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pittarchives · 4 years ago

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The “Swinging City Revolution”: Garner in the Land of the Rolling Stones

This post was written by Deanna Witkowski, pianist-composer, graduate student in Jazz Studies at the University of Pittsburgh, and author of Mary Lou Williams: Music for the Soul (Liturgical Press, August 2021).

In May and June of 1966, Erroll Garner played in London for several weeks with his longtime triomates, bassist Eddie Calhoun and drummer Kelly Martin. Leslie (Les) Perrin and Associates, publicity firm for the Rolling Stones and other big name pop acts, served as Garner’s publicist for his English tour dates. In many photos from 1966-1970, Perrin is seen with the Stones, Frank Sinatra, and Joni Mitchell. Mitchell’s website includes a feature page on Perrin with this article from a tabloid-looking paper entitled “Weekend— Feb. 25-Mar. 3, 1970.”

On June 12, after Garner had already been in England for over two weeks, Glaser typed a letter to Perrin, chastising him for not contacting her with any press coverage of Garner’s tour dates thus far—or, for that matter, with any news at all. Dispensing with formal niceties, Glaser begins her correspondence using all capital letters: “ABSOLUTELY NOTHING RECEIVED FROM YOU (EXCEPT BRIEF CABLE THIS WEEK) since tour began. Our disappointment beyond expression. We needed reviews for Variety ad. Blew the space reservation since you didn’t send reviews.”

Image from folder “Correspondence from Leslie Perrin (Associated LTD. UK Bookers),” Erroll Garner Archive, 1942-2010, Box 1, Folder 119, Archives & Special Collections, University of Pittsburgh Library System.

As in my earlier post on his 1959 date at Kleinhans Music Hall in Buffalo, Glaser’s letter shows the interdependence of multiple behind-the-scenes players in shaping Garner’s career. Glaser cannot move forward with future publicity needs until Perrin generates publicity for the current tour and communicates the results of that publicity with her.

Glaser pulls no punches in her critique of Perrin—and is compelled to fight these battles so that Garner can focus on his own labor: creating music. Two-thirds of the way through her letter, she writes, “I can only surmise that with the ‘swinging city revolution’ of London, as we keep reading, your office has become too busy to write us . . . Leslie—I don’t know how or why this tour is different—but your silence and the lack of any written word from [Jack] Higgins or Harold [Davison] leads me to conclude that your operations now have bigger-money projects, and that is that.”

The two other names that Glaser mentions, Jack Higgins and Harold Davison, are additional players in Garner’s British tour production and publicity. Both names appear on the final page of this program from June 11, 1966:

(Above) “Erroll Garner Souvenir Brochure London, November 6, 1966.” PicClick UK. Accessed April 5, 2021. https://picclick.co.uk/1966-Erroll-Garner-Souvenir-Brochure-London-11-06-1966-373506567730.html.

Davison is listed as being the concert presenter, with Higgins handling “promotion direction” and Dougie Tobutt handing “tour direction.”

Enclosed with her letter Glaser includes a marked-up copy of a document titled “Backgrounder to Erroll Garner,” a one-sheet apparently created by Perrin for local press reporters. Claiming to provide “a fact-a-phrase for journalists-in-a-hurry,” the document is a list of twelve bullet-point facts about Garner.

Image from folder “Correspondence from Leslie Perrin (Associated LTD. UK Bookers),” Erroll Garner Archive, 1942-2010, Box 1, Folder 1119, Archives & Special Collections, University of Pittsburgh Library System.

In response to two of the points, Glaser pens handwritten corrections:

Where the one-sheet reads: “ERROLL was a classmate of Dodo Marmarosa, brilliant contemporary of Charlie Parker at the advent of the bop era.”

Glaser responds:

“Garner had nothing to do with the “bop” scene—“ and “Why do you keep repeating Parker in the Garner bio?’” The truth is that Garner was indeed a childhood friend of bop pianist Marmarosa, who recorded with Parker on numerous occasions. Garner recorded with Parker as well, but was not a bop pianist, while Marmarosa was closely identified with that musical style.

And where the sheet reads:

“GARNER was also an early associate of Ellington’s colleague Billy Strayhorn.”

Glaser simply writes: “False info.”

In her letter, she goes into further detail on each point, writing, “I don’t know where this junk about being a contemporary etc of Parker in bog (sic) reveolution (sic) days keeps cropping up from . . .out of context, it is totally misleading.” And to the second point: “Garner and Strayhorn friends—never associates or associated, in any music situation.”

Perrin did respond to Glaser. Although his reply is undated, it likely followed soon after, as he references recent British concert dates and signs off promising “more tomorrow.” Most importantly, he sends ten quotes on Garner’s appearances from press including Melody Maker, the Evening News, and New Musical Express. He only includes this material, however, after making a snide comment: “My dear Martha, It is a warm afternoon, the shadows are creeping across the desk, and I am asking myself, “Do you think that Martha came to the Albert Hall after all? Because the concert was at the Royal Festival Hall?”

Snide comment or not, Perrin produced the results that Glaser was asking for. This snapshot of two documents shows how sharp and direct she had to be in order to acquire the material she needed to continue her own work in moving Garner’s career forward.

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For additional listening:

Check out some of the the Garner albums included on the final page of the concert ad shown in the concert program shown above:

CBS ad: Concert by the Sea 1955 https://www.errollgarner.com/listen-new (scroll down)

The Most Happy Piano 1956

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(Above) Audio for “Full Moon and Empty Arms” off The Most Happy Piano by Erroll Garner, originally released in 1957 by Columbia Records.

EMI ad: A Night at the Movies 1965— original liner notes and audio samples at https://www.errollgarner.com/anightatthemovies-ors

Listen to the all-of-five-seconds “Newsreel Tag (Paramount on Parade)”

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(Above) Audio for “Newsreel Tag (Paramount on Parade)” off A Night at the Movies by Erroll Garner, re-relseased by Octave Records in 2019.

Works Cited:

Erroll Garner Archive, 1942-2010, AIS.2015.09, Archives & Special Collections, University of Pittsburgh Library System.

Erroll Garner - Topic. “Full Moon and Empty Arms.” YouTube Video, 4:19. July 30, 2016. https://www.youtube.com/watch?v=dxlVnUXJApY.

Erroll Garner - Topic. “Newsreel Tag (Paramount on Parade).” YouTube Video, 0:08. October 17, 2019. https://www.youtube.com/watch?v=s0hqVABcPSk

prettyjohn888. “1966 Erroll Garner Souvenir Brochure London 11/06/1966 • £4.00.” PicClick UK. Accessed April 5, 2021. https://picclick.co.uk/1966-Erroll-Garner-Souvenir-Brochure-London-11-06-1966-373506567730.html.

#erroll garner tuesdays #jazz #touring #martha glaser #music business #erroll garner

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dustedmagazine · 5 years ago

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Listed: Cable Ties

Cable Ties, from Melbourne, formed in the mid-teens and has one self-titled and a clutch of singles and splits in its catalogue so far. A trio, the band is made up of guitarist/singer Jenny McKechnie, bassist Nick Brown and drummer Shauna Boyle. Band members are active advocates for women’s and LGBTQ rights. McKechnie co-founded Wet Lips, a Melbourne festival focused on inclusion of female, gay and non-binary musicians, and both she and Boyle volunteer for Girls Rock, an organization that promotes opportunity for women, trans and gender diverse musicians. Jennifer Kelly reviewed their second album recently for Dusted, observing that, “The easy thing would be to compare McKechnie’s vibrato-zinging vocals with those of Sleater-Kinney’s Corin Tucker or her verbal agility to Courtney Barnett, but the blunt force and agile violence of the music, brings to mind post-punk bands like the Wipers, Protomartyr and Eddy Current.” Shauna Boyle contributed this cooking-themed list.

Ten songs to listen to while cooking vegan mac and cheese on an iso-Saturday night

I was chatting to a group of my mates online and I posed the question, “what kind of list would you like to read about right now?” We’ve all been discussing the elaborate meals we’ve been cooking and the bizarre TV shows we’ve been bingeing on so this list feels like something everyone could get behind right now. This mac and cheese is famous in my house. These are some songs that I hope will help to evoke the feeling of one of my most cherished and comforting meals.

Orange Juice–“Rip It Up”

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Put this song on first to get limbered up while you’re prepping your ingredients. This song never fails to prop up my mood – there’s something about the rubber-y bass line and Edwyn Collins’ earnest declaration of his favorite song (with a cute nod via the single note solo in Buzzcocks’ “Boredom”) that melts my heart every time.

Dave Edmunds–“Down Down Down”

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I found this song on a playlist recently and it was a delightful treat surrounded by a bunch of familiar suggestions. Sometimes you just need a little upbeat dad-rock for your evening. There’s something about the weird key changes towards the end of the song that are so unexpected but intriguing.

RVG–“Christian Neurosurgeon”

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The most recent single from fellow Melbournians and a band that Cable Ties have always been huge fans of. This has an elegant simplicity to it that has literally drilled itself into my brain. The sound of the drill over the track might have something to do with it?

Pylon–“Cool”

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By now hopefully you should hopefully have some progress with your cheese and it’s starting to get fun. This song is matched with my excitement levels as you start to imagine the meal ahead. A few jogs on the spot aligned with the verse riff will help it along.

Ty Segall–“Everyone’s A Winner”

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Needless to say we’re all winners but this song will make you believe it. You deserve it! You’ve worked hard for this meal and it’s gonna be yours! I love a bit of grit in my guitar tones generally so this version of the Hot Chocolate hit is so satisfying.

The The–“Uncertain Smile”

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Did you ever feel like a song can really give you that helping hand that you might need every now and again (ironically given the lyrical content is pretty dark)? If you ever needed a song to dance to in your kitchen, one of whimsy and sway, this is here for you any time you need.

The B52’s–“52 Girls”

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Well you need to remember that you gotta celebrate the people in your life who make these meals special. Who made you your first mac and cheese? Was it one of these 52 girls? This song is also special to Cable Ties as it was covered by our amazing friends Georgi and Kim who play in a band called Shrimpwitch. Go listen to them!

Jen Cloher–“Strong Woman”

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Jen Cloher is an artist who has been a supporter of Cable Ties from very early on in our career – so much so that she took us along on tour with her in Europe. Singing this on stage with Jen will forever be one of my favorite memories and hearing this song always reminds me of the joy and pride I felt up there. Much like my cooking.

Billy Idol–“Dancing With Myself”

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You can’t expect to make a meal like this and not hear just a little bit of cheese? But look, we all secretly love this song and to be honest you are on your own so no-one cares. There are NO guilty pleasures.

Sheer Mag–“Expect The Bayonet”

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You did it! You should be proud of yourself and your amazing skills. If anyone tries to tell you otherwise (or decides to steal your leftovers out of the fridge) then you know to steer clear. This song will always help me to turn off the negative talk and leave me with a feeling of resilience, tenacity and strength.

#dusted magazine #listed #cable ties #jenny mckechnie #nick brown #shauna boyle #orange juice #dave edmunds #rvg #pylon #ty segall #the the #the b52’s #jen cloher #billy idol #sheer mag

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harrisonstories · 7 years ago

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George Harrison performing at the Royal Albert Hall (1992)

Guitar World Interviews George Harrison (released Jan. 2001 - original interview from 1992)

George Harrison looks back at the days when he played lead guitar in The Beatles, the greatest rock and roll band the world has ever known.

By Vic Garbarini

“So, you’re a real loony too,” laughs George Harrison, with the familiar droll, nasal Scouse (as they call it in Liverpool) accent. “Remember lying in that room all day, needle in your arm, feeling dazed, staring up at that ugly lime green ceiling?”

Well, yes, actually I do. And no, we weren’t shooting dope together in some dive. The lead guitarist of the most important group in rock history is reminding me of when we met a few years back in Dr. Sharma’s clinic in London. Sharma is an M.D. who is also an internationally recognized expert in alternative medicine - in particular, homeopathic and Indian Ayurvedic medicines - and it was these treatments that appealed to Harrison’s Eastern philosophic bent. Her waiting room looked like backstage Live Aid: Tina Turner and members of the Police, Pink Floyd - and of course an occasional Beatle - were drifting in and out. Through Sharma, I’d been promised an interview with George Harrison, and now 10 years later - we were finally sitting down to talk. It was late 1992, and George was promoting Live in Japan (Warner Bros.), the concert album of his 1991 tour with Eric Clapton and the last album he released to date.

So why is this interview finally finding its way to print eight years after the fact? Simple: it was lost. Parts had appeared in Guitar World and other places, but the body of the tape disappeared when the famous 1994 L.A. earthquake turned my apartment into a cosmic Cuisinart. Recently, while I was cleaning out a closet, the long-lost tape literally fell into my lap. The timing couldn’t have been better: All Things Must Pass, Harrison’s superb 1970 solo album, had just recently been issued in a remastered and expanded format. What’s more, the massive Beatles Anthology (Chronicle Books) has once again put the Fabs back in the limelight; but while the book is crammed with minutiae that will fascinate anyone with any interest in the Beatles, it contains little information on how the group created its music, the source of its internal conflicts or how those two elements interacted over the years.

I found that Harrison needed a little prodding before he would discuss the band’s inner turmoil. Once he opened up, though, he gave a most revealing and candid interview in which he expressed his true feelings for his fellow bandmates. Although Harrison was the first lead guitarist to become an equal in a major band (pre-Beatles guitarists like Scotty Moore, from Elvis Presley’s band, were clearly hired guns), he was sandwiched between the two most towering songwriters in rock history - and they often wanted to control his playing - or even do it for him. And of course, getting a decent hearing of his songs was no picnic either.

Perhaps it is for these reasons that Harrison has a reputation as the most dour of Beatles; yet he was witty and upbeat during our talk. He forgave Paul McCartney’s controlling tendencies and John Lennon’s indifference - but, it was clear, he hasn’t forgotten. He seemed emotionally evenhanded, even when angry, balancing the good with the bad and always seeing the positive dimension to all his struggles.

“I’m a Pisces, you know,” he joked. “One half always going back where the other half has been.”

George was also surprisingly willing to talk about the Beatles from the unique perspective of a guitarist as well as that of a composer. He told how he developed a guitar style that combined the music of the Mississippi Delta with that of India’s Ganges Delta, thereby creating his distinctive sound. He spoke of his relationships with Lennon and McCartney: who was more stimulating - and difficult - to work with, and why. He also described how he sneaked Eric Clapton into the studio to rescue one of Harrison’s greatest songs, “While My Guitar Gently Weeps.” And he answered the long-standing questions about whether he was bored during the making of Sgt. Pepper’s.

This may well be the most comprehensive, free-ranging discussion Harrison has ever granted on his years with the Beatles. So, now, here’s the man from the band you’ve known for all these years: Mr. George Harrison.

Guitar World: John Lennon said, “I grew up in Hamburg - not Liverpool.” Is that also true of the Beatles as a group?

George Harrison: Oh, yeah. Before Hamburg, we didn’t have a clue. [laughs] We’d never really done any gigs. We’d play a few parties, but we’d never had a drummer longer than one night at a time. So we were very ropy, just young kids. I was actually the youngest - I was only 17, and you had to be 18 to play in the clubs - and we had no visas. They wound up deporting me after our second year there. Then Paul and Pete Best [the Beatles’ first permanent drummer GW Ed.] got deported for some silly reason, and John just figured he might as well come home. But when we went there, we weren’t a unit as a band yet. When we arrived in Hamburg, we started playing eight hours a day - like a full workday. We did that for a total of 11 or 12 months, on and off over a two year period. It was pretty intense.

GW: Paul McCartney told me that playing for those drunken German sailors, trying to lure them in to buy a couple of beers so you could keep your gig, was what galvanized the band into a musical form.

HARRISON: That’s true, because we were forced to learn to play everything. At first, we played music of all our heroes - Little Richard, Fats Domino, Chuck Berry, Buddy Holly, the Everly Brothers, Ray Charles, Carl Perkins - anything we’d ever liked. But we still needed more to fill those eight-hour sets. Eventually we had to stretch and play a lot of stuff that we didn’t know particulary well. Suddenly, we were even playing movie themes, like “A Taste of Honey” or “Moonglow,” learning new chords, jazz voicings, the whole bit. Eventually, it all combined together to make something new, and we found our own voice as a band.

GW: I can see how all this musical stretching gave you the tools to eventually create your own unique sound. But it’s hard to believe drunken sailors would want to hear movie ballads.

HARRISON: No, we played those things because we got drunk! If you’re coming in at three or four in the afternoon with a massive hangover from playing all night on beer and uppers, and there’s hardly anybody in the club, you’re not going to feel like jumping up and down and playing “Roll Over Beethoven.” You’re going to sit down and playing something like “Moonglow.” And we learned a lot from doing that.

GW: Did those tight, Beatles vocal harmonies also come out of Hamburg?

HARRISON: We always loved those American girls groups, like the Shirelles and the Ronettes. So yeah, we developed our harmonies from trying to come up with an English, male version of their vocal feel. We discovered the option of having three-part harmonies, or lead vocal and two-part backup, from doing that old girl-goup material. We even covered some of those songs, like “Baby, It’s You,” on our first album.

GW: When you broke through in America, Carl Perkins and Scotty Moore, Elvis’ guitarists, were clearly your main influences as a guitarist. And, like them, you were using a Gretsch guitar. What was it about that rocka-billy style that captivated you?

HARRISON: Carl was playing that simple, amazing blend of country, blues and early rock, with these brilliant chordal solos that were very sophisticated. I heard his version of “Blue Suede Shoes” on the radio the other day, and I’ll tell you, they don’t come more perfect than that. Later, when we met Carl, he was such a sweet fellow, a lovely man. I did a TV special with him a couple of years ago and I used the Gretsch Tennessean again for that, the one I like to call the Eddie Cochran/Duane Eddy model. And you have to understand how radical that sound was at the time. Nowadays, we have all this digital stuff, but the records of that period had a certain atmosphere. Part of it was technical: the engineer would have to pot the guitar [adjust its level and tone] up and down or whatever. It was a blend that was affected by the live “slap echo” they were using. I loved that slap bass feel - the combination between the bass, the drum and the slap, and how they would all come together to make that amazing sound. We used to think that the drummer must be drumming on the double bass’ strings to get that slap back - we just couldn’t figure it out.

GW: The other major factor in your playing was Chuck Berry. I remember being a kid and hearing you do “Roll Over Beethoven” and thinking it was a Beatles song. We never heard black artists on the radio in those days.

