Archive for Denis Chang

ShortRiffs — May/June 2017

Posted in Music Business, Players, ShortRiffs with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on June 27, 2017 by theguitarcave

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Welcome to the May/June issue of ShortRiffs — the monthly column that focuses on all the guitar, music and life things going on around The Guitar Cave. I have a pretty jam-packed issue this month, including some very sad news. As always, though, thank you! for your continued patronage.

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The news about Chris Cornell was just terrible — a very sad situation. He was an extremely talented singer, writer and guitar player. I’ve been a fan for a long time. Soundgarden is some the best music to be released in the last 25 years and I spent many an hour back in the day playing those riffs with complete and utter rock abandon. That is one reason I recently profiled Soundgarden’s Head Down as a GuitarSong. The band represented everything that is GREAT about heavy and dynamic guitar rock and, of course, Chris’ talent and vision was a huge part of that heaviness. He fought bravely against the demons that populate the nightmare landscape of the mind and in the process, gave the world a whole lot of great music. I hope he has found peace.

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One of the best things about Facebook and YouTube is how easy it is to see awesome videos like classical Vietnamese guitarist Thu Le practicing. She takes “relax while you practice” to a whole new level! People all over the world are fanatical about playing guitar and reaching high levels of ability and achievement! Isn’t that great? I think it’s fantastic. Classical guitar played well just doesn’t sound like anything else! Since graduating from the Hanoi National Conservatory of Music in 2001 Thu has become an internationally acclaimed artist. She has lots of great videos on YouTube and I’ll be looking for her to keep bringing her \m/ classical riffing to the masses!

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Last year I wrote a post on Barney Kessel and I have his Yesterday album reviewed in the right column on the blog’s main page. Though this disc has been a long-time favorite of mine, recently I went on a daily listening jag and, in the process, learned most of his licks from the Beatles’ cover Yesterday, the namesake of the disc. I’ve also been playing through his cover of Old Devil Moon. In addition to the Yesterday licks from Barney’s version, I have also been incorporating licks from another version I found on YouTube from Helmut Kagerer. I have no idea if he based his version on Barney Kessel, but it’s close enough for me! Solo Yesterday is absolutely a fun little piece to play once you start getting it under your fingers. Here is the Barney recording on YouTube and Helmut’s is below. Below that is a nice little run through of the head and a chorus or two of Old Devil Moon by a gent named Alessio Menconi. Very nicely done. Great feel and sound on the solo! So if you ever have a desire to play either of these songs, this will get you started for sure!

And furthermore…HERE is a podcast of Barney solo guitar that was recorded in a restaurant in the early 1980s with just a few people hanging out. Barney also cracks jokes and shares his philosophy on life and guitar. The audio isn’t great, but a really cool find and some great solo playing!

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Speaking of Barney Kessel, here he is with two other jazz guitar monsters — Kenny Burrell and the one and only Grant Green. I think these are the only videos online of Grant Green playing live so they’re pretty meaninful. Kenny and Barney are both fantastic players and they have a HUGE presence on “The Tube“. I found myself wondering the other night how many gigs did Barney play with that Gibson ES-350 of his? In case you didn’t see, here he is talking about it.

Back to Grant Green though…I have his Matador and Standards discs. I have been listening to the Matador disc quite a bit recently. Green is not your typical jazz guitarist; some would probably his soul/funky blues lines too rudimentary or limited in a real jazz setting and there are definitely times on the Matador disc when McCoy Tyner almost overwhelms because of Tyner’s ability to dazzle with his piano chops and bend the harmonies of all the tunes in so many different directions. Green is a very rhythmic guitarist and makes great use of time and space, does not employ many chromatic lines and uses repeat figures as motifs in all of the tunes. The end result is a very modal, angular improvisation that is beautifully articulated on all tracks. His sound was a very mid-range; part Charlie Christian, part blues, achieved by using a Gibson 330, a Fender Twin (at times) and, doing this (Barney Kessel had a similar sound). The Matador album also features the great Elvin Jones on drums, and Bob Cranshaw on bass and along with the aforementioned McCoy Tyner. All of these guys are jazz legends and the ensemble sound is great! Featured is Green’s low-down version of My Favorite Things, which, at the time, (early 60s) was John Coltrane‘s song. (His recording also featured Tyner and Jones). Other tracks include the righteous 11+ minute workout Bedouin, the chitlins-circuit style cut Green Jeans and funky-jazz title cut, which evokes all of the atmosphere of a smoky, early 60s jazz club. This is a hot quartet firing on all cylinders believe you me and I love the SOUND of these early 60s records. Totally cool!

