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EMiel van Egdom welcomes you
Description
Nefertiti recordingartist, composer, arranger, jazz/classical guitarist, producer, CULEA™ Productions studio owner and swordmaster Emiel van Egdom with 5 worldwide distributed CD's to his name. Newest releases: Clues (with Belgian Artist/Painter Jan Bosschaert Hybrid Groove, w/Brian Bromberg, Bob Militello, Sheppard, Joel Taylor, Eric Gale Bill Cantos.
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Date
Mar 6, 2005
Contact name
Jacques Joosten
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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 …
Category:
2. john fogerty
John Fogerty has been rocking and stomping his way across select cities in Australia for the first time since 1998, showing excited audiences and press there why he remains one of THE most dynamic and important figures in American music. Fogerty is on a one-month tour "down under", in support of his recently released and acclaimed career retrospective THE LONG ROAD HOME (Fantasy). Fogerty played an amazing sold-out show at Brisbane's Entertainment Centre, followed by two memorable sold-out nights at the famed Sydney Opera House. Even a few kangaroos have gotten in on the act, showing up at one of his outdoor shows! ...
Category:
3. bill frisell
Bill Frisell:
"It's hard to find a more fruitful meditation on American music than in the compositions of guitarist Bill Frisell. Mixing rock and country with jazz and blues, he's found what connects them: improvisation and a sense of play. Unlike other pastichists, who tend to duck passion, Mr. Frisell plays up the pleasure in the music and also takes on another often-avoided subject, tenderness." - The New York Times
“Frisell is a revered figure among musicians – like Miles Davis and few others, his signature is built from pure sound and inflection; an anti-technique that is instantly identifiable.” - The Philadelphia Inquirer
"I like to have fun when I play and I like comedy - but it's not a conscious thing. I'm basically a pretty shy person and I don't dance or get into fights. But there are all these things inside me that get out when I perform. It's like a real world when I play, where I can do all the things I can't do in real life." - Bill Frisell to The Village Voice
Over the years, Frisell has contributed to the work of such collaborators as Paul Motian, John Zorn, Elvis Costello, Ginger Baker, The Los Angeles Philharmonic, Suzanne Vega, Loudon Wainwright III, Van Dyke Parks, Vic Chesnutt, Rickie, Lee Jones, Ron Sexsmith, Vinicius Cantuaria, Marc Johnson (in "Bass Desires"), Ronald Shannon Jackson and Melvin Gibbs (in "Power Tools"), Marianne Faithful, John Scofield, Jan Garbarek, Lyle Mays, Vernon Reid, Julius Hemphill, Paul Bley, Wayne Horvitz, Hal Willner, Robin Holcomb, Rinde Eckert, The Frankfurt Ballet, film director Gus Van Sant, David Sanborn, David Sylvian, Petra Haden and numerous others, including Bono, Brian Eno, Jon Hassell and Daniel Lanois on the soundtrack for Wim Wenders’ film Million Dollar Hotel ...
"It's hard to find a more fruitful meditation on American music than in the compositions of guitarist Bill Frisell. Mixing rock and country with jazz and blues, he's found what connects them: improvisation and a sense of play. Unlike other pastichists, who tend to duck passion, Mr. Frisell plays up the pleasure in the music and also takes on another often-avoided subject, tenderness." - The New York Times
“Frisell is a revered figure among musicians – like Miles Davis and few others, his signature is built from pure sound and inflection; an anti-technique that is instantly identifiable.” - The Philadelphia Inquirer
"I like to have fun when I play and I like comedy - but it's not a conscious thing. I'm basically a pretty shy person and I don't dance or get into fights. But there are all these things inside me that get out when I perform. It's like a real world when I play, where I can do all the things I can't do in real life." - Bill Frisell to The Village Voice
Over the years, Frisell has contributed to the work of such collaborators as Paul Motian, John Zorn, Elvis Costello, Ginger Baker, The Los Angeles Philharmonic, Suzanne Vega, Loudon Wainwright III, Van Dyke Parks, Vic Chesnutt, Rickie, Lee Jones, Ron Sexsmith, Vinicius Cantuaria, Marc Johnson (in "Bass Desires"), Ronald Shannon Jackson and Melvin Gibbs (in "Power Tools"), Marianne Faithful, John Scofield, Jan Garbarek, Lyle Mays, Vernon Reid, Julius Hemphill, Paul Bley, Wayne Horvitz, Hal Willner, Robin Holcomb, Rinde Eckert, The Frankfurt Ballet, film director Gus Van Sant, David Sanborn, David Sylvian, Petra Haden and numerous others, including Bono, Brian Eno, Jon Hassell and Daniel Lanois on the soundtrack for Wim Wenders’ film Million Dollar Hotel ...
Category:
4. neil zappa
Neil Zappa:
With fiery technical brilliance and breathtaking musical interpretation, Neil Zaza has defined himself as the instrumental guitarist with an unparalleled ability to combine solid, catchy songwriting with a keen melodic sense and technical fury.
From his virtuoso rock solos, to laying a funk groove, to his demonstrating his classical prowess by performing Bach and Mozart compositions, Zaza's extreme versatility has been showcased worldwide in concerts, clinics, festivals, as well as on his own solo instrumental CDs.
Neil’s latest CD, “Melodica” once again showcases his ability to meld his technical guitar mastery within his melodic compositions. Neil further pushes the sonic boundaries with “Melodica” by incorporating samples and loops with his trademark guitar playing.
