BEN'S GUITAR WISDOM

February 2012 Newsletter - Gig Schedule

2012-01-29T16:54:00.000-08:00

I bet a lot of you are like me when it comes to music - you like to rock, but you also look for opportunities to hear a variety of musicians and styles. If so, then my February schedule is going to knock your socks off with the diversity of styles and musical talent I am lucky enough to be a part of this month.
Thanks to all who continue to support my musical endeavors. Music is my calling in life, and it would still be if I wasn't making a cent off it, but this month's schedule really brings it all home that I am indeed one lucky guy. Enjoy the shows! Full details after the jump.
For compete details and info on all dates, please visit www.benshermanguitar.com/schedule.

Along with some of my regular solo gigs like Hightopps, Serra Brothers and Rafael's (which are a lot of fun all by themselves), there's also:

HECTIC RED, coming to McAvoy's Feb. 4. Impeccable musicianship, top-notch harmonies and an incredible songlist you just won''t hear anywhere else, all make this the finest classic rock band around. Celebrating 25 years together in 2012! www.hecticred.com

Ben and Elena featuring the truly terrific vocals of ELENA MARTIN, at O'Lordan's Feb. 11.

Ben and Brian, with pianist, keyboardist vocalist most-est extraordinary-est BRIAN COMOTTO at the Still, Feb. 16. www.briancomotto.com

The DAVE DEMARCO BAND and I are teaming up again for another night of rock and roll you will not want to miss, at the Barn Feb. 17. We did this there last year, totally unplanned and unrehearsed, and the results were incredible. The fan response was off the hook and the venue has been working to get us back ever since. Dave is an outstanding bass player and singer, and his band includes John Davis on drums and Sam White on guitar. It will be a night of high energy classic rock, great rock instrumentals, and plenty of surprises. We promise the only rehearsing done will be by phone or e-mail! www.davedemarco.com

Baltimore's own Steely Dan tribute band, TECHNICOLOR MOTOR HOME, is back at the Recher Theatre on Feb. 25. This show will mark our one-year anniversary, and I'm utterly thrilled to be back playing a full night of the music of Steely Dan with Glenn Workman and an amazing ten-piece band including horns and backup singers. www.technicolormotorhome.com

And last but not least, in case I didn't have enough different music to keep in my head, I'll be doing a solo classical gig for a corporate client in Cambridge MD on Feb. 29. Sorry you don't get to come to that one. If I hear enough clamoring for it, I may just put together an open to the public classical guitar concert, waddya say?

Catch up with all my projects at www.benshermanguitar.com

See you out there!

Why Is Cookie Monster Still Here?

2012-01-18T00:05:00.000-08:00

Why are metal bands still doing cookie monster vocals? Why do people still like it? Why do I care?

Through my teaching I have gotten exposure to some very ambitious music that falls under the heading of metal. Some of these musicians have skill levels that are vastly superior to those of a generation ago.
Here's Jeff Loomis, a young guitarist whose technique and classically influenced compositions go far beyond Yngwie Malmsteen, once considered the absolute master of this style.

OK, you might consider that tasteless shredding, but the talent and sophistication are undeniable. Other current metal bands, like Killswitch Engage and Opeth, show high degrees of talent, and broad musical stylistic range as well.

And yet...cookie cookie cookie.

Why? It's like everyone has agreed to go along with the silliest form of blatant phoniness and to behave as if it was the most genuinely serious thing to do. While researching for this post, I was amazed at how many people are seriously discussing how to properly sing this way, and trading tips and tricks.

The justification for this style, from what I can gather, is that it is the most effective way to convey the dark and disturbing thoughts and emotions, as well as the power and aggressiveness, that are central to the style. So, I guess since I am not an angst-ridden teenage boy, I could not possibly understand the value of having these dark, violent, angry thoughts expressed this way.

But that doesn't explain why grown men, professional musicians whose knowledge of music is obviously deep enough to take in a wide variety of stylistic influences, still see any validity in doing something so one-dimensional, so cartoon-ish. and yes, I'll use the P word, so pretentious. In fact this vocal style is the absolute epitome of pretentious: it is artificial, put-on, overdone, and loaded with an overblown sense of self-importance.
The ultimate measure of this is that it is almost impossible to tell the difference between a parody and the real thing.

There is definitely a horror movie angle to this. Do they not know or care that their metal growl vocals sound like they came right out of one of those so-bad-it's-funny horror films?

I totally understand that different kinds of music appeal to different folks, and that some people like music that expresses all their negative emotions for them, providing an emotional catharsis that relieves them from the need to go out and become homicidal maniacs. I get that. But I am calling out the musicians: it's just lazy to continue to fall back on on what is now an old trick. We've heard it before. Any genuine meaning it may have had has been stripped out of it. You can't sound any more silly with your phony "I'm-so-angry-I-sing-like-a-possessed-demon-from-hell" shtick. Yes shtick. It's just a routine, a gimmick. Time to get over it, and find a new one. Please.

Master Class: Desert Rose

2012-01-05T22:10:00.000-08:00

I have been helping a couple of my students learn "Desert Rose," a song by Eric Johnson, one of the most talented and unique guitarists in the history of rock guitar. The guitar solo in the middle of the song is a veritable master-class in advanced lead guitar techniques. It is a perfect example of how Eric can take a fairly normal chord progression and produce a virtuoso lead guitar solo over it, adding layers upon layers of complex ideas at blazing speeds with perfect accuracy.You can spend hours analyzing the content of this solo and if you are an advancing guitarist it would be well worth it. Every phrase is rich with sophisticated musical concepts and techniques that are guaranteed to improve your fretboard knowledge and make you think differently about how to play a solo.

But you must not forget that for Eric Johnson, tone is everything. I have seen him play live many times, attended a masterclass with him, and seen his instructional videos, and it is obvious that getting the right tone is essential for him to effectively communicate his musical ideas. You cannot separate the notes he played from the sound of those notes, their tone and timbre, because that is how he is thinking about it when he plays it.
Eric has had a reputation throughout his career for being excruciatingly attentive to the smallest details about the sound of his guitar. This includes the choice of amp, guitar and effects of course, but for him it gets down to such things as the type of batteries in the effects units, the length of the connecting cables, the relative position of the effects to each other...seriously, not kidding. But Eric is just as attentive to how the tone really originates from the hands contacting the strings - how hard he presses, how hard he strums, using a plastic pick or plucking with bare fingers (or both), the type of pick: shape size and thickness, what part of the string to hit and how hard...and on and on.
Watch this video of Eric in the studio demonstrating his equipment and observe - he doesn't mention most of the things I just described but he is subconsciously considering all of them at all times.

This really may be going too far, and I certainly wouldn't expect everyone to be this way. But listen to Eric's best album, "Ah Via Musicom," which includes Desert Rose and the classic Cliffs of Dover. He may have been obsessed with his tone, but it resulted in this, an absolute masterpiece of guitar work.
Go back to Desert Rose, skip to 1:45 and just marvel at the amazing quality of his guitar tone - big and powerful, but with a lightness and spaciousness that is completely unique and unquestionably beautiful.

Without doubt, Eric has paid his dues, practicing and developing his skills and knowledge to be able to create music on that level. But all that knowledge and skill just gives him the freedom to focus on what he cares about the most - pure music, distilled down to its essence - tone.