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BonaFide Rock Legend Greg Allman of The Allman Brothers has also passed away. Damn! My blog is turning into the Blog of Death or something…I’ve written on the Brothers a few times — pretty much everyone from my generation was influenced or at least heavily aware of the musical greatness of this band and all of the people associated with it. The earliest musical jamming situations I was in were influenced by The Allman Brothers and One Way Out is one of the first songs I played a good solo on. Greg and his very influential brother, Duane, along with Dicky Betts, Butch Trucks (who died in January), Berry Oakley and Jai Johanny “Jaimoe” Johanson created a few new styles of rock and in the process became one of the most important American bands to come out of the riotous 1960s. As I wrote in GuitarSong #3 the Brothers music still (and will always) have the power to move people. I witnessed this myself not that long ago. The fusion of different musical styles and elements that became the foundation of ABB’s music is so transcendent, and such an important part of the American music fabric.

Over the years so many other great players, including Warren Haynes, Derek Trucks, and Allen Woody helped continue the ever-evolving musical sojourn / road trip that was The Allman Brothers. While Gregg was known mostly as the band’s lead vocalist and B3 organ player, he did play guitar and wrote quite a few tunes on guitar, including the mega-classic, Melissa. While he had been in ill-health lately, some years before he had successfully purged himself of the substance demons that had dogged him for most of his life. He died peacefully at home and hopefully…fully aware of the amazing legacy that he has left in his wake.

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I follow Denis Chang (who I’ve written about here, here, and here) on Facebook and not only is he a great musician and savvy businessman, but his knowledge of music and transcription is impressively effin’ BOSS if you ask me. This video is an educational demo of the finer points of transcribing some tricky stuff from jazz legend Pat Martino using the Sibelius app. Denis and his crew crank out a mega-load of musical excellence every year and you can peruse the very fine DC Music School catalog here.

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My sister gave me this book, Dreaming the Beatles, a new take on the Fab Four, written by Rolling Stone reviewer and author of other stuff, Rob Sheffield. While I do enjoy reading about the Beatles’ music, I should’ve avoided this one, but it was a gift and…I was trying to keep an open mind. I imagine people who aren’t musicians or people who like reading about pop culture will like this more than I did, but I’m just speculating. The point of the book, as described on the Amazon page:

…is a collection of essays telling the story of what this ubiquitous band means to a generation who grew up with the Beatles music on their parents’ stereos and their faces on T-shirts. What do the Beatles mean today? Why are they more famous and beloved now than ever? And why do they still matter so much to us, nearly fifty years after they broke up?

None of these questions really interest me and this is the type of book where you either like the author or you don’t and if you don’t, you won’t like the book because the author is a major part of the story. Which sucks. Because I wanted to read about the Beatles. I honestly can’t tell if the book is a gigantic troll-job or if the author is looking for his own talk show or a kaffeeklatch with Oprah. He’s way too emo for me. He spends an inordinate amount of time talking about himself and how he relates to the Beatles and then tries to insinuate this is how all people relate to the Beatles…or should. (This is the methodology of how we are supposed to arrive at the answers to the questions the book poses). At times his anecdotes in this regard veer completely off the rails, like this example from a chapter titled, The Scream:

When I listen to Hollywood Bowl, I do not imagine being one of the Beatles; I fantasize about being a girl in the upper-balcony cheap seats, ripping out my hair and shrieking, tapping into the eternal gnosis that not even the boys in the band could ever know.

See what I mean about being too emo? I’m not sure why a guy in his 50s (as the author is) would be fantasizing about shrieking like a teenage girl. In 40+ years of listening to the Beatles, playing Beatles music for people, and knowing other Beatles’ fans I have never heard anyone, male or female, of any age, express similar sentiments. The above sentence is prefaced by another doozy: any fan who claims they don’t share this desire has to be lying. Whatever. The author also attempts rewrite Beatles’ history and/or interpret Beatles lyrics in the same out-of-left-field manner, sometimes with truly bizarre results. Like this little gem about the songs My Love and Something.

