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clark colborn
Description
Clarc Colborn:
Christmas, 1966
My parents gave me an inexpensive AM radio (with a clock & loud alarm) for Christmas that year. It was not the main gift, and I really don't remember what it was I had hoped to find under the tree. I do remember that the radio had probably the most profound impact on my life of any gift I ever received. I would listen to WLS from Chicago at night as I was supposed to be going to sleep. I would hear these magnificent sounds that were totally new to me (okay, so my life was a bit sheltered in certain areas!), these awesome guitar driven songs by the Yardbirds, the Beatles, the Ventures, and the Rolling Stones. Within a week I knew that somehow, someday, I was going to play guitar. My parents, on the other hand, were quite certain that I should not become a guitarist, and this is illustrated by what happened the following Christmas.
Christmas, 1967
After nearly a solid year of talking about playing guitar, I was sure I would get some kind of guitar for a gift. My parents had alluded to "music" being part of the holiday, and would wink at one another whenever I began my daily tirade. Christmas morning came, and the musical gift turned out to be a rather bizarre little "chord organ." As an adult, I can now appreciate the gesture; I'm sure the cost of that thing put a strain on their very limited budget. But back then, I reacted in true teenager fashion: a graceless, ungrateful display of whining and moaning peppered with pouting and anger. On the "up" side, I did begin learning to play keyboards with it, as well as starting to learn to read music. It also increased my determination to be a guitarist at least tenfold. So for the next 6 months I saved what I could from my allowance, I shoveled snow from neighbors' walks, and I even took a paper route which required me to get up at (gasp!) 5:00 A.M., so that I could buy myself a guitar.
Summer, 1968
At least it looked like a guitar... I'm not really sure that the thing I bought deserved to be called a guitar. This thing was a huge, crude acoustic, and I paid about $25 for it, new. It was spray painted red, with a "simulated" pickguard that was painted on with black spray paint. The frets were the size of wooden matchsticks, and the high E string was .020 gauge. (For you non-guitarists, that is really fat, too fat for any normal human to play!) You could not play a fretted note without discomfort. Up to the 3rd fret the discomfort was minor, at the 4th fret it was significant. Only a burly masochist could actually finger a note at the 5th fret. By the 10th or 11th fret you could literally drop a pencil between the strings and the neck! (I am not exaggerating... this is true!) It was quickly dubbed The Beast. But it was mine, and I began to learn. Within a few weeks I realized that I could not go on with The Beast for long. So I scrimped, continued the paper route, scrounged for "deposit" pop bottles, did whatever I could until I accumulated another $25. This fortune was used to buy a red sparkle electric, with 3 pick-ups, 3 rocker switches, and 4 knobs! Wow. But this one was playable up to about the 15th fret, and I began formal lessons using this marvel of modern technology. By now Jimi Hendrix, Cream, Iron Butterfly, Blue Cheer, and Jefferson Airplane were part of my musical diet, and I could actually imitate a few notes from their songs here and there, thanks to the playability of the red glitter guitar. I knew I was meant to go on …
Christmas, 1966
My parents gave me an inexpensive AM radio (with a clock & loud alarm) for Christmas that year. It was not the main gift, and I really don't remember what it was I had hoped to find under the tree. I do remember that the radio had probably the most profound impact on my life of any gift I ever received. I would listen to WLS from Chicago at night as I was supposed to be going to sleep. I would hear these magnificent sounds that were totally new to me (okay, so my life was a bit sheltered in certain areas!), these awesome guitar driven songs by the Yardbirds, the Beatles, the Ventures, and the Rolling Stones. Within a week I knew that somehow, someday, I was going to play guitar. My parents, on the other hand, were quite certain that I should not become a guitarist, and this is illustrated by what happened the following Christmas.
Christmas, 1967
After nearly a solid year of talking about playing guitar, I was sure I would get some kind of guitar for a gift. My parents had alluded to "music" being part of the holiday, and would wink at one another whenever I began my daily tirade. Christmas morning came, and the musical gift turned out to be a rather bizarre little "chord organ." As an adult, I can now appreciate the gesture; I'm sure the cost of that thing put a strain on their very limited budget. But back then, I reacted in true teenager fashion: a graceless, ungrateful display of whining and moaning peppered with pouting and anger. On the "up" side, I did begin learning to play keyboards with it, as well as starting to learn to read music. It also increased my determination to be a guitarist at least tenfold. So for the next 6 months I saved what I could from my allowance, I shoveled snow from neighbors' walks, and I even took a paper route which required me to get up at (gasp!) 5:00 A.M., so that I could buy myself a guitar.
