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mark kleinhaut
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Guitairist Mark Kleinhaut's website features reviews, photo gallery, recordings, press kit.
Extensive collaborations (recording and touring) with Bobby Watson, Tiger Okoshi
Five CD's of original compositions. The 2003 CD with Bobby Watson made the Top 50 National Jazz Radio Charts for the first two months of 2004 and broke "Top-20".
Conducts clinics and workshops on jazz improvisation for students, grade school through University.
Activist for jazz, jazz education and audience development. Past President of the Maine Jazz Alliance and a founding director of Access Jazz, Inc.
Mark Kleinhaut has been playing jazz guitar for over thirty years, during which time he has achieved one of the most prized and elusive goals in jazz - a highly personal sound and recognizable voice on his instrument. His clean guitar tones may first recall one to the great tradition of mainstream jazz guitarists like Wes Montgomery and Pat Martino, but listeners soon detect something else in Kleinhaut's highly evolved vocabulary. His playing avoids the clichés and trappings of the too-familiar jazz jargon in favor of melodic phrases that twist and leap passionately with the immediacy of the moment, yet follow his relentless pursuit of logic, balance and beauty. Mark Kleinhaut is also a prolific jazz composer and has five CDs of his original jazz compositions, including "Chasing Tales" with trumpeter Tiger Okoshi and "A Balance of Light", with Bobby Watson on alto sax. Kleinhaut's newest release, "Holding the Center" (January 2006), represents further artistic evolution of his style with use of sampled sounds, electronic guitar effects and rhythms borrowed from latin, funk, rock and reggae music ...
Extensive collaborations (recording and touring) with Bobby Watson, Tiger Okoshi
Five CD's of original compositions. The 2003 CD with Bobby Watson made the Top 50 National Jazz Radio Charts for the first two months of 2004 and broke "Top-20".
Conducts clinics and workshops on jazz improvisation for students, grade school through University.
Activist for jazz, jazz education and audience development. Past President of the Maine Jazz Alliance and a founding director of Access Jazz, Inc.
Mark Kleinhaut has been playing jazz guitar for over thirty years, during which time he has achieved one of the most prized and elusive goals in jazz - a highly personal sound and recognizable voice on his instrument. His clean guitar tones may first recall one to the great tradition of mainstream jazz guitarists like Wes Montgomery and Pat Martino, but listeners soon detect something else in Kleinhaut's highly evolved vocabulary. His playing avoids the clichés and trappings of the too-familiar jazz jargon in favor of melodic phrases that twist and leap passionately with the immediacy of the moment, yet follow his relentless pursuit of logic, balance and beauty. Mark Kleinhaut is also a prolific jazz composer and has five CDs of his original jazz compositions, including "Chasing Tales" with trumpeter Tiger Okoshi and "A Balance of Light", with Bobby Watson on alto sax. Kleinhaut's newest release, "Holding the Center" (January 2006), represents further artistic evolution of his style with use of sampled sounds, electronic guitar effects and rhythms borrowed from latin, funk, rock and reggae music ...
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Jan 1, 2006
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Jimmie Vaughan is far more than just one of the greatest and most respected guitarists in the world of popular music. As Guitar Player Magazine notes, "He is a virtual deity--a living legend." After all, Vaughan provides a vital link between contemporary music and its proud heritage, as well as being a longtime avatar of retro cool.
Since releasing his first solo album in 1994, he has set the standard for quality modern roots music. Throughout his career, Vaughan has earned the esteem of his legendary guitar-playing heroes and superstar peers along with successive generations of young players. His musical ethos and personal style have had an impact on contemporary culture, from spearheading the current blues revival with The Fabulous Thunderbirds to his longtime, innate fashion sense of slicked-back hair and sharp vintage threads (now seen throughout the pages of contemporary fashion journals) to becoming a premier designer of classic custom cars. But for Jimmie Vaughan, none of it is part of a crusade or a career plan. It's just his natural way of living his life and pursuing the interests that have captivated Vaughan since his youth.
Now, with his third solo release and Artemis Records debut, Do You Get The Blues?, Vaughan has fashioned his most compelling and appealing musical statement yet, creating a rich and variegated masterpiece of 21st Century rhythm and blues. From the first notes of the opening instrumental, "Dirty Girl," it's clear that Vaughan has created a contemporary classic. Driven by Vaughan's lyrical guitar work, the skin-tight drumming of George Rains and the verdant Hammond B-3 work of the song's writer, Bill Willis (whose long career includes work on the seminal R&B and blues sides issued by King Records as well as stints with Freddie King and Lavern Baker), the song speaks volumes without a single word, and sets a tone of distinctive and emotion-laden musical articulation that continues throughout the disc ...
