11.10.11

. How was it to about b dally with Ron Carter in that setting? And did you need to adjust your playing?

Jim Entry-way: It was in a club, I believe live?

Marcos: Yes, it was live.

Jim Hallway: Well it is always great to play with Ron. We have this…that without even saying it we listen to each other very closely, and I keep one's ears open to his bass notes and kind of figure out my chord voicings and furniture like that according to what he is playing. It is just delightful, and I’ve known Ron for a yearn long time.

We did another duet thing about a month ago, just now one night at the Blue Note, and that was fun too. He is marvelous to play with.

Marcos: How did playing with Ron Carter recently at the Dirty Note compare to those earlier recordings?

Jim Hall: Well I supposition we both have had different experiences in the mean time, so that’s added crap. We just did this one night at the Blue Note, and there was no preparation term really because Ron was traveling almost the whole day before. But I think we got together just for a few minutes at the Morose Note ahead of time and we were able to connect. The first set was a insignificant rough because we couldn’t get the sound right but by the second set I about we were back in the old groove again. It is just really a matter of listening and reacting; Ron does that smashingly. We tend to listen to each other very well and react to whatever we hear, and somehow that seems to be the secret, I theory.

Source: Guitar International

12.10.11

Of mostly model compositions, mostly penned by Wendt.

The backs of Jacob's ears are only just dry, but the beauty and sophistication of his writing belies his want of years. On the new album, his playing is fluid and conscientious, with luminous performances by all of the soloists. In fact, I was surprised that the specific players seemed to defer graciously to the tunes, rather than flex their elephantine chops (which I know they all have).

I asked Jacob about how his liking of music began.

"My earliest exposure was when I was a little kid," said Jacob, "and myIn particulardad played a ton of Frank Sinatra. I mostly heard that big band grit, Benny Goodman and the like.

"I grew up in Sebastopol, this unimaginative hippie town in Northern California, and the only music I bear in mind hearing was Motown, the oldies/doo-wop radio stations, The Temptations, The Supremes, the Beatles, The Byrds, Mamas and the Papas, and Forthright Sinatra! I never heard

Source: LBPOST.com

20 W RMS Acoustic Guitar Amplifier w/ bound reverb - 1 x 8" tub-thumper - Cheerful impedance utensil (Jack) & microphone (balanced XLR) inputs w/ independent book controls - 3-federate EQ (Bass/Midriff/Treble) + part Parametric Mid command - Size & Benefit controls - Headphone input - Stereo jack input for CD/MP3 performer - Scope(HxWxD): 33,8 x 35 x 20 cm / 13,3 x 13,7 x 7,9 in

Source: Acoustic Guitar Amp - STAGG 20AA - Toronto Musical Instruments For ...

by Steve "Fly" Klein

We all have our lilting influences and most here latched on to the blues at an advanced age. I grew up in Chicago in the 1950s and 60s and although the overcome blues in our diocese's experience was being produced less than 20 miles from where I lived, I didn't consider it until I was 17 or 18 years old. I approached apprehension blues music from a degree assorted intersection. After rising too betimes one Sunday morning to note "Moment", I in preference to discovered a man playing an periodical and a arrange of singers performing like I had never heard before. Wow. Over the following weeks I'd try to get up at the crack to contract parts of the program. Novel African-American preachers would do sermons and a choir would climb up and chirp. A secondment for bolted-ins I take it. The tint changed from week to week – an part playing minister one continually, a bantam affiliate the next. How I loved that truth earshot: the soloist, the call and comeback choir, those full chords and the peerless bass strand. If you've never attended a serving in an African-American church, let me try and describe what I saw back then. Conceive of of the area in the "Blues Brothers" film where Jake and Elwood go to see Rev. James Brown harangue. Take away the choreography, two thirds of the choir, relocate them into an nearby goggle-box studio with bewildered walls, and expel the visual into ebony and virtuous. Keep the robes and the drive. Now you've got it. Sometimes the most engrossing bands would only consist of a man with a guitar that was plugged into a unimportant amplifier (as per usual a Silvertone combo) and a drummer with impartial a noose and gamy hat. [I later found out that renowned bluesmen from around the municipality would get to truckle to for their pastors; sometimes at best after a gig or a social gathering was over; perhaps still inebriated.] Since I Saw You Last is a clear omnium gatherum of territory acoustic blues, jazz, and roots her and spin furl. His supporting eject of musicians are an noted band: Arnie Cottrell (vocals, acoustic guitar, bottleneck guitar, mandolin) , Dave...

Read more...