Summer, 1968
At least it looked like a guitar... I'm not really sure that the thing I bought deserved to be called a guitar. This thing was a huge, crude acoustic, and I paid about $25 for it, new. It was spray painted red, with a "simulated" pickguard that was painted on with black spray paint. The frets were the size of wooden matchsticks, and the high E string was .020 gauge. (For you non-guitarists, that is really fat, too fat for any normal human to play!) You could not play a fretted note without discomfort. Up to the 3rd fret the discomfort was minor, at the 4th fret it was significant. Only a burly masochist could actually finger a note at the 5th fret. By the 10th or 11th fret you could literally drop a pencil between the strings and the neck! (I am not exaggerating... this is true!) It was quickly dubbed The Beast. But it was mine, and I began to learn. Within a few weeks I realized that I could not go on with The Beast for long. So I scrimped, continued the paper route, scrounged for "deposit" pop bottles, did whatever I could until I accumulated another $25. This fortune was used to buy a red sparkle electric, with 3 pick-ups, 3 rocker switches, and 4 knobs! Wow. But this one was playable up to about the 15th fret, and I began formal lessons using this marvel of modern technology. By now Jimi Hendrix, Cream, Iron Butterfly, Blue Cheer, and Jefferson Airplane were part of my musical diet, and I could actually imitate a few notes from their songs here and there, thanks to the playability of the red glitter guitar. I knew I was meant to go on …
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Dec 24, 2005
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Other links at Guitar, Bass... > guitar players
Muriel's new vocal and instrumental CD "Wildcat" is inspired by experiences along the road, complete with the stories behind each song. With guest artists Duane Eddy, Stanley Jordan, Mark Kibble, Danny Gottlieb, Stuart Duncan, Annie Selleck, Nicki Parrott, John Colianni, Tom Roady, and members of the Nashville Chamber Orchestra. Lessons:
Arranging Techniques, Guitar Workshop / Up-close
Learn how to connect with the core of emotion in any style of music.
This is a unique opportunity to discuss with Muriel her open-minded attention to detail as well as the inspirations behind her compositions and arrangements. Includes right and left hand techniques in a variety of guitar styles, harmonic techniques and principles that can be applied to performing, arranging & composing. Muriel may also have some new hands-on techniques, and easy but cool riffs to teach. Open to guitarists of all levels.
OK to bring (optional): tape recorder, small video camera, guitar, pen & paper.
Cost $(TBA), Includes two free sets of GHS strings.
Workshop descriptions
Workshop #1: Guitar Workshop Up-Close
In this informal interactive workshop, Muriel Anderson will intersperse performance with lively discussion. This is a unique opportunity to discuss with her as she shares the inspirations behind some of her compositions and her heartfelt approach to music. This workshop will also explore techniques and tricks to better playing and becoming a better musician. Muriel will also have some new hands-on techniques, riffs, or tunes to teach. Handouts will be provided, open to guitarists of all levels.
You may bring (optional): tape recorder, small video camera, guitar, pen & paper.
Muriel also can be booked to teach the following workshops:
Workshop #2: Easy Fingerstyle (Fingerstyle and Flatpicking Basics)
You can make your playing sound smoother and more professional, even if you are just a beginner! You will learn several simplified solos, including the Peanuts theme. This individualized workshop will cover hand technique in the context of learning new music.
Workshop #3: Fun and Flashy Fingerstyle (Intermediate Fingerstyle)
Learn to play cool and easy fingerstyle solos in the style of Merle Travis, Chet Atkins, Paul Simon, with Muriel's sense of finesse and style.
Workshop #4: Connecting The Heart To The Hands
Explore the techniques and philosophy to better playing and becoming a more sensitive musician. Muriel's open-minded attention to detail allows her to connect with the core or emotion in each style of music. Class includes harmonic techniques and principles that can be applied to interpreting, arranging and composing.
Workshop #5: Guitar Playing Around The World
Expand your guitar playing by exploring music from a variety of cultures. Arrangements at several levels will accommodate differing levels of ability. This class will lead you to seek out the nuances that will allow you to connect with the core of emotion in each style of music, and serve as a catalyst to new techniques and to explore different approaches to music.
Sweeping Harmonic Chords: There are almost endless ways to play harmonics on the guitar. The basic concept is to play a string or strings while lightly touching exactly at a fraction of the string such as the halfway point (or 1/3 or 1/4 of the string length). Any manner that you can 1) touch the string exactly at that point and 2) activate the string on either side of that point (either by striking, plucking, bowing, or tapping on that point) will produce the harmonic ...
Arranging Techniques, Guitar Workshop / Up-close
Learn how to connect with the core of emotion in any style of music.
This is a unique opportunity to discuss with Muriel her open-minded attention to detail as well as the inspirations behind her compositions and arrangements. Includes right and left hand techniques in a variety of guitar styles, harmonic techniques and principles that can be applied to performing, arranging & composing. Muriel may also have some new hands-on techniques, and easy but cool riffs to teach. Open to guitarists of all levels.
OK to bring (optional): tape recorder, small video camera, guitar, pen & paper.
Cost $(TBA), Includes two free sets of GHS strings.
Workshop descriptions
Workshop #1: Guitar Workshop Up-Close
In this informal interactive workshop, Muriel Anderson will intersperse performance with lively discussion. This is a unique opportunity to discuss with her as she shares the inspirations behind some of her compositions and her heartfelt approach to music. This workshop will also explore techniques and tricks to better playing and becoming a better musician. Muriel will also have some new hands-on techniques, riffs, or tunes to teach. Handouts will be provided, open to guitarists of all levels.