“Something” became George’s greatest hit, as well as the one that made John and Paul most jealous. It was the first time the Quiet One got the A-side of a single. Oh, how it must have burned Paul that he didn’t write this song. And that’s how “My Love” happened. (page 207)

There is no evidence to suggest that Paul McCartney’s My Love was anything but a heartfelt paean to his wife, Linda, but because Sheffield thinks My Love is the worst song (not even close) in the Beatles’/post-Beatles’ catalog he constructs this elaborate conspiracy theory that would make Alex Jones proud. What’s interesting is My Love was a bigger hit and was the #5 song for 1973. I’m not sure how a song that spent a month at #1 qualifies as the worst Beatle/post-Beatle song in any rational person’s universe.

There are many moments like this scattered throughout the book and it’s annoying. I can’t recommend the book and I don’t have the patience for this kind of music writing anymore because I can never completely suspend that inner voice that is telling me I’m being gamed.

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While we’re on the subject of the Beatles: Sgt. Pepper’s Lonely Hearts Club Band turns 50 this month. Of course a whole new package has been rolled out to commemorate the occasion, including a complete remix done by Giles Martin (son of George Martin). Here is an interview where he explains the process. I imagine the record sounds a lot different now; back in the day they had to bounce so many tracks down to just a few (I believe the original album was done on 4 tracks) so the sound panorama now is a lot more vivid. It must be an interesting listening experience. I have never liked Pepper as much as the earlier Beatles stuff, but I do think it was the last great Beatles’ record. I don’t know that I really need to hear an updated version though.

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Here is a fascinating clip — the original lineup of The Byrds, playing live on The Big T.N.T Show in late 1965. This performance captures all of the fantastic weirdness of this band and how amazing it is that they are always (rightfully) considered as possible candidates for best American band of all time. They influenced the Beatles, REM, Tom Petty and the Heartbreakers, The Eagles, The Smiths and many more. While they would go through many lineup changes and musical permutations, this is the classic group: Jim “Roger” McGuinn, David Crosby, Gene Clark, Chris Hillman and Michael Clark. Often described as one of the most dysfunctional bands ever, they were only together for less than two years before things started falling apart. But by then their legacy was assured because of their unique sound.

Of course a very important component is the Roger McGuinn guitar sound — achieved with the 12-string Rickenbacker. Here is his explanation of how important compression was for the recording of his guitar sound. The ringing and very chiming effect can be many things simultaneously and over the course of the Byrds career it was; veering from early psychedelia and folk rock to jazz (Eight Miles High) and raga rock (Why) to country and country rock. He was already a very accomplished guitarist at this point and it didn’t hurt that he drew inspiration from a wide circle of influences. McGuinn, Gene Clark and David Crosby harmonized very well together, but there was a raggedness about the band that recalls the lo-fi brilliance of the Velvet Underground. Michael Clark, by all accounts didn’t really play drums like a drummer, but in the vein of Keith Moon of The Who or Moe Tucker of The Velvet Underground; he made a rhythmic noise (that you can see people responding to in the clip). It’s not exactly your standard fare rock and roll of the time though. Crosby has stated that he and Hillman had to adapt their rhythms to fill in the gaps where the drums should have been, so of course this throws the music into a completely different thing from most bands:

Well the drummer couldn’t play…never could. He looked right but he never was a very good drummer, he was a nice guy. That’s one of the reasons I learned to play that chop and smack kind of rhythm because I had to learn how to play drums on the guitar. Somebody had to do and so it was me and Chris.

— David Crosby – Musicangle 2004

Even though the Byrds would develop into pretty good songwriters, and their music would evolve into many things, the band hadn’t really come into its own at the time of this performance and the limitations are evident. There are 3 songs and all three are covers; Mr. Tambourine Man was written by Bob Dylan, The Bells of Rhymney and Turn, Turn Turn were both adapted to song by Pete Seeger. All three songs are “folk” songs. All three songs are in the key of D major. All three are are about the same tempo (right around 110-114 bpm). McGuinn’s guitar, the somber lyric content, the close 3-part harmony, the tempo and their rhythmic chops give the whole performance a very druggy, out of focus sixties feel. McGuinn really was the original Stonerrocker, although I’m sure he wouldn’t appreciate that characterization. 1965 was a pivotal year for rock and pop growing up and getting serious — The Beatles were recording Rubber Soul when this show was filmed. Of course the folkishness doesn’t stop the teenyboppers from having a good time. I’m sure they wanted to rock, or at least pop! like Beatlemania.

