POST # 490 Tony Bennett on Being a Singer

I have a simple life. I mean, you just give me a drum roll, they announce my name, and I come out and sing. In my job I have a contract that says I'm a singer. So I sing.

POST # 489 MYSTERY CASE # 25 "WHO" am I ???

G'day Guitar Eureka Detectives!

You are given 10 clues to the identity of this mystery person , see how many clues you require to guess the correct answer, have fun!


1. I was born November 6, 1966 in Illinois, USA.






2. Around 1981-82 I first contacted Mike Varney, founder of Shrapnel Records, asking for a gig with Ozzy Osbourne. At the time, Varney couldn't think why Osbourne would want a 15 year old guitarist, but after listening to my demo he changed his mind. We talked for the next 3 years, until I went to L.A. for the GIT.






3. My first band in 1985 originally comprised of me on guitar, Juan Alderete (bass), Harry Gschoesser (drums) and Jeff Martin (vocals). Where my playing was reminiscent of Yngwie Malmsteen, displaying fast-driven solos with extreme-level technique.






4. My many influences on my playing include Randy Rhoads, Eddie Van Halen, Yngwie Malmsteen, John J Kirby, Tony Iommi, Alex Lifeson, Jimmy Page, Robin Trower, Pat Travers, Judas Priest, Akira Takasaki, Steve Clark, Jimi Hendrix, Kiss, and The Ramones.





5. Guitar World magazine declared me one of 50 of the world's fastest guitarists of all time, along with Buckethead, Eddie Van Halen, and Yngwie Malmsteen.






6. Regarding amplifiers, I used A/DA preamps(A/DA MP-1) and rack effects units early in my career prior to switching to Laney amplifiers. Currently I rely on the Marshall Vintage Modern 2266c combo amps.








7. I played in my second band until the late 1990s. I left the band in 1997 to pursue a solo career, and was replaced by Richie Kotzen. We reformed in 2009 for a world tour.






8. Recently, I have been using Ibanez "Fireman" (a reversed-body Ibanez Iceman with single-coil pickups and an extra cutaway) guitars, which I designed myself. Ibanez also makes a Flanger pedal with my inputs. I also uses the Psilocybe phaser and THC chorus pedals from Home Brew Electronics.







9. I primarily uses my Ibanez signature series guitars with painted f holes.









10. I am well known for my guitar work with Racer X and Mr. Big, as well as many solo albums. I also joined Joe Satriani and John Petrucci on the 2007 G3 tour.


I am ????????????????

ANSWER:

http://www.youtube.com/watch?v=LZJuPWmfjIw

GARY MOORE, RIP 1952-2011

Here's Gary in his own words



The thing about playing the blues is that there’s nothing like experience. That’s my attitude. You tend to get better at it the more you learn it. The more you take away is a big part of it, too. On the “Still Got The Blues” album, I did “Pretty Woman” with Albert King. When he was leaving the studio, he turned to me and said, “You know what? Play every other lick.” It was the best thing anyone had ever said to me, like, don’t play every lick, play every other lick. It’s the simplest thing in the world, and when you think about it, it’s absolutely right. I think a lot of guitar players, in every genre, are afraid to leave space. I think this is the first album where I’ve really conquered that thing.


I’ve been doing it onstage for quite a while, but I never really got it on record before. Listen to “Trouble At Home” and “I Had A Dream”. I’ve learned not to be afraid to leave spaces. We as guitar players, and you know this as well as anyone, guitar players are scared to leave a hole, afraid they’ll fall down it or something. [Laughing] They think of leaving a space but don’t leave one long enough. When you get into the habit of leaving a big space, what happens is that you’ll eventually become comfortable, and it becomes second nature for you to do that. You’ll become a much better player for it. If you’ve got an expressive style, and can express your emotions through your guitar, and if you’ve got great tone … For example, the people out there listening to you play, especially live, they won’t be able to wait for your next note. It creates a lot of tension for the audience. I remember going to see people like Peter Green in the old days and getting that feeling, “Oh man, I can’t wait to hear that guitar.” Or just one more note, because it sounds so beautiful when he plays it. That’s a very important aspect of it. It’s all down to the feel thing. If you’ve got a feel for the blues, that’s a big part of it. But you’ve got to leave that space.




In the studio I used that Fender Vibroverb. I used a mid-sixties Vox AC30 on “Thirty Days” and the opening track, “If the Devil Made Whisky”. I used an Orange Tiny Terror. It’s a 15-watt, and it looks like a little toy. I haven’t even got the wood around it. It’s in a white metal casing with a handle, and it comes in a gig bag. It switches from 15 watts down to seven. You just whack it up. I used it with a little Marshall 2/12 hand wired cabinet on “Eyesight to the Blind”. I used my DSL Marshall 100, or 50, depending on the select, on “Have You Heard”, “Checkin’ Up On My Baby”, and stuff like that.


So, I basically used the Fender Vibroverb, the Vox AC30, and the Marshall DSL, which are my live amps, the 2000 series. I’ve actually got the very first one, the prototype, given to me before they were in the shops or anything. I’ve been using that amp for ten years now. It’s my live amp, and I haven’t really changed from that. They’ve got new ones out now, but I still prefer the DSL. Though I’ve got a few, I’ve got to get some more before they stop making them. They’re such a great amp. They’ve got a good normal channel, a lead channel as well, which I rarely use, to be honest. I kind of use the normal channel and a pedal for the gain. It has a good spring reverb in it, so when I want to go into that slow minor blues, I just whack the reverb up and it’s all there. It’s a very versatile amp. It’s very reliable, big tone. It’s a phenomenal amplifier. I use a 100-watt one of those onstage with four Celestion Vintage 30s, one top and one bottom. I started onstage using a 59 reissue, which is the old 4-input Marshall, the standard one. I’ve got it next to the other one onstage now. I switch between them. I never use both amps at once or anything like that.




