woensdag 27 februari 2013
dinsdag 26 februari 2013
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.
maandag 25 februari 2013
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.
vrijdag 22 februari 2013
woensdag 20 februari 2013
dinsdag 19 februari 2013
maandag 18 februari 2013
Just Like Paradise (David lee Roth) Rock till you drop
Vet gitaarwerk van Piet Hein Appolo ja het bestaat nog!!
zondag 17 februari 2013
zaterdag 16 februari 2013
American Folk Blues Festival 1962-1969 Vol. 3 Blues History
1. "Hound Dog" by Big Mama Thornton (1965) [00:00]
2. "Gulgport Boogie" by Roosevlet Sykes (1965) [02:35]
3. "Out of Sight" by Buddy Guy (1965) [04:43]
4. "Feel so Good" by Dr. Isaiah Ross (1965) [07:07]
5. "Flip, Flop and Fly" by Big Joe Turner (1966) [10:58]
6. "All Night Long" by Skip James" (1967) [15:40]
7. "Crow Jane" by Skip James (1967) [18:30]
8. "Got Sick and Tired" by Bukka White (1967) [20:29]
9. "Death Letter Blues" by Son House (1967) [25:26]
10. "Wild About You" by Hound Dog Taylor & Little Walter (1967) [31:16]
11. "Wand Dang Doodle" by Koko Taylor & Little Walter (1967) [33:55]
12. "Stranger Blues" (1967) [36:51]
13. "Burnt Child (Afraid of Fire" by Sonny Terry & Brownie McGhee (1967) [36:51]
14. "Gonna Move Across the River" by Sonny Terry & Brownie McGhee (1967) [41:00]
15. "The Blues Ain't Nothin' But a Woman" by Helen Humes (1962) [47:05]
vrijdag 15 februari 2013
donderdag 14 februari 2013
Paul Jackson Jr - The science of rhythm guitar
Great feel!
Paul's Gear
Guitars
Paul Reed Smith: Singlecut 250; PRS 513:
Gibson: Paul Jackson, Jr. Signature Model (ES-347); Les Paul Standard,
Florentine Hollow Body and Custom; ES-335
Valley Arts: Custom Pro "Strat"
Takamine: Hirade Nylon String; ENV 760S Steel String
Martin: D-35S Steel String
Ibanez: GB-10 Hollow Body Electric
Jerry Jones: 3 "Lipstick" pick up guitar
Jose Iribe: Nylon String w/ RMC Pickups
Amplifiers
Rivera: Custom single 10 amps Divider
Gibson: Goldtone Stereo Class A amp
Matchless: DC 30
Mesa Boogie: Mark IV; Triaxis Preamp
Fuchs: Custom Overdrive single 10 amps
Marshall: JMP Preamp
Effects
Custom Audio Electronics: Effects Rack (wired with Monster Cable)
Tri Stereo Chorus
Roland: VF-1
Musitronics: Mutron III; Mutron Octave Divider
Line 6: Echo Pro; Mod Pro
T.C. Electronics: G Force
Demeter: Opto Compulator
Xotic Effects: AC Stomp; RC Stomp; BB Preamp; Robo Talk
Soldano: Overdrive
Valveboy: Overdrive
Visual Sound: H20 Chorus Delay; Route 66 Compressor Overdrive;
Jeckyl and Hyde Overdrive
Miscellaneous
Gibson: Banjo; Mandolin
Dean Markley: Strings
Levy's Leathers LTD: Straps and Cases
Bartolini: Pick Ups
Custom Audio Electronics: Switching Systems and Guitar Rigs
Endorsements
Levy's Leathers LTD
Aphex Electronics
Takamine Acoustic Guitars Acoustic Xciter ad - pdf
DeanMarkley Strings
Rivera Amplifiers
Shure Brothers Mics and Wireless Systems M Audio Electronics
Monster Cable
Visual Sound
Bartolini Pickups Xotic Effects
(check out Paul's interview/demo)
Custom Audio Electronics
--------------------------------------------------------------
woensdag 13 februari 2013
Daryl Hall & Chromeo - I Can't Go For That
