Sheryl Bailey Naima Masterclass
Posted by DJ in Uncategorized on September 20, 2016
I’ve just heard that friend of Jazz Guitar Scene Sheryl Bailey has just released a teaching video about the classic Coltrane composition ‘Naima’ You can check it out and other classes by following the link. I was fortunate to hang out with Sheryl a couple of years back when she stayed at my place and had some fun jams and gigs- what a great player and cool dude!
Brad Williams Interview
Posted by DJ in Jazz Gtr Interviews, Youtube Jazz Videos on July 14, 2015
I was contacted via Twitter by Brad and had a listen to his Youtube channel and loved what I heard; tasteful, in the tradition but not in anyway painting by numbers if that makes sense- check it out. I was glad he agreed to an interview. Thanks Brad!
What/who were your initial influences?
My very earliest influences were stacks of 45 RPM records my parents owned. Scotty Moore with Elvis Presley was a big one, Steve Cropper with Otis Redding was another. At 12 I was exposed to Hendrix, and at 15 to Wes Montgomery and Grant Green. Then I started going out as a teenager in my hometown of Memphis to hear Calvin Newborn at least one night per week— this was in the late 1990s. But my single biggest guitarist-influence, to this day, is Charlie Christian— such an incredible sound and conception, and true, deep feeling in every note. His influence exploded out in every direction— through Wes and Benson obviously, but also through T-Bone Walker into the blues, then Junior Barnard on the country side of things, and Chuck Berry and beyond into rock. Charlie Christian is truly the electric guitar’s ‘big bang.’ More than guitarists, though, I’m most influenced by any musician who delivers real depth of feeling and real, honest individuality. There are too many to list, and fortunately there’s no reason to narrow it down.
Are you gigging much at the moment and any projects in the pipeline?
I’m doing a lot of writing and producing these days, in all sorts of idioms, and a fair amount of performing. Not all of it is improvisation-centered. Last year I worked and toured quite extensively with vocalist José James, and currently I’m playing and writing a bit with artists like Kris Bowers, Cory Henry, Samora Pinderhughes, and Sly5thAve, as well as some more song-oriented projects with lots of great artists like Adesuwa, Kimberly Nichole, and more. Really just staying busy and keeping my vision very broad. My organ trio record, which features Pat Bianchi on B3 and Tyshawn Sorey on drums, comes out 4 September. I’m very excited to see the public’s reaction to Tyshawn’s organ trio drumming, which is fantastic. So many music lovers know his work in contexts very different from this, so I think a lot of people are going to really get a thrill from hearing him like this.
It was an interesting project in that we decided to do an entirely analogue capture the whole way through— we tracked and mixed to tape, and Scott Hull cut a great-sounding lacquer master from razor-blade sequenced quarter-inch reels. The LP edition will have never touched a computer at all, and I chose this way of working with a very clear musical result in mind. Rather than having the temptation to fix and edit, I wanted to enforce being true to the feeling of the moment. What was most interesting to me were all of the little things that bothered me initially. Most of those came to be some of my favorite parts of the record once it aged a bit— there’s real humanity there, and with modern recording workflows, a lot of this humanity gets eroded through little fixes, edits, and punches. I think this is because humanity and vulnerability, while engaging to audiences, can be uncomfortable when it’s your humanity and vulnerability!
What’s your ‘desert island’ guitar or have you got it!?
I have always liked guitars— I have 20 currently. I’ve always, from the very beginning, liked to have a lot of guitars around. Amps, too! So it would be hard to pick one. At any rate, things like makes, models, and vintages are purely academic to me— I have to play a particular guitar before I know if it speaks to me or not. Another of the exact same make, model, year might not strike me the same way. There are some I own that were particularly obvious to me the first time I picked them up. I have this 1953 Epiphone Triumph Regent that someone added a pickup to in 1954. It’s a carved-top guitar—it was an acoustic originally—and the pickup was bought out of a catalog, made by Carvin in the mid-1950s. I also have a blue 1962 Fender Jazzmaster that I’d never sell, and a 1944 Gibson Southern Jumbo flat top.
Most of my guitars are old; I tend to like the ones that have been played a lot. Sometimes I feel that as with any other tool that’s worked with in the hand a lot, like they can somehow accumulate personality. That probably sounds weird. But in the end, there’s music in any guitar— it’s up to the player to find out what the guitar does and how it can be worked-with, creatively. I’m a big fan of old inexpensive guitars, for instance— there’s almost always something they do that is unique and characterful. I’d be happy with almost any guitar on a desert island, I think!
Best guitar gig you’ve ever seen?
There’s one that comes to mind for me that I’ve talked about a few times since. I was about 18 years old and went to see B.B. King in Hattiesburg, Mississippi; the hall held about 8,000 people. I was young, deep into jazz guitar studies, trying to get my hands around all the technique and my ears around all the harmony. Mr. King had a second guitarist with him— a young kid playing a big archtop— and he gave this kid the first solo of the show. The kid played great; lots of notes, some bebop-inspired language, and I remember thinking “wow, I’ve heard the B.B. King records; I know he’s not going to play more stuff than this guy!” After the younger player’s solo, which finished to polite applause, B.B. King played a single note— one of those stinging upper register notes he’s so famous for. The energy in the hall immediately elevated to this transcendent place— you could feel the electricity of the whole crowd’s emotions being stirred simultaneously. It was a transformative moment for me, because it caused me in one instant to completely re-evaluate what was important to me in music. From that point on, the question was always “is this idea in service of some kind of feeling?” Because it’s not enough, to me, to just be a clever idea or an impressive thing to demonstrate. If it’s not working toward making me feel what B.B. King made that whole hall feel that day, then it’s not what I’m after.