New Year's Wishes

2012-01-02T21:41:00.000-08:00

Happy New Year to everybody! Year's end is typically a time to have a look back and a look forward, but I think you also have to look at right now, and do so with gratitude. I am the lucky husband of a wonderful wife, grandfather to two amazing grandkids, and part of a terrific extended family. I am steadily employed as a guitar player and teacher, and I get to hang with some of the most talented, professional and just plain coolest people in the music business.

I look to the future with intentions of expanding what I can offer to the world at large and directly to people, in the form of a positive contribution. One area that I am focusing on is teaching. I plan on pushing my students harder to strive for excellence, discover their passion, and have more fun playing music. In my own life I have always been aiming for those three things, and loving every minute of it. I hope to keep finding new ways to help the next generation of guitarists light their own fire.

My first guitar instruction book is in progress; I aim to eventually publish a series of books and connect that with website and video content. This is something that I've wanted to do for quite a while, but it took a very long time to elevate to high priority; well, better late than never. I think I have something unique to offer, and hopefully the guitar community at large will agree.

I hope to keep performing until I die. Part of that is the continuing desire to improve my craft. I have a lot of love for jazz, classical and rock guitar and I simply never stop wanting to learn more. But also, there is that special relationship between performer and audience that keeps me going. Music creates an experience that breaks down barriers between people because we are all just feeling the music together. I want to keep being a part of moments like that.

This is no small thing. Through my many years of gigging, I have gotten to know many people with the widest possible range of beliefs, political views, etc. If I were to engage in conversation with some of those folks, we would soon find we did not agree on much of anything; yet when it comes to music, it is clear that we connect on a very deep level. I am especially aware of how any one performance that for me might be just another gig, may nevertheless touch someone's heart. To me, performing music is a priceless gift, a living embodiment of the core of spiritual teachings: that we are all connected in a way that goes far beyond our petty surface differences. Everybody who loves music experiences this, consciously or not; I have simply become more acutely aware of it, and so its meaning and power have grown much larger for me.

I plan on using this blog to further expound on all of the above. I hope you'll come along and enjoy the ride as I continue to write about my influences and inspirations, and offer tips and advice for guitar players, tales from the gigging world, and further explorations of the greater meaning of it all.

January 2012 Gig Schedule

2012-01-02T21:37:00.000-08:00

December featured the return of Hectic Red after a hiatus of several months, and it was great to be back! The band rocked the Barn for a fabulous crowd
of folks who are both fans and good friends. The Red is back in January for a show at Surf City. In addition, I've got a bunch of other fun gigs lined up for January 2012, including: solo acoustic shows at some of my favorite local venues, and a duo with Brian Comotto, who is one fantastic singer, pianist and guitar player. Details below.
For lots more info about the gigs, plus pics, videos, CDs and more, go to www.benshermanguitar.com/

Now here's the whole schedule:

Fri. Jan. 6
SOLO ACOUSTIC at Rafael's
32 W. Main St., Westminster, MD 410-840-1919
www.rafaelsrestaurant.com

Fri. Jan. 13
SOLO ACOUSTIC at Serra Brothers Sports Pub
7565 Main Street, Sykesville, MD 21784 410-795-1001
www.ewbecks.com

Thurs. Jan. 19
ACOUSTIC DUO with Brian Comotto at The Still (An Poitin Stil)
2323 York Rd., Timonium, MD 21093 410-560-7900
www.thestill.net www.briancomotto.com

Jan. 20
with HECTIC RED at Surf City
9654 Belair Rd. Perry Hall MD 21236 410-256-7873
www.hecticred.com

Website re-launch!

2011-11-13T22:24:00.000-08:00

My website had gotten a full make-over! I hope you'll take a few minutes to click on www.benshermanguitar.com, jump into my musical world and see what's going on.

There are lots of new features and a whole new look. Many thanks go to Crystal; the website is filled with her amazing artistic design, photography and Photoshop talents. I especially suggest you check out Crystal's work on the Photos page and watch the slideshow all the way through; you won't want to miss a single shot. There are tons of pics from the whole range of my 30+ years in music, and it features many of the great musicians I have had the honor of playing with. There are definitely some pics you have never seen before.

Elsewhere on the site, you will find expanded coverage of all the different kinds of gigs I do, with pages devoted to electric, acoustic, classical and my duo work with Elena Martin. And as always,there is a Schedule page with my full monthly gig listings.

You will find a music player on the CDs page, with a second music player on the Photos page. They both feature audio samples from all four CDs I have been involved in.

There is a new Videos page, featuring some clips that have never been released until now. You can watch them all right from the page.

The Contact page includes links to my YouTube channel, Facebook page and MySpace.

The site also has a page that links you to the Shermanator Gear merchandise shop, and there's a link to this blog, which I hope since you are here, you will scroll down and read some of my posts. Have fun and please let me know what you think!

www.benshermanguitar.com

November 2011 Newsletter-Schedule

2011-10-29T22:21:00.000-07:00

October was an intense month! I played three classical guitar wedding gigs,Technicolor Motor Home at the 8x10, another reunion gig with my old band Spectrum, a benefit show with Dave DeMarco at Surf City, on top of the regular acoustic gigs, my monthly duo with Brian Comotto at the Still, and teaching a few guitar students at Coffey Music...well, more like 45 students. Crystal and I even squeezed in a romantic stay-over at the Gramercy Mansion. I finished the month with a solo gig at a house party in Columbia, during a snowstorm...in October.

So what's up for November? A relatively calm month, but still definitely a lot of fun. I'll have my acoustic guitar in hand for solo gigs at two of my favorite venues: Gunner's Grille and Rafael's.
I'll be doing duos with two of my favorite people: with Brian again at the Still, and with Elena Martin at O'Lordan's. And I'll be reuniting with an old friend, guitarist Rich Tipton. Rich and I spent many a Wednesday night at Johansson's Down Under a few years ago, having spontaneous musical conversations and letting the sparks fly. We're going to re-create the magic for one set as opening act for a
Kelly Bell acoustic show at Giulianova Groceria.Yes, groceria.

November also marks a landmark historic event: Nigel Tufnel Day.
I will be doing my part to recognize the maximum eleven-ness of the legendary guitarist of the even more legendary band, Spinal Tap. More to come.

And here's a preview for December:

Hectic Red fans rejoice - the Red returns to the Barn on Dec. 3.
So mark your calendars, get a babysitter or whatever you need to do, just don't miss this show!

Now without further ado, the full November schedule:

Sat. Nov. 5 - SOLO ACOUSTIC at Gunner's Grille, 9 p.m.
5525 Taneytown Pike, Taneytown, MD 21787 410-756-1080
www.gunnersgrille.com
Live music returns to Taneytown - Gunner's is a great new
restaurant with a perfect mix of excellent food and a casual
but classy ambience. You will love it!

Fri. Nov. 11 - SOLO ACOUSTIC at Rafael's, 9 p.m.
32 W. Main St., Westminster, MD 410-840-1919

Sat. Nov. 12 - DUO with Rich Tipton at Giulianova, 7 p.m.
11 E. Main St., Westminster, MD 21157 410-876-7425
Rich and I will be opening for another Kelly Bell acoustic show.
We'll be playing some cool classic rock and letting the sparks fly!

