Posts Tagged Wes Montgomery
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.
Underrated Jazz Guitarists #1 William Ash
Posted by DJ in Jazz Gtr News on February 27, 2014
In no particular order, just as they come to me I will post up guitarists I think deserve further recognition 🙂
I’ve listened to the criminally underrated William Ash for a few years now and his albums are some of my favourite to listen to on my iPod on my walk to work. I can’t remember how I came across them but if you think you’ll like a Wes vibe but on steroids then you’ll love this stuff. He seems to be able to play with his thumb like Wes but also with a pick where necessary. Oh and also he is the most ridiculous block chord soloist you’ve probably ever heard, check out the track ‘Joanne’ (or any others really) from ‘Moonlight and Stars on iTunes.
Recommended Listening
“Moonlight and Stars”, “The Phoenix” and “The Long Road” all great albums for fans of jazz guitar.
I couldn’t find a website to link to and there’s not much on Youtube so go to iTunes to get hold of his stuff.
David Preston Interview
Posted by DJ in Jazz Gtr Interviews on May 9, 2012
If you’re down London way then make sure you check out the David Preston’s monthly residency at The Cornershop
Great writing and flawless execution, these guys have really got their stuff together, have got a very hip sound and are great players. You can keep up with them via Youtube Soundcloud & Twitter
Make sure you do; ones to watch!
Q: What/who were your initial influences?
I started off listening to John Williams and the Beatles very early on, that led me to Hendrix, Jeff Beck, Zepplin and Cream.
My first big jazz influences however were Pat Metheny, Wes Montgomery and Joe Pass. Metheny’s Question and Answer and Miles Davis’s In a Silent Way are the records that gave me the jazz bug. I still remember exactly how I felt when I first heard Roy Haynes’ intro to the first tune ‘Solar’.
I also have a special place for Oasis, Noel Gallagher is an incredible songwriter and guitarist, an uncommon influence I know but I guess it had to happen sometime!
Q: Are you gigging much at the moment and any projects in the pipeline?
I’m really excited to be starting a monthly residency in April with Kevin Glasgow and Laurie Lowe. We’ll record an album this summer. I’m hoping to do some more gigs with Peter Ind this year as its always a blast playing with him and to tour my own group later in the year. Fingers crossed i’ll also be working again with Melody Gardot at some point too.
Q: What’s your ‘desert island’ guitar or have you got it!?
I play a Gibson cs356 and I’m pretty happy with it at the moment, she’s temperamental with the weather so a desert island might put her out of shape. If i had a choice between anything built by Gary Mortoro or Linda Manzer i’d be one happy guy.
Q: Best (jazz guitar) gig you’ve ever seen?
Its a tie between Metheny at the Royal Albert Hall, Speaking of Now Tour or Metheny at Hammersmith Apollo for the Way Up Tour.
He played really raw at the Albert Hall, really going for it, but I remember literally not being able to speak after seeing him at the Way Up show however, so maybe that one!
Q: Which guitarist(s) would you recommend for other people to check out?
Obviously all the greats, but some guys lesser heard and/or known playing on the scene now:
James Muller, Julian Lage, Joe Cohn, Greg Duncan, Nir Felder, Chris Thile (mandolin player but he’s awesome) and Jakob Bro to name a few. Alex Machacek & Bryan Baker are doing some really interesting things in the fusion area.
For classical guitar, Su Meng and Roberto Aussel, they both sound absolutely incredible.
As far as older guitarists, I recently came across a guitarist who (I think) is still alive called Bill Jennings who plays on alot of Jack McDuff albums whos great. Also George Van Eps, Ed Bickert, Tiny Grimes, Tony Rice and Billy Bauer are all awesome.
Ant Law is worth checking out here in London, he’s writing some really interesting music.
I really wish Stuart Hall, Steve Topping and Paul Stacey would play more in London too because they are ridiculously good players and I’d go to every show!
The Great Wes Montgomery
Posted by DJ in Youtube Jazz Videos on January 21, 2012
Love his version of “Round Midnight”.
Matthew Warnock Interview
Posted by DJ in Jazz Gtr Interviews on January 15, 2012
Matthew Warnock is a great guitarist and educator with a impressive CV which includes stints teaching and studying in many US universities. Matthew is coming over to teach in the UK at Leeds College of Music and I hope we can meet up at some point to hang out. You can check out his playing on his Youtube channel.
Q: What/who were your initial influences?