HARRISON: Oh, that’s still happening. We did a press conference in Japan when I played live there with Eric Clapton [in 1991], and the first question was, “Mr. Harrison, are you going to play ‘Roll Over Beethoven’ in concert?” And when I said yes, the whole hall stood up and applauded! It was such a big thing for them, which seemed so funny. Then I realized they must still think I wrote it.

GW: Going back to the Beatles’ early touring days, Ringo Starr told me that you all gave up on playing live because you literally couldn’t hear each other, due to all the screaming and the primitive amplification.

HARRISON: We couldn’t hear a thing. We were using these 30-watt amps until we played Shea Stadium, at which point we got those really big 100-watt amps. [laughs] And nothing was even miked up through a P.A. system. They had to listen to us just through those tiny amplifiers and the vocal mikes.

GW: Did you ever give up and just mime?

HARRISON: Yeah, sometimes we used to play absolute rubbish. At Shea Stadium, [during “I’m Down,”] John was playing a little Vox organ with his elbow. He and I were howling with laughter when we were supposed to be doing the background vocals. I really couldn’t hear a thing. Nowadays, if you can get a good balance on your monitors, it’s so much easier to hear your vocals and stay in pitch. When you can’t hear your own voice onstage, you tend to go over the top and sing sharp - which we often did back then.

GW: The Beatles stopped touring in 1966 around the time of Revolver. That album was a quantum leap in terms of the band’s playing and songwriting. Rock could now deal with our inner lives, alienation, spirituality and frustration, things which it had never dealt so directly with before. And the guitars and music warped into a new dimension. What kicked that off? Was it Dylan, the Byrds, Indian music and philosophy?

HARRISON: Well, all of those things came together. And I think you’re right, around the time of Rubber Soul and Revolver we just became more conscious of so many things. We even listened deeper, somehow. That’s when I really enjoyed getting creative with the music - not just with my guitar playing and songwriting but with everything we did as a band, including the songs that the others wrote. It all deepened and became more meaningful.

GW: Dylan inspired you guys lyrically to explore deeper subjects, while the Beatles inspired him to expand musically, and to go electric. His first reaction on hearing the Beatles was supposedly, “Those chords!” Did you ever talk to him about the way you influenced each other?

HARRISON: Yes, and it was just like you were saying. I was at Bob’s house and we were trying to write a tune. And I remember saying, “How did you write all those amazing words?” And he shrugged and said, “Well, how about all those chords you use?” So I started playing and said it was just all these funny chords people showed me when I was a kid. Then I played two major sevenths in a row to demonstrate, and I suddenly thought, Ah, this sounds like a tune here. Then we finished the song together. It was called “I’d Have You Anytime,” and it was the first track on All Things Must Pass.

GW: Paul told me that Rubber Soul was just “John doing Dylan.” Do you think Dylan felt that?

HARRISON: Dylan once wrote a song called “Fourth Time Around.” to my mind, it was about how John and Paul, from listening to Bob’s early stuff, had written “Norwegian Wood.” Judging from the title, it seemed as though Bob had listened to that and wrote the same basic song again, calling it “Fourth Time Around.” The title suggests that the same basic tune kept bouncing around over and over again.

GW: The same cross-fertillization seemed to be going on between the Beatles and the Byrds around that time. Your song “If I Needed Someone” has got to be a tip of the hat to Roger McGuinn, right?

HARRISON: We were friends with the Byrds and we certainly liked their records. Roger himself said that the first time he saw a Rickenbacker 12-string was in A Hard Day’s Night, and he certainly stamped his personality onto that sound later. Wait - I’ll tell you what it was. Now that I’m thinking about it, that song actually was inspired by a Byrds song, “The Bells of Rhymney.” Any guitar player knows that, with that open-position D chord, you just move your fingers around and you get all these little maladies…I mean melodies! Well, sometimes maladies [laughs] And that became a thrill, to see how many more tunes you could write around that open D, like “Here Comes the Sun.”

GW: When you did that tour with Eric Clapton in Japan, you opened with “I Want to Tell You,” from Revolver. The song marked a turning point in your playing, and in the history of rock music writing. There’s a weird, jarring chord at the end of every line that mirrors the disturbed feeling of the song. Everybody does that today, but that was the first time we’d heard that in a rock song.

HARRISON: I’m really pleased that you noticed that. That’s an E7th with an F on the top, played on the piano. I’m really proud of that, because I literally invented that chord. The song was about the frustration we all feel about trying to communicate certain things with just words. I realized the chords I knew at the time just didn’t capture that feeling. So after I got the guitar riff, I experimented until I came up with this dissonant chord that really echoed that sense of frustration. John later borrowed it on Abbey Road. If you listen to “I Want You (She’s So Heavy)” it’s right after John sings “it’s driving me mad!” To my knowledge, there’s only been one other song where somebody copped that chord - “Back on the Chain Gang” by the Pretenders.

GW: Around the time of Rubber Soul and Revolver, you met Ravi Shankar and went to India to study Indian classical music, which is full of microtonal slurs and blends. When you came back, your guitar playing became more elastic, yet very precise. You were finding more notes between the cracks, like you can in Indian music - especially on your slide work. Is there a connection there?

HARRISON: Sure, because whatever you listen to has to come out in some way or other. I think Indian music influenced the inflection of how I played, and certain things I play certainly have a feel similar to the Indian style. As for slide, I think most people - Keith Richards for example - play block chords and all those blues fills, which are based on open tunings. My solos are actually like melodic runs, or counter melodies, and sometimes I’ll add a harmony line to it as well.

GW: Like on “My Sweet Lord” and the songs on your first solo album [All Things Must Pass].

HARRISON: Exactly. Actually, now that you’ve got me thinking about my guitar playing Indian music, I remember Ravi Shankar brought an Indian musician to my house who played classical Indian music on a slide guitar. It’s played like a lap steel and set up like a regular guitar, but the nut and bridges are cranked up, and it even has sympathetic drone strings, like a sitar. He played runs that were so precise and in perfect pitch, but so quick! When he was rocking along, doing these really fast runs, it was unbelievable how much precision was involved. So there were various influences. But it would be precocious to compare myself with incredible musicians like that.

GW: When you came back from India, did you intentionally copy on guitar any of the techniques you learned there?

HARRISON: When I got back from this incredible journey to India, we were about to do Sgt. Pepper’s, which I don’t remember much at all. I was into my own little world, and my ears were just all filled up with all this Indian music. So I wasn’t really into sitting there, thrashing through [sings nasally] “I’m fixing a hole…” Not that song, anyway. But if you listen to “Lucy in the Sky with Diamonds,” you’ll hear me try and play the melody on guitar with John’s voice, which is what the instrumentalist does in Hindustani vocal music.

GW: Paul told me you wanted to do a similar thing on “Hey Jude,” to echo his vocal phrases on the guitar, and that he wouldn’t let you. He admitted that incidents like that were one of the causes of the band’s breakup. And Ringo said you had the toughest job, because Paul in particular and George Martin as well would sometimes try and dictate what you should play, even on your solos.

HARRISON: Well, you know, that’s okay. I don’t remember the specifics on that song. [pauses] Look, the thing is, so much has been said about our disagreements. It’s like…so much time has lapsed, it doesn’t really matter anymore.

GW: Was Paul trying to just hold the band together, or was he just becoming a control freak? Or was it a little of both?

HARRISON: Well…sometimes Paul “dictated” for the better of a song, but at the same time he also pre-empted some good stuff that could have gone in a different direction. George Martin did that too. But they’ve all apologized to me for all that over the years.

GW: But you were pissed off enough about all this to leave the band for a short time during the Let It Be sessions. Reportedly, this problem had been brewing for a while. What was it that upset you about what Paul was doing?

HARRISON: At that point in time, Paul couldn’t see beyond himself. He was so on a roll - but it was a roll encompassing his own self. And in his mind, everything that was going on around him was just there to accompany him. He wasn’t sensitive to stepping on other people’s egos or feelings. Having said that, when it came time to do the occasional song of mine - although it was usually difficult to get to that point - Paul would always be really creative with what he’d contribute. For instance, that galloping piano part on “While My Guitar Gently Weeps” was Paul’s, and it’s brilliant right to this day. On the Live in Japan album, I got our keyboardist to play it note for note. And you just have to listen to the bass line on “Something” to know that, when he wanted to, Paul could give a lot. But, you know, there was a time there when…

GW: I think it’s called being human - and young.

HARRISON: It is…[sighs] It really is.

GW: How difficult was it to squeeze your songs in between the two most famous writers in rock?

HARRISON: To get it straight, if I hadn’t been with John and Paul I probably wouldn’t have thought about writing a song, at least not until much later. They were writing all these songs, many of which I thought were great. Some were just average, but, obviously, a high percentage were quality material. I thought to myself, If they can do it, I’m going to have a go. But it’s true: it wasn’t easy in those days getting up enthusiasm for my songs. We’d be in a recording situation, churning through all this Lennon/McCartney, Lennon/McCartney, Lennon,/McCartney! Then I’d say [meekly] can we do one of these?

GW: Was that true even with an obviously great song like “My..uh.”

HARRISON: "Piggies”? You mean “While My Piggies Gently Weep”? [laughs] When we actually started recording “While My Guitar Gently Weeps” it was just me playing the acoustic guitar and singing it [This solo version appears on the Anthology 3 CD-GW Ed.] and nobody was interested. Well, Ringo probably was, but John and Paul weren’t. When I went home that night, I was really disappointed, because I thought, Well, this is really quite a good song, it’s not as if it’s shitty! The next day, I happened to drive back into London with Eric Clapton, and while we were in the car I suddenly said, “Why don’t you come and play on this track?” And he said, “Oh, I couldn’t do that. The others wouldn’t like it.”

GW: Was that a verboten thing with the Beatles?

HARRISON: Well, it wasn’t so much verboten; it’s just that nobody had ever done it before. We’d had oboe and string players and other session people in for overdubbing, but there hadn’t really been other prominent musicians on our records. So Eric was reluctant, and I finally said, "Well, sod them! It’s my song and I’d like you to come down to the studio.”

GW: So did that cause more tension with the others? How did they treat him?

HARRISON: The same thing occurred that happened during “Get Back,” while we were filming the movie [Let It Be, (Apple Films) 1970]. Billy Preston came into our office and I pulled him into the studio and got him on electric piano. And suddenly, everybody started behaving and not fooling around so much. Same thing happened with Eric, and the song came together nicely.

GW: Yet, rumor has it you weren’t satisfied with your performance on the record. Why?

HARRISON: Actually, what I was really disappointed with was take number one [i.e., the solo version]. I later realized what a shitty job I did singing it. Toilet singing! And that early version has been bootlegged, because Abbey Road Studios used to play it when people took the studio tour. [laughs] But over the years I learned to get more confidence. It wasn’t so much learning the technique of singing as it was just learning not to worry. And my voice has improved. I was happy with the final version with Eric.

GW: Did you give Eric any sense of what you wanted on the solo? He almost sounds as if he’s imitating your style a lot.

HARRISON: You think so? I didn’t feel like he was copying me. To me, the only reason it sounds Beatle-ish is because of the effects we used. We put the “wobbler” on it, as we called ADT. [Invented by a Beatles recording engineer. ADT, or artificial double tracking, was a tape recording technique that made vocals and intruments sound as if they had been double tracked (i.e., recorded twice) to create a fuller sound. The technique also served as the basis for flanging.-GW Ed.] As for my direction I may have given him, it was just, “Play, me boy!” In the rehearsals for the Japanese tour, he did make a conscious effort to recap the solo that was on the original Beatles album. And although the original version in embedded in Beatles’ fans memories, I think the version we captured on the live album is more outstanding.

GW: Want to play rock critic for us and critique his playing?

HARRISON: Ah, well, he started out playing the first couple of fills like the original, and the first solo is kind of similar. But by the end of the solo he just goes off! Which is why I think guitar players like to do that song. It’s got nice chords, but it’s also structured in a way that gives a guitar the greatest excuse just to wail away. Even Eric played it differently every night of the tour. Some nights he played licks that almost sounded like flamenco. But he always played exceptionally well on that song.

GW: You talked about the pluses and minuses of working with Paul. What about John? He was a much looser, more intuitive musician and composer. Did you help him flesh things out?

HARRISON: Basically, most of John’s songs, like Paul’s, were written in the studio. Ringo and me were there all the time. So as the songs were being written, they were being given ideas and structures, particularly by John. As you say, John had a flair for “feel.” But he was very bad at knowing exactly what he wanted to get across. He could play a song and say, “It goes like this.” Then he’d play it again and ask, “How does that go?” Then he’d play it again - totally differently! Also his rhythm was very fluid. He’d miss a beat, or maybe jump a beat…

GW: Like a lot of old blues players.

HARRISON: Exactly like that. And he’d often do something really interesting in an early version of a song. After a while, I used to make an effort to learn exactly what he was doing the very first time he showed a song to me, so if the next time he’d say, “How did that go?” we’d still have the option of trying what he’d originally played.

GW: The melody on side two of Abbey Road is a seamless masterpiece. It would probably take a modern band ages to put together, even with digital technology. How did you manage all that with just four - and eight - track recorders?

HARRISON: We worked it all out carefully in advance. All those mini songs were partly completed tunes; some were written while we were in India a year before. So there was just a bit of chorus here and a verse there. We welded them all together into a routine. Then we actually learned to play that whole thing live. Obviously there were overdubs. Later, when we added the voices, we basically did the same thing. From the best of my memory, we learned all the backing tracks, and as each piece came up on tape, like “Golden Slumbers,” we’d jump in with the vocal parts. Because when you’re working with only four or eight tracks, you have to get as much as possible on each track.

GW: With digital recording today you can also do an infinite number of guitar solos. Back then, did taking another pass at a solo require redoing almost the entire song?

HARRISON: Almost. I remember doing the solo to “Something” and it was dark in the studio and everyone was stoned. But Ringo, I think, was doing a drum overdub on the same track, and I seem to remember the others were all busy playing. And every time I said, “Alright, let’s try another take” - because I was working it out and trying to make it better - they all had to come back and redo whatever they’d just played on the last overdub. It all had to be squeezed onto that one track, because we’d used up the other seven. That’s why, after laying down the basic track, we’d work out the whole routine in advance and get the sound and balance. You’d try and add as much as possible to each track before you ran out of room. On one track we might go, “Okay, here the tambourine comes in, then Paul, you come in at the bridge with the piano and then I’ll add the guitar riff.” And that’s the way we used to work.

GW: “Something” was your most successful song. I think every guitar player wonders, did you get that riff first?

HARRISON: No, I wrote the song on the piano. I don’t really play the piano, which is why certain chords sound brilliant to me - then I translate them onto the guitar, and it’s only C. [laughs] I was playing three-finger chords with my right hand and bass notes with my left hand. And on the piano, it’s easy to hold down one chord and mostly the bass note down. If you did that on the guitar, the note change wouldn’t come in the bass section; it would come somewhere more in the middle of the chord.

GW: But you did play that Beatles-sounding bridge riff in “Badge” on Cream’s Goodbye album, didn’t you?

HARRISON: No, Eric played that! He doesn’t even play on the song before that. We recorded that track in L.A.: it was Eric, plus Ginger Baker and Jack Bruce, and I think the producer, Felix Pappalardi, played the piano part. I was just playing chops on the guitar chords and we went right through the second verse and into the bridge, which is where Eric comes in. Again, it sounds Beatle-ish because we ran it through a Leslie speaker.

GW: Any contemporary bands that strike you as having a bit of the same spark that your early heroes had?

HARRISON: I can’t say I’ve really heard anything that gives me a buzz like some of that stuff we did in the Fifties and Sixties. The last band I really enjoyed was Dire Straits on the Brothers in Arms album. To me, that was good music played well, without any of the bullshit. Now I’m starting to get influenced by my teenage son, who’s into everything and has the attitude. He loves some of the old stuff, like Hendrix, and he’s got a leather jacket with Cream’s Disraeli Gearsalbum painted on the back. As for recent groups, he played me the Black Crowes, and they really sounded okay.

GW: You made music that awoke and changed the world. Could you sense that special dimension of it all while it was happening, or were you lost in the middle of it?

HARRISON: A combination of both, I think. Lost in the middle of it - not knowing a thing - and at the same time somehow knowing everything. Around the time of Rubber Soul and Revolver it was like I had a sudden flash, and it all seemed to be happening for some real purpose. The main thing for me was having the realization that there was definitely some reason for being here. And now the rest of my life as a person and a musician is about finding out what that reason is, and how to build upon it.

GW: Finally, any recent acid flashbacks you care to share?

HARRISON: [laughs] No, no, that doesn’t happen to me anymore. I’ve got my own cosmic lighting conductor now. Nature supports me.

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merriammusicinc · 6 years ago

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100+ Easy Guitar Songs for Beginners | Chord Charts & Tabs Included (2019)

Whether you are just starting to learn the guitar or you're more advanced, learning your favourite songs on the guitar is an extremely fun experience that will motivate you to keep learning, and grow your repertoire. By learning to master your favourite songs on the guitar your love for music can only continue to grow. Best of all the next time a guitar comes out at a party or an event, you will be ready to impress your friends and family. The list of easy guitar songs we've assembled below was put together primarily with the beginner guitarist in mind and it includes both acoustic guitar songs as well as electric, with and without the capo.

A capo is a device used on the neck of a stringed (typically fretted) instrument to shorten the playable length of the strings, hence raising the pitch. It is a common ... via Wikipedia

Some are as easy as two-chord songs which utilize open chords and are a great starting point for beginner guitar players, others use barre chords, and some have fairly challenging chord progressions and require more advanced technique. The list includes a variety of styles stemming from easy rock guitar songs, country songs, pop songs, Christmas songs and many more (see below for a full list of included styles and genres). Furthermore, it includes links to easy guitar chords, tabs, and strum patterns, although, as previously mentioned, there are several advanced guitar songs that have also been included in our ultimate list of easy songs to learn to play on guitar for beginners.

Easy Guitar Songs

You will probably recognize nearly every single one of these songs and wonder, how in the world are these songs easy to play? You might be surprised at how simple these hit songs are to play on the guitar. Try out our top 20 easy songs to learn on guitar today.