Thurs. Nov. 17 - ACOUSTIC DUO with Brian Comotto at
The Still (An Poitin Stil), 9 pm
2323 York Rd., Timonium, MD 21093 410-560-7900
A new monthly tradition! Brian and I know approximately
one million songs. Never a dull moment!
www.briancomotto.com

Fri. Nov. 18 - SOLO ACOUSTIC private event

Sat. Nov. 19 - day:
SOLO CLASSICAL wedding

Sat. Nov. 19 - night:
ACOUSTIC DUO with Elena Martin at O'Lordan's, 9 pm
14 Liberty St., Westminster, MD 21157 410-876-0000
www.olordansirishpub.com
The duo's favorite place to play!

Hope to see you out there!

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Put Down The Ducky

2011-10-29T22:18:00.000-07:00

Just put it down.

Of course I'm talking about guitar, not saxophone. And of course I'm not talking about a ducky. I'm talking about your i-Phone, i-Pod, i-Pad, your X-Box, your TV, your Facebook, your Wii, your Guitar Hero, etc. There is nothing wrong with having a little diversion in your life. But if you say you want to play music, yet you spend your free time playing games, playing with your phone, texting, hanging out on social networks, watching TV, surfing the internet, or all of the above, you need to re-think your priorities.
It's time to break out of that mode of behavior. It accomplishes nothing except engulfing you in a passive consumer lifestyle in which no critical thinking is necessary. The goal of becoming a good guitar player gives you an opportunity to make a choice to walk away from all that.

It's really about having a passion for what you want to do. It's easy to change your priorities when you have found something you'd rather do than just about anything else. You just do it. That's how this guy got as good as he is:

Now I know, it's obvious Joe was a prodigy. But I have known plenty of talented people who never got anywhere, simply due to over-blown egos, lack of motivation or sheer laziness. I have never seen a motivated and hard-working student fail to get better. You definitely got to put down the ducky.

----------------------------------------------------------------

It's not about you

2011-10-29T21:44:00.000-07:00

There's this:

and then there's this:

You know what I'm saying.

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October Gig Newsletter

2011-10-03T09:07:00.000-07:00

I've got a really excellent line-up of shows in October, playing solo and with some really great musicians...wait, that doesn't begin to do it justice. I am not exaggerating at all when I talk about how amazing the musicians are in this area. I know, because I am lucky enough to find myself part of a large community of players and singers who are all extremely talented, professional and just good people. It was brought home to me very powerfully a few weeks ago.

Technicolor Motor Home had a crisis when a family emergency caused our bass player to have to cancel, with only one day before our show at the Recher Theatre. While our hearts went out to him, we didn't want to cancel the show. Could we find someone available? Would he be able to play two hours of Steely Dan songs with only one day to prepare? We didn't think twice, we just picked up the phone and started making calls. Within a couple hours, we had not just one but three people available that we were confident could do it.

We decided to ask Jay Dulaney, a masterful bass player I have shared the stage with many times over the last few years. Jay also frequently gigs with TMH's drummer Mark St. Pierre, so it was a good connection. Jay was miraculously available, and willing. But could he be ready? He was sure he could, and we simply knew we could count on him. We were right. The show went off without a hitch, and Jay not only played the songs well, but we all had a great time. His willingness to not just help out, but to really deliver a top-notch performance of the highest caliber, and maintain an easy-going attitude, was nothing short of amazing.

Another example of this community is how musicians frequently come together to help out those in need. This month, a benefit show has been set up to help support Debbie Gavazzi, who is battling cancer. Debbie has been a part of the local music scene as a booking agent for many years, and an all-star line-up of local bands has signed on to play at an all-day event. Local musicians have a lot of heart.

There are so many talented musicians in this area, doing their thing, making music, teaching, gigging around town. I hope all you music fans will continue to give them the enthusiastic support and respect they deserve! And thanks, people, for doing so.

This month, I'll be playing with a whole bunch of those aforementioned awesome musicians:

Elena Martin

Brian Comotto

Dave DeMarco

Technicolor Motor Home

(Baltimore's own 10-piece Steely Dan tribute band)

and a very special reunion with my old band Spectrum.

Check out the full schedule, below, and for more info on what I do, go to www.benshermanguitar.com.

Sat. Oct. 1 - SOLO CLASSICAL wedding

Fri. Oct. 7 - with TECHNICOLOR MOTOR HOME
at The 8 x 10, 8 p.m.
10 E Cross St, Baltimore, MD 21230 410-625-2000
www.technicolormotorhome.com
www.the8x10.com
Once again, we will be opening for Steely Dan's
touring guitarist Jon Herington!
http://jonherington.com

Sun. Oct. 9 - SOLO CLASSICAL wedding

Thurs. Oct. 13 - ACOUSTIC DUO with Brian Comotto
at The Still (An Poitin Stil), 9 pm
2323 York Rd., Timonium, MD 21093 410-560-7900
www.thestill.net
My monthly get-together with the lovely and talented Brian Comotto!
www.briancomotto.com

Fri. Oct. 14 - with SPECTRUM at Greene Turtle Westminster, 9 p.m.
830 Market St., Westminster, MD 21157 410-871-1524
Another reunion show with Carroll County's
all-time favorite local band!
Like Spectrum on Facebook.

Sun. Oct. 16 with DAVE DEMARCO and friends
at Surf City, showtime TBA
9654 Belair Rd. Perry Hall MD 21236 410-256-7873
We'll be doing one set of some great classic rock as part of the benefit event for Debbie Gavazzi.

Fri. Oct. 21 - ACOUSTIC DUO with Elena Martin
at Memories Charcoal House, 9 p.m.
400 E Ridgeville Blvd., Mt Airy, MD 21771 301-829-2264
www.memoriescharcoalhouse.com

Sat. Oct. 22, day - SOLO CLASSICAL wedding

Sat. Oct. 22, night - SOLO ACOUSTIC at E.W. Beck's, 9 p.m.
7565 Main Street, Sykesville, MD 21784 410-795-1001
A great restaurant and pub in Sykesville!
www.ewbecks.com

Fri. Oct. 28 - SOLO ACOUSTIC at Serra Brothers Sports Pub, 8 p.m.
2021 Liberty Road, Eldersburg MD 21784 410-795-5600
Back in Eldersburg!
www.serrabrothersitaliandeli.com

Sat. Oct. 29 - SOLO ACOUSTIC private event

Guthrie Govan

2011-10-03T08:56:00.000-07:00

One day after seeing Frank Vignola (see my previous blog post), I had my head further blown off by see Guthrie Govan in concert with his new band, the Aristocrats. I first heard of him a few years ago at the NAMM show in Anaheim CA; Guthrie was there as an endorser of Cornford amplifiers and Suhr guitars. He did a full concert one night at a nearby venue, and left all who attended with jaws hanging down to the floor. He and his group played a set of instrumental rock that could only be called astonishing. Yes, it was loud, it was high energy, and yes, it was shredding...But it was evident to all that Guthrie is so much more than just another shred-meister.

First of all, he has incredible tone. Whether playing clean jazzy phrases, hot country licks or high-overdrive solos, his tone is sweet, full and clear as a bell. His technique is stunningly quick and yet razor sharp in accuracy; clarity is again his aim. His fretboard knowledge is so complete, and his understanding of musical styles so vast, that he can literally execute any idea in his head. But it is the content and character of his musical ideas that elevate him above so many others in this new era of super-technical players.