I first got interested in guitar by listening to classic rock and blues, so my earliest influences were Jimmy Page, David Gilmour and Stevie Ray Vaughan. Once I got hooked into jazz, I was influenced by some of the usual suspects, like Wes Montgomery, Pat Martino and Mike Stern, but I have always been drawn to cats like Lenny Breau, Ed Bickert and Ted Greene.
Q: Are you gigging much at the moment and any projects in the pipeline?
I spent most of 2011 living in Belo Horizonte, Brazil where I was performing 10-15 times a month, so I was gigging a lot and getting the chance to play with some great Brazilian musicians. I recently relocated to Manchester, and have decided to gig a bit less right now because I want to really focus on finishing my first record. The album will be all solo-guitar, and I’ve got the tunes worked up already. I just need to get into the studio and begin the recording process.
Q: What’s your ‘desert island’ guitar or have you got it!?
My desert island guitar is the Koentopp Telecaster that I own. It’s a custom build by Dan Koentopp, a Chicago luthier who makes the most beautiful sounding guitars I’ve ever played. So, I’m lucky in that I searched for years for a guitar that really brought my personality and musical intentions out in the sound of the instrument, and I finally found those qualities in Dan’s guitar.
Q: Best (jazz guitar) gig you’ve ever seen?
I would have to say that it was a tie between the first time I ever saw Ben Monder in Montreal, he was playing with his quartet and they absolutely killed it, and a Mike Stern show I saw this summer in Brazil, where he played with a Samba trio. Both of these shows were full of energy, the bands were interaction at a very high level and the intensity was just electric. Two shows I will never forget.
Q: Which guitarist(s) would you recommend for other people to check out?
A few of the guitarists that I really like that I think more people should check out are Lenny Breau and Ed Bickert. Two Canadian guitarists, well Lenny was a transplanted Canadian, who I grew up listening to and two of the best chord players in the business. I will never get tired of hearing either of those guys play, in any ensemble, and I always try and turn people on to their records whenever I get the chance.
John Clarke Interview
Posted by DJ in Jazz Gtr Interviews on September 1, 2011
John Clarke from the Southern Jazz Guitar Society contacted me and very kindly answered our interview questions. I will do a feature on UK jazz guitar societies soon.
What/who were your initial influences?
Jim Hall (‘Jazz Guitar’ with Carl Perkins and Red Mitchell), Barney Kessel (‘Four’ with Hamptom Hawes), Wes Montgomery (all the Riverside recordings)
Are you gigging much at the moment and any projects in the pipeline?
I only average half a dozen gigs a year, and this year it’s less than that, but I play in public twice a month at jam sessions. Last year, one of the bands I play in supported the Clark Tracy Quintet at the Reading Jazz Cafe, and another band I play in has played at The Marlborough Jazz Festival, the Brighton Jazz Club, the Reading Jazz Club and the Southampton Jazz Club in the past. The close proximity of London, and the dearth of gigs there for pro musicians means that, now, these local gigs can attract London jazz musicians for modest fees, so there are fewer opportunities left for local semi-pros and good amateurs.
What’s your ‘desert island’ guitar or have you got it!?
My ’59 Gibson L7 with Kent Armstrong custom archtop pick-up, but a similar vintage L5CES would be even better. I also have an Ibanez AS200 bought c. 1990, which is an exceptionally nice guitar.
Best (jazz guitar) gig you’ve ever seen?
Wes at Ronnie Scotts, I guess, but Pat Metheny at The Shaw Theatre c. 1980, and Mike Stern at the Bracknell Jazz Festival c, 1987 also stand out
Which guitarist(s) would you recommend for other people to check out?
Depends on the era (my taste covers all from fifties to the present). Pre 1980 – Wes Montgomery, Jim Hall, Kenny Burrell, Grant Green, Pat Martino, and Jimmy Raney are my favourites. Post 1980 – Pat Metheny, John Scofield, and Mike Stern, or for a more conventional sound, Peter Bernstein and Jesse Van Ruller.
John Clarke
Basingstoke
David Angus interview
Posted by DJ in Jazz Gtr Interviews on February 10, 2011
INITIAL INFLUENCES
In the mid 60’s I played rhythm guitar in a fairly regulation type r ‘n b
group in the Lancaster area having made fair copies of a Fender Jazz Bass and a Stratocaster for a ‘name’ guitarist who later became a top London session player. I imagine that Buddy Holly and Chuck Berry were the sounds that first caught my ear and of course the first Elvis album ( Blue Moon, Mystery Train etc., ). Bizaarly, I then heard Monty Sunshine play Petite Fleur (jazz!) in Chris Barber’s band and later the music of Sydney
Bechet and so took up clarinet for three or so years learning to reading in
the process.