Since releasing his first solo album in 1994, he has set the standard for quality modern roots music. Throughout his career, Vaughan has earned the esteem of his legendary guitar-playing heroes and superstar peers along with successive generations of young players. His musical ethos and personal style have had an impact on contemporary culture, from spearheading the current blues revival with The Fabulous Thunderbirds to his longtime, innate fashion sense of slicked-back hair and sharp vintage threads (now seen throughout the pages of contemporary fashion journals) to becoming a premier designer of classic custom cars. But for Jimmie Vaughan, none of it is part of a crusade or a career plan. It's just his natural way of living his life and pursuing the interests that have captivated Vaughan since his youth.
Now, with his third solo release and Artemis Records debut, Do You Get The Blues?, Vaughan has fashioned his most compelling and appealing musical statement yet, creating a rich and variegated masterpiece of 21st Century rhythm and blues. From the first notes of the opening instrumental, "Dirty Girl," it's clear that Vaughan has created a contemporary classic. Driven by Vaughan's lyrical guitar work, the skin-tight drumming of George Rains and the verdant Hammond B-3 work of the song's writer, Bill Willis (whose long career includes work on the seminal R&B and blues sides issued by King Records as well as stints with Freddie King and Lavern Baker), the song speaks volumes without a single word, and sets a tone of distinctive and emotion-laden musical articulation that continues throughout the disc ...
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Singer/songwriter Wes King was born in Winder, Georgia on January 20, 1966. After picking up the guitar at the age of 14, he wrote his first songs two years later; after studying the Bible at Covenant College, he relocated to Franklin, Tennessee. Wes signed with Reunion Records and recorded his first solo LP The Ultimate Underlying No Denying Motivation in 1990. After issuing Sticks and Stones a year later, King resurfaced in 1993 with The Robe. 1995's Common Creed was his biggest hit to date, notching three CHR chart-toppers -- "Life Is Precious," "The Love of Christ" and the title cut. In 1997, King issued A Room Full of Stories, his most acclaimed effort yet followed by What Matters Most in 2000.
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I, BARRY FINNERTY, was born in San Francisco on December 3, 1951. My father, Warren, was an award-winning actor (he received the Village Voice Obie for Best Actor of 1960 for "The Connection") and my mother, Ruth, was an excellent classical pianist who later got her PhD and taught English at UC Berkeley.
I began playing piano and reading music at age 5, then got my first guitar (a classical) for my 13th birthday. I got my first electric guitar, a Fender Jaguar, for my 14th birthday while living in Hong Kong (my mom had gotten a Fulbright grant to teach there for a year), and that same year my first band, The New Breed, opened the show for Herman's Hermits! I seemed to get some attention for my ability to play the guitar solos from the Kingsmen's "Louie Louie" and the Rolling Stones' "Heart Of Stone" note for note! The band also played songs by the Who, the Kinks, and the Yardbirds. Jeff Beck was my first real guitar hero.
I returned to San Francisco in 1966 and played in high school bands while absorbing the new hippie rock scene at the Fillmore and Avalon Ballrooms. Here I heard Jerry Garcia with the Grateful Dead, Mike Bloomfield with the Butterfield Blues Band, and later, Eric Clapton with the Cream, and Jimi Hendrix, along with virtually all the top bands of the time. Hearing Jerry Garcia's smooth melodic playing influenced me to trade in my Jaguar for a red single cutaway Guild Starfire. But I really identified more with Jeff Beck, so I traded that one in for a '57 cherry sunburst Les Paul...with a Bigsby tremolo! (I had it removed..I had worked hard on my finger vibrato and I didn't want anyone to think I was cheating!) The price of that guitar..500 bucks. Now it would be worth at least $25,000!
Around that time, I began to be interested in jazz, and studied jazz guitar and theory with Dave Smith at Sherman Clay music store in downtown SF. I listened to records by guitarists such as Howard Roberts (my first real jazz influence), Kenny Burrell, and George Benson, as well as Dave Brubeck (with Paul Desmond), Miles Davis ("Kind Of Blue") and John Coltrane. I traded in the Les Paul for a 1960 blond Gibson Johnny Smith. I played and sang in a band, Beefy Red, that opened shows at the Fillmore and Avalon and featured some of the Bay Area's top young musicians. In 1969 I entered UC Berkeley and studied philosophy, astronomy, ear training and sight singing, which considerably advanced my musicianship and conceptual abilities. In 1971 I attended the Berklee School of Music in Boston for one semester, during which time I went to New York and heard some real heavyweight artists, live, including George Benson (who I still consider the greatest jazz guitarist in the world, bar none!), Joe Henderson, Chick Corea, and the Thad Jones/Mel Lewis Orchestra. I could see that I wasn't quite ready yet, so I returned to San Francisco for two more years of "seasoning." I played some gigs around the area and bought another Les Paul from my old high school band mate Adam Silver...a beautiful '59 sunburst...for $500 again! ...
