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.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. One of the more freewheeling groups we've ever heard recording for the Timeless label – especially during the 80s stretch in which this set was recorded – a free-thinking quartet that features Urs Leimgruber on soprano, tenor, and bass saxophone – plus Don Friedman on piano, Bobby Burri on bass, and Joel Allouche on drums! Leimgruber's sound really sets the tone for the record – with moody passages some stretches, or a bolder attack at other moments – then supported strongly by Friedman's piano, really gets a lot of freedom here. All tracks are long, and very different than usual for Timeless.
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.