When a musician reaches the level of Guthrie Govan, the technical issues of playing well are not really a factor anymore. The priority returns to the fundamental one - that of authentically expressing yourself, through your instrument. Guthrie's playing communicates intelligence, eclectic tastes, curiosity, wit and humor, passion and exuberance. The un-matched virtuosity that he possesses is not the end-all of why he is playing music. It is because he is passionate about conveying what he loves about music on the guitar.

For a several years now, word of his talent has spread via You Tube. He has landed some cool hired gun gigs and lots of teaching opportunities. Make no mistake, Guthrie is a great teacher. There are plenty of videos of him giving clinics, and he is very insightful and enjoyable. I followed him for a couple years in the pages of Guitar Techniques, a British magazine that he contributed many lessons and recordings to.

He finally released an outstanding solo CD, "Erotic Cakes," in 2006. It was the first many had heard of him, and the accolades came pouring in. For me, as good as the album is, nothing will ever top the experience of discovering him by hearing him live. I had been wondering, what is going to be his next step?

The Aristocrats is it, and it is just right. Joining with bassist Bryan Beller and drummer Marco Minnemann, both hugely talented musicians with incredible resumes, Guthrie is now in a band of equals, in which all are masters of a huge range of styles. Their website describes it as "a melting pot of their respective influences, ranging from jazz-rock fusion like Return To Forever and Mahavishnu Orchestra, to the progressive rock of King Crimson and UK, to guitar heroes like Steve Vai and Joe Satriani, to the absurdly complex and satirical music of Frank Zappa and Mike Keneally, and even to ’90s groove metal like Rage Against The Machine."

I got to see them when they came to Orion Studios in Baltimore. Orion is dedicated to presenting progressive rock and otherwise un-categorizable acts. They have a small venue with a nice stage and good acoustics, and it was a great chance to see this band up close. The sound was huge, intense and powerful, but crystal clear and full of detail. There was stunning individual virtuosity and near telepathic interplay, as their website says. It was a real privilege to see musicians of such immense talent, seizing the opportunity to push themselves to their limits, achieving moments of sheer brilliance, and creating something together that is greater than the sum of the parts. Let's hope there is a live album and/or DVD in their future.

Their album's release has been highly anticipated, and helped bring Guthrie to the cover of the July 2011 issue of Guitar Player magazine. It's a great article, even though it's just a small glimpse into the mind of Guthrie. Like his music, he is witty, smart, broad-minded. He is indeed a great teacher and has a lot of wisdom to impart. Hopefully this will lead to further recognition and success. No one has ever deserved it more.

Check out Guthrie's page on the Cornford Records site, and read what people like Joe Satriani, Dweezil Zappa, Lyle Workman, Reb Beach, Brett Garsed and others have to say about him:
http://www.cornfordrecords.com/

Here's a clip of "Fives," one of my favorite Guthrie tunes:

concert pics by Ben and Crystal

Frank Vignola

2011-10-03T08:43:00.000-07:00

I was lucky enough to see the great Frank Vignola in concert recently. Frank is a genuine virtuoso - one has to be, to hang with monsters like Andreas Oberg and Tommy Emmanuel, and oh yeah, Les Paul. Frank can play blazing jazz solos but also has a huge chord vocabulary and is very expressive and melodic. This goes hand in hand with his obvious appreciation of many styles of music, as evidenced by his setlist at the show. There was some traditional jazz standards ("How High The Moon"); bebop ("Oleo"); tributes to jazz legend Django Reinhardt ("Nuages", "Swing 42"); jazzy versions of pop classics like "Killing Me Softly"; and even some classic rock with "Walking on the Moon" by the Police.

Most remarkable though was a great selection of classical pieces, impeccably performed even as he reinterpreted them with jazzy flair. There was Rimsky-Korsakov's "Scheherazade"; Rodrigo's "Concierto de Aranjuez"; and yes even "Flight of the Bumblebee." An incredibly challenging and diverse set! To top it off, Frank and his band-mates (two more guitarists) played with flair, warmth and a definite sense of humor. I really appreciated how they reached out and brought in the audience with singing, banter, even slapstick, but most of all a clear respect and dedication to melody.

Frank plays a hollow-body guitar that recalls the traditional sound of classic jazz guitar, but with a very unique tone - not surprising considering he plays a beautiful hand-made instrument, custom built by Thorell Guitars. Frank's sound is mellow but very clear. This complements his style - he plays with amazing technical precision, but is also very dynamic and expressive.

It is a rare treat to hear a band with nothing but guitar players in it. The absence of bass and drums was not a problem; their sense of rhythm, timing and interplay was absolutely impeccable, yet they kept it relaxed, and quite often swinging. Kudos to Frank's frequent partner Vinnie Raniolo for doing a darn good job of keeping up with Frank, and Glenn Tosto (of Gypsy Jazz Caravan) for holding up the rhythm end of things.

The setting was Germano's - www.germanostrattoria.com - a fine restaurant in Baltimore's Little Italy, which features a cabaret setting upstairs and hosts live music as much as four nights a week. Crystal and I had a great time with my friend and student Steve and his wife Becky. What a delight to eat wonderful food, enjoy good company, and listen to some of the best musicians on the planet.

Check out Frank at www.frankvignola.com.
Learn more about Thorell guitars at http://thorellguitars.com.

Here's a clip of Frank and Vinnie playing "Tico Tico," another song they did at the show. Enjoy!

Pics by Crystal

More Zappa

2010-10-11T22:06:00.000-07:00

Time for some more Zappa! In my previous blog post I did an in-depth appreciation of the man and his work. Now it's time to dig into the archives for more Frank goodies.
Guitar Player magazine, the longest running guitar magazine still in existence, has give Frank plenty of ink over the years. They took him seriously as a guitarist, composer and thinker, and gave him great latitude to air his opinions with his usual wicked, unforgiving, sarcastic wit. In return he gave them some great interviews and wrote some fantastic articles and columns for the magazine.
I first started getting Guitar Player in 1976; my collection of monthly issues has been for the most part unbroken, right up to the present day. So from my collection, here's some Zappa memories:

January 1977 - Zappa was the cover story, billed as "Rock Guitar Vanguard." All hail! On the cover he is posing with a Fender Stratocaster guitar that belonged to Jimi Hendrix. He explains in the article that it was played (and burned) by Hendrix at the Miami Pop Festival, not Monterey as one would guess. After having it for years hanging it on the wall, Frank decided to have it refurbished and made playable. In the photo you can see signs of the extensive customization that he typically did to his guitars, but he left the burned and blistered pickup covers, just for show, apparently. In addition to an excellent, long and wide ranging interview, Frank also contributed an essay called "Good Guitar Stuff or Stereotypifications? The Evolution of the Guitar's Use In Pop Music: Brief Version." Classic Zappa - insightful, witty, sarcastic.

For about a year, Frank wrote a (usually) monthly column for GP called "Absolutely Frank," then changed to "Non-Foods." Above is a sample from the Dec. 82 issue. The column is entitled "Putting Some Garlic In Your Playing," In every column he goes into some very practical discussions on how he thinks about writing and playing, and there is plenty of Frank's philosophy about the business, art and science of making music.