Great Music! Daryl Hall (born Daryl Franklin Hohl, October 11, 1946 in Pottstown, Pennsylvania) is an American rock, R&B and soul singer, keyboardist, guitarist, songwriter and producer, best known as the founder and half of the music duo Hall & Oates (with music partner/founder/guitarist John Oates), who also served as lead vocalist. Guitarist Robert Fripp, who collaborated with Hall in the late 1970s and early '80s, has written, "Daryl's pipes were a wonder. I have never worked with a more able singer." He currently hosts the web tv series, ''Live From Daryl's House''. Hall has written or co-written 11 Billboard Number One songs, "She's Gone" (with John Oates as covered by Tavares), "Rich Girl", "Kiss On My List" (with Janna Allen), "Private Eyes" (with Sara Allen, Janna Allen & Warren Pash), "I Can't Go for That (No Can Do)" (with John Oates & Sara Allen), "Say It Isn't So", "Maneater" (with John Oates & Sara Allen), "Out of Touch" (with John Oates), "Everytime You Go Away" (with John Oates - as covered by Paul Young) and "Do It For Love" (with John Oates). Hall also sang lead vocals and has written or co-written 8 more popular Billboard songs that also made it to the Top 10, such as: "Adult Education" (with John Oates & Sara Allen), "Sara Smile" (with John Oates - a song that was referenced by Hall's ex-girlfriend), "Method of Modern Love" (with Janna Allen), "You Make My Dreams" (with John Oates & Sara Allen), "Everything Your Heart Desires", "One on One", "So Close" (with Jon Bon Jovi & Danny Kortchmar) and "Did It in a Minute" (with Sara Allen & Janna Allen). In addition, he also sang lead vocals while covering on another Top 10 hit: "Family Man," a song that was written by Mike Oldfield, a year earlier than its release.
donderdag 7 februari 2013
woensdag 6 februari 2013
dinsdag 5 februari 2013
Carol Kaye on Choosing the Bass
Carol Kaye was born in Everett, Washington to musician parents, Clyde and Dot Smith, both professionals. She has played and taught guitar professionally since 1949, played bebop jazz guitar in dozens of nightclubs around Los Angeles with top groups (also in Bob Neal's jazz group with Jack Sheldon backing Lenny Bruce, with Teddy Edwards, Billy Higgins etc.), accidentally got into studio work late 1957 with the Sam Cooke recordings and other big recordings on guitar for the 1st 5 years of studio work in Hollywood.
In 1963 when a Fender bassist didn't show up for a record date at Capitol Records, she picked up the Fender bass (as it was called then) and augmented her busy schedule playing bass and grew quickly to be the no. 1 call with record companies, movie & TV film people, commericals (ads), and industrial films. She enjoyed working under the direction of Michel LeGrand, Quincy Jones, Elmer Bernstein, Lalo Schifrin, David Rose, David Grusin, Ernie Freeman, Hugo Montenegro, Leonard Rosenman, John Williams, Alfred & Lionel Newman, etc. as well as the numerous hits she recorded for hundreds of recording artists.
Beginning in 1969, she wrote her first of many bass tutoring books, "How To Play The Electric Bass" effectively changing the name of Fender Bass to Electric Bass and began teaching 100s of Electric Bass students, many of them now famous themselves.
Her tutors are endorsed by such notables as Professor Joel Leach, 10-year winner of the Pacific Jazz Festival Awards with his famous Cal-State Northridge Jazz Bands, and Plas Johnson, jazz/blues studio sax legend ("Pink Panther"). She stepped out to perform live with the Hampton Hawes Jazz Trio in the mid 70s, has given many seminars all over the USA, and is a leader in Electric Bass education.
maandag 4 februari 2013
Gus G Plays Classic Ozzy Riffs Exclusive Guitarist Magazine HD (tuning DGCFAD)
Check the tuning for that lovely dark tone!
vrijdag 1 februari 2013
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