Archive for Jimmy Page

ShortRiffs — February 2017

Posted in Equipment, Music Business, Players, Playing, ShortRiffs with tags , , , , , , , , , , , , , , , , , , , , on February 24, 2017 by theguitarcave

shortriff

Welcome to the February issue of ShortRiffs! This is the second consecutive month of the series and I think this idea is going to work out pretty well. There is no shortage of music news over the course of the average month and there is also the occasional personal item that I hope at least a few people out there will find interesting and/or informative. So, let’s get to it!

shortriff2

Unfortunately, the biggest news of the month is not good news — Guitar Icon and Certified Master Larry Coryell passed away in his sleep a few days ago at the age of 73. He had just played a couple of shows in New York City and was planning on having a pretty busy year of work according to this obituary/tribute in Guitar World. While he was known as the Godfather of Fusion, Coryell was comfortable playing any style and adapting the feeling and groove of all types of music into one seamless bag of awesomeness. His long and journeying career began in the 1960s and over the years he moved easily through rock, psychedelic, jazz, fusion, latin, classical and even operatic styles of music. He worked with such greats as Miles Davis, John McLaughlin, Paco de Lucia, Ron Carter, Chet Baker and many others. Back in 2011 I shared in this post, Larry’s lesson on the Jazz minor scale and how he applied it in various situations within the standard Stella By Starlight. Since then this has been a popular post and if you have never seen it, I am sure it could add a dimension to your playing that you may not know existed. There are other lessons with Larry on YouTube and I’ve seen them all! Definitely worth the time spent. A brilliant artist and teacher and by all accounts a great guy too!
Travel well, Maestro!.

shortriff3
mic

As I related last month a new piece of equipment I had just purchased, the Audio-Technica Pro70 mic, stopped working suddenly at a gig in December. Well the company has repaired and returned the mic and I played it at home for a few hours yesterday and no problem! I really like how it sounds and at some point will record a demo video. At the moment (See below) I live in a construction zone and it is almost impossible to sync up quiet time and guitar recording. That is why GuitarSong #6 is also delayed. Soon! Anyhow, the outside housing of the Pro70 had to be replaced so it was obviously faulty somehow. It does comes with a two year warranty so I hope I get some pain-free, great-sounding use out of it. HURRAH to Audio-Technica for a great job of customer service! Another set of videos that was real influential to me purchasing this is below — Romane and Stochelo Rosenberg playing back in the early 2000s. I just watched my disc of this performance again recently. I love these two guys together! Of course they could play through a tin cup/string combination and it would sound good, but I like they are using these mics! My friend and I play this tune (For Wes) together and it’s always a gas! Demanding to play at tempo, but great fun at the same time.

shortriff3
16832118_1330596863649868_3196255917887622328_n

Speaking of Stochelo Rosenberg — in less than a month I will behold his awesomeness in person at Carnegie Hall. I am so psyched! I have been waiting a long time for this! The presentation, for Django a Gogo 2017, was organized by the great Stephane Wrembel and also includes Al Di Meola! This is going to be awesome! For people who want to go to guitar camp, there is almost a week of classes scheduled with a bunch of great players. Hopefully, all will go well so this will be an annual event. It looks like there are still a whole lot of seats available and while the weather on the East Coast has been verifiably wacky this year (it was just 60 degrees one day with almost a foot of snow the follow day) there aren’t any forecasts of impending big storms. So that’s good! You can all be sure there will be a review of the concert in next month’s ShortRiffs.

shortriff3
vh4

Eddie Van Halen made news as part of a program that gives disadvantaged kids musical instruments. In this clip he stresses the importance of music and having music education be a part of everyone’s schooling. I DEFINITELY AGREE! EVH donated 75 guitars from his personal collection to the Mr. Holland’s Opus Foundation, which delivers almost 2,000 instruments to low-income schools every year. A great foundation and well done Mr. Van Halen!

shortriff3
pipe2

The drain pipes on several blocks in my neighborhood have been replaced recently. The crews doing the work are total pros and they really do have what is a pretty large-scope operation down to a science, but it’s been a very noisy couple of months with frequent interruptions of heat and hot water. Hey, that’s New York! Supposedly these excavated pipes are almost one-hundred years old, but I dunno about that. They look like they are in pretty good shape to have been put in place in 1916. It is pretty amazing to think how much has happened with the world in the space of time that these pipes served their usefulness. For example, my girlfriend’s block is home to the boyhood address of notorious New York gangster and the Godfather of Organized Crime, Charles “Lucky” Luciano. He would’ve still been residing on the block as a teen when these pipes went in. According to legend he and one of his partners, Meyer Lansky, used to meet around the corner and hash out plans in DeRobertis Caffe, which sadly is now closed. Over the years there were other allegations and a few busts involving Mob activity at DeRobertis. How many canolis did they serve over the course of 110 years and how many gallons of stuff was carried through these pipes in roughly the same amount of time? Mind boggling! Incidentally, John Travolta has been around filming for the upcoming biopic on John Gotti, whose crew had a big presence in the neighborhood back in the late 70s and early 80s. John as the Dapper Don…never would’ve thought it.