In Feb. 1983, FZ was on the cover again, sporting a mini Strat. A very long, interesting interview, plus a sidebar interview with a 22-year-old Steve Vai.

January 1987 - For the magazine's 20th anniversary issue, Frank contributed a recording for their flexi-disc Soundpage insert (remember them?) - a recording of the first time Frank brought his son Dweezil onstage to jam together live, on the song "Sharleena" - Dweezil was 14 at the time. The issue also includes a reprint of Frank's essay from the Jan. 1977 issue, updated with some discussion about the state of guitar in the 80's. The article was re-titled "The 80's Guitar Clone," so you know where he's heading.

1992 - Zappa! - a Guitar Player magazine special publication, entirely devoted to FZ. Includes a huge new interview with Frank, plus interviews with wife Gail, all four of his kids, the staff of the Utility Muffin Research Kitchen, guitarist Warren DiMartini, and Matt Groening, creator of the Simpsons, who declared that Zappa was "my Elvis."

In December 1993, Frank succumbed to prostate cancer at age 53. After his passing, the March 1994 issue paid tribute to Frank by simply letting him speak for himself, via quotes from his various interviews over the years.

Musician Magazine, February 1994 did a great tribute piece featuring recollections and thoughts from friends and fellow musicians, and included these incredible shots.

The October 1995 issue of GP included an outstanding in-depth analysis of Frank's guitar style by James Rotondi, Frank's solo on "Penguins In Bondage," transcribed by Mike Keneally, and some bits from his "Non-Foods" lesson/columns from the 80's, featuring excerpts and ideas from the Shut Up And Play Yer Guitar series. That should keep you busy for a few years!

In 2006, Dweezil launched Zappa Plays Zappa, and shared the cover of the August 2006 GP with Steve Vai and the ghost of Frank. Features a great interview with Dweezil, plus a sidebar with Vai and a feature on Joe Travers, who is drummer and co-director of the Zappa Plays Zappa show, as well as manager of the huge archive of Zappa recordings.

Finally, just out this month is the December 2010 issue of GP, in which Dweezil, at long last, gets the cover all to himself, albeit with the headline "Prodigal Son." Includes an interview, plus a feature on the Dweezilla Music Boot Camp, a four day event featuring classes, lessons and performances by the musicians and crew of the Zappa Plays Zappa tour.

Frank Zappa

2010-09-27T00:41:00.000-07:00

photography by Crystal Visions Art

Baltimore MD recently hosted a tremendous event to pay tribute to musical legend Frank Zappa. A monument was dedicated, a bust unveiled, Frank's widow Gail gave a talk, and son Dweezil brought the Zappa Plays Zappa tribute band, a top notch assembly of excellent young musicians, to play an incredible set of Zappa music. Several thousand people filled the streets of Highlandtown for a celebration of all things Frank.

Crystal and I were there; for a detailed account of our experience, visit her Painting Queen blog.

Photography by Crystal Visions Art.

It was uplifting and inspiring to see such a huge turnout. I feel like everyone knew that they were not just there to hear some cool music, or recall their favorite bawdy Zappa lyrics. Zappa's musical career was intertwined with a lifelong commitment to freedom of expression, not just for himself, but for all people. He was unflinching and uncompromising in his dedication to first amendment rights. Zappa's musical career was one of total integrity, to the very end. You can't enjoy his music and not get a glimmer of that.

Photography by Crystal Visions Art.

The serious fan of Zappa also knows that he had boundless creative energy and an astounding work ethic. His official discography lists a whopping 90 albums! This includes 62 albums released in his lifetime, plus a growing number of posthumous releases. This vast quantity also reflects his insatiable curiosity about the recording process itself. He became well known as someone who pushed technology to the limits in pursuit of the highest quality sound and most innovative productions.

Frank left a vast archive of live and studio recordings. His son Dweezil has taken on the job of converting this wealth of material to digital form; here's a link to an excellent article about that. The point is, Frank wasn't just spouting platitudes and getting away with foul language. He was constantly developing and expanding his creative ideas, and manifesting them into the best possible recorded form as fast and as often as he possibly could.

And then there's the fact that he was most certainly a musical genius. How else can one explain the fact that by the time he graduated high school he had taught himself about contemporary avante-garde classical music and was composing, arranging and conducting pieces for his own high school's orchestra?
Here he is at age 22 on the Steve Allen show (the video is in four short parts; it is well worth it to watch the whole sequence):

Frank gained the respect and appreciation of musicians everywhere for the sophistication of his compositions and his amazing stylistic range. The music he wrote was so challenging it could only be played by highly trained, educated musicians with top notch technical skills. He was known for pushing them to their limits and beyond.

Here's Steve Vai telling what it was like to audition for Frank:

Frank was renowned as a guitar player with prodigious skills and an utterly unique style. Again, self-taught, he didn't even pick it up until he was 18, after he had already been a drummer and composer for four years. He approached guitar with the same attitude of pushing the limits of what he could do, and also of the sounds the guitar could make. Here's a link to a survey of Frank's guitars and the extensive modifications he made to them.

In the 1980's, Congress was considering legislation to put labels on records warning of possibly objectionable content. This of course pushed Frank's buttons because to him it was a clear cut infringement of free speech, and even worse, it was phony. It was a distraction, meant to divert people's attention from other legislation being pushed through that would benefit the big record companies. So Frank came and testified before Congress, fully armed with his usual wit, intelligence and blistering sarcasm. Here's a clip:

He also appeared on a number of talk shows to promote his views, and always showed great intelligence and consideration, as well as a clear disdain for those who would pretend virtuousness as they pursued their own self-serving agendas.

Photography by Crystal Visions Art.

For me, Zappa has always held a special place as as someone who could rock hard, groove deeply, jam intensely, create insanely complex musical structures, and be a funny sarcastic smart-ass, often all in the same song. It's hard to imagine that as normal, but there it was, displayed in song after song, album after album. Apostrophe, Overnite Sensation, One Size Fits All, Zoot Allures, Sheik Yerbouti and Joe's Garage were big influences and all-time favorites.

Without doubt, Frank seemed to achieve three or four lifetime's worth of accomplishments in his 53 years. But now my thoughts turn with much appreciation to his son Dweezil. The Dweez has spent a considerable part of his life devoting himself to understanding and promoting Frank's work, to the extent of taking a year just to prepare to play guitar in the Zappa Plays Zappa tribute band. Dweezil is obviously a man with considerable intelligence, talent and will. Having seen him play live, I also think he has a lot of heart and soul. I am looking forward with great anticipation to discover what the future holds for him, beyond Frank.