Which guitarist(s) would you recommend for other people to check out?
Well, there are all the usual ones— the legends. Charlie Christian gets a shout-out, again. Freddie Green was always another big hero of mine, due to his deep concept as a rhythm section player. For me, there’s a whole school of Memphis session guitarists that are just my favorite lately. The late Mabon “Teenie” Hodges, Skip Pitts, Michael Toles, Bobby Manuel, Steve Cropper, and— above them all, to me— the great Reggie Young. Most of your readers have heard these players somewhere or other; as session players they were all incredibly prolific, and on some important records. There are some others that are so worth checking out that don’t get as much talk these days— Oscar Moore, George Van Eps, Gene Bertoncini… As for current players, my friend Charlie Hunter has a fabulous new record out with Curtis Fowlkes and Bobby Previte. Isaiah Sharkey is another player I’m really impressed by, as is Tony Scherr… his slide work is so full of real feeling. There are really too many great ones to name.
Larry Coryell, Phil Robson, Adrian Ingram and Trefor Owen UK Festival 2015
Posted by DJ in Coming up, Gigs, Jazz Gtr News, Uncategorized on April 28, 2015
We are getting incredibly excited about the forthcoming jazz guitar weekend in Wrexham May 15th-17th. See you there!
http://www.fouldsmusic.co.uk/jazz-guitars-and-accessories/jazz-guitars/23rd-north-wales-international-jazz-guitar-weekend-larry-coryell.html
Attila Zoller – Help Needed!
Posted by DJ in Jazz Gtr News on April 29, 2014
After seeing a plea on Facebook from the Atilla Zoller appreciation page run by his daughter Alicia I said I would post this up here to see if anyone can help or know of anyone who would be willing to get involved. This is what she wrote:
“After multiple attempts to try and organize my fathers legacy, I have finally come to the realization that I am not equipped to take on this unbelievably complex task. As I am neither a musician nor an archivist, I do not possess the skills to do this alone. And so…I send my plea to you: any help, advice, direction or otherwise will be greatly appreciated. I have a huge amount of multiple media of music, videos, promotional materials, advertisement, sheet music, newspaper & magazine articles (in multiple languages) not to mention the photos. I really could use some help with this exhaustive task that is my sole responsibility.”
You can link with the page on www.facebook.com/pages/Attila-Zoller/231025612903
You can also contact her directly by email carusona@svcable.net
ATTYA
Posted by DJ in Youtube Jazz Videos on April 23, 2014
Just having a jam over a couple of play-alongs over the long weekend as I was dying to try out my new Alumitone pickups which have just been installed in my Ibanez AS153. They immediately gave more thump to the bass and a clearer treble- I’ve installed them in both my gigging guitars.
Anyway see what you think..
Rotosound Top Tape Flatwounds
Posted by DJ in Jazz Gtr Gear Reviews on April 17, 2014
As previous posts have shown I personally prefer the Newtone Archtop for the sound I’m after (which usually isn’t a traditional jazz sound) but I have long wondered about the Rotosound Top Tapes (only available in 12’s) as a viable alternative to D’Addario on the shops guitars. They are different tonally to me as they sound ‘bedded’ in (not unlike well used Chromes) right from the off which to be honest in my (daily!) experience of jazz guitar players is what a vast majority tonally are after. So far so good, even as a ‘take it or leave it’ flatwound appreciator I will persevere with them and I think they sound good on laminate archtops. We’ve got a few new videos which should be on Youtube fairly soon, I will post up the links when they’re available.
As an aside, I was absolutely amazed to see hanging on the wall printed on the D’Addario packaging…… can you spot the spelling mistake……? Can’t believe they designed this and no-one saw….!
Syberen van Munster
Posted by DJ in Youtube Jazz Videos on April 1, 2014
It’s really great when as a consequence of this blog people contact me and I come across new, interesting and lesser known players. I had correspondence from Syberen van Munster and I love his interpretation of “I’ve Grown Accustomed To Her Face”. Enjoy!
Upcoming UK Events
Posted by DJ in Coming up, Gigs, Jazz Gtr News on March 12, 2014
On the 29th March there is a rare chance to learn with the amazing Sid Jacobs as he is giving a master class in London. Details below:
If you are a fan of the music of Bill Evans and you’re interested in the Jimmy Wyble style of arranging then this is a must.
Also in Wrexham there is the amazing Howard Alden coming across to teach at the Jazz Guitar Weekend arranged by Trefor Owen. This is really a must for any aspiring jazz guitarist to get up close and really see how a professional approaches the art form. It’s great to hang out with lots of like minded people and there are some great opportunities to jam and share knowledge.
Information is on this webpage