Radioactive - Imagine Dragons

T.N.T - AC/DC

Summer Of 69 - Bryan Adams

Times Like These - Foo Fighters

Sweet Caroline - Neil Diamond

Walk Of Life - Dire Straits

Perfect - Ed Sheeran

Sweet Home Alabama - Lynyrd Skynyrd

I Walk The Line - Johnny Cash

Let It Be - The Beatles

Fast Car - Tracy Chapman

That's All Right Mama - Elvis Presley

How Bizarre - OMC

Dance The Night Away - The Mavericks

Englishman In New York - Sting

Breezin' - George Benson

Ain't No Sunshine - Bill Withers

Guns Of Brixton - The Clash

I Shot The Sheriff - Bob Marley

Miss You - The Rolling Stones

Featured Easy Guitar Song: Sweet Caroline - Neil Diamond

Beginner Guitar Songs

Brand new to learning the guitar? Learning how to play the guitar is a wild journey that can be as easy or as difficult as you want it to be. Beginner guitar players should start with the basics and work their way up in song difficulty over time as you become more and more proficient. Learn the fundamentals of the guitar with these easy guitar songs for beginners.

Stay With Me - Sam Smith

Brown Eyed Girl - Van Morrison

Sweet Child O' Mine - Guns N' Roses

Creep - Radiohead

Hallelujah - Leonard Cohen

Hey Joe - Jimi Hendrix

Knocking On Heaven's Door - Bob Dylan

Stand By Me - Ben E. King

Mockingbird - James Taylor

I Can’t Explain - The Who

Die Young - Kesha

Sunday Bloody Sunday - U2

Dynamite - Taio Cruz

Heart Of Gold - Neil Young

Time Of Your Life - Green Day

Imagine - John Lennon

Free Fallin' - Tom Petty

Viva La Vida - Coldplay

Wonderwall - Oasis

Wonderful Tonight - Eric Clapton

Featured Beginner Guitar Song: Wonderful Tonight - Eric Clapton

Easy Acoustic Guitar Songs

The acoustic guitar is a versatile instrument that you can take with you nearly everywhere. Next time you are at a party, on vacation, sitting around a campfire, have the skills and repertoire to impress your friends with these 20 easy songs to play on acoustic guitar.

Stairway to Heaven - Led Zeppelin

Good Riddance (Time of Your Life) - Green Day

Wanted Dead or Alive - Bon Jovi

Patience - Guns N' Roses

Free Fallin' - Tom Petty

More Than Words - Extreme

Have You Ever Seen the Rain - Creedence Clearwater Revival

Layla - Eric Clapton

She Talks to Angels - The Black Crowes

Everlong - Foo Fighters

Let Her Go - Passenger

Nothing Else Matters - Metallica

Hey There Delilah - Plain White T's

The House of the Rising Sun - The Animals

Crazy Little Thing Called Love - Queen

Over the Hills and Far Away - Led Zeppelin

Ring of Fire - Johnny Cash

I'm Yours - Jason Mraz

Silent Lucidity - Queensrÿche

Every Rose Has its Thorn - Poison

Featured Acoustic Guitar Song: Free Fallin' - Tom Petty

Electric Guitar Songs

The electric guitar can produce incredible sounds you will recognize anywhere. Learning the electric guitar doesn't need to be an overwhelming feat, below you will find 20 of the most hard hitting electric guitar songs you need to add to your repertoire so you can lay down some heavy riffs.

Iron Man - Black Sabbath

Whole Lotta Love - Led Zeppelin

“Master of Puppets” – Metallica

This Means War” – Avenged Sevenfold

Sin City - ACDC

Cherub Rock - Smashing Pumpkins

I Can't Quit You Baby - Willie Dixon

It Hurts Me Too - Elmore James

Smoking Gun - Robert Cray

Girls Just Want To Have Fun - Cyndi Lauper

Smoke On The Water - Deep Purple

Blitzkrieg Bop - The Ramones

Wild Thing - The Troggs

Two Tickets To Paradise - Eddie Money

Smells Like Teen Spirit - Nirvana

Still Got The Blues - Gary Moore

Doesn't Remind Me - Audioslave

Born Free - Kid Rock

Rockstar - Nickelback

Fire Flies - Owl City

Featured Easy Electric Guitar Song: Iron Man - Black Sabbath

Classical Guitar Songs

Classical songs when played on the guitar have the unique ability to captivate and inspire the audience like no other instrument. Unfortunately few guitarists choose to learn classical guitar songs due to a lack of mainstream popularity. Stand out from the crowd of guitarists and showcase your skills with by learning how to play some of the worlds most famous pieces of classical music on the guitar. These classical songs on the guitar have a special place in our heart, check out our top 20 classical songs to play on the guitar.

Cavatina - Stanley Myers

Lonely Shepherd - Gheorghe Zamfir

Canarios - Gaspar Sanz

Guitar concerto in D – Vivaldi

Libertango – Piazzolla

La Catedral - Augustin Barrios Mangoré

Capricho Arabe - Francisco Tarrega

Recuerdos de la Alhambra - Francisco Tarrega

Gran Vals by Francisco Tárrega

Fantasia No. 10 by Alonso Mudarra

Ave Maria – Schubert

Malaguena by Michael Lucarelli

Fur Elise - Beethoven

Moonlight Sonata - Beethoven

Prelude in D - Caracassi

Ode To Joy - Beethoven

Air On The G String - Bach

Theme From Water Music - Handel

Lullaby - Brahms

Bourree Op. 17, No. 5 - Le Couppey

Featured Easy Classical Guitar Song: Fur Elise - Beethoven

Country Guitar Songs

Country music is a blast to play and the guitar is the country artists instrument of choice. Country songs are some of the easiest to learn how to play on the guitar and with a little bit of practice, you can be picking right alongside your favorite guitarists. Learn how to play some of our favorite country hits from Willie Nelson to Carrie Underwood with our beginner's list of the top 20 country songs to play on the guitar.

Ring of Fire - Johnny Cash

Take Me Home, Country Roads - John Denver

Tennessee Whiskey - Chris Stapleton

Guitars, Cadillacs - Dwight Yoakam

Wagon Wheel - Darius Rucker

Bottoms Up - Brantley Gilbert

On the Road Again - Willie Nelson

Sweet Home Alabama - Lynyrd Skynyrd

Broken Halos - Chris Stapleton

Chicken Fried - Zac Brown Band

Blue Eyes Crying in the Rain - Willie Nelson

Sunday Morning Coming Down - Johnny Cash

Bad Moon Rising - Creedence Clearwater Revival

Whiskey Lullaby - Brad Paisley

Les Nuits avec mon ennemi: Brown Eyed Girl - Van Morrison

Fast as You - Dwight Yoakam

Angel of the Morning - Juice Newton

A Satisfied Mind - Porter Wagoner

Before He Cheats - Carrie Underwood

Good Directions - Billy Currington

Featured Easy Country Guitar Song: Sweet Home Alabama - Lynyrd Skynyrd

Christmas Guitar Songs

Christmas time is nearly upon us once again and it is time to break out the guitar and start to string our favorite Christmas songs. Gather your friends and family near the Christmas tree and have them sing along to the best Christmas songs on the guitar. The classical Christmas carols we all know and love are actually incredibly easy to learn how to play on the guitar. Here are 20 of the best Christmas songs you should learn how to play on the guitar.

Jingle Bells

Drummer Boy

White Christmas

Santa Claus Is Coming to Town

God Rest Ye Merry Gentlemen

The Christmas Song

O Come All Ye Faithful

A Merry Little Christmas

Joy to the World

O Little Town of Bethlehem

Winter Wonderland

Last Christmas

Rockin' Around the Christmas Tree

All I Want for Christmas Is You

We Wish You a Merry Christmas

Blue Christmas

Wonderful Christmas

Sleigh Ride

Santa Baby

Let It Snow! Let It Snow! Let It Snow!

Featured Easy Christmas Guitar Song: Jingle Bells

Easy Guitar Chord Songs

Learning chords on the guitar? If you are a beginner guitar player or just want some easy songs on guitar, you've come to the right place. These 20 songs with easy guitar chords are perfect for practicing and getting the fundamentals down before moving on to more advanced pieces. Be sure to practice and the chords and switching between chords for each song as it will speed up your learning process tremendously!

Fire – Bruce Springsteen

The one I love – REM

Eleanor Rigby – The Beatles

Three little birds – Bob Marley

Zombie – The Cranberries

Chasing Cars – Snow Patrol

Otherside – Red hot Chili Peppers

Brown eyed girl – Van Morrison

Tush - ZZ Top

I Can’t Quit You Baby - Willie Dixon

My Best Friend’s Girl - The Cars

What I Got - Sublime

Low - Cracker

Cherub Rock - The Smashing Pumpkins

Not Fade Away - Buddy Holly

I Need My Girl - The National

Skinny Love - Bon Iver

Rock Me Baby - B. B. King

He Didn't Have To Be - Brad Paisley

(Don't Fear) The Reaper - Blue Öyster Cult

Featured Easy Guitar Chord Song: Chasing Cars - Snow Patrol

Easy Rock Guitar Songs

There’s nothing as thrilling as your fingers blazin' across the strings while strumming a good rock song. As a beginner guitarist you obviously want beginner songs, but they should also be a ton of fun to learn how to play. Our list of the top 20 rock songs on guitar not only covers that, but it also gives you a set of awesome rock songs to add to your repertoire.

Stairway to Heaven - Led Zeppelin

Layla - Derek and the Dominos

Smoke On The Water - Deep Purple

Sweet Child O' Mine - Guns N' Roses

Smells Like Teen Spirit - Nirvana

Free Bird - Lynyrd Skynyrd

All Along the Watchtower - The Jimi Hendrix Experience

Sultans of Swing - Dire Straits

(I Can’t Get No) Satisfaction - The Rolling Stones

Seven Nation Army - The White Stripes

Sweet Home Alabama - Lynyrd Skynyrd

Johnny B. Goode - Chuck Berry

Walk This Way - Aerosmith

Eruption - Van Halen

The House of the Rising Sun - The Animals

Beat It - Michael Jackson

Wild Thing - The Troggs

Heartbreaker - Led Zeppelin

Whole Lotta Love - Led Zeppelin

Sunshine of Your Love - Cream

Featured Guitar Rock Song: Stairway to Heaven - Led Zeppelin

Guitar Love Songs

Is there anything more romantic than to serenade the love of your life with a beautiful guitar love song? We're willing to bet she will get goose bumps along her arms and tears in her eyes but that she’ll also never forget that time when you played her a love song on your guitar. We've put together 20 guitar love songs that you can learn with ease. Pull out your guitar and start strumming along to these beautiful love songs and watch your sweetie's heart melt.

Can't Help Falling In Love - Elvis Presley

Like I'm Gonna Lose You - Meghan Trainor

Love Story - Taylor Swift

Crazy Little Thing Called Love - Queen

I’m Yours - Jason Mraz

More Than Words - Extreme

Just the Way Your Are - Bruno Mars

She Will Be Loved - Maroon 5

Your Body Is a Wonderland," John Mayer

Thinking Out Loud – Ed Sheeran

You’re Beautiful – James Blunt

Crash Into Me – Dave Matthews Band

Wonderful Tonight – Eric Clapton

Marry Me – Train

Heaven – Bryan Adams

Wanted – Hunter Hayes

I’ll Be – Edwin McCain

Stay With Me – Sam Smith

Something – The Beatles

Everything – Michael Bublé

Featured Easy Guitar Love Song: Love Story - Taylor Swift

Easy Guitar Tab Songs

Guitar tabs for beginner guitarists should be easy and fun. Guitar tabs are a simplified form of musical notation that is easy to share. This list of songs with easy guitar tabs is comprised of popular hits that are easy for a beginner student to quickly pick up on, and learn how to play the guitar.

Are You Gonna Be My Girl – Jet

Cocaine – Eric Clapton

Smells Like Teen Spirit – Nirvana

Walk This Way – Aerosmith

Taking Care of Business – BTO

Harder To Breathe – Maroon 5

The Joker – Steve Miller Band

My Generation – The Who

Iron Man – Black Sabbath

Pretty Woman– Roy Orbison

Crazy Train – Ozzy Osbourne

Sweet Home Alabama - Lynyrd Skynyrd

Stairway to Heaven -Led Zeppelin

Seven Nation Army - The White Stripes

Blackbird - The Beatles

Nothing Else Matters - Metallica

The House of the Rising Sun - The Animals

Come as You Are - Nirvana

Smoke On The Water - Deep Purple

Hallelujah - Jeff Buckley

Featured Guitar Tab Song: Smoke On The Water - Deep Purple

Christian Guitar Songs

Are you looking for ways to incorporate your love of the guitar with your love of God? You have your choice of popular Christian songs, but many new guitar players struggle finding songs they want to play at their appropriate skill level and become discouraged. These 20 easy Christian guitar songs are easy to play for a beginner guitarist but are also very popular, members of your church will be sure to be singing along with you.

Above All - Michael W. Smith

I Surrender - Hillsong Worship

Holy Is the Lord - Chris Tomlin

Good Good Father - Chris Tomlin

Lord, I Need You - Matt Maher

O Come to the Altar - Elevation Worship

Hosanna - Hillsong United

God of Wonders - Third Day

At the Cross (Love Ran Red) - Chris Tomlin

Come as You Are - Crowder

Your Grace Is Enough - Chris Tomlin

This Is Amazing Grace - Phil Wickham

Came to My Rescue - Hillsong United

Forever - Chris Tomlin

Nothing Is Impossible - Planetshakers

So Will I (100 Billion X) - Hillsong United

Everlasting God - Chris Tomlin

Reckless Love - Cory Asbury

Do It Again - Elevation Worship

Build Your Kingdom Here - Rend Collective

Featured Easy Christian Guitar Song: Good Good Father - Chris Tomlin

Kids Guitar Songs

Teaching kids to learn and love playing the guitar doesn't need to be hard. Kids want to play songs they know and love but can become discouraged if their initial learning process is filled with boredom and difficulty. Teaching kids the basic guitar fundamentals with simple, familiar guitar songs can be an excellent learning experience that will grow their interest and confidence in learning the guitar. Check out these 20 guitar songs for kids that only use a few chords, these songs will give them to confidence and motivation to continue learning.

The Ants Go Marching

Yankee Doodle

Three Blind Mice

The Muffin Man

Ring Around the Rosies

Little Red Ridinghood

London Bridge Is Falling Down

Hot Cross Buns

Gingerbread Man

Happy Birthday

Cinderella

B-I-N-G-O

The Bear Went Over the Mountain

Hokey Pokey

Twinkle Twinkle Little Star

Mary Had a Little Lamb

Row, row, row your boat

Old Macdonald

Head Shoulders Knees And Toes

Im A Little Teapot

Featured Easy Kids Guitar Song: Happy Birthday

Easy Pop Songs On Guitar

Many guitarists picked up their first guitar because they thought it would be awesome to learn how to play their favourite pop songs on the guitar, and they weren't wrong. A big stumbling block for people looking to get their start learning the guitar can be picking the appropriate song for their skill level. Slow and steady is the motto for long term success and it definitely applies to learning the guitar. You can still learn how to play your favourite pop songs on the guitar you just need a little help finding the right ones. We've compiled a list of easy pop songs for the guitar that you can begin to pickup in only a few minutes, check out our list below.

I'm Yours - Jason Mraz

Brown Eyed Girl - Van Morrison

Blackbird - The Beatles

Thinking Out Loud - Ed Sheeran

Hey There Delilah - Plain White T's

Dust in the Wind - Kansas

Every Breath You Take - The Police

Wonderful Tonight - Eric Clapton

Under the Bridge - Red Hot Chili Peppers

Love Yourself - Justin Bieber

Crazy Little Thing Called Love - Queen

Yellow - Coldplay

Take Me Home, Country Roads - John Denver

Zombie - The Cranberries

Let Her Go - Passenger

Hey Jude - The Beatles

Here Comes the Sun - The Beatles

A Horse with No Name - America

Photograph - Ed Sheeran

Can't Help Falling In Love - Elvis Presley

Featured Easy Guitar Pop Song: Thinking Out Loud - Ed Sheeran

The post 100+ Easy Guitar Songs for Beginners | Chord Charts & Tabs Included (2019) first appeared on Merriam School of Music

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doomedandstoned · 6 years ago

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HIGH ON FIRE, THE GRAMMYS, AND YOU

~Bacon's Blog~

Photos by Sally Townsend

So as many of you (probably all?) know by now, HIGH ON FIRE recently won the Grammy for Best Metal Performance for their album 'Electric Messiah' (2019). This is, to use the parlance of our times, kind of a big deal. Here are three hardworking dudes who have been an active part of the scene for decades finally getting some well-deserved recognition.

It feels like a watershed moment for this community. After all, High On Fire is the sort of band you can still see playing tiny rooms, if you’re lucky (last time I saw them was at Saint Vitus Bar). Matt, Des, and Jeff have been known to take small bands out on tour with them all the time, too. These guys really get it, because they've contributed firsthand to the growth of this whole thing. They seem to have a dog in this fight.

Does this mean that finally the doom/stoner scene is going to start getting its due, as well? Could this be the Nevermind-esque moment that sets the genre apart? After all, if the forefather is being shown love, wouldn’t it stand to reason that the children might one day ascend? Well...no.

Guitarist and Vocalist Matt Pike

Now, first and foremost, I want to point out I think that what High On Fire has achieved is truly remarkable. They are without doubt one of the heaviest bands to ever win a Grammy, which in and of itself is remarkable. To do so coming from a hardcore background is really cool and the fact that, again, these guys remain humble and realistic is badass. I think so often metal bands get lost in the accolades and PR hype, then all of the sudden they are taking Butcher Babies out on tour. Like that’s not really supposed to be the point.

It’s amazing to me that a Grammy winning band has a clear understanding of the way things are and how you can be a part of the solution. This is important. There are other massive inroads happening now, too, like Hi-Wattage joining forces with Tone Deaf and cool underground bands getting to play with Black Label Society. Both are significant moments for the scene, but again I don’t think this is going to push us up and over.

Bassist Jeff Matz

Of course, now you want to know why these things are happening and there are, in fact, a good number of reasons. The Grammys have lately shown they are starting to become more embracing of what’s actually going on in metal. This following huge backlash from the disastrous decision to award Tenacious D the Best Metal Performance in 2015. The fact that more underground bands are starting to get notice is awesome, but somewhat expected given the backlash. Again, not taking from what High On Fire did, merely applauding the Recording Academy for getting its head out of its ass.