Zaza's CD "Staring at the Sun" finds Neil in great company with Steve Smith and Ross Valory (Journey), Stu Hamm (Joe Satriani), Michael Lee Firkins, as well as fellow Peavey endorsee, drummer Robin DiMaggio. "Staring..." finds Neil delving deeper into his trademark "singy" melodic style of guitar-playing, while at the same time harnessing and tastefully exploiting his explosive chops.
In December, 2002, Neil debuted his double volume holiday CD, “One Silent Night Volumes 1 & 2” at the famed Palace Theatre in Cleveland, Ohio with the backing of the 60 piece Cleveland Rock Orchestra. December, 2004 will see the return of Neil’s “One Silent Night…” show to Playhouse Square’s Allen Theater on December 11th.
2003 found Neil and his band co-headlining South Korea’s Busan International Rock Festival, where he played to an enthusiastic crowd in excess of 15,000 fans ...
With fiery technical brilliance and breathtaking musical interpretation, Neil Zaza has defined himself as the instrumental guitarist with an unparalleled ability to combine solid, catchy songwriting with a keen melodic sense and technical fury.
From his virtuoso rock solos, to laying a funk groove, to his demonstrating his classical prowess by performing Bach and Mozart compositions, Zaza's extreme versatility has been showcased worldwide in concerts, clinics, festivals, as well as on his own solo instrumental CDs.
Neil’s latest CD, “Melodica” once again showcases his ability to meld his technical guitar mastery within his melodic compositions. Neil further pushes the sonic boundaries with “Melodica” by incorporating samples and loops with his trademark guitar playing.
Zaza's CD "Staring at the Sun" finds Neil in great company with Steve Smith and Ross Valory (Journey), Stu Hamm (Joe Satriani), Michael Lee Firkins, as well as fellow Peavey endorsee, drummer Robin DiMaggio. "Staring..." finds Neil delving deeper into his trademark "singy" melodic style of guitar-playing, while at the same time harnessing and tastefully exploiting his explosive chops.
In December, 2002, Neil debuted his double volume holiday CD, “One Silent Night Volumes 1 & 2” at the famed Palace Theatre in Cleveland, Ohio with the backing of the 60 piece Cleveland Rock Orchestra. December, 2004 will see the return of Neil’s “One Silent Night…” show to Playhouse Square’s Allen Theater on December 11th.
2003 found Neil and his band co-headlining South Korea’s Busan International Rock Festival, where he played to an enthusiastic crowd in excess of 15,000 fans ...
Category:
Adam Rafferty:
Steeped in the music of the bebop era and well-versed in the organ combo style as codified by Wes Montgomery and George Benson, Adam Rafferty has established himself as one of the most refined, recognizable guitarists in New York. His playing is distinguished by a warm tone, a biting attack, and an ability to swing hard - and melodically - in every situation. His chops are abundant, yet he makes a point of avoiding technical displays, seeking instead to lock in with his band and make every moment count. Adam's exceptional musicianship can be heard to full effect on his third CD (and his first trio outing), "Kush" (Consolidated Artists Productions 955), featuring music by Dizzy Gillespie, Chick Corea, John Coltrane, Sonny Rollins, and of course, Adam Rafferty.
Born in New York City in 1969, Adam got his start playing with rock and R&B bands, and even co-led a rap group called "Raf and Cooly-C." He studied classical guitar at SUNY Purchase, but around 1987 he caught the jazz bug and began intensive studies with pianist Mike Longo, a member of Dizzy Gillespie's bands from '64 to '71. From Mike, Adam learned not only harmony and theory, but also the rhythmic principles that form the foundation of jazz - principles that Mike had learned from Dizzy Gillespie himself. Indeed, it is Adam's firm grasp of rhythm - his unfailing "pocket" - that sets his playing apart. He soon had gigs lined up in Harlem with organist Jimmy "Preacher" Robbins and trumpeter Tippy Larkin. Over the years he has supported groups featuring Frank Wess, Benny Golson, Gloria Lynn, and more ...
Steeped in the music of the bebop era and well-versed in the organ combo style as codified by Wes Montgomery and George Benson, Adam Rafferty has established himself as one of the most refined, recognizable guitarists in New York. His playing is distinguished by a warm tone, a biting attack, and an ability to swing hard - and melodically - in every situation. His chops are abundant, yet he makes a point of avoiding technical displays, seeking instead to lock in with his band and make every moment count. Adam's exceptional musicianship can be heard to full effect on his third CD (and his first trio outing), "Kush" (Consolidated Artists Productions 955), featuring music by Dizzy Gillespie, Chick Corea, John Coltrane, Sonny Rollins, and of course, Adam Rafferty.
Born in New York City in 1969, Adam got his start playing with rock and R&B bands, and even co-led a rap group called "Raf and Cooly-C." He studied classical guitar at SUNY Purchase, but around 1987 he caught the jazz bug and began intensive studies with pianist Mike Longo, a member of Dizzy Gillespie's bands from '64 to '71. From Mike, Adam learned not only harmony and theory, but also the rhythmic principles that form the foundation of jazz - principles that Mike had learned from Dizzy Gillespie himself. Indeed, it is Adam's firm grasp of rhythm - his unfailing "pocket" - that sets his playing apart. He soon had gigs lined up in Harlem with organist Jimmy "Preacher" Robbins and trumpeter Tippy Larkin. Over the years he has supported groups featuring Frank Wess, Benny Golson, Gloria Lynn, and more ...
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