You may bring (optional): tape recorder, small video camera, guitar, pen & paper.
Muriel also can be booked to teach the following workshops:
Workshop #2: Easy Fingerstyle (Fingerstyle and Flatpicking Basics)
You can make your playing sound smoother and more professional, even if you are just a beginner! You will learn several simplified solos, including the Peanuts theme. This individualized workshop will cover hand technique in the context of learning new music.
Workshop #3: Fun and Flashy Fingerstyle (Intermediate Fingerstyle)
Learn to play cool and easy fingerstyle solos in the style of Merle Travis, Chet Atkins, Paul Simon, with Muriel's sense of finesse and style.
Workshop #4: Connecting The Heart To The Hands
Explore the techniques and philosophy to better playing and becoming a more sensitive musician. Muriel's open-minded attention to detail allows her to connect with the core or emotion in each style of music. Class includes harmonic techniques and principles that can be applied to interpreting, arranging and composing.
Workshop #5: Guitar Playing Around The World
Expand your guitar playing by exploring music from a variety of cultures. Arrangements at several levels will accommodate differing levels of ability. This class will lead you to seek out the nuances that will allow you to connect with the core of emotion in each style of music, and serve as a catalyst to new techniques and to explore different approaches to music.
Sweeping Harmonic Chords: There are almost endless ways to play harmonics on the guitar. The basic concept is to play a string or strings while lightly touching exactly at a fraction of the string such as the halfway point (or 1/3 or 1/4 of the string length). Any manner that you can 1) touch the string exactly at that point and 2) activate the string on either side of that point (either by striking, plucking, bowing, or tapping on that point) will produce the harmonic ...
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The Michael Lee Firkins Official Website! Michael Lee Firkins world class blues rock guitarist is now on the web - visit the artist's official site now. Michael Lee Firkins was born in Omaha, Nebraska in 1967. Born to musician parents, his father was a lap steel guitarist and his mother a pianist, he started playing acoustic guitar at the young age of eight. Mostly self taught, he also took lessons at a local Omaha music store. Learning the songs of the times, Michael was heavily into Lynyrd Skynyrd, Led Zeppelin, AC/DC, and Black Sabbath ...
michael lee firkins, michael lee, firkins, guitar, jamband, Shrapnel Records, shrapnel, YAMAHA GUITARS, Edison Award, edison, Howling Iguanas, Blues Bureau International, Chapter Eleven, blues, blues rock, rock, MAGNATUDE, Cactus Cruz, Decomposition
michael lee firkins, michael lee, firkins, guitar, jamband, Shrapnel Records, shrapnel, YAMAHA GUITARS, Edison Award, edison, Howling Iguanas, Blues Bureau International, Chapter Eleven, blues, blues rock, rock, MAGNATUDE, Cactus Cruz, Decomposition
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3. marc ribot
This is the official website of
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Marc Ribot, Cubanos, Postizos, New York, NYC, downtown, guitar, guitarist, avant-garde, Shrek, Mark Ribot
avant-garde guitarist, leader of Los Cubanos Postizos, and downtown NYC icon - Marc Ribot.
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Jazz guitarist Dave Bernstein's website features music, cds, bios, electronic press kit.
Dave Bernstein was born in Queens, NYC and raised in Southern California. He began playing guitar in Blues bands while attending college at UC Santa Cruz (1980-1982). After taking a year off traveling and studying privately, he attended the Berklee College of Music in Boston from 1983 to 1986, graduating with a BA in music.
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Make no mistake; Bernstein is a Jazz player to the bone. He cites Charlie Parker, John Coltrane, and Wayne Shorter as major influences on his writing and playing. Though he possesses the fat, warm sound typical of Jazz guitar, he thinks and plays like a horn player ...
Dave Bernstein was born in Queens, NYC and raised in Southern California. He began playing guitar in Blues bands while attending college at UC Santa Cruz (1980-1982). After taking a year off traveling and studying privately, he attended the Berklee College of Music in Boston from 1983 to 1986, graduating with a BA in music.
Since relocating to the SF Bay Area in 1987, Bernstein has shared the stage with many Blues and Jazz notables including Teddy Edwards, Herbie Lewis, Lazy Lester, Sammy Myers, William Clarke, Smokey Wilson, and Vince Wallace. In addition, he has led his own various Blues and Jazz combos and his noted "Blueriety" enterprise, "FLUFFER".
Make no mistake; Bernstein is a Jazz player to the bone. He cites Charlie Parker, John Coltrane, and Wayne Shorter as major influences on his writing and playing. Though he possesses the fat, warm sound typical of Jazz guitar, he thinks and plays like a horn player ...
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Classical Guitar Ceremonies: MD, DC & VA - 410.243.4160
Award-winning Conservatory-trained classical guitarist for distinguished events.
Performing degrees from Peabody Conservatory of Johns Hopkins University include: B.M., M.M., and G.P.D. Graduate Performing Degree ...
Award-winning Conservatory-trained classical guitarist for distinguished events.
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