With all that said, I’m not entirely sure how the High on Fire Grammy win will impact the music scene or (more to the point) all those potential listeners. For example, can you name the last five Best Rock Album nominees that aren’t Greta Van Fleet? Ultimately the Grammys, as cool as they are, aren’t changing the musical landscape -- arguably just reflecting it. I'm reminded of Eddie Vedder's infamous words when Pearl Jam accepted the Grammy for Best Hard Rock Performance: "I don't know what this means I don't think it means anything." Pragmatically speaking, I hope High on Fire's win will help them sell more records and concert tickets, but it remains to be seen whether it will make them a household name.

Drummer Des Kensel

It's unlikely that we'll see another Nevermind moment, because there is no reason for there to be one. We all have diverse musical tastes and discovery is just a click away on streaming services like Spotify and Deezer, swaddling us in the privilege of access to whatever we want, whenever we want it. I’m not sure how many people actually look to the Grammys for guidance about what new rock or metal to listen to. If anything, we're years ahead of the Grammys.

Long gone are the days when big record labels and radio stations were the almighty gatekeepers. The internet has turned every band into an entrepreneur and the scene that has grown up in this new era is exciting to watch. There are fewer and fewer notable instances of shared pop culture. We’ve moved into a society where culture is post-scarcity, so you need to be really good to get any attention and it matters increasingly little what genre you play. The kind of community you build around your band is more important than ever before.

Electric Messiah by High On Fire

It's that community we ultimately have to thank for propping up High On Fire until it finally captured the attention of the powers that be. Hopefully this nod to the heavy underground means that even more talented, hardworking bands will be honored -- but if not, fuck it. Let’s just look at what High On Fire did in terms of great songwriting, dedication, and endless touring, as well as signing to a shit hot label that works its tail off for them, and be happy for these dudes -- they earned it.

Film by Billy Goate/Doomed & Stoned

Don't expect this to be a game-changer for heavy music, but do expect this to be viewed as a peak. I think there will be more peaks, but there will also be plenty of valleys. The Grammys speak to just how big the music industry is and how little any of this matters. The room the non-televised awards are held in is half full and the whole thing feels like a weird and understated event. It’s cool, though, that this happened, crazy even. No one would have anticipated this, so that makes it even more encouraging to realize that thirty years into a career in metal, you’re still not too old to get a shot at music's biggest night.

Matt Bacon (IG: mattbacon666) is a consultant, A&R man, and journalist specializing in the world of heavy metal.

#Advice #Matt Bacon #Dropout Media #Doom Metal #Stoner Rock #High on Fire #Grammy Awards #Grammys #2019 #Doomed & Stoned

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theblacktivity-blog · 8 years ago

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Taking The Stage

In these crazy times the ABC network special “Taking The Stage; African American Music and Stories That Changed America” was a reminder of a gallant history. It was at once a testament to the resilience of a people and in some ways, the constant invocation of that trait seem to quietly whisper to the viewers for whom it was meant: “we must begin again to prepare ourselves”. In the main, it was a Black musical tribute celebration of the new Smithsonian National Museum of African American Art and Culture. But the panning of the camera’s throughout the Kennedy Center’s mostly Black and illustrious audience, (not the least of which included takes of President Barack Obama and First Lady Michelle Obama dancing harmoniously to the rhythms like college sweethearts reliving the conjured up memories brought on by the songs) gave it the air of pomp and circumstance. To a degree, it was the sort of thing that's met with a wink and a nod, in that it seemed very much like a celebratory send off to The First Couple and all that they mean to us in symbol and reality. And as each performer did the stage their justice, often times acknowledging the President and First Lady in the rafters, that love was radiated back in the form of warm appreciative smiles and what seemed like chest thumps and air daps sent telepathically...the Black way. The show opened up with a jovial Oprah Winfrey as host who exclaimed “Although I should open up the show by saying, ‘good evening everyone’, what I’d really like to say is hallelujah!”. Getting a rise out of the crowd as only Oprah can, and with the president and first lady looking on, she continued; "We’re here to celebrate, from our first days here as African Americans, we’ve left a record of how we felt and how we moved through life, from the spiritual side to the sexy side, life in all of its colors. Tonight is about music and it’s about memories and it’s about imagination and tonight is about taking the stage and changing America." What may have seemed on the surface like a typical awards show or tribute show introduction when looked at with more depth seemed more like a soft call to arms. It showed something of an acknowledgement of the days ahead and as usual, the role we as African Americans will have to play in bringing about and insuring justice. Afterwards, the performances began to roll in. Beginning with a tribute to the legendary Black opera singer Marian Anderson, Mary J. Blige performed ‘My Country Tis’ Of Thee’ as a projected background of the Lincoln Memorial served to create the ambiance of the moment Anderson made history by singing on those very steps in 1939. Following was actor Jesse Williams, with an introduction to the musical form of ‘The Blues’. Amid the receding of thunderous applause, grew the somewhat tense silence of an audience more than likely familiar in some way or another with Williams’ strident and fiery oratory, the very type displayed at the 2016 BET Awards. Among the Black faces in the crowd were white ones as well, some celebrities, some carrying an air of quiet importance, all of whom visibly appeared to be on either end of a black to white spectrum. They either seemed genuinely engaged with the words of Williams as he linked the history of ‘The Blues’ to the dark legacy of chattel slavery, or developed that reddish blush indicated when some whites anxiously await guilt (real or perceived) to be transmitted into their souls via the rhetorical barbs of the smart or “radical” Black man in-residence. The air was broken when Gary Clark Jr. performed a number in the blues tradition followed by a performance by the Alvin Ailey Dance Troupe of the lyric ‘Wade In The Water’. In the lead up to the first commercial brake was an article on display at the Smithsonian National Museum of African American Art & Culture entitled; “Bill of Sale of a slave”. It’s a record dating back to 1835, detailing the sale of a slave (more than likely a fair skinned woman) between the seller a local judge, and the buyer, both from Arkansas, right around the time when slavery was beginning to expand further westward. This intermission was timely as it highlighted the historic ills from which such a racially divided nation sprung. Then, as the show continued there was a moment of awkwardness. The type that makes one say to oneself; “And....exactly why is this?”. Dave Grohl (former drummer for the legendary band Nirvana and Foo Fighters founder and guitarist...rock renaissance man) joined the stage with legendary go-go icon Trouble Funk as a tribute to the musical form that has its origins in the nation’s capital. Granted, Grohl did grow up near the D.C. area (northern Virginia more specifically Alexandria) and may have very well been influenced by the art form, it just seemed out of place. One wonders why not UCB and Trouble Funk? That would have been appropriate and more in tune with Washington D.C.’s historic sound. Instead what happened is overbearing guitar and vocal riffs that overpowered the very percussive rhythms for which go-go is known. Whether that was a producer or network choice, who knows? In any event it had the slight air of paternalism (no fault of Grohl to be sure) that tends to occur when white America feels the need to awkwardly force itself into spaces in the name of an over-the-top proof of solidarity with Black culture. I mean all due respect to the white brothers and sisters who are really down. Let’s be clear, we appreciate those who truly are, the Black delegation fucks with you! But sometimes we would rather you refrain from messing up the beat. Post that incident, Fantasia took us down home with her rendition of Aretha Franklin’s 1967 song Dr. Feelgood. Such a performance from the North Carolina bred songstress reminded us that there is indeed a difference between singing and sangin’. Usher’s tribute to the late great James Brown left nothing to be desired as he slid, glided, and jump-split his way all over the stage in the way only he could, clad in the flyest damn black tuxedo I’ve ever seen. Then there was another awkward “huh?” moment, albeit less than the go-go performance. Actor Tom Hanks introduced the 7 surviving members of the legendary Tuskegee Airmen. Of all the tributes of the night, this one was undoubtedly the most moving as their wasn't a dry eye in the house as Hanks described the story men despised by their country for the color of their skin, even as they shot down America’s enemies abroad in record numbers. The airmen, some walking some in wheelchairs and all who looked incredibly well kept (Black don’t crack ya’ll) were then met by Fmr. General and Secretary of State Colin Powell who gave an emotional salute and greeted each man with an embrace and handshake. A moving moment indeed but also one that begged the question; “Why wasn’t Colin Powell himself slated to tell that story in addition to everything else?”. At the very least if they wanted an actor to introduce the story, why not someone like Lawrence Fishburne? After all, he was casted in the original movie about the Tuskegee Airmen circa 1995. No disrespect to Tom Hanks (one of my favorite actors by the way) but it just seemed like yet another example of that paternalistic brand of altruism. Afterwards the gorgeous Angela Basset led an introduction of tributes to singers Billie Holiday, Lena Horne, Ethel Waters, Sarah Vaugh, and Nina Simone which were performed by various artist including Christina Aguilera and accompanied by jazz musician Robert Glasper on piano. At break, we were introduced to yet another artifact on display at what will henceforth called the “Black Smithsonian”, rock-n-roll founder Chuck Berry’s candy apple red 1973 Cadillac El Darado. Little was mentioned about Berry being the founder of the musical form of rock-n-roll as we know it, instead the break opted to say the he was “influential” in early rock-n-roll. I noted that, duly. The convenient avoidance of the fact the Elvis Presley stole practically every move he had from Chuck Berry....but I’ll move on. Usher graced the stage once more to give tribute to the role of Black athletes in America including a montage of Jesse Owens, Muhammad Ali, Jackie Robinson, Arthur Ashe (Rich--what! Richmond!), Althea Gibson, Juan Carlos, Tommie Smith, and a host of others past and present. In usual form, comedian Chris Tucker took the stage to lead into what would be NeYo’s best Michael Jackson rendition. It was yet another reminder of just how big a hole that loss will always be in the world of entertainment at large and the Black community. While NeYo in true fashion did ‘The King’ much justice...it’s just not the same. P.S. The person that didn’t think to schedule the Prince tribute there after should definitely be demoted, possibly fired. The incomparable comedian Dave Chappelle, broke the seriousness of the moment as only he could with some sharp and socially observant zingers before his piece honoring the tradition and importance of Black humor. From Moms Mabley, to Dick Gregory, to Redd Foxx, to Richard Pryor and Eddie Murphy, the montage provided reminded us of the role of Black comedy in the analysis and coping with life in an often absurd America. Janelle Monae did her part prefacing the Motown sound that brought Black soul music to “mainstream” America. Gladys Knight was honored and how better to honor the honor the legendary soulstress than the Ms. Knight herself, leading the crowd in the classic “Midnight Train To Georgia”. John Legend followed, tapping into his inner Marvin Gaye with a rendition of “What’s Going On?” in his signature staccato voicing, as perfectly timed a song as it was when Marvin first wrote it. After a commercial break which included a commemoration of the revolutionary Nat Turner (white America’s historic candy man) in which the Bible that Turner was caught with after the Southampton, VA insurrection was explained, the Blackness continued with a tribute to the jazz art form. The legendary Herbie Hancock was introduced to the crowd by one of the coolest Black men on the planet in Samuel L. Jackson. Hancock performed the signature contortions and improvisations that make the art was it is from piano, to electronic synthesized keyboard as the crowd looked on in awe. Improvisation being a key trait of the Black experience as a whole, it was only right that jazz would be preceded by hip hop. Will Smith took the reigns by citing a Paul Lawrence Dunbar, Common cited Langston Hughes’ “I Too, Am America” Chuck D when into his legendary verse on “Fight The Power” as President Barack Obama mouthed along, and Doug E. Fresh set the proverbial “it” off when he laid as only he could the a vocal percussive that would serve as an instrumental to “The Message”. The crowd clapped and lip synched along; don’t push me/cause I’m close to the edge/I’m tryin, not to lose my head/a huh huh huh huh/it’s like a jungle sometimes/that make’s me wonder/how I keep from going under. I watched on wondering if those in the crowd (more particularly the white folks) yet understood poignancy of Melly Mel’s words after almost four decades. Arguably hip hop’s most famous bridge, this is in varying degrees, the Black experience in America summed up. Essentially a hip hop version of writer James Baldwin’s quote that; “To be a Negro in this country and to be relatively conscious is to be in a rage almost all the time”. With an inward chuckle, my inner Mr. T pitied the fools. Ending the night were actress Octavia Spencer and Stevie Wonder. Spencer played her part introducing us to that timbre, that down home sound that we know as gospel. After the pleasantries, Donnie McClurkin graced the stage joined by the legendary Howard University Gospel Choir in a performance that was so good it should’ve been followed by 1st Sunday church basement potato salad after. Thereafter Beyoncé protégés Chloe and Halle led the crowd in a soulful and vocally mature version of “There Eye Is On The Sparrow” that was certainly another check off of the list in a series of performances in which the duo should aptly be considered soul music’s generation next. Of course though, what is a tribute to gospel without the incomparable Rev. Shirley Ceasar! As she always does Ceasar the lit the stage as only a traditional down home Reverend and gospel icon can, sweat dripping from the forehead and all, as she too was joined by Howard University’s gospel choir. After catching the holy ghost like Julio Jones in one on one man coverage, the crowd welcomed none other than Stevie Wonder onto the stage. Breaking into his classic “Higher Ground” he was joined on stage by all the performers and guest as he beat the piano up like self defense. Such an ending seemed to serve as a signal to Black America at large, that this musical and cultural tribute would've been best summed up by the words of Kendrick Lamar: “we gon be alright!”.

#blacklivesmatter #blackexcellence #blackexperience #black music #wegonbealright

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newagesispage · 5 years ago

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FEBRUARY 2020

PAGE RIB

*****

Just as we said good bye to 2019, 75 of The Rolling Stones outtakes and such were released for a minute on You tube. The thinking seems to be that the tracks which could be found under 69RSTRAX were ‘released’ before public domain sets in.

*****

Check out Somebody up there likes me, a doc about the life of Ronnie Wood.

*****

Bill Wyman has a new book out set for release on Feb, 29 called Stones: From the Inside

*****

The film, The Burnt Orange Heresy looks great and will open on March 6.

*****

Steve Martin has been talking about next year’s Hulu series he did with Martin Short, Only murders in the building. I thought it was a bit but apparently it is real and I can’t wait!!

*****

I loved Samantha Bee’s take on ghost sex: Spook softly and carry a big dick. Too funny!

*****

Bill Maher just bought a new place in Avalon on Santa Catalina Island for a mil. The area boasts hardly any cars as most people get around on foot or by golf cart.

*****

Stephen Colbert’s executive producer Tom Purcell came up with the idea years ago for a home makeover show that does a re-do on murder houses. Someone else came along and thought it again because now we have Murder House Flip.

*****

Abby Huntsman has left the View.

*****

The Oscar noms are out with Joker leading the pack. There is Leo and Joaquin for actor and Hanks, Hopkins, Pacino, Pesci and Pitt for supporting. That is the TOUGH category. For actress there is Cynthia Erivo and Renee Z. Kathy Bates is up for supporting. Johansson is up for 2. For films, they love Ford V Ferrari, The Irishman, Jo Jo Rabbit, Marriage Story, Joker, Little Women, 1017, Parasite and Once upon a time in Hollywood.

*****

Dave Chappelle, Marianne Williamson and Donald Glover are helping to raise $ for Andrew Yang.

*****

The last season of Criminal Minds is officially underway and I was so fucking glad that Dorian Harewood was there for the final shows. Woo Hoo!!

*****

Neil Young and John Oliver are now American citizens

*****

Interrogation is a new tv series that looks promising.

*****

Wes Anderson’s new film, French Dispatch that he wrote with Hugo Guinness, Jason Schwartzman and Roman Coppola will be out on July 24. The production features Benecio del Toro, Adrien Brody, Tilda Swinton, Frances McDormand and Bill Murray.

*****

The Russell Simmons doc about his incidents with women has lost its executive producer, Oprah.

*****

John Stewart has written and directed a new film, Irresistible starring Steve Carell and Chris Cooper.

*****

I am so sick of the multiple pens it takes to sign the documents when they sign something into law etc. You are wasting our money signing a letter at a time, politicians just so U can give some crap as a keepsake. Let’s have a real signature! I don’t think the average person would be allowed to sign official papers that way.

*****

The Rock and Roll Hall of Fame has decided on their new inductees: Depeche Mode, The Doobie Brothers, T Rex, Whitney Houston, Notorious B.I.G., Nine inch nails and the Ahmet Ertegun award will go to manager Irving Azoff along with journalist and manager Jon Landau.

*****

Julian Castro is out, Marianne Williamson is out, Cory Booker is out.** Sanders got the endorsement of Nevada’s largest teacher’s union and the black caucus.** Bloomberg says he will use his $ for whoever is the democratic candidate. He is also running an anti-gun ad during the Super Bowl.

*****

I wish Rep. Doug Collins would stop talking.

*****

Ken Jennings was the big Jeopardy winner in the showdown.

*****

Diego the tortoise has had so much sex that he saved his species. There were only a few of them left and now there are about 2,000.

*****

The Tokyo 2020 Olympics will be here July 24.

*****

Warren and Bernie got into it after the January debate. They sort of called each other liars.

*****

Hillary Clinton is the first female chancellor of Queens University.** The Justice department inquiry into Hillary has finally ended. They found nothing.

*****

The Golden Globes had some very deserving winners like Succession, Brian Cox, Laura Dern, Olivia Coleman, Patricia Arquette and Joaquin Phoenix. Tarantino was honored for his writing. I think the best dressed were numerous this year. There was hardly a wrong choice except for J Lo, Thomasin Mckenzie, Ryan Seacrest and Beyonce. I loved Joey King, Michelle Pfeifer, Kaitlin Deaver, Rose Leslie, Cate Blanchett, Ellen and Portia, Phoebe Waller- Bridge, Cynthia Erivo, Eddie Murphy and Paige Butcher, Brad and Leo, Zoe Kravitz, Helen Mirren, Annabelle Wallis, Lisa Lu, Bill Hader, Kerry Washington, Lisa Bonet, Colin Jost and Scarlett Johansson, Patricia Arquette and Nicole Ansari-Cox.

*****

The SAG award also had some very well dressed which included Reese Witherspoon, Michelle Williams, Lupita Nyongo, Zoey Kravitz, Millie Bobbie Brown the Schitts Creek cast and Patricia Arquette. Christina Applegate was a bit too old school but she rocked it. The people on the SAG carpet were very chatty. Parasite was named best cast. Other winners included Zellweger, Joaquin, Sam Rockwell, The Crown, Laura Dern and Dinklage. I have not seen The Morning Show but I was a bit shocked to see Jennifer Aniston win over Jody Comer, Helena Bonham Carter, Olivia Coleman or Elizabeth Moss. This was an award from her fellow actors so I suppose they wanted to send her some love. Her ex Brad Pitt won as well and went on and on about himself.