shortriff3
page_cov

Thanks to my friend and neighbor Tom, I was able to check out Jimmy Page…by Jimmy Page. ZOSO baby! As always, anything Jimmy Page puts together, especially if it has anything to do with Led Zeppelin, you know the final product is going to be fantastically well done! While I haven’t had time to read the whole thing yet, I did peruse several chapters and came to the conclusion that the book is great and the pictures alone are totally worth the price of admission! There are several pics that I had never seen before. Like this one:

page3

There are a few of these coffee-table type books out there that I have had a chance to check out over the past month and I will be talking about and showing stuff from them in the future. hugoboss_pageLed Zeppelin was obviously a monstrously influential band that I have written about a few times over the years. I’ve also reviewed the Orange Album in the right column on the main page of the blog. As a matter of fact, the very first post on The Guitar Cave had Jimmy as the subject matter. He has definitely earned the title of Guitar Hero and all of the accolades that have come his way. If you were considering picking this book up, I would say Go For It! There are almost 300 reviews on Amazon and the book gets a perfect 5 star rating. That’s pretty impressive ladies and gentlemen!

shortriff3

Coming very soon GuitarSong #6 — Django Reinhardt’s version of Night and Day.

ShortRiffs — January 2017

Posted in Equipment, Music Business, Players, ShortRiffs with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 26, 2017 by theguitarcave

shortriff

Welcome to the January release of ShortRiffs. Here are a few items that happened last month and early this month. I will try to make this a monthly feature. Feel free to let me know if there are things I should explore. I ALWAYS appreciate your feedback, tips and comments!

shortriff2

My holiday season was Great this year. Lots of fine times, great food and I played a gig! It was awesome. A three-hour gypsy-jazz Christmas party at a very private and exclusive club. It was a fun time and we were received very well from both the staff and patrons for our gypsy music, jazz standards and holiday songs. Highlights of the night included Django Reinhardt’s Danse Norvegienne, Troublant Bolero and Douce Ambiance, a great speedy version of There Will Never Be Another You and two holiday favorites, My Favorite Things (which is in our regular rotation) and a song I brought in, The Ventures’ version of Sleigh Ride, which was also a big hit and sounded great. Totally played it like a boss and of course the other guys are just killin’. We had a clarinet player sitting in with our usual guitar presentation so the mood was even more jazzy and festive. Good Times!

shortriff3

One thing that happened at the gig that wasn’t so great was that a new microphocation system I had purchased, the Audio Technica Pro 70, completely died on me. I had my suspicions that something was wrong because I went through the first battery in like an hour. Then at the end of our last song all of the sound cut out and it was just distorted noises. Some kind of short? I dunno. I had high hopes because a few bands I like use this mic and it seems to get a very dedicated acoustic sound. It was all good until it failed. I’m trying to get it replaced/repaired and see what happens. Obviously, I can’t recommend at this stage, but am holding off final judgement. If you want to hear what it should sound like, listen to the Gonzalo Bergara Quartet:

shortriff3

I heard the new Rolling Stones record everyone was talking about, Blue and Lonesome. This review here is pretty typical of what people are saying about it. Personally, I didn’t hearfingers much to get excited about. I didn’t even like the song choice that much. I’ve listened to Sticky Fingers pretty regularly over the last few months. What a great record! Easily one of their best. Also some choice cuts from the ’65 years: I’m Free, I’m Movin’ On, Gotta Get Away, Doncha Bother Me and some later 70s stuff like When the Whip Comes Down, Shattered, Waiting on a Friend and Little T and A. When the Rolling Stones used to play the blues, they did it effortlessly. There was an insolence to how little they tried and/or cared. Look at the sleeve of Sticky Fingers; Mick is barely awake. That was part of the attraction. Now they’re all earnest and stuff and most reviews remark on how they still sound like they used to. Uh…they don’t, and all of the marketing and spin in the world is not going to change that. Multi-millionaires probably shouldn’t be trying to play the blues anyhow. If I was 70 and had their money, I would be on a beach 24/7/365.

