explored several styles of the Jazz and Fusion genre. Whether it was on his soulful, diminished blues, “Scapegoat Blues”, his passionate ballad “New Moon”, that reveals his Dregs influence, or his arrangement of the Disney classic the “Jungle Book Overture”, Herring was sure to share the sonic stage with his fellow musicians. The album showcased Jimmy’s writing and playing skills beyond his domain and became a favorite of his ardent fans as well as new fans like John McLaughlin, Chick Corea among others.

Jimmy second solo release Subject to Change Without Notice (Abstract Logix 2012), is a record that pushes Herring’s music to another level. Produced the legendary John Keane, Herring again surrounds himself with close friends to make a strong, uninhibited record featuring mostly all originals as well as rousing covers of Mahavishnu Orchestra’s Hope, George Harrison’s Within You, Without You and Jimmy McGriff’s Miss Poopie. It is obvious that Herring creates music simply out of love and respect for music. Herring demonstrates, without doubt, that his music and playing ability are continually growing, and that his music will thrill fans and fellow musicians alike.

Jimmy Herring will be extensively touring in 2012 in support of his new album.

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MIKE STERN
Profile

In a career that spans three decades and a discography that includes more than a dozen eclectic and innovative recordings, six-time GRAMMY nominee Mike Stern has established himself as one of the premier jazz and jazz-fusion guitarists and composers of his generation.

Born in Boston in January 1953, Stern grew up in Washington, DC, then returned to Boston to study at the Berklee College of Music. After college, he got his start as a guitar player with Blood, Sweat & Tears at age 22. Following a brief stint with Billy Cobham’s powerhouse fusion band from 1979 to 1980, he moved to New York City, where he was recruited by Miles Davis to play a key role in Miles’ celebrated comeback band of 1981 (which also included bassist Marcus Miller, drummer Al Foster, percussionist Mino Cinelu and saxophonist Bill Evans). During his three-year period with Miles, Stern appeared on three recordings with the jazz maestro – Man with the Horn, Star People and the live We Want Miles. He toured with Jaco Pastorius’ Word of Mouth Band from 1983 through 1985 and returned to Miles’ lineup for a second tour of duty that lasted close to a year.

In 1985, Stern recorded Neesh, his first recording as a leader, for the Japan-based Trio label. A year later, he made his debut on Atlantic with Upside Downside, featuring such celebrated colleagues as David Sanborn, Jaco Pastorius, saxophonist Bob Berg, bassists Mark Egan and Jeff Andrews, keyboardist Mitch Forman and drummers Dave Weckl and Steve Jordan. Over the next two years, Stern was a member of Michael Brecker’s potent quintet, appearing on Don't Try This At Home.

In the summer of 1986, Stern took to the road with David Sanborn and later joined an electrified edition of Steps Ahead, which featured Mike Mainieri on midi vibes, Michael Brecker on the Electronic Wind Instrument (EWI), Darryl Jones on electric bass and Steve Smith on drums.

Stern’s second Atlantic album, Time In Place (1988), delivered on the promise of his debut. He followed with Jigsaw (1989) and Odds Or Evens (1991), both of which ably showcased his legendary guitar prowess and musicality. During this period he also formed a touring group with Bob Berg that included drummer Dennis Chambers and bassist Lincoln Goines. They remained a working unit from 1989 to 1992, at which point Stern joined Michael and Randy Brecker in a reunited Brecker Brothers Band, appearing on Return of the Brecker Brothers, released in 1992. Other notable sideman credits include work with the late tenor saxophonist Joe Henderson and the live recording 4 Generations of Miles, in which he joins other Miles Davis alumni George Coleman on tenor sax, Jimmy Cobb on drums and Ron Carter on bass.