*****

The Grammys were pretty somber with a lot of ballads and the sadness of the death of Kobe Bryant that day. Aerosmith refused to let drummer Joey Kramer play with them and many found the performance a mess. A wonderful moment was Tanya Tucker and Brandi Carlile with their song that went on to win best country song. Tanya Tucker won best country album. Other winners included Billir Eilish, Lizzo, Elvis Costello and the imposters, Gary Clark Jr., Nipsey Hussle and John Legend, Willie Nelson, Michelle Obama and Dave Chappelle. I had no love for the fashion of Ariana Grande or Rosalia. My best dressed were Lizzo, Camila Cabello, Elle Mai, Jameela Jamill, Billy Porter, Bebe Rexha and Alessandria Ambrosia.

*****

Roman Polanski’s An Officer and a spy captured the most noms at France’s Cesar awards.

*****

What IS Iran’s cyber capability? Give us details when it comes to Trump’s act of aggression against Iran. Wasn’t he supposed to get us out of the Middle East?** Our own government has concluded that withholding aid to Ukraine was illegal even though half the Senate does not seem to care.

*****

Dori Miller is the first person who was not a President to have an aircraft carrier named after him. The African American hero was at first not recognized for his bravery but FDR changed that. Construction will be completed in about 8 years.

*****

Gustav Klempt’s missing Portrait of a Lady was found in a hole in the wall of a house. It had not been seen since 1997.

*****

Kathy Griffin got married on New Year’s Eve to her long time love, Randy Bick with Lily Tomlin officiating.

*****

Venture capitalist Imaad Zuberi pled guilty to obstruction of justice for impeding a Federal investigation into the inaugural fraud.

*****

Eric Swalwell has said that everybody will want the Trump trial in the future wherein the person on trial gets to make the rules. It will be a thing. Who needs witnesses?

*****

So there is a story that many Puerto Rican’s have had to move to the continental U.S. (mostly Fla.) because of the lack of help they have received from the current administration. Now, they can only vote in primaries in Puerto Rico but when they settle in other places they can actually VOTE for President. Lesson: Help Others!

*****

A Federal court just affirmed an injunction preventing the Trump administration from discharging air force members living with HIV. It is hard to keep up on all the despicable things this administration is doing.** Scary Clown 45 thinks he is responsible for low cancer rates. They have been steadily going down anyway. He wants a 4.9 bil cut in medical research, 897 mil cut in National cancer institute and a 763 mil cut for the CDC. Luckily it didn’t happen.

*****

Apparently before the impeachment trial began, Trump’s legal team gave thousands of dollars in contributions to Moscow Mitch, Lindsey Graham and Ted Cruz. What a sad time for this country. KEEP INVESTIGATING ANYWAY.

*****

A new immigrant prison just opened in Baldwin, Michigan, run by GEO, a for profit prison company.

*****

The wall is costing about 20 mil a mile and the 100 miles or so completed have mostly been repairs to existing structure. When G W Bush was in office the cost was about 4 mil a mile.** About 30 feet of the wall feel into Mexico due to high winds.

*****

Season 7 of Grace and Frankie will be the last.

*****

The White House streamed a sermon from the Holy City Church of God in Christ in Memphis. The event that VP Pence attended for the MLK holiday was led by a pastor who claimed that our gay friends were possessed by demons.

*****

Days alert: Loved Kristen’s call back to Rosemary’s baby again when talking about little Andy or Jenny. I can’t believe that in those same flashbacks we learned what a horrible Mother’s Day they had. How could so much go wrong in 1 day? ** Hooray, More Tony and Anna!! ** The heartbreak of John and Marlena and the evil of the brainwashed really harkens back to the heyday of Days.** I wish that the baby mix up story would bring Tate and Theresa back to town! It is time for she and Brady to get back together!

*****

Rudy has started a podcast.

*****

I am often not a fan of tradition (royal, religious or otherwise) but I admit it gave me great comfort to see the articles of impeachment walked carefully to the Senate chamber. We still have a little bit of order amidst all the chaos of the Trump era.

*****

The Astros are cheaters.

*****

The super bowl will be upon us on Feb.2 with Kansas City V San Francisco.

*****

6139 military vets committed suicide in 2019. R.I.P.

*****

R.I.P. victims of the Australian fires, Chris Tolkein, Neil Peart, David Olney , Terry Jones, Mr. Peanut , Jim Lehrer , victims of the Calabasas helicopter crash and Buck Henry.

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avaliveradio · 6 years ago

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10.7 New Music Monday Release Radar with Jacqueline Jax

Musicians create music to express their creativity and skill. Listening to new music is an experience and an opportunity to connect with that creative spark. Explore some exciting new music from creators all over the world recently discovered by our host Jacqueline Jax as she searches the far corners of the globe for talented songwriters and music creators who are telling their truth to bring the listener a unique experience.

SUBSCRIBE to our broadcast here: www.wavve.link/avaliveradio

Listen to the Show: https://anchor.fm/ava-live-radio/episodes/9-30-New-Music-Monday-Release-radar-with-Jacqueline-Jax-e5mkhg

Artist: Patient X

New Release: Overdose

Genre: Pop / acoustic

Sounds like: Ed sheeran / blackbear / alec benjamin

Located in: Sydney, Australia

How would you describe your new single? Darker vibe. Sad, raw and an emotional short story. This song has a lot of personal meaning to me (patient x). .. I have always believed that 'What goes up, doesn't always come back down'. If you are struggling with depression or anxiety especially in social situations do not turn to drugs to appear "normal". I would like to encourage people who are going through this struggle to remember there will always be someone out there who will listen and help you. Think about the people you could be leaving behind and reach out to them for help.

What’s coming up next? I am in the process of making my next single! Overdose has sprung forward so quickly. This has been a terrific experience and I can’t wait to bring another single to release.

LINKS: Spotify - https://open.spotify.com/track/6HblobZkYHXiOOSTHqMgmf?si=gz-LRNhLTCKZg0L5jsaL7g Reverbnation - https://www.reverbnation.com/patientx4 Instagram - https://www.instagram.com/patientx_music

Artist: Sleuth

New Release: Make A Meal Out Of You

Genre: Genre: Funk/Pop Sub-genre: Dark funk, dark pop

Sounds like: Portishead, Tori Amos, Amy Winehouse, Janelle Monae

Located in: Portland, Victoria, Australia

'Make A Meal Out Of You' is a dark minimalist funk song, with Sleuth's characteristic vocals, laid over growling basslines, sexed-up Rhodes, and delicate percussion. Make A Meal is part of Sleuth's highly praised cathartic debut album 'Umbra Anima', titled due to its themes exploring both the shadows and the light. Vocally Sleuth draws on her appreciation of Beth Gibbons, Amy Winehouse, and Tori Amos; instrumentally there are hints of Prince and NiN in the writing as well.

This song drips honey but has sharp teeth, hinting at the primal, sometimes predatory nature of relationships. Listeners have jokingly commented that the song is so hot that it belongs on a '50 Shades of Grey' soundtrack - so turn the lights down and the music up, but try not to get bitten. ;)

https://open.spotify.com/track/6p4QEeOwdVsVQ9sAoZaTCD?si=vLyLJopXTbehgqJxB4urDQ

The music we are creating is...

'Make A Meal' is a very special song to me. I wrote the lyrics over two years, during which my perspective on relationships changed dramatically. I wasn't able to complete the final verse of the song until I'd worked through some really big issues and learned some big lessons about how humans behave with respect to relationships and lust.

I do this because...

making music is like breathing to me. There is not one day that goes by where I'm not singing or writing - it fulfills me, and gives me something to be proud of. When I perform I get to choose the best parts of me, my talent, and define them, and then share them with the audience. That's a rare privilege that performers get - the opportunity to choose how other people see them. When I perform Umbra Anima, and the rest of my catalog, I get to tell a story, I get to say something about what I've learned. Making music that will live on after I'm gone is an incredible gift!

LINKS: SPOTIFY: https://open.spotify.com/track/6p4QEeOwdVsVQ9sAoZaTCD?si=_-bB4rfoSF2YxRv8AgAg1g Twitter: @sleuthmusic1 Facebook page: https://www.facebook.com/sleuthmusician Instagram: @sleuthmusic11 BANDCAMP: https://sleuthartist.bandcamp.com

Artist: Jet Set Future

New Release: VICE

Genre: Alternative, Indie-Rock, Post-hardcore

Sounds like: : Best Coast, Pvris, No Doubt, Bloxx, Wavves, Foo Fighters, Paramore

Located in: Plymouth, Massachusetts United States of America

This song is a nice Blending of Beautiful vocal melodies with a lead bass, loud drums, and powerful catchy guitars. All of our influences are very unique, and bring many different elements to our songs, some of our influences, just to name a few are, No Doubt, Converge, Prince, Kiss, Killswitch Engage, Dokken, Hillary Duff, etc. This song, in particular, has a post-hardcore, chill feel. Nice two-step beat, followed by a hauntingly beautiful vocal pattern. It's about waiting for the right person to come along, and all of the struggles, and heartache that comes before it. It's an important song to us because it shows how diverse we can be, while keeping up the ever-changing landscape of music today. The impact this song can have on you is to show, that a song can be uppity, powerful, sad, and relieving all in one. Like telling a story with music and the perfect lyrics over it.

We do this because…

it's what we love to do. Most of us have been doing this for most of our lives. What we love about performing, is just being able to entertain the people in front of us. Whether it's 5 people or 500, we always give 100%. The thrill of just knowing that we're sharing our music/art with other people is truly a monumental accomplishment that we're extremely proud of.

Next…

As of now we're finishing up and putting our final tweaks onto our first Full-Length album. Next, we will be working on a music video for our next single.

LINKS: https://www.reverbnation.com/jetsetfuture/song/31128331-vice https://open.spotify.com/track/2kja9ILXtyiaXRbsojRIog?si=xFs7SXFdSrepvLc5N8qu4g http://www.twitter.com/jetsetfuture4 https://www.facebook.com/JetSetFuture https://www.instagram.com/JetSetFutureBand

Artist: David Bucci

New Release: Dangerous

Genre: Indie Alternative Rock

Sounds like: Bon Jovi, Chris Stapleton, Bryan Adams, Ritchie Kotzen, Goo Goo Dolls, Keith Urban

Located in: Channel Islands, Ca

When asked to describe his new release in a few words, David Bucci said, "Dirty boots, blue-collar, indie alternative rock music. Dangerous, off the new album, Country Club."

I have so many musical influences, but most were either guitarists or singers (Ritchie Kotzen, Eddie Van Halen, Jimi Hendrix, Bryan Adams, Eric Johnson, Billy Idol, The Goo Goo Dolls, Keith Urban).

'Dangerous' has a heavy acoustic guitar and drum-driven influence with electric guitar layers and soling over it along with my lead vocals and backup harmonies by Robert Cross.

Right now we are...

preparing for the album's release, planning a new music video. Tour, not yet, local clubs and bars at the moment, but who knows, arenas and stadiums may be right around the corner.

LINKS: Website http://www.david-bucci.com Spotify https://open.spotify.com/artist/0SFT53gEfnxneyzaEvgEGK Instagram http://ink361.com/app/users/ig-2227565243/davidbucci_official Facebook https://m.facebook.com/thedavidbucciofficial Twitter https://mobile.twitter.com/DgbBucci

Artist: Popichil`O

New Release: Bad Girl

Genre: Hiphop

Sounds like: : Drake, kanye west, chance the rapper, jay z. future, j cole, chris brown, lil uzi vert, cardi b, kendrick lamar, nicki minaj,tupac,

Located in: Chicago, Illinois

My music is uninhibited. This song is a fantasy that turns into reality. This music is a step outside of my norm. I am more of a concious type of artist so this single is refreshing to my followers. It has a night life feel to it. Smooth, sexy and grown.

I do this because music is apart of my life. I write to share different emotions and bring the truth into the light. It’s that light in my life that inspires me.

Right now… I am currently working on my second album and I’m really excited to share this new work. Performing live is on my agenda and continuing to build my brand and expand.

LINKS: https://open.spotify.com/album/4Qkfe42hWpLvmrbnjaNScQ https://twitter.com/popichi https://soundcloud.com/reallyfe-muzic https://www.facebook.com/popichilo Instagram: @popichilo

Artist: Collins & Streiss

New Release: Freedom's Captive

Genre: Rock, Commercial Rock, Indie Rock, Alternative Rock

Sounds like: not sure

Located in: Richmond Hill, Ontario, Canada

"Freedom's Captive" is about our growing addiction to our devices, whether it's cell phones, computers, tablets, social media and so on, and this obsession and need for acquiring followers and likes in today's web of virtual existence. It's a compounding obsession in a lot of cases where we have all this freedom and ability to exist and do what we want virtually now, but at the same time are becoming captives to it!

This song involves a few other players and has more of an overall band feel to it. We are using our regular drummer (Davide DiRenzo) and have brought back our bassist (David Dawe) from one of our earliest tracks "Saturday Night" that he played on, and have a new member in our working group (Rob Vendrasco) playing lead guitar.

The song is upbeat, edgy and energetic and full of catchy melodies and hooks which is common in our music. It's derivative of our rock roots which has a broad range of artists and rich heritage.

Why is music important to you?

Music and creation are an important outlet for us. We try to observe and put into words and music what we see and experience in our lives on a natural and human level whether it's about love and relationships, political, world issues or even imaginary. Each song takes on its own shape and evolves on its own, from lyrics to arrangement, and is creating a repertoire that is becoming more diverse as we move forward.

We do have a lyric video for this song but have no plans for a full visual video. We hope that people will listen to music and not be distracted by the visual. There are no plans to tour at the moment. There is new material in the works, also a small 2 song EP which contains 2 songs (previously unreleased) from projects that we did together before we became Collins & Streiss.

LINKS: Reverbnation: https://www.reverbnation.com/collinsandstreiss Spotify: https://open.spotify.com/album/2zOmvGgES8y4jvKtzVGOa3 Twitter: https://twitter.com/collins_streiss Facebook: https://www.facebook.com/Collins-and-Streiss Instagram: https://www.instagram.com/collins_and_streiss Apple Music: https://music.apple.com/us/album/freedoms-captive-single/1481194834?app=music&ign-mpt=uo%3D4 Deezer: https://www.deezer.com/us/album/111503652

Artist: Nicke Holgersson New Release: Crispy Colors Genre: Smooth Jazz

Sounds like: : Mezzoforte, The Rippingtons, Jazz Funk Soul, Brian Culbertson

Located in: : Stockholm, Sweden

This is a smooth jazz instrumental tune, featuring piano and synthesizer lead. It had a great groove with a full band and a horn section. It’s a tune making you feel good.

This is my second smooth jazz release and it defines pretty much the type of music that is close to my heart. This is just the beginning of my solo career and I am excited about the future.

I create music because I cannot imagine not to. I am brought up in a musical family and have been playing instruments all my life, and started composing in my early teens. Both my parents and my brothers are musicians. I get inspiration from all kinds of music, from classical to jazz, pop, and rock.

Next… At the moment I am excited about my recent release “Crispy Colors” that it is being aired around the world. I am also beginning to compose and record a full album to be released next year. LINKS: https://open.spotify.com/track/4lbt57fQealx5sPUftMJfW?si=tu2wWRGhSX2-wip1stJi_Q Web: www.nickeholgersson.com Facebook: https://www.facebook.com/niceproductionmusic Instagram: https://www.instagram.com/nicke_holgersson_music Spotify: https://open.spotify.com/artist/4cLrh1AVQQFo7wisfNSzqr?si=ZgP5hXKGQh6FJxTXkaAlbQ Apple Music: https://itunes.apple.com/se/artist/nicke-holgersson/1448370799 Tidal: https://tidal.com/browse/artist/10794618

Artist: Henky

New Release: Gimme Love Love Love

Genre: Dance; Pop

Sounds like: Avicii, Yello, Laserdance, Armin Van Buuren, DJ Bobo.... this is so hard to specify... some people say I have my own style and call my music Henkystyle... I am bits and pieces of a lot and nothing...

Located in: Stockholm, Sweden

Live your dream before it is too late like it almost was for me. Music is everything to me and I will never stop following my dreams!

My music is melodies and rhythms. This song is a happy melody I came up with when thinking of friends, summer and parties. The world needs more music with good melodies that get stuck in the head!

Something that feeling sustains even when the song reaches the end.

Music is my passion and my heart! Music is my language! Music will live forever! The feedback I get from fans and listeners is giving me the fuel and energy to keep on making new music.

LINKS: https://open.spotify.com/track/2TBOeH5Mpp5m94SlSKWJBx?si=sl3Ufr8lQu-X8l1h5DTung https://www.facebook.com/Henkysweden https://www.instagram.com/dj_henky

#pop music #Rock Music #Hip Hop music #singer songwriter #Patient X #Sleuth #Jet Set Future #David Bucci #Popichil`O #Double R3 #Collins & Streiss #Nicke Holgersson #Henky

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the-record-briefs · 7 years ago

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Jan.17, 2018: In other news

MerleFest 2018 Announces New Additions to Lineup Early Bird Tickets on Sale Now

MerleFest, presented by Window World and slated for April 26 - 29, is proud to announce five additions to the 2018 lineup: The Mavericks, Béla Fleck and Abigail Washburn, Mandolin Orange, Alison Brown, and Brandy Clark. The annual homecoming of musicians and music fans returns to the campus of Wilkes Community College in Wilkesboro, North Carolina. MerleFest has already announced over 75 artists for 2018, including Kris Kristofferson, Jamey Johnson, Rodney Crowell, Rhiannon Giddens, Elephant Revival, The Devil Makes Three, a Midnight Jam hosted by Town Mountain and Jim Lauderdale, and many more. The rest of the distinguished lineup for MerleFest 2018 will roll out over the next few months.

The Mavericks – The genre-defying Mavericks are declaring their independence and stepping out on their own with Brand New Day, the first studio album released on Mono Mundo Recordings, the label they founded in 2016. Brand New Day is the follow-up to the widely praised albums Mono (2015) and In Time (2013). Flashing the same exhilarating, beyond-category style that has defined the Mavericks, the new album introduces a collection of taut, energetic, economical songs sure to be embraced by both original fans of their top-10 albums and hit singles of the ‘90s and a new generation of listeners who have joined the party since their triumphant 2012 reunion. It is the mature and timely work of an exciting and underestimated American band that has embraced its own destiny.

“This is the first studio record on our own label, and it is an important component in the band’s history,” Malo says, “but the real goal was just to make a great record.”

