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joe bonamassa
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Born in upstate New York, Joe Bonamassa started playing on a short scale Chiquita guitar at the age of four, graduating to a full-scale guitar at seven. By the time he was 8, Joe was playing the blues like a veteran. “Stevie Ray Vaughn was a huge influence in my early days,” says Bonamassa, “but not my only one. I was influenced by all the great blues masters – Duke Robillard, Danny Gatton, Eric Clapton, and Robben Ford were all musicians I gravitated towards. I just naturally loved the blues and the seductive sound of the Stratocaster.”
At ten, Joe was performing locally, and at twelve, he was asked to open for B.B. King. After the performance, King would say, “This kid’s potential is so great that he hasn’t begun to scratch the surface. He’s one of a kind….a legend before his time.” The Father of the Blues’ high regard for Joe would be echoed by the guitar greats who would later perform with Bonamassa, including Buddy Guy, Danny Gatton, Robert Cray and Stephen Stills.
In the following two years, Joe established such a name for himself that Fender Guitars invited him to California to participate in a tribute to the company's founding father, Leo Fender, in a line-up that included Robben Ford, whom Joe cites as a major inspiration and "one of my favorite guitar players of all time."
While on the West Coast, Joe also met the musician who became the nucleus of the band that would start him on the road to international recognition. "While I was out there, I met Berry Oakley, Jr. [son of legendary Allman Brothers bassist]. It turned out that the sons of famous musicians knew other sons of famous musicians, so he was lifelong friends with Waylon Krieger, who is Robby Krieger's [Doors guitarist] son, and Waylon Krieger knew Erin Davis, who is Miles Davis' son, who is a drummer," says Joe ...
At ten, Joe was performing locally, and at twelve, he was asked to open for B.B. King. After the performance, King would say, “This kid’s potential is so great that he hasn’t begun to scratch the surface. He’s one of a kind….a legend before his time.” The Father of the Blues’ high regard for Joe would be echoed by the guitar greats who would later perform with Bonamassa, including Buddy Guy, Danny Gatton, Robert Cray and Stephen Stills.
In the following two years, Joe established such a name for himself that Fender Guitars invited him to California to participate in a tribute to the company's founding father, Leo Fender, in a line-up that included Robben Ford, whom Joe cites as a major inspiration and "one of my favorite guitar players of all time."
While on the West Coast, Joe also met the musician who became the nucleus of the band that would start him on the road to international recognition. "While I was out there, I met Berry Oakley, Jr. [son of legendary Allman Brothers bassist]. It turned out that the sons of famous musicians knew other sons of famous musicians, so he was lifelong friends with Waylon Krieger, who is Robby Krieger's [Doors guitarist] son, and Waylon Krieger knew Erin Davis, who is Miles Davis' son, who is a drummer," says Joe ...
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Dec 18, 2005
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Justin Hayward is vocalist, lead guitarist and composer for the Moody Blues. Over the last thirty-five years the band has sold a phenomenal fifty five million albums and has received numerous awards.
Justin’s interest in music started at the age of seven when he had his first piano lesson. He taught himself the ukulele and soon progressed to guitar. By his early teen’s he was playing in local groups in Swindon and when he left school he answered an advertisement in " The Melody Maker" and found himself playing with The Wilde Three with Marty Wilde and his wife Joyce.
He made several recordings with The Wilde Three and also appeared with them at the London Palladium. After making a couple of solo singles he joined the Moody Blues in the summer of 1966 ...
When the Moody Blues took a break from touring in 1975 Justin recorded the Blue Jays album, followed by the hit single "Blue Guitar". Whilst continuing his work with the Moodies he also made several solo albums "Songwriter" "Night Flight" "Moving Mountains" and most recently "The View From the Hill". Justin had a top ten single in 1978 with "Forever Autumn" taken from Jeff Wayne’s "War of the Worlds" album. He also collaborated in 1989 with Mike Batt and the London Philharmonic Orchestra and recorded the album "Classic Blue" ...
Justin’s interest in music started at the age of seven when he had his first piano lesson. He taught himself the ukulele and soon progressed to guitar. By his early teen’s he was playing in local groups in Swindon and when he left school he answered an advertisement in " The Melody Maker" and found himself playing with The Wilde Three with Marty Wilde and his wife Joyce.
He made several recordings with The Wilde Three and also appeared with them at the London Palladium. After making a couple of solo singles he joined the Moody Blues in the summer of 1966 ...