The ‘90s proved to be a prolific and critically successful period for Stern. His acclaimed 1993 release, Standards (And Other Songs), earned him the pick of Best Jazz Guitarist of the Year by the readers and critics of Guitar Player magazine. He followed that up with two hard hitting offerings – Is What It Is in 1994 and Between The Lines in 1996 – both of which scored GRAMMY nominations. In 1997, he recorded Give And Take with bassist John Patitucci, drummer Jack DeJohnette, percussionist Don Alias and special guests Michael Brecker and David Sanborn. Their freewheeling covers of Sonny Rollins’ “Oleo,” John Coltrane’s “Giant Steps,” Cole Porter’s “I Love You” and Jimi Hendrix’s “Who Knows” helped Stern earn the Orville W. Gibson Award for Best Jazz Guitarist that year. Stern’s ninth release for Atlantic was a six-string summit with colleagues Bill Frisell and John Scofield that was appropriately titled Play. His Voices (2001) release, his first foray into vocal music, was also another GRAMMY nominee.

After 15 years with Atlantic, Stern shifted to ESC for the 2004 release of These Times, an eclectic set that included guest appearances by some high-profile session players – bassist Richard Bona, saxophonist Kenny Garrett and banjoist Bela Fleck.

Stern joined Heads Up International, a division of Concord Music Group, with the August 2006 release of Who Let the Cats Out? Regardless of who let them out, the cats are indeed loose on this album, and making a serious noise. Included on the guest roster are bassists Richard Bona (who handles vocals on two tracks), Anthony Jackson, Meshell Ndegeocello, Chris Minh Doky and Victor Wooten, trumpeter Roy Hargrove, saxophonists Bob Franceschini and Bob Malach, drummers Dave Weckl and Kim Thompson, harmonica player Gregoire Maret, and keyboardist/producer Jim Beard. Stern received his 4th GRAMMY nomination for Who Let The Cats Out? .

At the Festival International de Jazz de Montréal in June 2007, Stern was honored with the Miles Davis Award, which was created to recognize internationally acclaimed jazz artists whose body of work has contributed significantly to the renewal of the genre. Previous recipients include Keith Jarrett, Michael Brecker and Charlie Haden. Stern was also the artist in residence.

During that same festival, Stern joined the renowned Yellowjackets for some electrifying live performances. The dates served as the catalyst for Lifecycle, a Yellowjackets/Stern studio collaboration considered by many to be one of the most innovative and memorable jazz albums of 2008. The first Yellowjackets recording in 15 years to feature a guitar player, Lifecycle illustrates the kind of energy and creative brilliance that results when five talented players pool their individual skills as songwriters and musicians and merge into an entity that’s far greater than the sum of its parts. Lifecycle was later nominated for a GRAMMY for Best Contemporary Jazz Album.

A frequent world traveler, Stern took his group to Europe, Asia and elsewhere throughout much of 2008 – an ambitious itinerary that included a memorable one-nighter at the New Morning, the longstanding and highly celebrated club in Paris, France. This electrifying show in front of a capacity-plus crowd in May 2008 was captured on film for posterity and presented in New Morning: The Paris Concert, a live DVD released in March 2009. Backing Stern on this gig is the expert crew of saxophonist Bob Franceschini, bassist Tom Kennedy and drummer Dave Weckl (who also mixed the DVD).

In February 2009, in the first in a series of articles to celebrate DownBeat’’s 75th anniversary, Stern was named to the venerable jazz magazine’s list of 75 Great Guitarists. The list spotlights many all-time great jazz, blues and beyond guitarists and shows the wide-ranging influence that the guitar has had on music since it made its way into jazz in the 1920s.

In August 2009, Stern released Big Neighborhood. Aiding him in this latest chapter in his never-ending quest for the new and better groove is a long list of talented guests: guitarists Steve Vai and Eric Johnson; bassist-vocalists Esperanza Spalding and Richard Bona; jamband godfathers Medeski Martin & Wood; drummers Dave Weckl, Terri Lyne Carrington, Cindy Blackman and Lionel Cordew; bassists Chris Minh Doky and Lincoln Goines, saxophonists Bob Franceschini and Bob Malach, trumpeter Randy Brecker and keyboardist/producer Jim Beard. Big Neighborhood was also nominated for a GRAMMY for Best Contemporary Jazz Album.