shortriff3

post

HOLY BRAZEN THIEF BATMAN! IS THAT A GUITAR IN YOUR PANTS OR ARE YOU HAPPY TO SEE ME? THIS IS GOING TO MAKE MITT ROMNEY SUPER SAD! Yes, the one liners just write themselves don’t they? Here is the video. Looks like he stashed it in the drum department first, which may be as impressive as getting it out of the store. Someone wasn’t paying attention. He must’ve really WANTED that Strat!

shortriff3

Greg Lake passed away in December. That’s a shame, although by all accounts he had been battling cancer for awhile and was probably worn out. He was a prog rock legend given his associations with the awesome King Crimson, the very peppy and pyrotechnic, ELP, briefly in the very 80s Asia and as a solo artist. Although he was frequently a bass player, his guitar sound at times really captured the vibe of Olde English. Steve Howe and Jimmy Page also had this down. It’s almost like they could call up the sound of the Middle Ages anytime they wanted…and this was before there was such a thing as a Renaissance Fair. I very much liked his compositions From the Beginning, Still You Turn Me On, and Lucky Man. Any of those three songs was a favorite for acoustic guitar guys to play back in the 70s/early 80s and I still play From the Beginning from time to time.

Also, Butch Trucks, drummer for the Allman Brothers just passed away this week. Wow! This is a sad story. He and Jaimoe (Jai Johanny Johanson) were a drumming force to be reckoned with and had a lot to do with why the Brothers were the standard for that brand of rock for so many years.

shortriff3
yoko1I found this Dick Cavett with John and Yoko DVD as a giveaway a few months ago. I can’t imagine why anyone would want to part with it. *eyeroll* Watching it (and by that I mean “skipping around alot”) was an interesting and somewhat uncomfortable experience. I remember seeing one of these interviews back in the day when I was a a young lad because I had discovered The Beatles, but I certainly did not understand the whole early 70s Lennon thing. I’m not sure anyone understands or agrees on the facts any better today, but this DVD is a good window into the attitudes, habits and opinions of a very wacky time. The fact that people used to smoke cigarettes on television talk shows is probably hard for younger generations to believe. Dick Cavett had a lot of great musical guests on his program(s), including Jimi Hendrix, Janis Joplin, George Harrison, Oscar Peterson, Joni Mitchell, Ravi Shankar, and many others.

This 1971 interview occurred at the height of the Lennons’ post-Beatle political period. There are great moments of John Lennon wit; he was a funny, smart and interesting guy sometimes. Yoko… if you strip away the weirdness she always tries to affect, she is interesting and intelligent. They are both nervous and their relationship was probably very contentious at times as they constantly talk over each other. The persecuted artist complex thing gets old though; they did put themselves out there in some very silly situations (Bed-Ins, Bagism) and John had already seen the negative aspects fame can engender. I’m not sure if they thought everyone was going to love them for their radical and sometimes half-baked politics and if they did, why they thought that. The fact that a lot of the political/overly personal music was pretty jyterrible didn’t endear fans or critics to the new John Lennon either. For all of their revolutionary proclamations at this time, by the late-70s the couple would transition to what would become button-down 1980s Yuppie culture. Though elements of this culture are prevalent in modern American society, the whole shebang can be a bit like Beetlejuice too. I can’t help but think of Delia Deetz and Otho whenever Yoko talks about her “work“. As I discovered while researching for the post on Pete Townshend and The Who, both Pete and Yoko were influenced by Gustav Metzger and his concept of auto-destructive art. Pete destroyed guitars and Yoko made this noise on the while jamming with Chuck Berry.

yoko2

I’m not a John and Yoko hater and don’t put any stock in those “tell-all” books that were written by people who supposedly knew the details of their relationship. Once their relationship became the thing, everything else came second. I don’t know who is to blame for that, if anyone. I don’t really care about musicians’ personal lives… and never have. I could read about the recording sessions, equipment, touring or composition all day long, but how John and Yoko or whoever else related to each other is a big <a href="https://www.youtubeIt's like reality television or supermarket tabloids. So overall I didn't find this that interesting, but it was free and there were some funny moments.

shortriff3

Finally, here is something fun and scientific. The legendary Bobby McFerrin shows the power of expectations and the Pentatonic scale. Isn’t this great? This short clip is part of a much longer presentation, Notes and Neurons: In Search of the Common Chorus This is an interesting talk and is related in a way to things I’ve discussed with the This Is Your Brain on Guitar posts, here and here. A great primer to start the new year for all aspiring musicians and improvisers out there!

shortriff3

Coming very soon — Christmas music and GuitarSong #6 — Django Reinhardt’s version of Night and Day.

