Here's a video from one of the best shows I saw during NAMM week. This is Kofi Baker's Tribute to Cream (Mike Keneally - guitar, Kofi Baker - drums, and 'Pag' - bass) playing "Sunshine of your Love" and "Manic Depression" at Alva's Showroom on Jan 17th, 2010.
Jambands.com has a great interview up with Jake Cinninger (guitar), Joel Cummins (keyboards), and Chris Poland (guitar) from OHMphrey. The interview took place during last month's Jam Cruise. Topics of discussion include the band's plans for a new recording.
This is Chris Poland (OHM) test driving the new Eminence FDM speakers at the 2010 NAMM show. I was in the room when this video was shot (that brief flash of an orange shirt at the 4:19 mark is me). This video is about a month old but I just found it.
The Guitar Channel is giving away one copy of Austrian guitarist Peter Greier's new album Eat This! This cool fusion disc has some awesome playing by Greier, and includes a guest spot by fellow Austrian Alex Machacek (what's with all the great guitarists from Austria these days?).
For your chance to win, send an email to firstname.lastname@example.org
with the subject Peter Greier CD Giveaway. On
Friday March 5th,
I will choose one email at random and announce the winner on the site.
One entry per person please; past Guitar Channel contest winners are
not eligible. Good Luck!
YOUNG BASS PHENOM TAL WILKENFELD TO HEADLINE WESFEST 5 CONCERT AT THE ROXY ON FEB 28
PLAYING WITH VINNIE COLAIUTA, OZ NOY, JOHN BEASLEY
Twenty-three year old bass phenomenon Tal Wilkenfeld, one of the fastest rising stars in the world of bass and music today, will headline WesFest 5: A Concert to Benefit the Wes Wehmiller Endowed Scholarship at Berklee College Of Music at The Roxy in Los Angeles on Sunday, Feb. 28, 2010. Playing new music written for her upcoming album, Tal will be accompanied by the best-of-the-best musicians Vinnie Colaiuta, Oz Noy, and John Beasley.
Tal Wilkenfeld was the answer to the immediate global buzz question “Who’s that girl?” in Eric Clapton’s 2007 Crossroads Festival which aired on PBS. Tal impressed audiences with a memorable solo on guitar god Jeff Beck’s Blow by Blow classic, “Cause We’ve Ended As Lovers!” Jeff Beck, not one given to effusive praise, said this about his bassist Tal "How does one describe an astonishing talent? The answer is: you don't. You listen and watch, as 45,000 people did in Chicago at the Crossroads Festival 2007. To see all those blues fanatics and guitar freaks go berserk halfway through her solo left me emotional. The word proud is barely adequate."
The scholarship fund honors Wes Wehmiller (1971-2005), a Berklee graduate (’92) and highly accomplished bassist who died of thyroid cancer. Established by his family and friends, the Wes Wehmiller Endowed Scholarship is awarded annually to a continuing student at Berklee.
The event will feature four additional acts: John Montagna (solo); Joe Brooks; the WesFest All-Stars; Danny Mo and the Exciters, and 2009 Wehmiller winner Justin Schornstein with Zappa Plays Zappa band drummer Joe Travers.
WHEN: Sunday, February 28 - Doors open at 7:00 PM WHERE: The Roxy - 9009 West Sunset Blvd., West Hollywood, CA 90069 COST: Advance tickets: $35/pair or $20 (before Feb 25) or $30/door Buy at: http://www.weswehmiller.net/wesfest5
Fiery yet disarmingly open-hearted, the new album from John McLaughlin and the 4th Dimension, To The One, bravely takes on the artistic and spiritual challenges first offered by Coltrane’s jazz masterpiece A Love Supreme, while making extensive use of the pioneering musical and technical vocabulary that McLaughlin has honed since the beginning of his storied career.
Available via Abstract Logix on April 20, 2010, To The One is the result of a burst of inspiration that struck the legendary English guitarist and composer in summer of 2009. “This music started to come to me,” McLaughlin explains, “without any call from my part. The sound and feel of this new music took me back to 1965, to when I first heard A Love Supreme. I was 23 years old at that time, and struggling with questions of existence that we all confront sooner or later. Some of us discard them or don’t bother to delve deeper, but that’s not my nature. I was asking big questions: What is the meaning of life? What is this word ‘god’? What is this spirit? It was then that Coltrane came along and single-handedly brought this dimension of spirituality into jazz…it was a pivotal experience to me. It was so encouraging to me in both my musical and spiritual quests. To The One, as an album, is about those two aspects of my life – music and spirituality – crystallized by this recording of Coltrane’s, and how A Love Supreme coincided with my search for meaning in life.”
It is a search that he never surrendered, as McLaughlin’s musical journey took him from session work and jazz sessions in the UK to recording and performing in America with the likes of Tony Williams and Miles Davis, through to the founding of the incredibly influential exploratory fusion outfit the Mahavishnu Orchestra and Shakti, his ensemble dedicated to exploring Indian music and spirituality. Over the past three decades, McLaughlin has continually sought out bold new contexts for his expressive and inventive playing.
The six original compositions on To The One were mostly written in July and August of 2009, and set down in the studio in November and December, with very few overdubs, by McLaughlin’s current performing outfit, the Fourth Dimension: Gary Husband (keyboards, drums), Etienne M’Bappe (electric bass), and Mark Mondesir (drums). Compositional devices clearly inspired by Coltrane are fused with elements of McLaughlin’s own multi-faceted approach, all delivered with a group empathy and shared vision that harkens back to Coltrane’s fearless mid-‘60s quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison. The effect of Jones’ kaleidoscopic approach to rhythm and drumming is especially felt, brilliantly recast and explored via McLaughlin’s gift for complex metrical structures.
From the surging opener “Discovery” to the gently propulsive title track which closes the compact, forty-minute program, McLaughlin’s own playing is at its very peak: emotional and probing, exploding into flourishes of rapid-fire sixteenth notes one moment, candid and unguardedly vulnerable the next. “For the band to play my tunes is a challenge,” McLaughlin explains, “and in return, I want them to challenge me. This is part of what jazz is – it’s very interactive. You play with the musicians. You’re not just playing the notes.”
Feb. 18-20 : Cotton Club, TOKYO, JAPAN Feb. 21 : Motion Blue, YOKOHAMA, JAPAN Feb. 22-23 : EBS Space, SEOUL, KOREA (7:30PM) Feb. 23 : Venue TBA (10:00PM) Feb. 24 : Guitar/Drum clinics, Mapo Art Center (3PM) Feb. 24 : Mapo Art Center (8PM), SEOUL, KOREA Feb. 26 : Dalhousie Institute, KOLKATA, INDIA (8PM) Feb. 27 : Blue Frog, MUMBAI, INDIA (9:30PM)
April 21-22: The Rex, Toronto April 24 : Highline Ballroom, NYC
Europe May 3-4 : Ronnie Scott's, LONDON, UK May 8 : Domicil, DORTMUND, GERMANY