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Shredding

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SHAWN LANE 4/27/97 VERMONT HELLBORG SIPE

biography by Sean Westergaard
Shawn Lane was a phenomenally talented guitar player who never quite broke out beyond guitar enthusiasts and critics, but will remain influential to players for many years to come. Originally hailed as a child prodigy, Lane joined Black Oak Arkansas as a teenager, and could have been part of the guitar shredder movement of the late '80s and '90s, but his restless musical inclinations led him down a different path.
Lane began his musical education on piano and cello at age four, but had switched to guitar by age eight. At ten, he was holding band rehearsals at the house he shared with his grandmother, and since the other bandmembers left their instruments at his house, Lane was free to try them out, and added bass and drums to his keyboard and guitar abilities. By 15, Lane was becoming known in Memphis circles as a guitarist, which led to an audition with Black Oak Arkansas in 1978, who he toured with for the next four years. Black Oak Arkansas was still popular enough to play at Bill Clinton's inaugural as Governor of Arkansas, but the band's heyday was well behind them. After disbanding briefly, BOA was re-formed with a couple of Shawn's high school friends joining the band, and bringing a heavy fusion edge to this southern boogie band. Then, burnt out from touring, Lane basically dropped out of sight in 1982 for a couple years, practiced piano, studied music theory and composition, and did a lot of reading and watching movies (he claims he barely played guitar at all during this period).

The mid-'80s saw Shawn returning to guitar: first playing in some bands around the south, then appearing on an album produced by Mike Varney on the Shrapnel label, with a tune called "Stratosphere II" on the U.S. Metal compilation (his first available recording). Shortly afterwards, he formed a band called the Willys, who were the house band at the Peabody Hotel in Memphis. Many touring musicians caught Lane's playing while staying there, and word of mouth led to session work, and eventually to his playing on the Highwayman 2 album with Johnny Cash and Willie Nelson. That high profile work ,and a demo cassette passed to Jim Ed Norman at Warner Brothers led to Lane being signed to Warner Brothers in 1990.

Lane spent the next two years at home, creating the Powers of Ten album, on which he played every instrument. Following its release in 1992, Guitar Player Magazine named him "Best New Talent" and he placed second in Keyboard Magazine's "Best Keyboard Player" category. A touring band was assembled to promote the album, and a live recording was made, though it wasn't released until 2001(Powers of Ten Live!). His next project was DDT, a band that also featured Cody and Luther Dickenson, later of the North Mississippi Allstars. The DDT material was supposed to be for Lane's second album for Warner Bros., but the recording never materialized. Also at this time, Lane did production work for other artists, did a couple instructional videos, and developed curricula and taught at several European Conservatories.

1994 would be an important year for Lane, as it marked his first collaboration with Swedish bassist Jonas Hellborg, a relationship that would continue for nearly a decade and produce many releases (mostly on the Bardo label). Lane and Hellborg were perfect collaborators, sharing many of the same musical influences and many other interests as well, and it was playing with Hellborg that Lane really discovered his voice on guitar. They toured with drummer Jeff Sipe over the next several years, developing such a rapport that they were able to play completely improvised sets every night (documented on albums like Temporal Analogues of Paradise and Time Is the Enemy). Concurrently, in 1995, Hellborg and Lane played with Chinese pop singer Wei-Wei, and the Hellborg/Lane/Sipe trio appeared as an opening act at all of Mainland China's largest musical venues.

Lane and Hellborg parted ways with Sipe in 1997, allowing Lane to work on the tracks that would become Tri-Tone Fascination, his second solo album in 1999. Also at this time, he and Hellborg began incorporating more Near Eastern and Eastern influences into their playing and improvising (Zenhouse, ). In 1999, Lane and Hellborg began working with V. Selvaganesh, son of percussionist Vikku Vinayakram of Shakti fame, and began pushing the music into more of a South Indian fusion, as evidenced by Good People in Times of Evil.

Lane started having health problems in 2001, temporarily breaking off his work with Hellborg. After recovering, Lane started playing with a Memphis bar band called the Time Bandits, but was back with Hellborg and Sipe for a brief tour in 2002. There was also more work with the Vinayakrams, resulting in Icon, a dazzling work of East-West fusion that, unfortunately proved to be among Lane's final recorded works. There was a brief tour of India in February of 2003, but Lane's health problems returned, and on Sept. 26, 2003, Shawn Lane passed away following lung surgery.