GuitarSong #5

Posted in Education, Equipment, Guitar Songs, Players with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 21, 2016 by theguitarcave

vanhalen
button2

The fifth installment of the GuitarSong series profiles Edward Van Halen playing his ass off on the very hot-rodded I’m the One from Van Halen 1; a defining milestone in guitar history if there ever was one. Half of the tunes on this disc would be a suitable choice for a GuitarSong, but I’m the One will do just fine. While Van Halen the player certainly deserves a lot of credit for this album, Van Halen the band: David Lee Roth, Michael Anthony and Alex Van Halen have also earned all of the cred necessary to be deemed rock legends. They each brought an indispensable quality and talent to a group that has brought many a great rock moment to fans for the last 40 years.

title1

vh1

Van Halen (1) exploded onto the airwaves and into the arenas of the USA in the early days of 1978. Released in an era when many thought the guitar and rock music was dead and buried, or at least very passé, the kinetic nature of the band, powered mainly by Edward Van Halen’s incredible guitar, proved the cynics wrong and charged to number 19 on the Billboard Charts. The album has since been awarded RIAA diamond status (meaning it has sold more than 10 million copies). As I have previously written here, Edward, unlikable though he may be at times, can legitimately be called a guitar genius because: there was everything before… then there was this album… then everything was different. Have a listen to the above live version of I’m the One. If anything, he plays it better than he did in the studio and for most people, especially rock players, that would be flat-out impossible. The studio version is directly below.

title4
vh2

You can get Edward’s bio from these links. It’s a very interesting immigrant success story! A couple of things: a) Edward and his brother Alex are the sons of a swing era jazz musician from the Netherlands; a guy who never stopped playing but also never achieved any success until he guested on Van Halen’s Big Bad Bill Is Sweet William Now on the Diver Down album in 1982. The brothers were already playing music together before they were in high school. A whole lot of Van Halen’s first TWO discs were already written before the band was signed. The band worked their asses off to write, practice and gig and even as late as the 1984 album, material that had been in the set list during the club days (House of Pain) was reworked and released. Here is a GREAT YouTube upload of almost all of their early demos. Listening to this it’s easy to see (and hear) how the band was destined for greatness. So much great material and a top-flight guitarist who had already outgrown the LA clubs.

Another very important factor was Edward’s habit of building and destroying guitars in search of the sound and look that he wanted and the legendary Van Halen tone; the world-famous Brown Sound. This has been a topic of speculation and conversation since the late 70s and often the least helpful person in the discussion was Mr. Van Halen himself. He deliberately misled readers on his setup on at least a few occasions and he was obviously very protective of his “brand”. His explosive introduction to the rock guitar world led to everything about him and the band being copied almost immediately; from the look and sound, to the playing style (especially with regards to tapping) to the guitar with one pickup/one knob combination. The “Frankenstrat” that Edward created was the result of a lot of misses with guitar building, but it did the job and is now in The Smithsonian. Along the way there was pain, frustration and lawsuits, but that’s rock and roll. Edward was really ahead of the curve as far as “Branding” and the modern world though. Everything about the look, style and sound of what he did was completely self-created. It wasn’t completely new because very few things are, but he did put the whole package together in a rather spectacular way. (David Lee Roth probably deserves some credit as well because he recognized Edward’s talent very early on and was very instrumental in creating an image for the band and everyone in it.

title5vh4

At the most basic level, what makes Eddie Edward is that he swings like a mofo. This article (which is very good) from the Van Halen News Desk suggests that Van Halen is playing some kind of wildly fun and exciting West Coast bebop on I’m the One, although not in a Jazz style per se. The kind of fluidity and bluesy phrasing along with the effortless integration of rhythm, riffing, soloing, and two-handed tapping throughout the song is dizzying. All of Eddie’s guitar moves: speedy scalar passages, two-handed tapping, (pinched) artificial harmonics, deep bending with fast vibrato and wide stretches on the left hand, are in this song and are part of the Eddie Van Halen technique.While it has long been known that Edward’s guitar hero was Eric Clapton and his closest predecessor in style was Jimmy Page (whose pull-offs on the solo for Heartbreaker inspired the tapping Edward would later perfect) I would guess that growing up listening to his dad practice swing music on the clarinet and saxophone was also very influential. That would explain the bebop-sans-jazz feel wouldn’t it? On the isolated guitar track for I’m the One, which you can find (HERE), Edward’s great right hand rhythmic swing and incredible blues feel is really apparent. It drives the whole song. I’m the One is a hi-octane boogie in the same vein as Hot For Teacher and the main riffs of both songs are great rock from the blues tradition. Edward really melds these riffs together very well and the fact that he can play them very clean at a ripping tempo is what makes the whole thing exciting. Slow this tune down and play it more laid back fashion and it could be a ZZ Top tune (a band VH used to cover). Anyone who has ever seen Van Halen live knows Edward is always tapping his foot — he has incredible timing and rhythm, which combined with a great right hand, are qualities you will find in any top-flight guitarist.

