Learn how to play 50 tasty blues-rock licks inspired by Stevie Ray Vaughan.
You’ll play your way through Monster Nashville Guitar in a cognitive manner – no tedious notation, theory or exercises to bog you down. Ladd presents an extensive series of lessons based on his instrumental, “Outrun the Train” which earned him the Guitar Superstar competition’s top spot. “The tune is an ideal instructional tool because it features a ton of my favorite licks and covers a wide range of up-tempo ‘Tele-melee’ material in an ear-friendly way, utilizing a common key, tempo and theme for ease of reference.”
This comprehensive series gives you the knowledge of a seasoned professional while utilizing tools such as on-screen graphics, split screen viewing of right and left hand close ups with notation, color-coaxed strings, and 'follow the bouncing ball' style graphics. Go from zero to hero in no time! Volume 1 covers all the basics and then some. Major and minor scales, basic cords to power cords, how to read rhythmic notation and even strumming patterns. Learn how to find any note on the fretboard without the use of a chart. In no time, even beginners will be jamming 12 bar blues and playing licks.
Essential vocabulary, technique & insight for jazz blues guitar Jazzers, rockers, bluesmen, twangers, funksters, metal heads and polka players take note - this highly addictive new set of jazz blues guitar lessons from monster of the six-string, Frank Vignola, will inject such massive degrees of soul and groove into your improvisations that you'll likely not be able to put your instrument down for weeks on end. So, skip the following description, download the course immediately and bid your family and friends a loving fare thee well. You're gonna be happily busy for a while.
This date followed Calvin Keys' first, Shawn Neeq, by about two years. Hazy, psychedelic, post-bop is the order of the day here as well, but as most soul-jazz collectors will tell you, there's always a chance for some monster funk on a Black Jazz record so, as predictable as these releases may be on the surface, you never really know until you hear them. In this case, the bomb drops at the beginning of Side Two with "Aunt Lovely." While probably a little too 'out there' for most dance floors, "Aunt Lovely" begins like some of the best funky Grant Green of the era. As the track progresses, though, it gets more than a little hectic – especially during Charles Owens' Pharoah Sanders-esque soprano solo. Kirk Lightsey's overdriven and distorted electric piano only serves to add to this tension later.
Asian-American baritone saxophonist Fred Ho has been a champion of freedom and expressionism in modern creative jazz for some time. A continuing battle with cancer has inspired him to assemble the Green Monster Big Band, with reference to the famed left-field wall at Fenway Park in Boston, but more directly related to the huge sound and diverse ideas this juggernaut ensemble represents. Ho is influenced by the '60s big bands, television or movie themes, and the psychedelic rock he grew up with, all present on this ambitious program.
During the war against advanced colo-rectal cancer (from 2006), which included two primary tumors and two recurrences, Fred Ho, hammered by massive chemo and radiation, found inspiration in the fight for his life from watching movies of The Greatest, Muhammad Ali. Ali s bold, militant, defiant and spirited resistance to the forces of American racism, combined with his élan, grace and humor (both poetical and personal), his indisputable athletic abilities and genius, and the inspiration to the world s peoples (especially the oppressed) and their embrace of him, served as constant inspiration to Fred Ho. During one of his recovery periods, Ho decided to compose a work for his Green Monster Big Band to honor The Greatest.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. Pianist Debbie Poryes works here with a Dutch trio formed right after her arrival on that scene – a nicely-balanced group that really respects Debbie's sensitive touch on the keys, and seems to make her subtle sounds come out even more than they might in the setting! Poryes has an approach that's on the mellower side of lyrical – kind of a post-Bill Evans approach, but even more subtle overall – yet one that's also very striking in its subtlety – as the lean choices of notes show just how far and free jazz piano had come by this time, but in ways that could still swing and stay inside. The group features Hein Van De Geyn on bass and Hans Eykenaar on drums – and titles include "For Brad", "Sweet Georgie Fame", "Holland", "Foolish Door", and "My Romance".
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. One of the most hard-edged albums we've ever heard from pianist Kirk Lightsey – thanks to the presence of Jerry Gonzalez on congas, which really adds a nice extra bite to the record! The whole lineup is great – and includes Santi Debriano on bass and Eddie Gladden on drums – but it really seems to be Jerry's percussion that kicks the whole album into gear – bringing up a bit more bottom than usual in Lightsey's work on the keys, and giving even the mellower moments a Latin current that really keeps things fresh – and which we would have liked to hear more from Kirk over the years. Titles include "Habiba", "For Albert", "One Finger Snap", "Blues On The Corner", and "Eighty One".