Jamie Cullum - All At Sea

Great Song

Richard Bona interview for iBass Magazine

RICHARD BONA

Richard Bona has been recognized as one of the planet’s five revelations of the past decade. A complete artist, an absolute master of his art, and a melodist of rare elegance and sensuality, he’s also a poignant singer, and a member of that exclusive club, "the world’s best bassists.”

For the past fifteen years, Richard Bona, dubbed “The African Sting,” has been displaying his smile, humour, serenity and grace wherever he’s travelled. His first two albums revealed a wonderful storyteller, a surprising musician, and a spellbinding vocalist. His unique style is situated at the crossroads of a horde of influences - jazz, bossa nova, pop music, afro-beat, traditional song, and funk.

Munia, the title of his third CD, actually means “tale” in the Douala language (part of the Bantu group, one of the 220 dialects spoken in the Cameroon.) There’s a contained emotion, unsettling charm, soft magic, and keen, blinding flashes to be found on the program of this elegant, “crossbreed” record whose release, due on September 30th, will be followed by a European tour that includes a concert on November 5th at La Cigale in Paris.

The grandson of a famous percussionist and singer, Richard Bona was born in 1967 in Minta, a village in the center of Cameroon perched on the plateau of Adamaoua, between the small shrubs of the savannah and the virgin forest. His music, too, can be compared with the colors, twittering and profusion of the thousands of species of birds that live there. Music was his environment from the day he uttered his first cry. His mother and four sisters sang in the local church every Sunday, and the little boy joined them on the rostrum when he was five. Sounds, harmony and song were a genuine passion for Richard. The boy was remarkably ingenious, and not only made reed flutes for himself, but also a large balafon, wooden percussion instruments, and his own 12-string guitar. He did so with whatever he could find, like any other kid in a poor country: Bona laughs, “I hung around the workshops where they repaired bicycles, and as soon as the guys turned their backs I’d put brake-cables in my pocket for my prototype.” He rehearsed for eight to twelve hours a day, and also spent part of his time appearing as a singer and multi-instrumentalist in a whole range of religious ceremonies, from weddings and christenings to private and public celebrations. One important detail: Richard had a highly unusual gift - he only has to look intently at someone playing, and he can learn the instrument.

He was eleven when he went to Douala with his father; the sprawling, sea-port city was the second largest in the country, with almost two million inhabitants. He was quick to find his first job: as a guitarist with a dance-group. Bona recalls, “At the time, in West Africa, the guitar was the instrument in fashion; there was no salvation without it.” In 1980 the French owner of a local club gave him the task of setting up a little, jazz-inspired group (with soul-jazz and jazz-rock leanings), and he was entrusted with a collection of some five hundred vinyl albums so that he could “soak in it to the maximum.” So Richard discovered jazz, the freedom, complexity and virtuosity of the music invented by the American descendants of his forebears. “That’s how I came across the Jaco Pastorius album, the first one, the one with his name on it, [Jaco Pastorius, Columbia, 1976] and I never looked back. When I started listening to it I wondered for a moment if I’d got the speed wrong, I thought I was playing it at 45 rpm instead, and I even took a look. Before Jaco, I’d never thought of playing bass.”

In 1989, when he was 22, the young man left Africa for Paris, where he quickly built a solid reputation playing with Didier Lockwood, Marc Fosset and André Ceccarelli, and taking part in studio sessions with musicians of the stature of Manu Dibango, Salif Keita and Joe Zawinul (My People, 1992.)

Like singer Angélique Kidjo (whom he also accompanied), who’d gone to New York to live with her family, Richard crossed the ocean in 1995 and settled in Manhattan. He quickly hooked up with Joe Zawinul again, and was invited to accompany him on a world tour.

His name began to circulate among the “pros”. Bona reflects on life in New York: “New York is a 120% jazz city. As soon as a door opens, you have to jump through.” Noticed in a midtown club by lyricist Jake Holmes (one of Harry Belafonte’s old associates), a few weeks later Richard was named Belafonte’s musical director, bassist and arranger. A “fabulous” eighteen-month adventure ensued for Bona alongside this particularly endearing character who’d been a great friend of the late Martin Luther King, Jr.; a notable, sincere combatant in the Black struggle for Civil Rights; and a major figure in “crossbred” music before his time (he’d already been mixing soul and calypso, folk and Creole song, jazz and rhumba in the Sixties…).