When the Moody Blues took a break from touring in 1975 Justin recorded the Blue Jays album, followed by the hit single "Blue Guitar". Whilst continuing his work with the Moodies he also made several solo albums "Songwriter" "Night Flight" "Moving Mountains" and most recently "The View From the Hill". Justin had a top ten single in 1978 with "Forever Autumn" taken from Jeff Wayne’s "War of the Worlds" album. He also collaborated in 1989 with Mike Batt and the London Philharmonic Orchestra and recorded the album "Classic Blue" ...
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Keith Richards:
He's acknowledged as perhaps the greatest rhythm guitarist in rock & roll, but Keith Richards is even more legendary for his near-miraculous ability to survive the most
debauched excesses of the rock & roll lifestyle. His prodigious consumption of drugs and alcohol has been well documented, and would likely have destroyed anyone with a less amazing endurance level. On-stage with the Rolling Stones, he epitomized guitar-hero cool as the quiet, stoic alter ego to Mick Jagger's extroverted frontman, a widely imitated image made all the more fascinating by his tightrope-walking hedonism. Yet that part of Richards' mystique often overshadows his considerable musical legacy. Arguably the finest blues-based rhythm guitarist to hit rock & roll since his idol Chuck Berry, Richards knocked out some of the most indelible guitar riffs in rock history, and he did it so often and with such apparent effortlessness that it was easy to take his songwriting skills for granted ... (bio source: Steve Huey, All Music Guide, www.vh1.com)
The Rolling Stones.
He's acknowledged as perhaps the greatest rhythm guitarist in rock & roll, but Keith Richards is even more legendary for his near-miraculous ability to survive the most
debauched excesses of the rock & roll lifestyle. His prodigious consumption of drugs and alcohol has been well documented, and would likely have destroyed anyone with a less amazing endurance level. On-stage with the Rolling Stones, he epitomized guitar-hero cool as the quiet, stoic alter ego to Mick Jagger's extroverted frontman, a widely imitated image made all the more fascinating by his tightrope-walking hedonism. Yet that part of Richards' mystique often overshadows his considerable musical legacy. Arguably the finest blues-based rhythm guitarist to hit rock & roll since his idol Chuck Berry, Richards knocked out some of the most indelible guitar riffs in rock history, and he did it so often and with such apparent effortlessness that it was easy to take his songwriting skills for granted ... (bio source: Steve Huey, All Music Guide, www.vh1.com)
The Rolling Stones.
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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:
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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John Cipollina is a legendary San Francisco electric guitar player whose 25 year career spans bands from Quicksilver Messenger Service to Zero. His signature rodent gnawing sound will stand alone for all time.
Born in Berkeley, California on August 24, 1943, John Cipollina represents the archetypal San Francisco 1965-1975 musician.
As a founding member of Quicksilver Messenger Service, John went on to perform and record with dozens of bands , blazing a trail from rock to blues to jazz over a brilliant twenty-five year career.
John Cipollina's guitar sounded like no other. His unique resonance touched people in places they didn't know existed. His signature sound will stand alone for all time as a part of the musical thread the San Francisco Bay Area has wrapped around the world.
John passed away from a lifelong respiratory ailment on May 29, 1989. He left behind a great musical contribution for his worldwide audience to enjoy. For those of us who knew him, we share the memory of a truly wonderful person, whose being so perfectly reflected the magic in his music.
In 1995 John's legendary amp stack was donated to the Rock and Roll Hall of Fame , ensuring him a place in music history ...
Born in Berkeley, California on August 24, 1943, John Cipollina represents the archetypal San Francisco 1965-1975 musician.
As a founding member of Quicksilver Messenger Service, John went on to perform and record with dozens of bands , blazing a trail from rock to blues to jazz over a brilliant twenty-five year career.
John Cipollina's guitar sounded like no other. His unique resonance touched people in places they didn't know existed. His signature sound will stand alone for all time as a part of the musical thread the San Francisco Bay Area has wrapped around the world.
John passed away from a lifelong respiratory ailment on May 29, 1989. He left behind a great musical contribution for his worldwide audience to enjoy. For those of us who knew him, we share the memory of a truly wonderful person, whose being so perfectly reflected the magic in his music.
In 1995 John's legendary amp stack was donated to the Rock and Roll Hall of Fame , ensuring him a place in music history ...
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