Check out my other blog post about FZ, as I venture into my extensive magazine collection for a survey of articles about and by Frank: http://bensguitarwisdom.blogspot.com/2010/10/more-zappa.html

And here's a few more references on FZ:

Frank Zappa Day in Baltimore - a very well written review of the Zappa Day festivities by veteran Baltimore journalist Rafael Alvarez.
Classic Albums: Apostrophe/Overnight Sensation DVD - a great documentary about the making of these two essential Zappa albums, featuring insights from musicians who played on the albums, and Dweezil breaking down tracks from the original master tapes.
Wikipedia entry (quite extensive)
Interview from 1977 - favorite quote: “There’s no school in the U.S. that has a hall for amplified music. They’re all designed for tennis shoes, not rock and rollers. Everything for sports, f--- rock and roll.”
Dub Room Special DVD review
Essay and interview: "The Evolution Of The Guitar's Use In Pop Music: Short Version" from Guitar Player Magazine, 1987. Favorite quote: "You see very few truly original guitarists and a whole bunch of people who wish they were Eddie Van Halen. The aesthetic norm for guitar playing viewed as an ongoing trend seems to be: If Eddie can do it, why, I can certainly do it, and maybe if I practice, I can do it faster. That seems to be the motivating aesthetic for most of the guitar players who get recorded today."
A nice article about Frank Zappa Sr. and his influence on FZ.

Last word goes to the man himself -
rare live video of "I'm The Slime" on Saturday Night Live, 1976:

John McLaughlin

2010-08-05T11:18:00.000-07:00

UPDATED, 9/26/10

John McLaughlin has been a true master and at the same time a genuine seeker, for all of his 40+ years in music. For many years I have admired his adventurous spirit- pushing jazz to new heights by blending it with a wide range of other styles and multi-cultural influences. His technique is phenomenal, his phrasing endlessly inventive, and his spiritual commitment is deep. It is McLaughlin (along with Carlos Santana) who made me see that playing music can be a path to spiritual discovery. He balances stunning virtuosity with passionate emotion, reminding me to strive for excellence, but allow myself to get lost in the moment. His amazingly diverse body of work sends a message that there is no need to be limited by definitions or categories. Jazz, rock, acoustic, electric, Western, Eastern - all mingle and interact in his work, with tremendous positive energy and joyous spirit. This again reflects the spiritual quest, in which one aims to drop the illusion of boundaries between one's self and everything else.
Here's a great interview (audio only) done in 2009 by Andy Ellis:
http://www.theguitarshow.com/interview-johnmclaughlin.html
It includes wonderful insights from John on a wide range of subjects, and a superb selection of diverse song excerpts.
I wrote a review of his album "Live At The Royal Festival Hall" for my website; you can read it here.

Essential listening:
Mahavishnu Orchestra, Inner Mounting Flame
Shakti, Natural Elements
Friday Night In San Francisco
Live At The Royal Festival Hall
Time Remembered: John McLaughlin Plays Bill Evans
To The One

Also essential is the DVD: Remember Shakti: The Way of Beauty, which offers a full concert of his most Indian influenced music, along with documentary footage on the history of the band Shakti, and John's remarkable lifelong friendship and collaboration with the amazing tabla player Zakir Hussain.

It is so hard to pick one video clip to share. Here's one that's not like anything else you'll hear him do, but isn't that just like him...

UPDATE
Here's some links to some excellent recent articles/interviews:
Barry Cleveland: Lunch With John McLaughlin
John McLaughlin: Musical and Spiritual Connection
John McLaughlin - To The One

Mike Stern

2010-05-14T00:14:00.000-07:00

Jazz guitarist Mike Stern was in Washington D.C. recently, for some gigs at Blues Alley. Word traveled through the grapevine that he would be coming up to Westminster to do a clinic in the afternoon before the first night's show. I was among 20 or 30 people who were lucky enough to get the word and headed over to McDaniel College on a lovely spring day to learn from Mike.

Mike is a world-class player and has produced many albums of music labelled jazz, but really cover a very wide range of styles. He has toured the world many times and plays with the best musicians. But it was not always so. Part of his clinic was simply telling his personal story. He came to jazz after growing up on rock and roll, and rhythm and blues. He got excited about jazz but had no particular talent for it and he found it extraordinarily difficult. It was sheer will power, driven by an all consuming passion, that drove him to overcome the many hurdles to becoming a great jazz musician. I explain this sort of thing to my students all the time, but still it was encouraging for me to hear it from Mike Stern.

During the clinic, he played some amazing extended improvisations on standard tunes, first "Autumn Leaves," then "Body and Soul." Like many other jazz players, he has an encyclopedic knowledge of his instrument and can access the most complex harmonic and melodic ideas off the top of his head. What sets him apart, and was plainly evident, was his ability to express his own character, thoughts and emotions through his playing. It's the holy grail of all of us who strive to be great improvisers: to know you can call up any technique you desire, but to let that all take a back seat to pure expressiveness. Mike Stern has the whole package, and it was a privilege to witness it up close and personal.

His solos were incredibly sophisticated, employing some concepts I try to teach my more advanced students, but going way beyond anything I could ever hope to achieve. It was great to hear someone who has mastered the art of creating musical phrases and turning them into motifs that develop and change as the solo continues; and having a sense of contour and trajectory to the phrases, and the solo as a whole.

Playing with rhythm is also something I stress, and Stern proved his mastery by playing with only a bass player for accompaniment, no drummer. His solos got pretty adventurous, yet his time was always absolutely perfect, and beyond that, he played with an incredible sense of jazz swing style rhythm.

To top it off, he was a very warm, generous and funny guy. He answered questions and did his best to provide useful information, but mainly I think he came to provide some inspiration, and I got a lot of that from his clinic.

Photos courtesy of Frank McCreary.

Learn more about Mike Stern at http://www.mikestern.org/

Five Gigs in Four Days

2010-05-02T21:48:00.000-07:00

It happens once in a while: every different kind of gig I do gets scheduled for the same week. This time I did five very different gigs in four days between April 22 and April 25. Here's how it went down:

April 22, Thursday afternoon - Classical guitar for kids at Forest Park Library. Unexpected tons of fun! For details, see my previous post, Playing Music For The Kids.

April 23, Friday night - Solo acoustic and vocals at a large Baltimore area restaurant with a huge patio and covered outdoor bar. Lots of young adults drinking heavily, talking loudly, and only marginally interested in the live musician performing a few feet in front of them. Well, some people do stop and listen, and it's cool to see a few people getting into some Hendrix, Zeppelin and Beatles along with their more modern favorite singers like Dave Matthews and Jack Johnson. But overall, not much involvement with the music. Things have changed since I was young. Check my recent post, Spectrum Reunion, to get an idea of how important live music was to young people in the late 1970's when I was in my teens and early 20's. Nevertheless, I am grateful to this venue for supporting live music and maintaining their commitment to providing live entertainment seven nights a week.

April 24, Saturday day - Acoustic duo with Elena, afternoon wedding reception. I had never been asked to do acoustic music at a reception before, so I was a little concerned about how well it would work, but it turned out fine. Elena and I learned a few requests from the client, and drew on our experience playing in variety bands, and from there figured out what we could do acoustically. We covered everything from Stevie Wonder to Brad Paisley, from Nancy Sinatra to Sheryl Crow. It worked out nicely and we may have some new songs to add to our regular repertoire. Elena is a great talent and a total pro. She did her usual outstanding job, despite the fact that she was eight months pregnant at the time!

April 24, Saturday night - Hectic Red, nightclub gig. After the reception, I rushed home, re-packed the car and headed out to play a club date with Hectic Red, the classic rock band I've been with for over 22 years. The band still sounds tremendous after all this time and we are blessed with a great number of terrific fans and friends. We played a lot of Steely Dan, Yes, Rush, Beatles, Billy Joel, Genesis and so many other cool classic rock tunes you just don't hear bands do. Tremendous energy and good vibes were felt all around.