As I said above, Pete Seeger set the Idris Davies poem about a Wales mine disaster and General Strike to music and the verses of the Gwalia Deserta became the song The Bells of Rhymney. Pete was a giant of folk music; a spiritual presence who was an intense part of the American music fabric for almost 70 years. While he may be known more for the banjo and more subdued accompaniment, the above clip demonstrates that he knew how to get down on the old guitar too. That’s a pretty hot performance I think. It reminds me of what I talked about in these two posts about how interesting that coffeehouse sound of the 50s and 60s was. You have a wide range of artists and real happening guitar players like Davey Graham, Paul Simon, Charlie Byrd, Pete Seeger, Jerry Garcia, Roger McGuinn, David Crosby, and many more in various US and British cities who came up or got their start playing some semblance of folk or roots music in these small wine and coffee places. Folk, skiffle, jazz, blues, latin, and country all overlapped with some very interesting permutations. The Byrds took that all one step further into the pop, rock, acid rock, raga rock and country rock categories as their career went along. But it all kind of starts on an acoustic guitar, doesn’t it? Speaking of which, here’s another guy playing the blanky-blank out of The Bells of Rhymney. Great performance by John Denver — another very famous guitar guy from the folk / coffeehouse or cafehaus school of getting down on a 6-string.

Be a Better Guitar Player! (Links_2016)

Posted in Education, Players, Playing with tags , , , , , , , , , , , , , , , , , , , , , , , , , on March 18, 2016 by theguitarcave
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There are a whole lot of neato things online these days. Have you noticed? No? Well here’s a few things that you may find interesting, especially if you’re a guitar player. I do try to keep these posts updated and maintained. Currently I don’t think there are any busted YouTube links anywhere on my blog, but that is a challenge and not something I can worry about every week. Sometimes things disappear. Such is life and the internet.

I thought this lesson was way cool when I found it and now I do it regularly — play guitar scales like Bach. This is an exercise you can get under your fingers quickly and it forces you to break familiar patterns. Not only do you develop new ways to see and navigate the fretboard, you also expand your ear potential. Plus, these scales sound more musical right from the get-go as instructor James Scott points out during the lesson. This looks like a good channel with a lot of cool guitar instruction!

For you anyone who aspires to play Gypsy Jazz or Jazz or Shred guitar, or well, anything, The Boss finally has a series of instruction videos. Yes, Bireli Lagrene, King of All Things Amazing has been captured in all of his multi-instrumental awesomeness and he will impart his techniques and secrets to you! Thanks to DC Music School there are now 4 volumes of Bireli instruction available; everything from Gypsy Jazz guitar to Bebop/Modern Jazz guitar with some bass and violin thrown in for fun and education. Seeing as how all of the previews look downright splendiferous I can’t imagine how cool the entire lessons are! While I was away DC Music School released In the Style of video lessons with guitarists Tcha Limberger, Frank Vignola, Adrien Moignard and Sebastien Giniaux. Quite an impressive catalog! By the way…anyone who doesn’t think Bireli is about the best guitarist in the world need only view this live concert. Great band and I lost track of how many jaw-dropping moments there are in the set.

Christiaan van Hemert is the latest and greatest guy bringing Gypsy Jazz guitar education to the masses. He has been the driving force behind The Rosenberg Academy and is now doing a lot of his own videos on YouTube. He has developed into quite a good guitar player. Some of the ideas, tips and exercises he gives out in this Q & A series are very helpful. Recently he just started a new series called Gypsy Jazz Replay that looks to be a lot of fun. The couple episodes I saw selected a song with a guest soloist and then they all sat around and talked about the thinking behind what they played. Great advice for improvisers!

I’ve mentioned this guy before and I check in regularly with what he is doing — Morten Faerestrand! Really amazing player and always good for a neat idea or tip/technique. You can view these videos as stand-alones or as teasers for a larger comprehensive teaching program or group of lessons you can take advantage of here. I love working these new pattern exercises because, like the Bach scales above, playing these patterns regularly takes you into a completely different zone and it’s especially good for either adding depth to what you already have or breaking out of the dreaded INRsImprovising Navigational Ruts.