I didn’t use any pedals whatsoever in the studio for this one, just guitar and amp. I kind of made that rule before I went in. I just wanted to see what I could do with the guitar and the amp. Onstage, I use T-Rex pedals. At the moment I’m using a T-Rex Moller Overdrive, Mudhoney Overdrive, and the blue one (T-Rex Alberta). I also use the Room-Mate Reverb and the Replica Delay. So I use, like, five of their pedals. They’re very nice pedals. They sound real big and very warm. They’re made in Denmark actually. The Moller Overdrive has two foot switches on it, a boost and a distortion. You can use them separately or together. The clean boost is great and the distortion is great. If you whack them both in together you get almost into a Hendrix sort of territory.



The guitars are my 59 Les Paul, a 60s 335, and a 68 Telecaster. That’s pretty much it really. I use my signature Les Paul onstage as well. I use mostly Les Pauls live.

POST # 488 B B King on Johnny Moore

Johnny Moore was Oscar Moore’s brother. When Oscar was with Nat Cole, Johnny played in a similar trio with Charles Brown, who played piano and sang. This was in the 1940s. When Charles decided to go on his own, Oscar left Nat, and joined Johnny as a duo. Then they got another singer/pianist.

After a couple of years, Oscar and Johnny split up. Oscar stopped traveling while Johnny rejoined Charles Brown. I remember seeing Oscar and Johnny playing together in Los Angeles — it was like meeting gods! Johnny used a big Super 400. He used to like to put in quite a few chord changes when he was playing — things like big, fat 9th chords. They were really modern changes, but they always fit what he was doing. He would slide into his chords sometimes, giving a good, bluesy feeling to a ballad. I think people will start talking a lot more about Johnny Moore in the future.

POST # 487 EBAY Price Guide : EARLY TO MID 60'S VOX AC-15 AMPLIFIER JMI

How much would somebody pay for this beat up vintage 60's VOX AC-15??? Scroll to the bottom of the page to see how much it sold for. Here's the blurb from the seller.




UP FOR AUCTION IS A EARLY TO MID 60'S AC-15!
Grey panel, early to mid 60's JMI made. Mostly stock, stock foot switch, missing luggage stand supports, non-stock 70's Celestion "Black-Backs" speakers, torn grille cloth, staining, wear/tear, some small areas of tolex rips, with Tuki padded cover, serial number 01428. Overall, a great sounding somewhat hard to find JMI Vox amp!




























Winning bid: US $2,481.00

POST # 486 Ray Charles on developing a good Memory

Learning to read music in Braille and play by ear helped me develop a damn good memory.

POST # 485 Shawn Lane on Conlon Nancarrow and Frank Zappa

Sometimes it fits well in the music, but sometimes I've played on pop music gigs and played way to many notes and long inappropriate solos, but I just didn't really care esthetically what it was, I was just kinda having fun in my own little world, playing. I just maybe have an unusual look on things like that, which leads ultimately to Conlon Nancarrow, who makes this music for piano that has about 200 notes per second in it a lot of times and it's really crazy. But he was a big influence on Frank Zappa and I love Zappa records for a long time. Nancarrow had some amazing music that really turned my head around. 'The player piano studies'.

POST # 484 EBAY PRICE GUIDE : Aria Pro2 (Matsumoku) Herb Ellis Model 175

Here's an interesting item, jazz guitarist Herb Ellis endorsed and played Aria Pro archtops before moving to Gibson. Here's a vintage example from the 70's see how much it sold for at the bottom of the page. Here's a blurb from the seller.



Japan made vintage Ari Pro II Herb Ellis Model from late 70's.

As you might know, these Japanes guitars from70's - mid80's were made in great quality with great craftsmanship.

You don't see this quality at this price range these days.

Mastumoku made guitars for Ibanez, Greco, Aria,etc...until Mid 80's.

According to serial number, this was made in '79.

This was based on ES175 but better details, like ebony fret board , avalon inlay,L5 type tailpiece...

You can see video on you tube Herb actually played this model.

This is in good shape for 30+ years old guitar. It aged nicely.

No crack or repair on neck , head stock or body. Neck joint is solid.

I'm not an original owner. Tuners are upgraded with Gover. Otherwise look original.

There is a fix hole for strap pin on the side of the neck.

Only issue is no sound in rear position. Probably just wiring or switch which can be easily fixed.

This has been in case for while ,so needs a set up, but still payable and sounds great.

Don't miss out a great opportunity to have very nice Japanes vintage guitar.

Truss rod cover is off in pic, but I'll put it back on before shipping.

Come with non original hard case in fine condition(one latch is broken).

I only ship to lower 50 states. No return,so please ask all your questions before bidding.

Thank you.


























Winning bid: US $710.00

POST # 483 Joan Baez on Songwriting

It seems to me that those songs that have been any good, I have nothing much to do with the writing of them. The words have just crawled down my sleeve and come out on the page.

POST # 482 John Scofield on Learning to Play Jazz

I won’t dumb it down because I think smart people are going to get into it for what it is, and they want to know the real deal. Jazz takes strong desire, and it requires a lot of practice. Once it’s ingrained it’s like a magic trick done with mirrors. You become fluent in a certain way that’s even greater than your own understanding of how you got there. People think fluency in jazz is a big intellectual thing, but it’s actually just a lot of work. You have to do the time.