April 25, Sunday afternoon - solo guitar for a wedding ceremony and cocktails. Sunday morning I got up, put on the suit and tie and drove to a nearby historic mansion/restaurant for a wedding gig.
As I usually do when hired as a solo guitarist, I played classical music for the ceremony, including Pachelbel and Vivaldi for the processional and recessional. The cocktail hour was much less typical. The client was very specific about wanting solo guitar versions of classic rock tunes, including the Beatles, lots of Led Zeppelin, and a special request for Duran Duran! It took some thought to get my head around the idea, but the more I worked on it, the more I liked it. And to be honest, I did bring a looping pedal, but only used it a couple of times to create overlaid parts.

By Sunday afternoon it was all over. Well, not quite, there was still a neighbor's birthday party to attend. But eventually I was back home relaxing and watching a movie with Mrs. Sherman. Life is good, but I'm glad every week is not like this one.

Pictures by Crystal, aka The Painting Queen. Be sure to read her blog entry about my week of musical adventures. She is my biggest supporter and fan, and she means the world to me. Well, she is Mrs. Sherman, after all.

Playing Music For The Kids

2010-04-27T22:12:00.000-07:00

I was hired recently to play classical music for a children's program at a Baltimore City public library. It was part of a series the Enoch Pratt library is doing to give city pre-schoolers a chance to see and hear real musicians playing classical music. I was warned that the last event didn't go too well and the musicians, a string trio, were, shall we say, not well received. Nevertheless I was encouraged by the fact that some other musician friends of mine had done similar things, and I thought it was well worth the effort, even with the outcome less than certain. I could never have guessed how much fun it was going to turn out be.

The staff at the Forest Park library were great. They obviously had plenty of experience managing kids. They had a prepared a fairy tale theme with costumes for the kids to wear, activities, and story time. Everybody made crowns for themselves, and I got one too. I got busy with my assignment: to provide music and entertain the kids while keeping it in a classical style. It didn't take long before a number of little boys and girls came closer and started looking at the guitar and the music. Some started asking questions: how did you learn how to do that? How do you know what those notes on the paper mean?

One guy wanted a little more. He was one of the oldest, maybe five or six years old. He watched me intently for several minutes before coming up and telling me that he'd been rocking out since he was three years old. I invited him to strum the strings while I formed chords with my left hand. He obviously had no experience at all, but nevertheless, in a few moments we were rocking out together. Eventually he moved over and tried to do the left hand, which he quickly found was much harder.

I was throwing in classical ditties in between encounters with the kids; it was all good. The point was obvious, one I have seen many times in my years of teaching guitar: you simply have to let kids know that there are possibilities, things that they can do too, if they want. The level of difficulty doesn't seem to matter. You simply show them that it is being done, and they will simply accept it as possible. Not all will achieve it, but some will, and they will do so more easily with the knowledge that they have already seen someone do it.
Thanks to Petra and PW Feats for providing this opportunity for me.

Be sure to read Painting Queen's blog entry about this very special gig!

Spectrum Reunion

2010-04-19T23:01:00.000-07:00

On April 3 2010 we had a spectacular reunion of my very first band, Spectrum (well there was one earlier band, but it was too short lived to mention) (OK, it was called Future Shock). We were invited to reunite as part of a big multi-band event being developed to celebrate the golden years of a legendary Baltimore rock nightclub called Maxwell's. The Spectrum people had already been meeting up socially and talking about playing together, and this event gave us a ready made reason to do it.

It was to be held at the Recher Theatre in Towson MD, a terrific venue with a 700 person capacity, a great stage and very high quality sound and lights. We rehearsed several times before the show, and it was great to see how good everyone was still playing, since, unlike me, most of the members had not been actively playing much since our last show in 1985. We quickly and easily gelled as a group again.

It was also amazing to discover how many fans were still around who remembered us. We started a Facebook page and quickly amassed over 400 friends. That helped the show turn into an advance sell-out.

That night, our set was scheduled at about two hours into the event. The energy in the room was at its peak and the enthusiasm coming from the crowd was amazing. It fired us up, and we played with all the power, precision and flair that we used to have. It was more than just re-living the glory days; we were still really doing it.

Back in 1975, we were all in 10th or 11th grade at South Carroll High School together. All of us who became part of Spectrum were crazy about rock and roll music. Once the group started, we were totally committed to being the best possible band we could be. And yes, we were all a little bit out in left field, shall we say, but that was probably an essential part of why we bonded together so tightly.

Spectrum existed in a time, the late 1970's - early 1980's, that was unique in the history of the Maryland area's local music scene. Just about every high school in Maryland had live bands for dances on a regular basis. There were also teen centers, and teen dances at Fire Halls and rec centers all over the region where bands could play. As high school kids, we went to see bands, and it got us excited and motivated. This is how Spectrum got started, as fans of live music.

We worked very hard to be as good as the best bands we loved to go see. We raised ourselves up to the highest levels of musicianship, professionalism, showmanship and production. We were very successful, and we had more fun than you can imagine, and we became best friends. Then we made the transition to nightclubs, and that scene was also vibrant and exciting for local bands at the time. There were big clubs everywhere, and they were all doing well. It could have had something to do with the fact that the minimum drinking age at the time was only 18! There was a huge number of young people going out to party and hear live bands, all the time.

We were them, and we played for them. We had the time of our lives, and we did it as long as we could, until many factors conspired to bring it to an end. The problems included raising the minimum drinking age to 21 (a good idea in retrospect), the introduction of Karaoke and DJ's into nightclubs, the rise of punk and New Wave synth-based music, financial mis-management, an economic downturn, personnel changes - it all became too much to cope with. But we all came out of it with the knowledge that we had gone through an amazing experience shared by a very few lucky people.

After our set at the Recher Theatre, we basked in the glow of overwhelming enthusiasm and appreciation from the many friends and fans, many not seen for 25 years, who came back to see us again. I think it's safe to say you'll be hearing more from Spectrum. Keep up with the band on their Facebook page.
For more great pics of the band from back in the day, check out this photo album.
Check out photos from the reunion in this photo album - pictures and digital artistic magic by Crystal.
Please read Crystal's blog on the Spectrum Reunion, "Spectrum Rocks Again." from her wonderful blog, The Painting Queen.

Telesma

2010-03-21T23:28:00.000-07:00

telesmaband.com

I have sought out and enjoyed good music of every style for my entire life. After all these years it still amazes me how there is always something new and exciting to be discovered. My wife and I heard Telesma at FairieCon last fall in Hunt Valley MD and were blown away. I have heard a lot of music that calls itself "world" or "world-fusion" or "east meets west" and some of it is good, some of it is lame. Telesma may get dropped into that world-fusion category, but they have that extra something that most of the others are missing. They don't just drop a sitar on top of a synthesizer. They create something completely unique out of the merging of different musical elements that they have a strong connection to.

There is intense rhythmic drive, which keeps the energy level very high. The sound is big and rich, with a lot of variety in instrumentation, and an over arching sense of beauty in sound and tone. There is a flow of improvisation that goes on individually and collectively throughout the performance. Musical themes evolve gradually, and build in intensity. You get a sense that they are truly working as a group, achieving that magic higher level of unity that so rarely happens in bands.