One thing that I did over the last few months is get real organized because there were a bunch of specific things I wanted to work on in “the woodshed” as they say. I would get to the end of a practice session and realize I had not worked on ideas that were on the mental list, so I made a hard-copy list and posted it where I could see it during my practice time and even when I was sitting around and oddly enough, I found the internalization process went much faster. As we all know, it can take awhile to work in a new move to an improvised situation, but I was happy with how quickly some of this stuff showed up in my playing. I also tried to target specific tunes I knew I would be doing with specific concepts. So in that way, while the licks/patterns/ideas might not have been completely coming out of that improvised zone, I was able to play them naturally in a jam without that “I’m forcing this in here” feeling that sometimes happens. All in all I think the writing and the targeting drastically improved the woodshed to play-time and I have kept adding to the list. What I do now is work a “new stuff” part of the practice and a “maintenance” part where I go over the things I already feel I have down but don’t want to forget. It works out pretty well and makes for a fun practice because I can play slow on things I need to focus on because they are new and I can alternate that with things I can already rip on pretty well. So the practice is organized and doesn’t get boring is what I’m trying to say. Good Times!

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During the long weeks that I was laid up and couldn’t even play guitar I watched many of these videos from YouTube user Reg523. I believe he is a jazz player from the west coast who puts up stuff to flesh out concepts he talks about on the forum at jazzguitar.be. So he isn’t really doing a lesson and he isn’t doing a performance either. It’s like he’s playing and trying to say what he’s thinking as he does it and he is a great player! I watched several of his videos on standards I play regularly and got some new ideas. I also loved this version of the Beatles Can’t Buy Me Love…so I learned it pretty much as is and do my own soloing. Great stuff! Also…if you become a member of jazzguitar.be you will receive a whole lot of lessons via email, some free, some as part of a paid package with free teaser stuff.

Alex Ipsa-Cowan is another jazz instructor on YouTube who has some really interesting ideas for guitar advancement! He plays a lot of straight ahead standard-jazz and breaks down many topics like playing over rhythm changes, playing outside, the bebop scale, arpeggios and many other guitar-type topics! I think, like a lot of players/instructors now he is available for Skype lessons if you so desire and he also has some performance videos with his band who are pretty crackin’ so definitely give a look and listen.

Though I don’t play it anymore, I was real impressed watching videos of Doug Steele, specifically his Van Halen instruction videos. This guy can shred like a BOSS, explores a whole ton of different players and playing concepts and has a really good teaching style/sense of humor! Makes for very cool, entertaining videos. He also has a page devoted to Gypsy Jazz and Django Reinhardt on his website. Cool! After a day and a half of watching Doug’s channel I wanted to go out and get all of my old gear back and crank it UP!!! But some things you gotta leave in the past and/or with other people. Definitely a good thing for anyone out there who wants to crush!

Finally, the old school, brought to you by a guy who has over time become one of my favorite players, Barney Kessel. I have an album review of his over in the right column and since then have acquired some of his other albums. Really great stuff. I will have a separate post on Barney soon, but back in the day he had a series of guitar instruction videos that are now on YouTube. While the quality of the videos is here and there, the information contained within is fascinating and invaluable. One of the best jazz and chord harmony players ever laying down the heavy-duty rap on how to do it. Definitely recommend. There is another here.

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As I’ve done before, this post will get made into a sticky for the year so it will stay at the top of the page. If I find anything to and add to it I will. Also, the new links for lessons will get added to the right column. Enjoy!

Goran Bregovic and The Balkan Sound

Posted in Players with tags , , , , , , , , , , , , , , , , , on June 26, 2012 by theguitarcave

It’s been a long time since my last post and that’s because I’ve been very busy — 3 gigs this past week alone — and a big project related to this blog that is taking forever. But that’s how life is. I’ll get there just like we all do… eventually. Oh and I can’t stop watching this video! Goran Bregovic and his Weddings and Funerals Orchestra featuring GB on guitar, vocals, percussion and direction, Ogi Radivojevi on percussion, vocals and accordion and sister singers Ludmilla and Daniela Radkova. Of course, the band is powered by a totally slamming Balkan-style horn section! This band sounds like how many styles of music (Middle-Eastern, Gypsy, Punk-Rock, Klezmer, Balkan Folk) all at once at it totally works as a festive and dramatic conglomeratic presentation.

I love this stuff and how could you not? Goran Bregovic, who hails from Sarajevo, Bosnia and Herzegovina (formerly Yugoslavia) was originally a guitarist in the very popular and influential rock band, Bijelo dugme (White button). They had a run of successful studio and live albums, videos and were kind of like the Balkan Bon Jovi or maybe the Jugoslavian Queen. I definitely hear Brian May/Freddie Mercury influences at work in some of their stuff. The band was huge in Europe and went through a bunch of different phases before breaking up in the late 80s, but have reformed a few times since then, including the following concert from Kosevo where Goran plays some tasty rock guitar solos. (A whole bunch of the band’s vids are on Youtube and they did some really cool stuff, lemme tell ya. Everyday I keep finding a new one that really has it going on!