Finally, another thing I always liked about Edward was how he used effects; almost like a chef or line cook, sprinkling and seasoning here and there to spice up a dish. Mostly what one heard in the early days was the Phase 90, Flanger and/or Echoplex, but they would produce great effects in just the right places. Here is a Guitar World article on Van Halen and MXR. One interesting tidbit from the article (read the whole thing for detailed info on EVH and pedals):

Earlier this year (2015), in preparation for the 40th anniversary of MXR, its parent company, Dunlop Manufacturing, took a survey to learn how guitarists perceive the pedal maker. One of the questions asked was, “Which player do you associate the most with the MXR brand?” The respondents chose Eddie Van Halen more than 60 percent of the time. Notably, the runner-up received fewer than half as many mentions.

Here is probably the most succinct definition and exposé of the early VH sound. This is good too. If you’re looking to try to replicate, beware of anyone who over-complicates either of these two links. Really it all comes down to a Strat-style guitar body with a Gibson/Seymour Duncan PAF pickup, a Marshall Plexi and some MXR pedals. Oh…and you have to be able to play like him and most people can’t. Don’t ever underestimate how much one hands (and brain) affect the sound. They do. A lot!

title3EVH

Here is Doug Steele’s series on I’m the One. I’ve recommended his video lessons before and he definitely does it right and gives you the breakdown you need to be able to get this song together.

Here is another lesson on I’m the One from Steve Townsend

Here is the Songsterr tab of I’m the One.

A fairly good illustration of the Van Halen pedal sound. I do not like another one that I won’t name and won’t link to suffice to say that they do a lot of videos on different players’ classic sounds and I don’t think any of them are very accurate.

Eddie Van Halen at The Smithsonian. Yes he is an institution. All Hail!

Always lots of good stuff at the Van Halen News Desk!

Edward certainly doesn’t always interview well and this Billboard article is no exception. I’m not sure why he has such a low opinion of Michael Anthony these days. That certainly wasn’t always true. There are some interesting factoids for guitar players in the interview though.

A somewhat funny hipster critic review of Van Halen 1. I’m linking to it because when you get right down to it, EVERYBODY has to admit this album completely rules!

title6vh3

Hearing Van Halen 1; I’m the One, Running With the Devil, Feel Your Love Tonight and On Fire and then seeing the band live a bunch of times was a big influence on my life and musical career. I learned some of the tunes, played some of them (On Fire, You Really Got Me, Ice Cream Man) live in bands and musical projects over the years and even patterned my live sound after what I interpreted from the sound of this album and song. I used the Phase 90, Flanger, and though I had an Echoplex I used an analog delay pedal only because it was more reliable and easier to carry around. I still approach playing with this same gusto that I heard on this record and in some ways though Van Halen’s sound and abilities evolved over the years, there is a focus on some of these tunes, including I’m the One, that he never topped. It’s just a perfect rock rip from beginning to end. Edward Van Halen put great guitar to great songs and created an impressive body of music and in the process made the guitar an instrument people wanted to play again. Because he was so good at what he did, for a time in the 80s he completely personalized what a guitar player was. Though many years have transpired since then, with all of the attendant highs and lows that come with life, Edward can still play like a badass and I’m the One is still a great GuitarSong and a great example of virtuoso rock guitar.