After a career in design, teaching and retail management which left little
free time, I returnedto the guitar when my wife and I moved to Derbsyhire in the mid-1990s and for some time focussed on BB King and in particular Chicago Blues. My first lessons were with Andy Gatford in a back room at Foulds and I still have his excellent notes to crib from now when
I give the odd lesson! The instrument itself brought me to jazz and although
Wes had caught my ear in the 60’s it was not until we retired here to South -West France that I really became aware of the diversity of jazz guitar. Additionally, every town in this part of France has a music college and all French youngsters are taught Solfège. There is tremendous enthusiasm for music ‘en direct’ ie live and the span of genres is mind boggling but even here
( 1 1/2 hours north of Toulouse ) there are many pro and semi-pro jazz trios and quartets playing bebop and standards although not surprisingly the predominant style is manouche or gypsy jazz.
GIGGING
Jazz jam sessions hereabouts ( we are in a rural area ) are fairly thin on
the ground and in spite of my earlier comment re-pro level gigs the scope for ‘advanced beginner/intermediate’ players is fairly limited. Jamming with friends is very much the order of the day and I meet regularly with an English friend here who writes jingles and film music and has a profesional studio. He tends to lay down piano tracks and then we work on standards for fun. I have until recently been one of three ‘programmateurs’ who choose the headline acts for the Cahors Blues Festival ( oldest in France: www.cahorsbluesfestival.com ) and have played from time to time with committee members. I have also co-organised one or two charity
concerts here ie Tsunami, Haiti (Gary Brooker et al )etc. and this has
resulted in useful 1:1 jamming situations.
Of course, at my age ( a young 65ans! ) I just need the extra 10,000 hours
to get together my chops!!
GUITARS
When I left the UK ( almost 8 years ago now ) Dan was just getting together
his jazz guitar stock and archtops seemed much less interesting at that time. I seem to recall purchasing one acoustic flattop and one Strat from the
shop and a Laney amp ( or maybe the Fender DeLuxe 90 ). However, almost as soon as we arrived here I bought an Ibanez Artcore jobbie and loved the feel and tone although I now realise how humble it was. Shortly after, I was
in touch with the guy who established Peerless Guitars in the UK having
ordered a Jazz City direct from Korea. This resulted in my establishing numerous retail accounts from Toulouse to Bordeaux for Peerless. I also found a number of endorsees including Big Jim Sullivan and Bill Nelson for the marque and set up the link with Matt Otten who has had 1000,000s of hits on You Tube with the 2 models I sent him. I later on somehow ( quite legitimately! ) acquired a Peerless Monarch and a Renaissance Custom for my troubles. I love both guitars ( both all-solid )but find the mini- humbucker on the Monarch a little thin sounding and routinely play the guitar through a Boss EQ and the Renaissance Custom ( 330 clone ) now
has a Benedetto A6 in the neck – love it. They keep company with a Baja Tele
( SD Alnico II in the neck ) and French Lag Tramontane acoustic for ‘grab
and go’.
My ‘Desert Island’ choice is probably an Eastman depending upon my pension ‘lump sum’ when it arrives!
BEST (JAZZ GUITAR) GIG
Not sure how to quantify this one. I feel I ought to include John McLaughlin – Mahavishnu Orchestra in 1974 . However in recent years we have seen excellent concerts ( mostly at the fantastic Marciac Jazz Festival in
the Gers ) Al de Meola and Stanley Clarke and twice now, the incredible
Bireli Lagrene ( bebop as well as the manouche material.) Off to see him in
Nerac with Sylvan Luc in a couple of weeks. Last October we also saw John
Scofield with his trio at the Jazz Sur 31 festival ( 60 concerts in and
around Toulouse each autumn. Spoilt for choice! Best thing here too is the
average age of the audience at these gigs – mostly around 30ans.
GUITARISTS TO CHECK OUT
For me, BIRELI LAGRENE is probably one of the greatest living guitarists –
forget all the magazine surveys! Just catch him if you can. This is the guy
who had the entire repertoire of Django down by the time he appeared at the
Montreux Festival aged 14ans! Beyond that, I rate highly, Anthony Wilson (
who plays with Diana Krall ), Ted Greene, Pat Martino, Wes Montgomery, MIMI FOX, Bobby Broom, Grant Green, John Scofield, Russell Malone, Joe Pass and of course the vastly underrated Jimmy Bruno.