Even before Bijelo dugme quit in the late-80s, Bregovic began scoring films, including the first in a series of what was to become a very popular and productive partnership with Emir Kusturica (who is also a guitar player). The two collaborated on Time of the Gypsies, Arizona Dream (which featured Bregovic in a musical collaboration with Iggy Pop on the song In the Deathcar) and the award-winning and very controversial Underground. This is how I got to know the music as I’m a huge fan of Kusturica’s work and the soundtracks to the films have always been awesome. There is a lot of “Gypsy” in the music and that always works for me! You can hear this sound in many other artists from the Balkans and also some US performers like Gogol Bordello and Slavic Soul Party. Traces of it appear in Django Reinhardt, and current Gypsy Jazz players like Stephane Wrembel. The Balkans sit at the crossroads of so many cultures and religions, the result is always an interesting combination and amalgamation of sounds and rhythms.

The same can be said for Emir Kusturica’s movies and his musical collaborations with the No Smoking Orchestra. Here is a very popular song from that band called Pitbull Terrier. If you’re a fan of the whole “Borat” series, there a lot of similarities in the film and music. Totally offbeat and over-the-top.

The above clip features shots from the movie Crna mačka, beli mačor or Black Cat White Cat, which is on Youtube in it’s entirety. This is one of the coolest films I’ve ever seen, chock full of outrageous characters, lo-budget slapstick and traditional-style, old-world story-telling. Srđan Todorović (the guy juggling grenades and singing Pitbull Terrier) gives a completely outlandish performance as the bad guy, but the whole cast is really stellar. While Goran Bregovic was not directly involved in this film, the music is in a similar vein and just as exciting.

If all of this stuff is too traditional and slow and you’re looking for some more SHRED in your life, check out this guy below, Serbian guitar monster Borislav Mitic. Pretty rad, wouldn’t you say? A guy I wrote about last year, Denis Chang, has really expanded his instructional academy and he has just finished filming almost 15 hours(!!) worth of stuff with Borislav. It’s not ready for purchase yet, but the school is HERE. I saw a Facebook preview some of the material that was filmed and Borsilav passes along some really cool info and performs some great demonstrations. So look for that in the future!

So whether you’re a musician or just a person looking for some new entertainment and soul-sustaining art, don’t overlook all of the very fine work produced by Balkan artists because they know how to bring it! They have certainly been working me lately. Also, thanks for your continued interest and viewing. I’ll be back to a regular posting schedule soon!

The World is Waiting for the Sunrise

Posted in Players with tags , , , , , , , on April 7, 2011 by theguitarcave

The marvelous Joscho Stephan and Friends, including Evan Price on the violin, Martin Sjöstedt on bass, and Denis Chang on rhythm guitar. Joscho Stephan is still in his early 20s and is definitely already well on his way to being a really great player. He has the confidence, speed, power, sophistication, and relaxed joy of someone much more seasoned. I really like how he gets his whole body behind his playing and is jumping out of his chair. I think that stuff is great and he really gets the audience behind him because of that and the fact that he takes a lot of chances. He’s not afraid of making a mistake or not quite pulling off the very fast stuff he’s trying to do. Sometimes it’s good to have that kind of brash, go-for-it attitude. Joscho, like many of the younger GJ players, doesn’t use the traditional Gypsy picking style, though he is still using a whole lot o’ down-strokes. The more I find out about this music the more I realize everybody has their own peculiarities when it comes to how they pick. Joscho’s technique is definitely working for him!

Denis Chang Fleche D'or

Denis Chang has done a whole heck of a lot to bring Gypsy Jazz to the masses and has released a couple of really great discs on his own. I have the his Nature Boy disc and it’s one of my favorites. There are plenty of songs chock full of  chops and musicality, not only from Denis himself, but also from fellow Gypsy virtuoso, Ritary Gaguenetti, and special guest Frank Gambale! There are a couple of very nice and atmospheric vocal songs: Stardust, the title track Nature Boy, and Seul Ce Soir and an all around banging track selection and roster of great musicians making the whole thing really shine. I played this on a road trip early last fall and it was beautiful to listen to it driving down highway with all of autumn’s colors in full display. I have to get around to picking up some more of Denis’s stuff because he knows how to make a disc!.