The effect is to communicate with the listener on a deep non-verbal level, to envelop your mind and senses and carry you away. You get taken on a journey. Their music is coming at you on many levels at once, but you can enjoy it at whatever level you are into. For example, there are elements of trance and electronica in their music, yet it is never dull and rewards attentive listening. There is quirky creativity that still manages to kick some serious ass. There is deep soul and spirit. There is a strong understanding of the power of rhythms of different cultures. It is the remarkable organic merging of all those things that make the experience of hearing Telesma so amazing.

I have to highlight Telesma's guitarist Chris Mandra. Even though it is clearly a group effort, Chris provides an intense creative drive to each song that is essential to the band's performance. He brings improvisation and electronic experimentation, great guitar playing skills and a fiery passion into every song. He is a totally dedicated and completely original musician. Check out more of him:
www.myspace.com/katastatik

All pictures taken by Crystal.

A Passion for Classical Guitar

2009-10-27T23:47:00.000-07:00

I recently discovered a radio interview with guitar virtuoso Eliot Fisk from NPR's On Point radio program, originally aired in June 2009:

http://www.onpointradio.org/2009/06/eliot-fisk-classical-guitarist

How often does one get to hear an interview with a brilliant classical guitarist on the radio? Just about never! So this is a rare treat. We are so lucky they keep their past shows archived on their website so you can go there and listen to any past show anytime.

This is a really great interview; Eliot is a wonderful ambassador for the classical guitar. He is incredibly talented, a true virtuoso, passionate, intelligent and spiritually connected. His playing has those same qualities and he was generous enough to perform on the air during the show.

Listening to Eliot reminded me that my own passion for classical guitar has never diminished, since I was introduced to it by my first teacher, Jim Denton, way back in 1971 in Waynesboro PA. I still have the book of classical pieces he once gave to me. Most of it was way beyond me at the time, but I guess he knew it would be an inspiration to me, and it was. Now, all these years later, I still play pieces from that book.

Eliot very eloquently describes the intellectual, physical, and spiritual aspects of being a classical guitarist. That exactly matches my own experience. Classical guitar appeals to me strongly on all three of those levels and I have learned that they are all inter-connected.

The intellectual part comes from an appreciation of the awesome creativity, beauty and sophistication of the music of the great classical composers.

The physical part is how much I enjoy the technical challenges involved in learning new pieces and refining my technique to the highest possible level I can.

The spiritual part comes from discovering the way one's performance can convey not just the composer's intent, not just the performer's interpretation, but something that transcends all of that and communicates directly to the listener's heart.

Even though I have worked hard to "get good" at classical guitar, I still feel blessed and grateful to be able to perform it and share those moments when the boundaries between composer, performer and listener dissolve and we all feel as one.

Enjoy this video of Eliot in concert. I hope these last two blogs inspire you to delve more deeply into classical music; I'm sure you will find it as rewarding as I have.

Have Classical Guitar, Will Travel

2009-10-04T23:01:00.000-07:00

I get a special sense of satisfaction when I do a classical guitar gig, even if it's a noisy social situation and no one seems to be listening. (it is always best to go on the assumption that someone is actually listening, even if you don't see them. It is almost always true.)

A recent gig I had was to provide background music for a cocktail party at a hotel grand opening. My understanding was that, for this situation, the music needs to be sophisticated, dynamic, and diverse. It needs to blend into the background but also be enjoyable to anyone who stops to listen. To accomplish that, I play a mix of mostly upbeat classical, Spanish/Latin, and easy-listening versions of pop tunes. I also include some contemporary finger-style pieces by Steve Morse, Phil Keaggy, Earl Klugh and others.

The pieces are fun, challenging and/or just beautiful, sometimes all of the above. I have been building up my repertoire for many years, and I enjoy this music very much. I have enough pieces in a variety of styles that I can choose what feels right for the situation, and play music I love at the same time. Some current and all-time favorites of mine to play:

Bach, "Cello Suite No. 1, Prelude"
Sanz, "Canarios"
Satie, "Gymnopedie I"
Ponce, "Scherzino Mexicano"
Steve Morse, "Picture This"
Genesis, "Horizons"

So that's a little insight into the classical side of my musical life.

To wrap it up, here's a clip from one of my heroes, the great British guitarist John Williams. I hope it inspires you as much as it does me!

It Might Get Loud

2009-09-28T00:13:00.000-07:00

www.sonyclassics.com/itmightgetloud

I loved this movie. I was lucky enough to see it during its first run, in a new Baltimore movie house with my wife and some good friends. When it comes out on DVD, I will be buying it!
Who'd have thought we'd get to to hear Jimmy Page talk about recording "When The Levee Breaks," or listen to him demonstrate dynamics with a solo performance of "Ramble On," or that he would invite us into his home to share his huge record collection? We also get to see the Edge demonstrate how he uses his incredibly complex set-up of effects and amps to manifest the sounds he hears in his head. And just for something completely different, Jack White builds a guitar-like instrument from scratch, on camera, and in less than a minute is jamming away on it.
What it's really about is that the three of them have the same passion for the guitar as the vehicle for their self expression. They each go in radically different directions, but they all have their priorities straight as far as making music, and so all have great wisdom to pass on, and marvelous stories to tell about their influences, inspirations, and of course, their guitars.

The Beatles

2009-09-23T23:42:00.000-07:00

Why do the Beatles keep coming up in lessons with my guitar students, over and over, year after year? They don't do guitar heroics like Zeppelin or Hendrix. They aren't deeply rooted in blues riffs like Clapton or, well, Hendrix. What's it all about?

Songs. Chords and melodies. And some great guitar riffs.

The Beatles used their guitars to create great songs. It was always about the songs first, never about showing off their playing skills (which were nevertheless considerable). Blessed with boundless creative energy, the Beatles produced album after album filled with great songs. Songs that have lasted
40 years now and show no signs of going away.

The Beatles set standards for writing great melodies, chord progressions and guitar riffs that have been emulated, copied, blatantly ripped off but never equaled. Every few years in the world of pop music, another generation of songwriters tries to pass themselves off as new and original, but their style can usually be traced directly back to you-know-who.

The Beatles - I Feel Fine (1964)
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I will introduce my students to the Beatles if they don't discover them for themselves. Their songs are like virtual encyclopedias of chord progressions, and their guitar parts are full of very tricky bits that are not at all obvious until you start trying to learn them (that is, learn them correctly!).

I also highly recommend watching the Beatles Anthology video series. It details, but cannot fully explain, how a group of teenage boys started out struggling to learn three chord rock, then became a highly proficient and versatile cover band, and finally become the most amazing creators of great popular music ever known. And all in a matter of a few short years.

It is truly remarkable to see how they were able to not just keep going but to actually grow creatively, very quickly, throughout the course of their brief history. They continually became more creative, more adventurous, and wrote ever better songs, lots of them. This, at the same time as their ever growing success placed incredible, intense pressures on them.

It is clear that it was only the combination of these four specific individuals that could have made the Beatles possible. That in itself, should offer a testimony to what being in a band really is about.

So I hear there's a Beatles edition of RockBand now. That's cool. But remember it's all about the songs. So buy the albums, listen and learn.