The new collection – co-produced like its immediate predecessors by the band’s golden-voiced singer Raul Malo and Niko Bolas (Neil Young, Warren Zevon, Melissa Etheridge), who is partnered with the band in the new Mono Mundo imprint – features the core members of the group since their reformation: Malo, drummer Paul Deakin, guitarist Eddie Perez, and keyboardist Jerry Dale McFadden, along with auxiliary members “the Fantastic Four” filling out the set’s brawny sound with their signature accordion and horns. The Mavericks will play the Watson Stage on Thursday night.

Béla Fleck and Abigail Washburn – With one eye on using the banjo to showcase America’s rich heritage and the other pulling the noble instrument from its most familiar arena into new and unique realms, Béla Fleck and Abigail Washburn’s second album Echo in the Valley is simultaneously familiar and wildly innovative. Echo in the Valley is the follow up to Béla and Abigail’s acclaimed, self-titled debut that earned the 2016 Grammy for Best Folk Album. This time around, the mission was to take their double banjo combination of three finger and clawhammer styles “to the next level and find things to do together that we had not done before,” says Béla. “We’re expressing different emotions through past techniques and going to deeper places.” The results are fascinating, especially considering their strict rules for recording: all sounds must be created by the two of them, the only instruments used are banjos (they have seven between them, ranging from a ukulele to an upright bass banjo), and they must be able to perform every recorded song live. Fleck and Washburn will play the Watson Stage on Friday night.

Mandolin Orange – Mandolin Orange's music is “laced with bluegrass, country and folk...often wistful and contemplative without being somber, and always firmly grounded in the South" (WNYC). The Chapel Hill, N.C. duo has built a noteworthy catalog of recordings and performances since their founding in 2009. Their live shows are filled with vibrant chemistry, effortless instrumentation, and breezy, fluid harmonies that continue to win over local and far away fans. Recent performances include Red Rocks Amphitheater, Telluride Bluegrass, Newport Folk Festival, Bonnaroo and Pickathon, with 2018 performances in support of the Avett Brothers at PNC Arena and Josh Ritter at the Ryman Auditorium. Hailed by No Depression as “one of the most talented acts making music today,” Mandolin Orange’s most recent album "Blindfaller" debuted #3 on Billboard’s Bluegrass Album Chart, was featured on NPR’s Heavy Rotation and made Rolling Stone’s “40 Best Country Albums of 2016.”

"The musical tapestry of 'Blindfaller' is delicately woven with lush threads of acoustic guitar, banjo, mandolin, violin and pedal steel, all ever-present without ever overplaying. However, it's the vocal interplay of Frantz and Marlin that is the band's most distinctive calling card" (Rolling Stone). Lean in to the album and you’ll understand why. You’ll hear the way it magnifies the intimacy at the heart of the North Carolina duo’s music, as if they created their own musical language as they recorded it. Mandolin Orange will play the Watson Stage on Friday night.

Alison Brown – Alison Brown has taken an unlikely path in establishing herself as one of the most critically acclaimed banjoists in the world. A former investment banker (she has a bachelor's degree in History and Literature from Harvard and an MBA from UCLA), she toured with Alison Krauss and Union Station and Michelle Shocked before forming her own group, The Alison Brown Quartet. She has recorded 10 critically-acclaimed solo albums, received 4 Grammy nominations, a Grammy award and the Banjo Player of the Year award from the International Bluegrass Music Association. Alison has been featured on CBS Sunday Morning, NPR's All Things Considered and in the Wall Street Journal and the New York Times. She was personally requested to play at the inauguration of Harvard’s first female president, Drew Faust, and was a recipient of Irish America Magazine’s “Stars of the South Award” for her efforts towards the “cultivation and preservation of Irish music.” In 2014 she was awarded the prestigious United States Artists fellowship for excellence in music. Alison and her band have performed at a long list of music festivals in the US and abroad including The Newport Folk Festival, New Orleans Jazz and Heritage Festival, MerleFest, Rochester Jazz Festival, Celtic Connections (UK), Verbier Festival (Switzerland), Country Gold (Japan). Alison is also co-founder of the internationally recognized Compass Records Group, which has been called by Billboard Magazine “one of the greatest independent labels of the last decade.” She currently serves on the board of the Nashville Chamber of Commerce and on adjunct faculty of Vanderbilt’s Blair School of Music. Alison Brown will play the Hillside Stage on Saturday and the Watson Stage on Sunday.

Brandy Clark – The Nashville, Tennessee-based Clark received her first of an impressive six career GRAMMY nominations in 2013 in the Best Country Song category for co-writing the Miranda Lambert No. 1 hit “Mama’s Broken Heart.” Her talent as a storyteller has quickly propelled her into critical acclaim as one of Nashville's best tunesmiths. Subsequently writing songs for Sheryl Crow, The Band Perry, Reba McEntire, LeAnn Rimes, Billy Currington, Darius Rucker, and Kacey Musgraves to name a few. In 2015, Brandy independently released her own debut album 12 Stories, which embraced by music lovers and critics alike and was subsequently nominated for two GRAMMYs including Best New Artist and Best Country Album. 12 Stories went on to be named "Best Album of 2013" by The Boston Globe, New York Magazine, NPR, The New York Post, and more. Brandy also won the 2014 CMA Song of the Year Award for “Follow Your Arrow,” which she co-wrote with Shane McAnally and Kacey Musgraves, and was also nominated for a CMA New Artist Of The Year that same year. 2016 brought the release of her sophomore album Big Day In A Small Town, which also garnered two GRAMMY nominations for Best Country Album and Best Country Solo Performance ("Love Can Go To Hell") and once again topped critics' "Best of" lists including NPR, Rolling Stone, Entertainment Weekly, Billboard, among others thus cementing Clark as one of country music's most talented artists, beloved by fans, critics, and fellow entertainers alike. Famed music critic and author, Ann Powers, calls Clark, “a storyteller of the highest caliber.” Brandy Clark will play at the Watson Stage on Friday.

“We are extremely excited to be adding these artists to an already stellar lineup for 2018. They represent the diverse talent that MerleFest is famous for,” says Ted Hagaman, Festival Director. The 2018 current lineup may be viewed at www.MerleFest.org/lineup.

Tickets for the festival may be purchased at www.MerleFest.org or by calling 1-800-343-7857. MerleFest offers a three-tiered pricing structure and encourages fans to take advantage of the extended early bird discount. Early Bird Tier 1 tickets may be purchased from November 14 to February 18, 2018; Early Bird Tier 2 tickets from February 19 to April 25. Tickets will be sold using Tier 3 pricing at the gate during the festival.

About MerleFest

MerleFest was founded in 1988 in memory of the son of the late American music legend Doc Watson, renowned guitarist Eddy Merle Watson. MerleFest is a celebration of "traditional plus" music, a unique mix of traditional, roots-oriented sounds of the Appalachian region, including old-time, classic country, bluegrass, folk and gospel and blues, and expanded to include Americana, classic rock and many other styles. The festival hosts a diverse mix of artists on its 13 stages during the course of the four-day event. MerleFest has become the primary fundraiser for the WCC Foundation, funding scholarships, capital projects and other educational needs.

About Window World

Window World, headquartered in North Wilkesboro, N.C., is America’s largest replacement window and exterior remodeling company, with more than 200 locally owned offices nationwide. Founded in 1995, the company sells and installs windows, siding, doors and other exterior products, with a total of over 14 million windows sold to date. Window World is an ENERGY STAR partner, and its window products have earned the Good Housekeeping Seal for 10 consecutive years. Additionally, through its charitable foundation Window World Cares, the Window World family provides funding for St. Jude Children’s Research Hospital, which honored the foundation with its Organizational Support Award in 2017. Since its inception in 2008, Window World Cares has raised over $7 million for St. Jude. Window World Inc. also supports the Veterans Airlift Command, a non-profit organization that facilitates free air transportation to wounded veterans and their families. For more information, visit www.WindowWorld.com or call 1-800 NEXT WINDOW. For home improvement and energy efficiency tips, décor ideas and more, follow Window World on Facebook and Twitter.

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hammondcast · 8 years ago

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Incredible Bud DiFluri Story from Jon Hammond

Incredible Bud DiFluri Story - Jon Hammond JON HAMMOND·WEDNESDAY, JUNE 21, 2017 Incredible Bud DiFluri Story - Jon Hammond May 7th 1990, Bud DiFluri presenting professional Yamaha Tenor Saxophone to (young then) Walter Blanding Jr. graduating student from New School for Jazz and Contemporary Music paid for by Bill Cosby & Cab Calloway after going through school with a horn that was held together with rubber bands - horn inscribed from Cab Calloway - *image from my docu movie - 27 years later, Bud DiFuri pictured here with Dan Del Fiorentino NAMM’s Historian after doing NAMM Oral History session. Mr. DiFluri is now a professor at Nyack College teaching Business and Leadership: Jon’s Docu Movie, LINK: https://archive.org/details/BeaconsInJazzAwardConcertCabCallowayBillCosbyHistoricMovieNewSchoolNYCMay71990 *special thanks posthumously: Arnie Lawrence - JH “graduating saxophonist Walter Blanding Jr. played his old saxophone held together by rubber bands for the last time that night, as Cab Calloway personally presented him with a new Yamaha tenor saxophone which he immediately played “You’ve Changed” joined by the all-star band and Little Jimmy Scott vocals – Bill Cosby hosted the entire night” - Jon Hammond *spcl. thanks Martin W. Mueller ©JON HAMMOND International Like You, Mary Jo Papich, Josh Workman, 大野弘光, Eleftherios Mavros, Shunichi Horiuchi, Atsushi Ichige, Kunio Miyauchi Inspirational Tips from main man Bud DiFluri - take note good people! - Jon Hammond:

"Bud's Bits" - Cover Letters & Resumes

Posted by Giselle.Torres on Tuesday April 9, 2013

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"Bud's Bits"

COVER LETTERS & RESUMES

As a part of our Intern Program’s successful “Ten Steps to Success”, we encourage you to develop strong Cover Letters and Resume’s.

During the past year, I’ve been privileged to talk at length with a number of employers and interviewers, getting their extensive and valuable thoughts concerning Interviews, Cover Letters and Resume’s.

Here now are a number of their invaluable suggestions. These are important ---you should “RAC” (Read, Absorb and Copy ) them!

I suggest that you include these thoughts in all your future Interviews, Cover Letters and Resume’s!!

1. PREPARE! BE ORGANIZED! Review several of our Interview, Cover Letter, and Resume’ Articles/ Publications which provide organizational structure for each area. For additional assistance, you might for example, Google “Sales Focused Resume’s”, or obtain a Book on Internships, “All Work, No Pay”.

2. Typos—by ALL means, be certain of correct spelling, grammar, and sentence structure (if you’re uncertain, ASK!). I’ve been told MORE THAN ONCE------“If the applicant doesn’t care enough about correct spelling, grammar and sentence structure in his/her cover letter or Resume’ I’m going to immediately assume that he/she will be just as inattentive in his/her work here!”

3. Unfortunately, too many Cover Letters and Resume’s contain a “WIIFM” (“What’s In It For Me”) attitude, whereas it SHOULD contain a “WCIDFY’ (“What Can I Do for You”) attitude! When you apply or interview, it’s VERY important that you let them know that you WANT to do what you can to help THEM succeed in THEIR Business! In his Inauguration speech, President John F. Kennedy said—“Ask NOT what your Country can do for you, but what YOU can do FOR YOUR COUNTRY!!)

4. Don’t be Passive! Be Enthusiastic! Your Interviewers and Readers will note the difference!

5. “Tell Them A Story”!! Too many Cover Letters and Resume’s tell “them” NOTHING of value to “THEM”! Your Cover Letter and Resume’ should “tell a story” of WHO, WHAT, and WHY you are, HOW you got WHERE you are, etc. In short, let them know about YOU!

6. To create an immediate and positive Public Relations experience: ----“Eliminate the Expected” in your communications. In Business situations, you’re EXPECTED to be adept in such areas as “Excel”, “Word, “Microsoft”, etc. At this stage, indicating that you’re “familiar” with such things tells them that in effect, you’ve read and understand your 9th grade literature!

7. LET THEM KNOW YOUR STRENGTHS!! What’s your “Superpower”? Leadership? Organizational Qualities? Tending to Details? They want to feel that they’re dealing with a self-confident Candidate, NOT one needing to be “led around”

8. Give brief examples of those Strengths! If they’re interested for details, they’ll ask!

9. ONE PAGE! Students looking for their first or second Internship or Job should limit Cover Letters and Resume’s to one page each unless absolutely necessary! The Reader will quickly “Scan” it--then, if warranted, go on to the Resume’. A “solid” Cover Letter will inspire the Interviewer to read your Resume’. A “Bland “and “Blah” cover letter will be tossed, causing the follow-up Resume to be ignored.

10. Since you may be considered “In” or “Out” within your first Interview minute, be sure to practice your entrance and opening discussion with your Interviewer! Utilize Audio and Video cameras in your preparation.

11. Above all----PREPARE and PRACTICE!!

As always, please feel free to contact me for assistance!

I wish all the best for you!!

