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john cipollina
Description
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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Date
Dec 23, 2005
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11571
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1. b d lenz
B.D. Lenz: After graduating from Musician's Institute in Hollywood, CA., B.D. continued his studies at the College of New Jersey, where he graduated with honors.
He has played in bands ranging from pit orchestras to rock bands, big bands to jazz combos and even an Elvis impersonator!
B.D. has released 4 recordings of his melodic jazz/funk (Tell The World, Lost and Found, Simple Life, and Tomorrow's Too Late) and has recorded or performed with such artists as Randy Brecker, Mark Egan, Richie Cannata, Mark Ledford, Ada Rovatti, Greg Federico, Jeff Callahan, John Virag, Kathy Phillips, and Ron Velosky among many others.
He has played in bands ranging from pit orchestras to rock bands, big bands to jazz combos and even an Elvis impersonator!
B.D. has released 4 recordings of his melodic jazz/funk (Tell The World, Lost and Found, Simple Life, and Tomorrow's Too Late) and has recorded or performed with such artists as Randy Brecker, Mark Egan, Richie Cannata, Mark Ledford, Ada Rovatti, Greg Federico, Jeff Callahan, John Virag, Kathy Phillips, and Ron Velosky among many others.
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Pierre Bensusan, guitarist:
Some guitarists have become fluent in the musical language of their time and place. Of these men and women, there are some who take in music from beyond their own surroundings and give birth to new musical ideas, brave compositions, and inventive playing styles. Most rare, however, are those artists who do all these things and continue to listen to their hearts, who compose beyond the limitations of their instrument, and who improvise without fear. Rare indeed, Pierre Bensusan is a guitarist, a composer, a man who constantly explores the depth of his own voice. In doing so, his music, (or as he says, his work) seems to come from a source much greater than the hands and voice of one man.
If “world music” is music that pays tribute to the spirit of a collection of human beings through distinct rhythms, traditional instruments and harmonic colors, Pierre Bensusan can be recognized as one of the most eloquent and diverse world musicians of our time. In his solo concerts that could last nearly 3 hours, Bensusan weaves together the music from so many lands and so many times in history, no list of reasonable length here would suffice. And for each piece Bensusan describes as being influenced by “a man from Iraq”, or the middle-ages, or the essence of the Brazilian culture, each piece is informed by much more. None can be isolated as simply “Brazilian” or “French”; rather, they represent our world in its current state, a world sharing itself, fusing cultures together in ways we have never experienced ...
Some guitarists have become fluent in the musical language of their time and place. Of these men and women, there are some who take in music from beyond their own surroundings and give birth to new musical ideas, brave compositions, and inventive playing styles. Most rare, however, are those artists who do all these things and continue to listen to their hearts, who compose beyond the limitations of their instrument, and who improvise without fear. Rare indeed, Pierre Bensusan is a guitarist, a composer, a man who constantly explores the depth of his own voice. In doing so, his music, (or as he says, his work) seems to come from a source much greater than the hands and voice of one man.
If “world music” is music that pays tribute to the spirit of a collection of human beings through distinct rhythms, traditional instruments and harmonic colors, Pierre Bensusan can be recognized as one of the most eloquent and diverse world musicians of our time. In his solo concerts that could last nearly 3 hours, Bensusan weaves together the music from so many lands and so many times in history, no list of reasonable length here would suffice. And for each piece Bensusan describes as being influenced by “a man from Iraq”, or the middle-ages, or the essence of the Brazilian culture, each piece is informed by much more. None can be isolated as simply “Brazilian” or “French”; rather, they represent our world in its current state, a world sharing itself, fusing cultures together in ways we have never experienced ...
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James Taylor's musical reliance upon nuance and subtle feeling would make it seem that he is a bad fit for generally impersonal large venues, but his ability to project those qualities to sizable audiences has always served his material well.
Friday night, he opened his summer tour at the ctnow.com Meadows Music Theater in Hartford, and lavished an abundance of his still-potent mellow charm on a captivated audience with a classy, first-rate performance.
Taylor's brand of showmanship is stylistically earthbound, understated in ways that allowed him to glide nonchalantly into his program with the supple "Secret O' Life," a lightly ringing synthesizer accompaniment married to his lone acoustic guitar. The mood set, he brought on his full seven-piece band and three backup vocalists and eased into the airy, flute-edged bounce of "Summer's Here."
Taylor was accommodating enough to sign autographs from the stage during the show, but not so slavish to fan desires that his set list was predictable. He left out several notable songs from his catalog, "You've Got a Friend" among them, opting instead for the less obvious, idyllic storytelling of "On the 4th of July" and a chipper, soulful cover of the Dixie Chicks tune "Some Days You Gotta Dance" ...
Friday night, he opened his summer tour at the ctnow.com Meadows Music Theater in Hartford, and lavished an abundance of his still-potent mellow charm on a captivated audience with a classy, first-rate performance.
Taylor's brand of showmanship is stylistically earthbound, understated in ways that allowed him to glide nonchalantly into his program with the supple "Secret O' Life," a lightly ringing synthesizer accompaniment married to his lone acoustic guitar. The mood set, he brought on his full seven-piece band and three backup vocalists and eased into the airy, flute-edged bounce of "Summer's Here."
Taylor was accommodating enough to sign autographs from the stage during the show, but not so slavish to fan desires that his set list was predictable. He left out several notable songs from his catalog, "You've Got a Friend" among them, opting instead for the less obvious, idyllic storytelling of "On the 4th of July" and a chipper, soulful cover of the Dixie Chicks tune "Some Days You Gotta Dance" ...
Category:
4. marc ribot
This is the official website of
avant-garde guitarist, leader of Los Cubanos Postizos, and downtown NYC icon - Marc Ribot.
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.
Marc Ribot, Cubanos, Postizos, New York, NYC, downtown, guitar, guitarist, avant-garde, Shrek, Mark Ribot
Category:
Official website of instrumental rock/metal guitarist julien carayon.It has streaming music, pictures, tablatures, free guitar lessons and covers almost everything you need to know about julien carayon.
My world is instrumental music, a world with no border as I play no specific music style in mind...only what I get with my instrument matter...
I have almost ten years of guitar playing in my fingers. I’m 99% self-taught (the remaining 1% is the very few instructional books I’ve bought so far)
Main influences :
Dream Theater - Liquid Tension Experiment -Planet X - Steve Vai - Joe Satriani, Pat Metheny - Jimmy Hendrix...Mike portnoy (for programming drum tracks )
Even though I’ve spent countless hours listening to these unique Maestros, I try to cultivate my own style, composing “non-80’s-style-shred music” and avoiding cliché ...
My world is instrumental music, a world with no border as I play no specific music style in mind...only what I get with my instrument matter...
I have almost ten years of guitar playing in my fingers. I’m 99% self-taught (the remaining 1% is the very few instructional books I’ve bought so far)
Main influences :
Dream Theater - Liquid Tension Experiment -Planet X - Steve Vai - Joe Satriani, Pat Metheny - Jimmy Hendrix...Mike portnoy (for programming drum tracks )
Even though I’ve spent countless hours listening to these unique Maestros, I try to cultivate my own style, composing “non-80’s-style-shred music” and avoiding cliché ...
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