Jimi Hendrix in Words and Pictures (part 1)

Posted in Education, Music Business, Players with tags , , , , , , , , , , , , , , , , , , on July 27, 2016 by theguitarcave

JHE_2

Over the years I have amassed plenty of Jimi Hendrix reading and listening material and I have decided to share it. (I also wanted to use this shade of blue in one more post) Jimi is easily one of the most important guitarists to have ever picked up an axe, and, like Django Reinhardt, Charlie Christian, Wes Montgomery, and Eddie Van Halen — there was pre-Jimi and then there was everything after. His influence lit up the music world, no doubt about that! So I’m gonna use a couple of posts to show some of the cool photography and say a little bit about the paraphernalia I have. (All of the pics that follow come from the following books: ‘Scuse Me While I Kiss the Sky by David Henderson, Jimi Hendrix • Electric Gypsy by Harry Shapiro and Caeser Glebeek, Black Gold by Steven Roby and Mitch Mitchell’s, The Hendrix Experience). While it is true that Prince, the recently departed (and may he rest in peace) Paisley Park hero was a great guitar player, Jimi was the original king of purple style and sound.

JHE_9

Before the books though, let’s talk music …briefly. Here is how I would rate the Jimi Henrix material that I’ve heard or had or both over the years.

Are You Experienced? ***** Brilliant. Probably his best. I’ve reviewed in the right column as an essential disc. Never gets old even though I have probably played it well over 500 times in my life.

JHE_7

Axis: Bold As Love ****1/2 A very close second to Are You Experienced? Jimi, drummer Mitch Mitchell and bass player Noel Redding expanded on the brilliant music that made them famous and redefined rock and guitar playing. There are a couple of numbers that are derivative (Ain’t No Telling, Little Miss Lover) but the best ones (If 6 Was 9, Little Wing, Spanish Castle Magic, Up From the Skies, Castles Made of Sand and the title cut) are amazing and Jimi’s use of the studio and new pioneering effects makes this as much of a groundbreaking record as the first.

Electric Ladyland **** While many people think this is Jimi’s magnum opus, I disagree. Side 4 is brilliant, Side 2 is very good and combined with Side 4 would’ve made a great (single) third disc. Side 3 is kind of boring; the sound painting tale of Mermanism is dated and Side 1’s 15-minute blues jam Voodoo Chile is too long and has likewise very dated lyrics. Is the album ambitious? Yes. Some great tunes? Absolutely! All Along the Watchtower, Voodoo Child (Slight Return), Crosstown Traffic, Have You Ever Been (to Electric Ladyland), Gypsy Eyes, Still Raining, Still Dreaming, and House Burning Down are all classic Jimi. But it’s just not the solid double album it could’ve been, unfortunately.

Band of Gypsys *** This disc is just so-so and the band was likewise. To me, anyone but Mitch Mitchell playing with Jimi was akin to anyone but John Bohnam or Keith Moon playing with Jimmy Page and Pete Townshend, respectively. Also, some of the “songs” are really just jams that are trying to be Sly and the Family Stone or something. This era is often heralded as Jimi searching for a new sound or a change in direction, but I think in many ways he was floundering. Machine Gun and Them Changes are great and if nothing else this disc shows that Jimi’s capabilities as a live guitarist were never in doubt even if everything else was.

3rd

Everything released after Band of Gypsys is suspect because Jimi died in September of 1970. The studio product is especially crappy, except for a few bright spots. It’s important to remember that Jimi was a perfectionist in his writing, playing, and even his live sound. He would be totally bummed at some of the stuff released after 1970 that, of course, he had no control over.

The Cry of Love ***1/2 This a pretty good record and has some really great tunes: Freedom, Angel, Ezy Rider, In From the Storm, Drifting and Straight Ahead. Completed post-1970 by engineer Eddie Kramer and Mitch Mitchell it might not be exactly what Jimi would’ve done had he still been alive to complete it, but it is close. There are also no obvious acts of sabotage or douchebaggery that would appear on subsequent releases. An important thing about this disc is that it proves that right up until the end Jimi was playing some absolutely amazing guitar and bringing great riffs into the studio and that is a great legacy.

Rainbow Bridge **1/2 A mix of studio and live stuff that sounded maybe ok in 1971. Much better stuff would emerge later. Dolly Dagger, Room Full of Mirrors, and Hey Baby (New Rising Sun) are good rips but I don’t think they were completely finished. Some great guitar nonetheless. Incidentally, the movie of the same name as this album, which was seen by every Hendrix fanatic at a stoned-out midnight movie showing circa 1975-1985, was one of the dumbest things ever put to celluloid.

JHE_5

War Heroes ** A friend had this album but we didn’t play it much. More for the outtakes pile.

Hendrix in the West ** Live album. Weak set list but the performances aren’t bad. It was obviously getting to the point where anything that could be milked was. Does anyone need to hear Jimi playing Blue Suede Shoes given the wealth of live material that was obviously available and would be released later? I think not.