In the style of Stochelo Rosenberg DVD

Besides that he has also been a major educator, which has been a big help to people like me. When I first started trying to play GJ and had no idea what I was doing I was helped out most by Denis’ charts and tabs and the Djangobooks.com website, where he was and is a frequent commentator. He has also made a quite a few DVDs and has done some instructional stuff with guitar powerhouses Wawau Adler and Stochelo Rosenberg. I have the two Stochelo discs and they are well-produced and just full of information and a whole lot of playing by Denis and Stochelo that you can just watch and enjoy. There is a In the Style of Stochelo disc and another disc devoted entirely to waltzes. They’re both great! I’ve wanted to get the Wawau discs too, but you know the economy (!). I’m sure they are just as good because Wawau is a heavy player too.

Django Reinhardt in Rome box set

Anyhoo, what was I talking about? Oh yea…The World is Waiting for the Sunrise. Django Reinhardt did this song with Stephane Grappelli and a pick-up band in Italy after WW II. It is available on the Django in Rome box set, which I have and enjoy very much. You can listen to it here. I could’ve easily included this on my FAVORITE MOMENTS list in the Django post, but then I could say that about at least a hundred other songs he did. Notice how hard Django picks without ever losing his articulation and speed. He totally dominates on this track and his rhythm comping at the end is indicative of how rhythmically sound he was. There are some real gems in the Django catalog that showcase his rhythm work and this is one of my favorites. His duos with Stephane, Out of Nowhere being a prime example, are really amazing and great for analyzing how to back someone up effectively and give the music a very infectious and sophisticated pulse.

The World is Waiting for the Sunrise is a very old song (1919) and was covered by many people during the swing era, including Benny Goodman and Duke Ellington. In 1951 Les Paul and Mary Ford recorded a version with all of Les’s guitar and recording effects, which were new at the time. It was a big hit and sold over a million copies.

quote from Les Paul

Everybody knows I’m sure how important Les Paul’s contributions were to not only the further development of music, but also the technology behind making the music. He invented the Les Paul for goshsakes! He was also a total pioneer in the art of recording and using effects to improve and expand the sound of the recordings. As I show in my big sticky on Django Reinhardt, he and Les Paul were friends. Can you imagine hanging out with those two guys for a couple of hours?!! Les thought Django was amazing and here he relates how he acquired one of Django’s Selmer-Maccaferri guitars.

Les Paul influenced many people, two of whom you might recognize in the next video. Carl Perkins shows how rockabilly cats “faked” the Les Paul echo to get the same effect on the same song. George Harrison is no stranger to this song either as The Beatles recorded a home-made version sometime in late 50s.

A pretty interesting study of a song that is now almost 100 years old — starting with a recent performance and going back to the middle of the last century’s jazz players and rock n’ roll players and how all of the interpretations differed, but are also very similar in many ways. We can also see how technological advances have allowed guitar players to push the boundaries of the art as far as possible. Standards such as The World is Waiting… have a very user-friendly structure to them—you can make them as simple or complex as you wish, whether harmonically, rhythmically, or sonically— or some kind of combination of all three. Making these connections across styles is not only interesting in and of itself, but it also helps make the song more universal and accessible to anyone not familiar with a particular style.

This was a great help to me when I started trying to play jazz, which can be a very overwhelming thing to do, at least at first. People of my generation and later generations, especially in the USA, are typically not raised on Jazz or Gypsy Jazz and don’t hear it on radio or in the media unless they go looking for it. To tackle a completely new style it helps to hear artists one has heard many times (The Beatles) do a song like “Sunrise” or The Sheik of Araby, because players who are adept at jazz are, of course all over it and playing stuff that hits a novice like “huh what?” The Beatles did “Sheik” and Carl Perkins played “Sunrise” like they played everything else and since that format and approach was more familiar to me, it was a big help to listen to their versions to get the structure and approach in my brain and under my fingers. Once I was playing and listening to more jazz and Gypsy Jazz music, all of those structures became familiar to me and I could hear them as easily and they were as recognizable and the rock motifs, moves, chord patterns and tricks I grew up on. Popular groups from the rock era have also turned many a person, musician and non-musician alike, onto the people who influenced them and that is a great way to find your way back to the source of what made the music and music technology happen and how that continues to influence and color the music that we hear today.