Soon thereafter, Bona became one of the most in-demand collaborators in music, working with a remarkable array of artists, such as Michael Brecker, Paul Simon, Chaka Khan, Tito Puente, Eddie Palmieri, Chucho Valdès, Mike Stern, Larry Coryell, Steve Gadd, Joni Mitchell, Harry Connick Jr., Herbie Hancock, Billy Cobham, Queen Latifah, Jacky Terrasson, Bobby McFerrin, Chick Corea, Zawinul (again, when Bona sang and played bass and percussion on his World Tour 98 and the CD Faces & Places), Pat Metheny and George Benson .

On the advice of Branford Marsalis, Richard was chosen to play on the first compact disc by Frank McComb, the singer from Buckshot Le Fonque (the funky side of the elder of the Marsalis Brothers). The album was released by Columbia and a few months later, still under Branford’s patronage, the label gave Richard the chance to add his first album as leader to his discography.

Scenes From My Life was released in 1998, and included such luminaries as Michael Brecker, Omar Hakim and Jean-Michel Pilc (among others). One might mention some of the comments greeting this record at the time: “We don’t like showing we’re impressed by the last kid to be discovered in New York. But even the most recalcitrant change their minds when the kid’s Richard Bona.” (Newsweek). “An unexpected masterpiece, the birth certificate of an artist who prefers to sing rather than knit the ready-to-wear suits of the most gifted bassist of his generation.” (Gérald Arnaud in Jazzman). “Richard Bona is a great singer, not a great bassist who sings. A singer and a composer. Richard Bona has just made a great record. A record of great diversity.” (Jackie Berroyer in Vibrations).

Bona reflects: “Music doesn’t stop at a bass solo,” he says, “demonstrations aren’t in my temperament. In France people have heard of me essentially as an accompanist. Who’d have let me sing? Fact is, I’ve been a singer since I was a child, and here I was given that chance.” Wrapped in pared-down arrangements, and stealthily carried by his striking voice, these twelve songs are simple and subtle reflections of Richard himself.

Reverence (Autumn 2001), his second Columbia outing, was more intimate, and confirmed the hopes placed in Scenes From My Life. It was a gracious salute addressed to the world, and dealt with problems and personal good fortunes as universal subjects: faith, communication between human beings… Better than that, the young man threw out a real call for people to live life more slowly, and so take fuller advantage of life.

Munia, Bona’s third album and his debut recording for Verve, is a multi-faceted, dancing work of absolute freshness, and perhaps his most eclectic, thrilling album to date. Munia showcases Bona’s singing, composing and arranging, in addition to his work on bass and piccolo bass, acoustic and electric guitars, synthesizers, vocoder, keyboards and percussion. “In New York, where I live with my son Leo, I feed on any number of things outside my own culture.”

Munia, and its eleven titles in collaboration with drummer Nathaniel Townsley, keyboardist George Whitty, pianist George Colligan and saxophonist Aaron Heick, is the best translation of this frame of mind, undulating from one genre to another, yet it never interrupts one’s listening. Munia also boasts appearances by several notable guests: Salif Keita (vocals), Djely Moussa Conde (kora) and Bailo Ba (traditional flutes) on the brisk “Kalabancoro,”; Kenny Garrett on alto saxophone and Vinnie Colaiuta on drums (the very jazzy “Painting A Wish”); or the virtuoso acoustic guitar of Romero Lubambo on the lively, cheerful bossa nova “Bona Petit” (one of the rare pieces on which Bona sings in French). There’s also tropical rock (“Balemba na Bwemba”), two extraordinary ballads (“Dina Lam” and “Muto Bye Bye”), a brilliant rhumba (“Couscous”), and an exhilarating fusion piece (“Engingilaye”). Taken together, with Richard Bona, we once again have a recording that’s a pure marvel. There’s really nothing more to add.