Crash Landing * The first of the Allan Douglas-produced albums. Worthless and criminal considering Douglas brought in session musicians to fill out what was already substandard material and then claimed co-writer credit on 5 songs. Without Jimi’s name and picture on the cover no one would’ve bought this pile of shit.

Midnight Lightning * See above. Douglas hacks his way to another shitty Hendrix album, this time aided by Jon Bon Jovi’s cousin Tony Bongiovi. I never bought either of these albums, but a roommate had them, so I’ve heard them and then promptly never listened to them again.

JHE_12

The Essential Jimi Hendrix Volume Two *** I bought this because it had the Experience playing a cover of Them’s Gloria in the studio on an inserted 33 1/3 single with the album. It was actually pretty genius packaging. The song was a bit of a disappointment though and the rest of the album had already been released.

Jimi Hendrix: High, Live and Dirty *1/2 Also known as Bleeding Heart, or Woke Up This Morning and Found Myself Dead or…any of the other 14 names it was released under throughout the years. Basically Jimi’s private jam tapes from The Scene in 1968 that were stolen when he died. Or not…These jams included many rumored people but one person definitely there is a very drunk Jim Morrison yelling various obscenities. Supposedly, Janis Joplin was also in the audience that night. Talk about the planets aligning. Johnny Winter was long alleged to be the second guitarist but he swore to his dying day that he never met Jim Morrison. So it might’ve been Rick Derringer. The thing is…for a boot…some of this stuff is pretty good. I had the record while I was in college. The version of Red House and Tomorrow Never Knows have a lot of great guitar goin’ on. Interesting, but ultimately exploitative.

Kiss the Sky **** A fairly good compilation. I bought it on cassette for my car. Has some of my favorite Jimi songs including Third Stone from the Sun, All Along the Watchtower, Are You Experienced?, and Purple Haze. Also contains the b-side Steppin’ Stone from the Izabella single, the live Killing Floor from Monterey and a slammin’ live version of I Don’t Live Today from San Diego 1969.

Jimi Plays Monterey ****1/2 Yes! This is what I’m talking about. Jimi and the Experience taking the US by storm at the Monterey Pop Festival. Great versions of Killing Floor, Hey Joe, Can You See Me?, Like a Rolling Stone, Wild Thing, Foxy Lady, Purple Haze, and Rock Me Baby. Then and now a totally live wake-up call to anyone who plays guitar.

JHE_3

Radio One/BBC Sessions ***** Two things: The best Jimi stuff post-1970 was previously unreleased live stuff because 1) he was dead so he wasn’t making any new material and 2) it is really Jimi and the Experience (mostly) at the height of their creative powers, not a bunch of disco musicians hired by Alan Douglas to fill out Jimi’s studio sketches. Also, pretty much all of the stuff released by artists who appeared on some program associated with the BBC (The Beatles, The Stones, Zeppelin, Yardbirds) has been great and the Jimi Hendrix Experience is no exception. Fantastic versions of many songs, including never before released stuff like the supremo guitar workout, Driving South. I have both of these discs and they are phenomenal.

Live at Woodstock **** Iconic and pretty good, even though I think the band at this performance was lacking and it’s not terribly well recorded. It was a great Jimi performance, however and obviously this version of The Star Spangled Banner is one of the most defining 5 minutes of the whole 1960s decade. Other bright notes are Izabella, Spanish Castle Magic, Hear My Train A Comin’, and Villanova Junction, which I always liked for its jazzy, minor key overtones. Overall, not of the caliber of Monterey or BBC for sheer guitar awesomeness, but important nonetheless.

The Ultimate Experience **** An interesting, if slightly flawed compilation. The track listing was the result of a poll of his most popular recordings in Europe. My girlfriend has this disc and it has some of Jimi’s classics mixed in with lesser known songs like Wait Until Tomorrow, Angel, Highway Chile, Long Hot Summer Night, and Gypsy Eyes. It also includes Wild Thing from Monterey and The Star Spangled Banner from Woodstock. I think the disc flawed only because it omits some better material from all of the studio albums in favor of some of what I just listed (minus Angel and Gypsy Eyes) and also includes Burning of the Midnight Lamp, which is my absolute least favorite song Jimi recorded.

Blues ** I wanted to like this, but unfortunately I didn’t find it that enjoyable and it contains more Douglas hackery (splicing various takes together, pulling out stuff Jimi probably never would have released, etc, etc). Anyone who has spent more than a month listening to Jimi Hendrix knows he could play the f*ck out of the blues and that many of his songs were based around very bluesy motifs. Guitarists especially know this. That’s what makes all of the popular acclaim for this album stupid. It doesn’t deal with the fact that it was just another cynical ploy to extract money out of people for Hendrix material that was average at best.