Blessings,

Bud DiFluri

Bud DiFluri…..Intern Coordinator…Business Department…Nyack College

Jon's notes: https://www.facebook.com/notes/jon-hammond/bud-difluri-story-from-jon-hammond/10158859625820287/ #WATCHMOVIE HERE: Beacons In Jazz Award Concert Cab Calloway Bill Cosby Historic Movie New School NYC May 7 1990 Jon's archive https://archive.org/details/BeaconsInJazzAwardConcertCabCallowayBillCosbyHistoricMovieNewSchoolNYCMay71990 by Jon Hammond Historic evening hosted by Bill Cosby, honoring Cab Calloway with legendary musicians and graduating musicians from New School for Jazz and Contemporary Music - filmed by Jon Hammond at the request of Arnie Lawrence - this documentary is for historical purposes Commercial Use Strictly Prohibited - from the New School Archives: *Note: Revisions to metadata notes will follow soon - Jon Hammond: – 4th Beacons in Jazz Awards Ceremony & Concert May 7, 1990 in the little theatre on 13th St., Mayor David N. Dinkins proclaimed May 7th as Cab Calloway Day in New York – and Cab was presented The Beacons in Jazz Award by jazz historian Phil Schaap – an incredible evening with concert including Jazz Survivors Band with Panama Francis, Milt Hinton, Eddie Barefield and more legends – then a large ensemble powered by the rhythm section of Bernard Purdie with Reggie Workman bass – horn section including the late great Arnie Lawrence, also Eddie Bert, Donald Byrd – many of these cats have passed on sadly, special appearance by Little Jimmy Heath conducting and playing soprano saxophone. Julian Junior Mance at the piano with Billy Harper on tenor sax – graduating saxophonist Walter Blanding Jr. played his old saxophone held together by rubber bands for the last time that night, as Cab Calloway personally presented him with a new Yamaha tenor saxophone which he immediately played “You’ve Changed” joined by the all-star band and Little Jimmy Scott vocals – Bill Cosby hosted the entire night and participated in the music with gusto – incredible historic evening that I personally documented – the project is now back in-progress 27 years later, Jon Hammond — with Bernard Purdie and Bernard Purdie at The New School for Jazz and Contemporary Music *Note from Jon Hammond: Bud DiFluri from Yamaha presented the special Yamaha tenor saxophone to Walter Blanding Jr. - which was inscribed from Cab Calloway, but actually bought and paid for by Bill Cosby. Walter eventually sold the saxophone. Anyone who knows where the instrument is or has it please contact either Jon Hammond or Bud DiFluri - Mr. DiFluri is now Professor of Marketing teaching at Nyack College. Appears in my movie - Jon Hammond: Cab Calloway possibly Chuck Schumer to the right of the women - Jon Hammond Bobby Johnson trumpet legend takes the stage - Jon Hammond Ira Gitler American Jazz Journalist, Elaine Ellman documentary photographer looking on - Jon Hammond woman reading program, Bobby Johnson Arnie Lawrence, drummer Bernard Purdie in tuxedo - Jon Hammond MC's Bill Cosby, Phil Schaap, Bobby Johnson trumpet and Earle Warren Count Basie Orchestra alum alto saxophone - Jon Hammond Bill Cosby, Red Richards, Milt Hinton, Eddie Barefield, Bobby Johnson & Earle Warren checking out Cosby - Jon Hammond Bobby Johnson trumpet had the big cheeks before Dizzy Gillespie! Earle Warren alto with Milt Hinton The Judge on bass, David Panama Francis drums, delightful little girl enjoying the show! - Jon Hammond Milt Hinton "The Judge" playing Reggie Workman's acoustic bass as Bill Cosby looks on - Bobby Johnson trumpet and Earle Warrent alto - Jon Hammond Drummer David Panama Francis - Jon Hammond Red Richards / Charles Coleridge "Red" Richards piano and James Victor "Jimmy" Scott (July 17, 1925 – June 12, 2014) takes the stage still wearing glasses - Jon Hammond Milt Hinton bass, Little Jimmy Scott, Bill Cosby - Jon Hammond Ahmet Ertegun / ɑːmɛt ˈɛərtəɡən in the audience Bernard Purdie drums, Walter Blanding jr. tenor saxophone, Dr. Donald Byrd trumpet / Donaldson Toussaint L'Ouverture "Donald" Byrd II (December 9, 1932 – February 4, 2013) - Jon Hammond Arnie Lawrence soloing on alto sax as Dr Donald Byrd looks on - Jon Hammond Billy Harper tenor, Arnie Lawrence alto, Rebecca Coupe Franks trumpet, Trombonist ? Bernard Purdie drums, Billy Harper tenor, Roy Hargrove trumpet - Jon Hammond Eddie Bert trombone, Cecil Bridgewater trumpets - Roy Hargrove, Rebecca Coupe Franks - Jon Hammond Clark Terry trumpet - Jon Hammond Clark Terry flugelhorn, Baritone saxophonist? Reggie Workman bass with Bill Cosby, Cab Calloway with Beacons in Jazz Award pendant - Jon Hammond Cab Colloway man of the evening! Beacons in Jazz awardee - Jon Hammond Cab Calloway has Bud DiFluri from Yamaha come out with the famous inscribed tenor for Walter Blanding Jr (bought and paid for by Bill Cosby by the way) - Jon Hammond *Note from Jon Hammond: David C. Levy from New School originally gave me a hard time about making this film folks! Bud DiFluri takes the mic and speaks about Walter Blanding Jr. at presentation before Walter plays the gifted tenor and Little Jimmy Scott joins in on "You've Changed" - Jon Hammond Little Jimmy Heath "James Edward Heath (born October 25, 1926),[1] nicknamed Little Bird" joins band - Arnie Lawrence alto with Britt Woodman trombone (June 4, 1920 in Los Angeles – October 13, 2000 in Hawthorne, California) was a jazz trombonist. He is best known for his work with Duke Ellington and Charles Mingus - Jon Hammond Reggie Workman bass, Bernard Purdie drums, Junior Mance / Julian Clifford Mance, Jr. (known as Junior Mance, born October 10, 1928) piano, Rebecca Coupe Franks trumpet - Jon Hammond Junior Mance (with porkchop sideburns at the time) looking at the music on the piano, Arnie Lawrence alto saxophone, Bobby Johnson trumpet with Bill Cosby - Jon Hammond Additional notes from Jon Hammond: VIP Dinner Reception May 7, 1990 for Cab Calloway at Garvin’s Restaurant in Greenwich Village Soho, L to R: Bill Cosby, Cab Calloway seated, Little Jimmy Scott, Joe Williams the famous singer who shot to fame with the Count Basie Orchestra - this was just before joining a host of legendary musicians and the first graduating class of The New School for Jazz and Contemporary Music in the little theatre on 13th St., Mayor David N. Dinkins proclaimed May 7th as Cab Calloway Day in New York – and Cab was presented The Beacons in Jazz Award by jazz historian Phil Schaap – an incredible evening with concert including Jazz Survivors Band with Panama Francis, Milt Hinton, Eddie Barefield and more legends – then a large ensemble powered by the rhythm section of Bernard Purdie with Reggie Workman bass – horn section including the late great Arnie Lawrence, also Eddie Bert, Donald Byrd – many of these cats have passed on sadly, special appearance by Little Jimmy Heath conducting and playing soprano saxophone. Julian Junior Mance at the piano with Billy Harper on tenor sax – graduating saxophonist Walter Blanding Jr. played his old saxophone held together by rubber bands for the last time that night, as Cab Calloway personally presented him with a new Yamaha tenor saxophone which he immediately played “You’ve Changed” joined by the all-star band and Little Jimmy Scott vocals – Bill Cosby hosted the entire night and participated in the music with gusto – incredible historic evening that I personally documented – the project is now back in-progress 27 years later, Jon Hammond — with Bill Cosby, Cab Calloway, Little Jimmy Scott and Joe Williams ©JON HAMMOND International http://www.HammondCast.com - Special thanks Martin W. Mueller Long-time Executive Director New School for Jazz and Contemporary Music - filmed originally for Jon Hammond Show on MCTV / MNN TV Channel 1 - 34th year, still on late Friday nights / early Sat. 1:30AM Enjoy this film folks! - Jon Hammond - further info: [email protected] Producer Jon Hammond Audio/Visual sound, color Language English Hammond Organ NAMM Jon Hammond Funk Unit Performance Info https://www.namm.org/thenammshow/2017/events/jon-hammond-funk-unit-0 Performance Info - Nashville Music City Center - Summer NAMM Show Thursday, July 13, 2017 - 3:00pm to 3:40pm NAMM Reverb Stage on the Terrace (Parking Level) Add to Calendar Jon's archive https://archive.org/details/SummerNAMMJonHammondFunkUnitNissanStage Nashville, Tennessee -- 3PM Sharp Jon Hammond Funk Unit will hit on Terrace Stage Nashville Music City Center. Film: FULL HighDef Jon Hammond Funk Unit: Lee Oskar special guest harmonica, Chuggy Leslie J. Carter percussion, Louis Flip Winfield drums, Cord Martin tenor saxophone, Roland Barber trombone, Jon Hammond organ - Greg Herreman productions manager, Michael Apodaca & Alex Moore audio / Sound Image Nashville - The NAMM Show Summer NAMM Show Summer NAMM Show https://www.namm.org/thenammshow/2017/events/jon-hammond-funk-unit-0 #SummerNAMMShow #NammShow Performance Info Thursday, July 13, 2017 - 3:00pm to 3:40pm NAMM Terrace Stage (Parking Level) Add to Calendar Artist Info Joe Berger Guitarist Cord Martin Tenor Saxoponist Roland Barber Trombonist Louis 'Flip' Winfield Drummer Leslie 'Chuggy' Carter Percussionist Jon Hammond Organ (possible) Lee Oskar Harmonica Genre: Jazz Endorsed By: Hammond Suzuki Producer Jon Hammond NAMM Action Language English Jon's archive https://archive.org/details/MelodyWithoutNameJonHammondBandJazzkellerWithPhotosByElmarLemes Youtube https://youtu.be/Ri90-ZOOtBw Vimeo https://vimeo.com/221879023 *with photos by Elmar Lemes -- Melody Without Name Jon Hammond Band Jazzkeller Frankfurt - Note: Jon's organ is powered by Markbass Bass Amps house combo bass amp only - Joe Berger guitar, Peter Klohmann tenor saxophone, Giovanni Totò Gulino drums, Jon Hammond Sk1 Hammond organ - this is Jon Hammond and Joe Berger's 31st consecutive musikmesse traditional warm up party and Jon's 64th birthday party with many friends in the house in world famous jazzkeller Frankfurt Jon's birthday Chocolate Chocolate Cake baked by the best bakery in Frankfurt Saray Pastanesi http://www.HammondCast.com original composition by Jon Hammond ©JON HAMMOND International @hammondcast Photos by Elmar Lemes ©JON HAMMOND International Jon's archive https://archive.org/details/GetBackInTheGrooveOnAcousticNationStageNashvilleNAMM Get Back In The Groove by Jon Hammond Funk Unit on the Acoustic Nation NAMM Stage in Concert - dig the natural reverb in cavernous high-celing lobby of Nashville Music City Center - Artist Info Joe Berger: Guitar Roland Barber: Trombone Louis Flip Winfield: Percussion Jon Hammond: Organ Cord Martin : Tenor Saxophone ©JON HAMMOND International ASCAP http://www.HammondCast.com Genre: Jazz JON HAMMOND Instruments: Organ, Accordion, Piano, Guitar Attended: Berklee College of Music 1974, City College San Francisco Languages: English, German Jon is closely identified with the two main products of his career, the Excelsior Accordion and the Hammond Organ. Musician: Jon Hammond is one of the premier B3 PLAYERS in the world. Jon has played professionally since age 12. Beginning as a solo accordionist, he later played Hammond B3 organ in a number of important San Francisco bands. His all original group HADES opened shows for Tower of Power, Quicksilver Messenger Service and Michael Bloomfield. Eddie Money and Barry Finnerty became musical associates. Moving East he attended Berklee College of Music and played venues as diverse as Boston's "Combat Zone" in the striptease clubs during the '70's and the exclusive Wychmere Harbor Club in Cape Cod, where he was house organist with the late great trumpet player Lou Colombo and developed a lasting friendship with House Speaker Tip O'Neill. He also toured the Northeast and Canada with the successful show revue "Easy Living", and continued his appearances at nightclubs in Boston and New York. Subsequently Hammond lived and traveled in Europe, where he has an enthusiastic following. TV/Video Producer: In 1981 Jon formed BackBeat Productions. Assisted by Lori Friedman (Video by LORI), the innovative TV show "The Jon Hammond Show" became a Manhattan Cable TV favorite. Jon's "Live on the street" video style included news events, as well as live music/video clips of Dizzy Gillespie, Paul Butterfield, Jaco Pastorius, John Entwistle, Sammy Davis Jr., Percy Sledge and many others. The weekly show is now in it's 32ns year and has influenced the broadcasts of David Letterman and others. Billboard Magazine hailed Jon's show as "The Alternative to MTV" #Soul #HammondOrgan #NAMM #Nashville #SummerNAMMShow Producer Jon Hammond Audio/Visual sound, color Language English Incredible Bud DiFluri Story - Jon Hammond JON HAMMOND·WEDNESDAY, JUNE 21, 2017 Incredible Bud DiFluri Story - Jon Hammond May 7th 1990, Bud DiFluri presenting professional Yamaha Tenor Saxophone to (young then) Walter Blanding Jr. graduating student from New School for Jazz and Contemporary Music paid for by Bill Cosby & Cab Calloway after going through school with a horn that was held together with rubber bands - horn inscribed from Cab Calloway - *image from my docu movie - 27 years later, Bud DiFuri pictured here with Dan Del Fiorentino NAMM’s Historian after doing NAMM Oral History session. Mr. DiFluri is now a professor at Nyack College teaching Business and Leadership: Jon’s Docu Movie, LINK: https://archive.org/details/BeaconsInJazzAwardConcertCabCallowayBillCosbyHistoricMovieNewSchoolNYCMay71990 *special thanks posthumously: Arnie Lawrence - JH “graduating saxophonist Walter Blanding Jr. played his old saxophone held together by rubber bands for the last time that night, as Cab Calloway personally presented him with a new Yamaha tenor saxophone which he immediately played “You’ve Changed” joined by the all-star band and Little Jimmy Scott vocals – Bill Cosby hosted the entire night” - Jon Hammond *spcl. thanks Martin W. Mueller ©JON HAMMOND International Bud DiFluri, Incredible Story, #Saxophone #NAMM #HammondOrgan #BillCosby #CabCalloway #Jazz

#Bud DiFluri #Nyack College #NAMM #Cab Calloway #Saxophone #Jon Hammond

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markwatkinsconsumerguide · 8 years ago

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Consumer Guide / No.45 / Musician Roberta Donnay with Mark Watkins.

MW: Roberta, you live in San Francisco, does any of the 60's 'flower power' energy still exist in the area?

RD: I think that the energy of the 1960s does certainly exist in the San Francisco Bay Area, Mark. I'm reminded every time I tour the bookstore called “City Lights” in North Beach and just across, my fav bar ever, called “Vesuvio” - the alleyway in between is named for Jack Kerouac.

http://www.citylights.com/

http://www.vesuvio.com/

I guess this just shows the energy of a city which seemed to encourage ‘Flower Power’, Love and Peace.

San Francisco certainly had that open creative energy when I first moved out here, which is what drew me to it. I feel the energy of an educated society here, mostly, I'm surrounded by similar spiritual seekers, those who feel they want to improve their own lives as well as society, and those who are creative. Creativity is alive and well in the “City by the Bay!”.

And altho' I didn't grow up here, and had no real interaction with the hippies, my friends are certainly proof that the hippies made a real contribution here, and I guess I've sung with quite a few from that era. Although the known music coming out of SF was primarily rock, and I really didn't listen to rock music at all. Even tho' I moved to an area where The Grateful Dead was king, I have to admit

I never really listened to the band, I never was interested in much rock music or white music for that matter. For me it was Blues, it was Jazz, it was R&B. That was pretty much it. I grew up in Washington DC area, and I was lucky to listen to my parents' records and the radio. Most of what I learned was from the radio.. and then later going to jazz clubs. That's pretty much where I stayed as a music fan, to this day. I still listen 99% to jazz.

MW: What's the attraction of the ‘Jazz Age’ and how are you bringing the ‘Roaring Twenties’ boom up-to-date through your music / stage shows?

RD: My attraction to the ‘Jazz Age’ began like almost any good adventure, in kind of a backwards way. I'd finished my first real jazz record with Orrin Keepnews and had been diving into jazz from the 1960s, and I started thinking about the mentors of my mentors. And so I knew that Bessie Smith was Billie Holiday's mentor, but who was Bessie Smith's mentor? Ma Rainey. And I knew Sippie Wallace, and of course Ethel Waters, and Ida Cox. I started listening, quite innocently, to their songs, with no real intention of anything, except I was really looking for something I could "give away for free" to fans and I thought it would be great to find a public domain song. And so I found "You've Been A Good 'Ole Wagon (But You Done Broke Down)" done by Bessie Smith, thinking this was the same song written in 1896 with the same title. I went to record it, and only after "A Little Sugar" came out did I find out that there were two songs with the same title, and the one I recorded was really from around 1926. My plan was to first record a project based on the 20s/30s - then move into the 40s/50s - and it would be like a sweet history lesson using all my mentors in jazz.

But something funny happened. It was like the wind blew this beautiful vision in with all the sounds of the era. And the project kind of created itself. We went to do a mock photo session and I borrowed some 1920s props. I was trying to pose like a 1920s film star, just having fun, and these photos came out like, “WOW!” - I hadn't ever seen myself that way, really, it was just like an experiment leading up to the real photo-shoot. Eddy Bee (Images) helped create the look. And from then on, it was like the branding happened, everyone who saw those photos and came to the shows, were like, “WOW!”, this is really like a thing. My only goal was to educate the public, especially the youth, on the history of this music, and all our music, since it all came from then and before, from the blues. I'm such a history geek, and I ended up getting kinda stuck in the 1920s and 1930s; it took over; all the melodies, the images of that time, the flappers who were pushing the envelope for women's rights in their own way, the gangsters who helped support jazz by opening and operating Speakeasies, the Prohibition, the artists themselves, everyone who built and operated dance halls, and all those who were involved in recording this music and bringing it to the world. I just felt like a kid discovering all this, just like the first time I heard Louis Armstrong or Billie Holiday. Mesmerized. And completely in love.

Our stage show just kept being fun for us. At one point we decided that I should create a character from the era, who could announce stuff, which I did, and I named her "Velma Parrish". There's even a little movie around her on YouTube, along with myriad other videos on the making of our records, live performances, and other fun stuff. Now my name on stage is back to my name but the character stayed and we also the guys really got into their characters as the "Prohibition Mob" - they all dress like gangsters from the 1930s, they drink from flasks, and they all have mobster nicknames. It's really endearing, especially out on tour, when sometimes we have pick-up horn players, and these guys are really like geeky jazz professors who all of a sudden get to dress up and curse like mobsters. It's entertaining for me, that's for sure!

MW: How did you assemble your 'Prohibition' band?

RD: Well Mark, I had lots of friends who I loved playing with in the Bay Area. I called these guys and told them I wanted to put together a band around this recording project and they were all like "YEAH!" and all were so supportive from the very beginning. I realize now I had the perfect group of musicians without really trying or thinking very hard about it; there were no auditions.

Sam Bevan (bass/arranger/producer) and I had been playing these jazz gigs together for a few years already, and one event we'd been asked to put together a wedding gig for friends who were members of the ART Deco Society - and we could only play music up until 1929. So quickly we assembled these charts, which I wasn't really familiar with, but after playing that gig, Sam and I were like, “YEAH!”, this was cool.

I called John R. Burr, pianist, who just embodies this particular sound of jazz/blues, and a drummer I'd met and played with from LA, Michael Barsimanto. Then on horns - Rich Armstrong (trumpet), Wayne Wallace (trombone), and Sheldon Brown (sax/clarinet). Sheldon was the only one I didn't already know - Sam brought him in, and the whole group played. I think we had one long rehearsal with the horns, the rhythm section had one previous rehearsal, and then we went in to record. We'd planned two albums at the same time, so we recorded 26 songs in three days, most of these were first takes. And all I can say is, there's no substitute for great musicians!

Everyone put their heart and soul out there. Then we added a few originals before "Bathtub Gin" came out, and by that time Wayne had moved out of town. So we got Danny Grewen. And our original drummer who I'd played most of my jazz gigs with over the years, Deszon Claiborne.

On the newest project we finally got to work with Mike Rinta on trombone, who'd been playing with the live band all these years : Mike had also worked with Dan Hicks. And so the dye was cast and the band just grew even better than before. We also just added Matt Baxter on guitar for the new project, and Matt and I had been in my original bands back in the late 90s, early 2000s, so it was really perfect.

MW: Dan Hicks died last year (2016). What was it like recording and performing with Dan, and what lives on, Roberta?

RD: It's tough to put into words the effect that Dan Hicks has had on me as a musician, as an artist, as a human being. Dan was incredibly funny, serious and truthful all at the same time. He could be a terror to be around, like when he was unhappy at sound check if the sound guy didn't get what he wanted. But mostly, he was an angel to me, he was kind, he was encouraging, he was supportive way above what he needed to be. And I can't tell you how much fun it was to sing and play his music. It was always just the BEST.

And I was a huge fan as a kid growing up on the east coast, I'd be listening to the radio and all of a sudden there was this sound, and it was "Dan Hicks and The Hot Licks" and it was understood immediately and loved instantly. I think Dan had that effect on most audiences. Once you saw him, and you only had to see him once, you were a fan for life.

Dan was a consummate performer. Like an old vaudeville guy. He could dance, he could sing, he could tell jokes, he could play. And then of course, he could write. He would do anything, anything, to entertain you. There were no boundaries. And sometimes you wish there were! Ha! He taught me more as an entertainer than anyone had in my life. And I was lucky he called me that day in 2005, to come over and sing a few songs with him. I had no idea that this would become my job or that he would become such an important figure in my life. He's definitely one of my musical mentors, along with Orrin Keepnews. I'm so lucky to have had both these men, genius musical figures, in my life. I was lucky to have been on the last three records with him, too. Dan even opened solo, on one of our "Prohibition Mob" shows once. On his own, he wrote a Walter Winchell radio show and performed this along with a song and soft shoe, to open our show. He was very very kind. And he really dug our music! Of course, I also credited him with exposing me to some of the great songs I ended up doing, including "Rocking Chair" , and also I found "Shake Sugaree" written by Elizabeth Cotten, who Dan introduced me to...

MW: List (in order) your Top 5 favourite books, movies & records of all-time...

RD:

Books:- 5 Unlocking the Mysteries Of Birth And Death - Daisaku Ikeda (2004) 4 The Source - James A. Michener (1965) 3 any poetry book by Charles Bukowski 2 Bird - The Legend of Charles Parker - Robert Reisner (1962) 1 The New Human Revolution - Daisaku Ikeda (ongoing series, 30th volume published 2016)

Movies:- 5 Ghandi (1982) 4 Walk The Line (2005) 3 Pie Lady Of Pie Town (2014) 2 Gigot (1962) 1 The Apartment (1960)

Records:- 5 Lady In Satin - Billie Holiday (1958) 4 Kind Of Blue - Miles Davis (1959) 3 Ballads - John Coltrane (1963) 2 Innervisions - Stevie Wonder (1973) 1 West End Blues - Louis Armstrong and His Hot Five (1928)

MW: Tell me about the last album...