JHE_10

Jimi Hendrix ***1/2 — Another Midnight Movie Treat for many years and I’ve also had it as a DVD for a long time. It’s a pretty good movie and features a compilation of performances from throughout Jimi’s career and interviews with interesting people: Jimi, Eric Clapton, Pete Townshend, Fayne Pridgon and The Ghetto Fighters and not interesting people like Lou Reed (did he and Jimi even meet ever?). All of the time Jimi appears onscreen playing guitar is movie gold though and for many years it was all that was available.

JHE_11

Woodstock and Live at Berkeley *** — I have both of these DVDs. From a guitarist standpoint, there is something educational in watching any performance Jimi gave, of course. There is some blistering guitar work to be found but there is a spark missing from these later-year performances that was definitely there in 1967, early 1968. Jimi seemed very tired, physically and spiritually. Both movies are very instructive for how they illustrate the messy backdrop of the times that Jimi is immersed in and one can only imagine how that affected his mood and the performances. The Live at Berkeley movie especially has a lot of the political stuff that had completely overtaken any and all counterculture conversations (especially in Berkeley) by early 1970. Definitely worth viewing as an education, but not necessarily the best music Jimi ever played.

JHE_13

So that’s it for Part 1…hope you enjoyed it. There will always be new Jimi Hendrix releases and I’ve heard some here and there, but I’m not fanatic about hearing every version of Hear My Train A-Comin’ that he recorded or played. The early stuff is what I return to again and again, although I did recently get some enjoyment out of listening to Cry of Love for the first time in a long time. Part 2 in this “series” will deal with the books I have and two others I had at one time and Part 3 will be very guitar specific, and Part 4 will cover some of the enduring myth and controversy (good and bad) that still surrounds Jimi Stay tuned!

This Is Your Brain on Guitar II

Posted in Education, Players with tags , , , , , , , , , , , on May 18, 2016 by theguitarcave

JHE_24

Way back in July of 2011, [Holy Crap! 5 years already!] I wrote a post titled THIS IS YOUR BRAIN ON GUITAR! If you haven’t read it and you play a musical instrument, including guitar, you should, because…it illustrates how science has learned so much about how we as players…learn how to play. We can apply this knowledge so that our practice sessions and teaching others is done in a more effective way (something I have covered on the blog here too many times to list). Anyhoo, some of the info is obvious and easily understood to all of you pros out there, but there are a few surprises contained within! Researchers have only begun to scratch the surface of how our brains really work and what they’re doing right now amounts to noticing what various areas of the brain do (with scans MRIs, etc), while we do things (including, playing an instrument).

brain2

That first post detailes how researchers at Harvard Medical School and Rice University were in the process of exploring how our brains learn, which is necessary if you want to be able to play. This next step in the process is observing what our brains do while we improvise which is what we are able to do once we have learned a bunch of stuff. This following article and presentation is the result of a lot of study and research and experimentation by Dr. Charles Limb and his team. They have been at this for awhile and I just came across it thanks to a Facebook link from a guy I play with sometimes. The TED talk I link below is actually older than my post on the brain, but hey…I’m a guitar player not a scientist. Anyhow, according to the TED website, Dr. Limb is ” Chief of Otology/Neurotology and Skull Base Surgery at the University of California, San Francisco, and he’s a Faculty Member at the Peabody Conservatory of Music. He combines his two passions to study the way the brain creates and perceives music. He’s a hearing specialist and surgeon at Johns Hopkins who performs cochlear implantations on patients who have lost their hearing. And he plays sax, piano and bass.” I’m not going to explain it all here because everyone should watch the presentation and/or read the article. It’s really good stuff. The gist of it is that during improvisation or freestyle rapping, the areas of our brain dedicated to self-expression heat up while those areas of the brain that inhibit creativity quiet down. Those would be areas that would make you afraid of making a mistake for instance. What is interesting is that co-author Allen Braun noticed that the scans of people improvising look the same as the scans of people dreaming. Pretty cool stuff. That’s why you should read the article. And make sure you practice. So you can dream. Like Duke Ellington…

As I related in the “This Is Your Brain” post…musicians have long known instinctively what science is now confirming. Duke and Django, Jimi and Jimmy and everyone had a sense of what the brain does when one is playing and learning to play an instrument. The article can be viewed here. HERE is an interview with Dr. Limb that is pretty interesting and below is the TED talk on the subject. Enjoy!