RD: Our last album "Bathtub Gin" released in 2015, features both 1920s-30s covers and four originals written for the band, co-written by me, including "Happy Feet", "Bathtub Gin", "Horizontal Mambo", and "Throw Your Heart Over The Fence". These were co-written with Joel Evans, Sam Bevan, Gerry Grosz, and Jana Herzen. The album did well, and won one of the BEST albums 2015 in DownBeat Magazine. We had a great time touring both the records on Motema (including "A Little Sugar", released 2012) and the band has gotten great feedback on the live performances as well as airplay ("A Little Sugar" charted and stayed for nine weeks on the Jazz Charts). It's always fun to play this music! Both these records were produced and co-arranged by me and Sam Bevan.

MW: Roberta, what's in store for 2017?

RD: The newest album (not out yet), is called "My Heart Belongs To Satchmo" was produced by me, Sam Bevan, Matt Wong and (co-produced vocals) Annie Stocking. Arranged by Matt Wong and Sam Bevan, and co-arranged by me. The new record features 15 iconic tracks of Louis Armstrong recorded by his Hot Five and Hot Seven bands in the 20s-30s and a couple from 1940s.

We're planning tours starting in Europe and moving across the US starting October 2017, but meanwhile can be found playing around Northern CA (and earlier this year we did a stint in Vegas).

Please check the website for updates http://www.robertadonnay.com/ and Facebook https://www.facebook.com/robertadonnay and Twitter https://twitter.com/robertadonnay

We post nearly everything, all the time, Mark!

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hammondcast · 8 years ago

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What's Happening Cousin Albert?! Jon Hammond and Albert Einstein, Supermarket Tabloids du jour by Jon

What's Happening Cousin Albert?! Supermarket Tabloids du jour by Jon Hammond Supermarket Tabloids du jour by Jon Hammond Accordion Radio http://www.accordionradio.com/blog.html/jon_hammond_show_06_10/ with Albert Einstein, John F. Kennedy, P!nk, Taylor Swift, Katy Perry, Megyn Kelly, Dean Martin, Sammy Davis Jr., Frank Sinatra, Ariana Grande, Steve Harvey, and Jon Hammond Funk Unit! + Life Magazine #WATCHMOVIE HERE: Jon Hammond Show 06 10 Jon's archive https://archive.org/details/JonHammondShow0610 Jon Hammond Show public access TV show broadcast channel 1 on Manhattan Neighborhood Network -MNN Air Time: 01:30 AM EST on 06/10 First segment "Lydia's Tune" from 1st Jon Hammond album (Late Rent) written in Paris 1981 after flying aboard the Concorde jet - JFK to CDG in 3 hrs. 26 minutes supersonic - performed here at Jon Hammond's 19th annual musikmesse Session in Jazzkeller Hofheim with the tenor saxophonist Peter Klohmann, Giovanni Totò Gulino drums, Joe Berger guitar, Jon Hammond at the Sk1 Hammond organ ©JON HAMMOND International ASCAP http://www.HammondCast.com "The Jon Hammond Accordion Traveling Routine" - USA Due to heightened security measures at airports, accordionist Jon Hammond has now refined his method of travelling with his accordion, hence "The Jon Hammond Accordion Traveling Routine". It goes like this: *Jon arrives at the airport with a soft piece of luggage and his instrument in its hard case. *When checking in he explains to the Customer Service Agent that his instrument is essential to his work, irreplaceable, fragile, and worth several thousands of dollars. *He then displays the instrument, removes it from the case and places the soft luggage inside the accordion case, then proceeds to the security check. *He sends the accordion through the x-ray machine wrapped in his jacket. Sometimes the security people ask him to play it for them to demonstrate that it is a working instrument. *He then boards the aircraft with his accordion slung over his shoulder and carefully places it in the overhead bin (it fits!), covered with a blanket or jacket so other passengers don't throw their stuff on top of it! Works every time! http://www.accordionradio.com/blog.html Excelsior Accordions Like Count Basie said folks: "One more time!" only this time it's Jon Hammond & Cab Calloway - enjoy this priceless docu I personally shot & produced circa May 7th 1990 - declared "Cab Calloway Day" by the honorable David N. Dinkins then Mayor of New York City *LINK: https://www.facebook.com/hammondcast/videos/10154396629622102/ - MC'd by Bill Cosby & Phil Schaap remembering the great Arnie Lawrence and so many of the musicians on the film who are no longer with us, i.e. Eddie Barefield, David "Panama" Francis, Milt Hinton, Earle Warren, Little Jimmy Scott, Eddie Bert, Donald Byrd, Britt Woodman and many more - Jon Hammond @JON HAMMOND Intl. Jon Hammond plays Excelsior Accordions at Times Square, New York City #WATCHMOVIE HERE: Beacons In Jazz Award Concert Cab Calloway Bill Cosby Historic Movie New School NYC May 7 1990 Jon's archive https://archive.org/details/BeaconsInJazzAwardConcertCabCallowayBillCosbyHistoricMovieNewSchoolNYCMay71990 by Jon Hammond Historic evening hosted by Bill Cosby, honoring Cab Calloway with legendary musicians and graduating musicians from New School for Jazz and Contemporary Music - filmed by Jon Hammond at the request of Arnie Lawrence - this documentary is for historical purposes Commercial Use Strictly Prohibited - from the New School Archives: *Note: Revisions to metadata notes will follow soon - Jon Hammond: – 4th Beacons in Jazz Awards Ceremony & Concert May 7, 1990 in the little theatre on 13th St., Mayor David N. Dinkins proclaimed May 7th as Cab Calloway Day in New York – and Cab was presented The Beacons in Jazz Award by jazz historian Phil Schaap – an incredible evening with concert including Jazz Survivors Band with Panama Francis, Milt Hinton, Eddie Barefield and more legends – then a large ensemble powered by the rhythm section of Bernard Purdie with Reggie Workman bass – horn section including the late great Arnie Lawrence, also Eddie Bert, Donald Byrd – many of these cats have passed on sadly, special appearance by Little Jimmy Heath conducting and playing soprano saxophone. Julian Junior Mance at the piano with Billy Harper on tenor sax – graduating saxophonist Walter Blanding Jr. played his old saxophone held together by rubber bands for the last time that night, as Cab Calloway personally presented him with a new Yamaha tenor saxophone which he immediately played “You’ve Changed” joined by the all-star band and Little Jimmy Scott vocals – Bill Cosby hosted the entire night and participated in the music with gusto – incredible historic evening that I personally documented – the project is now back in-progress 27 years later, Jon Hammond — with Bernard Purdie and Bernard Purdie at The New School for Jazz and Contemporary Music *Note from Jon Hammond: Bud DiFluri from Yamaha presented the special Yamaha tenor saxophone to Walter Blanding Jr. - which was inscribed from Cab Calloway, but actually bought and paid for by Bill Cosby. Walter eventually sold the saxophone. Anyone who knows where the instrument is or has it please contact either Jon Hammond or Bud DiFluri - Mr. DiFluri is now Professor of Marketing teaching at Nyack College. Appears in my movie - Jon Hammond: Cab Calloway possibly Chuck Schumer to the right of the women - Jon Hammond Bobby Johnson trumpet legend takes the stage - Jon Hammond Ira Gitler American Jazz Journalist, Elaine Ellman documentary photographer looking on - Jon Hammond woman reading program, Bobby Johnson Arnie Lawrence, drummer Bernard Purdie in tuxedo - Jon Hammond MC's Bill Cosby, Phil Schaap, Bobby Johnson trumpet and Earle Warren Count Basie Orchestra alum alto saxophone - Jon Hammond Bill Cosby, Red Richards, Milt Hinton, Eddie Barefield, Bobby Johnson & Earle Warren checking out Cosby - Jon Hammond LaJazzO M-V Concert with Jon Hammond at the Zeughaus Wismar Youtube https://youtu.be/mN36dsQEFPo 149 views #149 Usage Attribution-Noncommercial-No Derivative Works 3.0 Topics Meckelnburg Vorpommern, Landesjugendjazzorchester, NDR Archive, Big Band, Michael Leuschner, Heinz Lichius, Camera, Zeughaus Wismar, Landesmusikrat, Jon Hammond, #HammondOrgan #Jazz #Wismar download 1 file H.264 download download 1 file MPEG4 download download 1 file OGG VIDEO download download 1 file TORRENT Organ Meets Bigband in The Zeughaus Wismar - Camera: Heinz Lichius Am 30.07.2015 ist das Landesjugendjazzorchester Mecklenburg-Vorpommern (LaJazzO MV) mit seinem diesjährigen Solisten Jon Hammond in der Hansestadt Wismar zu Gast. https://www.facebook.com/events/1625578051045838/ Nachdem sich in den vergangenen Jahren das LaJazzO MV mit den in der Big Band vorkommenden Instrumenten musikalisch auseinandersetzte, wird in 2015 die Jazzorgel musikalisch thematisiert werden. Unter dem Titel "Organ meets Big Band" wird dieses sehr traditionsreiche Instrument der Jazzgeschichte in den Mittelpunkt der Konzertreihe im folgenden Jahr gestellt. Als Jazzinstrument wurde es von Fats Waller in den 30er Jahren eingeführt und hatte seine Hochzeit in den 50er Jahren durch seine Vertreter wie Jimmy Smith. Der international renommierte New Yorker Jazzorganist Jon Hammond wird zusammen mit dem LaJazzO MV unter der Leitung von Michael Leuschner den besonderen Charme dieses Instrumentes wieder zum Leben erwecken. Im Programm sind unter anderem Titel von Jimmy Smith, arrangiert von Steve Grey - eine Leihgabe aus dem Archiv der NDR-Bigband. Jon Hammond studierte in den siebziger Jahren am Berklee College of Music und am City College San Francisco. Konzertreisen führten ihn quer durch die Vereinigten Staaten und Kanada. In seiner eigenen 'Jon Hammond Show' spielte er mit Musikern wie Dizzy Gillespie, Paul Butterfield, Jaco Pastorius, John Entwistle, Sammy Davis Jr., Percy Sledge und vielen anderen. Auch in Europa fand und findet seine Musik unverändert viele Anhänger. Die Medien berichten wiederholt von einem unverwechselbaren und prägenden Sound. Jon Hammond hat u.a. auf der 20. Frankfurter Musikmesse mitgewirkt und tritt vornehmlich in Hamburg auf. "The Jon Hammond Show" is a funky, swinging Jazz instrumental revue, featuring notable international soloists and reflecting the influences of Miles Davis, The Crusaders and Jimmy Smith. Programm: "Organ meets Bigband" Leitung: Michael Leuschner Donnerstag, d. 30.07.2015, 19:00 Zeughaus Wismar with Elli Soosz, Jan Rolle, Daniel Be, Leon Saleh, Gabriel Rosenbach, Michael Leuschner, Heinz Lichius, Matthis Rasche, Hörni Thorun, Paul Gramkow, Marie Birkholz, Jan Boge, Ole Si, Elisabeth Guericke, Nane Schüßler, Henning Schiewer, Noah Jens, Oliver Herlitzka, Anne-Katrin Meyer and Al Tobias at Zeughaus Wismar Producer Jon Hammond Language German Jon's archive https://archive.org/details/6842260423 AFM Local 6 Member Jon Hammond https://afm6.org/member-profile/jon-hammond-wheres-the-gig/ JON HAMMOND: “WHERE’S THE GIG?” - Alex Walsh Jon Hammond is a musician, composer, bandleader, publisher, journalist, TV show host, radio DJ, and multi-media entrepreneur. He currently travels the world, playing gigs and attending trade shows.

“Every time I see a musician walking down the street I say, ‘Hey, where’s the gig?’ Because it doesn’t matter what kind of music you play, if you’re carrying an instrument–going to a rehearsal, or coming back from a repair shop, whatever it is–we all need our gigs. And that’s what the union is all about. Hopefully, we can all keep working and be supportive of everybody’s gigs. There’s room for everybody.” THE EARLY YEARS Jon Hammond was born in Chicago in 1953. His father was a doctor and his mother was a housewife. They both played the piano. In 1957, his parents moved Jon and his four sisters to Berkeley, CA, where his father worked in a hospital as head of the emergency room. When he was nine, Jon started accordion lessons. “In those days, they had studios where parents would drop their kids off after school for tap dancing and accordion lessons. There were accordion bands and they would compete against each other.” Jon played his first gig at a senior citizens luncheon when he was eleven. Not only did he get a free lunch but he was paid $25 –a lot of money in those days. Jon says his father was supportive, but did not want him to pursue a music career. “He told me that music was a great hobby. He got me a wonderful professional accordion for my Bar Mitzvah, directly from John Molinari, one of the greatest accordionists who ever lived. It was a Guilietti Professional Tone Chamber accordion. That’s the accordion I won Jr. Jazz Champion on in 1966.” In high school, Jon attended a private boys school in San Francisco. He was a class clown, and when it got to the point where he was going to be expelled, Jon took his accordion and ran away from home. He immersed himself in the San Francisco music scene and started playing organ in several bands. By 1971 he was in a four piece rock group called Hades which shared a rehearsal space with Quicksilver Messenger Service. “I was friends with their manager, Ron Polte, who also managed guitarist John Cipollina. We got to open for his band, Copperhead.” Jon continued to play gigs in the Bay Area in different configurations, including a few gigs with a young Eddie Money. By this time Jon had become frustrated with the Bay Area scene. One night while playing a biker bar he got into a fight and his band didn’t come to his defense. “That was the last straw. I was angry and I said I wasn’t coming back.”

Jon in the early 70s Jon moved to Boston in 1973 to attend the Berklee School of Music. He also got a gig playing in Boston’s Combat Zone backing up burlesque shows. When Jon saw one of his idols, pianist Keith Jarrett play in New York he told him he was going to Berklee and asked him for advice. “Keith looked me right in the eye and said ‘Berklee can be very dangerous for your music.’ It was like he popped this huge bubble. Years later I came to understand what he was talking about. You have to learn the fundamentals, but the music itself comes from a much deeper place. They can’t teach that, you have to find it yourself.” When Jon’s teachers began sitting in on his gigs in Boston, he questioned why he was in school if the teachers were coming to play with him. He quit school, moved to Cape Cod and started playing with bandleader Lou Colombo. “He did all the private parties for Tip O’Neill. We played what they used to call the business man’s beat. On the gig it was forbidden to swing. It was like swing cut in half. So if you tried to go with the four, Lou would say, ‘Don’t swing it, don’t swing it.’ He pounded it into my head night after night.” LATE RENT In 1981 Jon took a trip to Paris where he broke through his writers block and wrote some of his best music. He returned to New York with his new tunes and started a production company with the idea of getting a record deal for a friend that had played on a #1 hit record. After months of pounding the pavement with no results, Jon realized he had better work on his own music before his money ran out. He took the last of his savings, including his upcoming rent money, and went into the studio to record what came to be known as “The Late Rent Sessions”. The session had Todd Anderson on tenor sax, Barry Finnerty on guitar, Stephen Ferrone on drums, and Jon on B3. They recorded at Intergalactic, the last studio that John Lennon recorded in. Jon had no luck getting a record deal for his new project, but he did get gigs in New York with his band Jon Hammond and the Late Rent Session Men.

Jon Hammond Band Onstage at NAMM, 2014: Joe Berger, Dom Famularo, Alex Budman, Koei Tanaka, Jon Hammond In 1982, Jon found out about public access television and the idea that anyone could produce a show and get it on TV. He started broadcasting on Manhattan’s public station in 1984. “I decided I was going to produce a radio show on TV. The first episodes showed just my tapping foot and my voice. It was a gimmick. We had graphics that were synchronized to go with the music. It worked out well. People dug it.” Within a few weeks, Jon was interviewed and featured in Billboard Magazine. The Jon Hammond Show was considered an alternative to the clips on Cable TV. “MTV was still in its infancy. We had a concept that was revolutionary. My phone started ringing and we were the hot kids on the block.” LIVING ABROAD Jon continued to play gigs in New York and produce his TV show. In 1987, he went to his first trade show (NAMM) where he was introduced to Mr. Julio Guilietti, the man who built his accordion. He then began traveling to trade shows and making contacts with musicians and companies around the world, including Hammond Suzuki. “They gave me the Hammond XB-2, the first really powerful portable Hammond organ. Glenn Derringer, one of my all-time heroes, presented it to me. I got one of the first. Paul Shaffer from the Letterman Show got the other. At the time there was only one EXP-100 expression pedal–we had to share the pedal. I used the pedal for my gigs and when Paul needed it I would bring it over to him at 30 Rockefeller Center on my bicycle.” In the early 90s, when his New York gigs began drying up, Jon was encouraged to go to Germany. “It was a hard time. My father had just died and there were very few gigs. I got the XB-2 organ right when I needed it, so I decided to take a chance. I bought a roundtrip ticket to Frankfurt with an open return. I went with 50 bucks and stayed for a year. When I came back, I had 100 bucks.” Jon stayed at a friend’s house and played a borrowed accordion on the street until he could get a band together. “I played on the street until my fingers turned blue and would collect enough money to get some fish soup. After about two weeks I got a call—I had put a band together and had 3 gigs coming up. A TV show had heard my story and wanted to do a story on me. At the first gig 19 people came; the second only 15 people came. Then I got the little spot on TV. When I came to the third gig people were lined up down the street. When I walked up I thought they were having an art exhibit. When they said, ‘No, they’re waiting for you.’ I choked up, I couldn’t even talk. So I’ve been playing there every year since. The people in Germany really saved my musical career at a time when very few things were happening for me in New York or San Francisco. I have a really good following in Europe. I keep busy as a musician in the States, playing hospitals and assisted living places, but my band dates I pretty much play overseas.” Jon’s Late Rent Sessions was eventually released on a German label and received modest airplay. During the 90s he travelled back and forth to Europe, spending a year playing gigs in Paris, and eventually settling in Hamburg. Since then he has released two more albums and has played gigs in Moscow, Shanghai, and Australia. With the help of the internet, Jon is able to produce his TV show anywhere. PRESENT DAY In the mid-2000s Jon produced Hammondcast, a radio program for CBS that aired in San Francisco at four in the morning and was rebroadcast before Oakland A’s games. “When the baseball games played in the afternoon, my show would play for about 20 minutes and then it was pre-empted. I had a lot of fun with that.” His guests included Danny Glover, Barry Melton from Country Joe & the Fish, and many local people. “It took me awhile to figure out that I had permission to broadcast anything I wanted. I could play the London Philharmonic or Stevie Wonder. My tag line was ‘Hello, Hello, Hello! Wake up or go back to sleep…’” Today, Jon continues to visit tradeshows and is determined to keep doing everything he does as long as he can. “I made a pact with my longtime co-producer, guitarist Joe Berger, that we are going to go to these trade shows until we are little old men with canes.” Jon has released four CDs

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