I began playing piano and reading music at age 5, then got my first guitar (a classical) for my 13th birthday. I got my first electric guitar, a Fender Jaguar, for my 14th birthday while living in Hong Kong (my mom had gotten a Fulbright grant to teach there for a year), and that same year my first band, The New Breed, opened the show for Herman's Hermits! I seemed to get some attention for my ability to play the guitar solos from the Kingsmen's "Louie Louie" and the Rolling Stones' "Heart Of Stone" note for note! The band also played songs by the Who, the Kinks, and the Yardbirds. Jeff Beck was my first real guitar hero.
I returned to San Francisco in 1966 and played in high school bands while absorbing the new hippie rock scene at the Fillmore and Avalon Ballrooms. Here I heard Jerry Garcia with the Grateful Dead, Mike Bloomfield with the Butterfield Blues Band, and later, Eric Clapton with the Cream, and Jimi Hendrix, along with virtually all the top bands of the time. Hearing Jerry Garcia's smooth melodic playing influenced me to trade in my Jaguar for a red single cutaway Guild Starfire. But I really identified more with Jeff Beck, so I traded that one in for a '57 cherry sunburst Les Paul...with a Bigsby tremolo! (I had it removed..I had worked hard on my finger vibrato and I didn't want anyone to think I was cheating!) The price of that guitar..500 bucks. Now it would be worth at least $25,000!
Around that time, I began to be interested in jazz, and studied jazz guitar and theory with Dave Smith at Sherman Clay music store in downtown SF. I listened to records by guitarists such as Howard Roberts (my first real jazz influence), Kenny Burrell, and George Benson, as well as Dave Brubeck (with Paul Desmond), Miles Davis ("Kind Of Blue") and John Coltrane. I traded in the Les Paul for a 1960 blond Gibson Johnny Smith. I played and sang in a band, Beefy Red, that opened shows at the Fillmore and Avalon and featured some of the Bay Area's top young musicians. In 1969 I entered UC Berkeley and studied philosophy, astronomy, ear training and sight singing, which considerably advanced my musicianship and conceptual abilities. In 1971 I attended the Berklee School of Music in Boston for one semester, during which time I went to New York and heard some real heavyweight artists, live, including George Benson (who I still consider the greatest jazz guitarist in the world, bar none!), Joe Henderson, Chick Corea, and the Thad Jones/Mel Lewis Orchestra. I could see that I wasn't quite ready yet, so I returned to San Francisco for two more years of "seasoning." I played some gigs around the area and bought another Les Paul from my old high school band mate Adam Silver...a beautiful '59 sunburst...for $500 again! ...
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4. joe satriani
Along with teaching some of the top rock guitar players of the '80s and '90s, Joe Satriani is one of the most technically accomplished and widely respected guitarists to emerge in recent times. Born on July 15, 1956, in Westbury, NY, and raised in the nearby town of Carle Place, Satriani -- inspired by guitar legend Jimi Hendrix -- picked up the guitar at the age of 14 (although he was initially more interested in the drums). Quickly learning the instrument, Satriani began teaching guitar to others and found a kindred spirit in one of his students, Steve Vai. By the late '70s, however, Satriani had relocated to Berkeley, CA. With his sights set on his own musical career, "Satch" kept teaching others, including such future rock notables as Kirk Hammett (Metallica), Larry LaLonde (Primus), David Bryson (Counting Crows), and jazz fusion player Charlie Hunter.
In the early '80s, Satriani got a gig playing guitar with power popster Greg Kihn, doing some session work and touring with the group (an archival release recorded around this time, King Biscuit Flower Hour, was later issued in 1996), and issuing his own solo self-titled EP in 1984, financing and releasing the project entirely on his own. But when Vai hit the big time as the guitarist of David Lee Roth's solo band in 1986, he offered praise for his good friend and former teacher in several major guitar publications, leading to widespread interest in Satriani's playing. The timing couldn't have been more perfect for Satch, as he'd just issued his first full-length solo album, Not of this Earth, which automatically made ripples in the rock guitar community.
In the early '80s, Satriani got a gig playing guitar with power popster Greg Kihn, doing some session work and touring with the group (an archival release recorded around this time, King Biscuit Flower Hour, was later issued in 1996), and issuing his own solo self-titled EP in 1984, financing and releasing the project entirely on his own. But when Vai hit the big time as the guitarist of David Lee Roth's solo band in 1986, he offered praise for his good friend and former teacher in several major guitar publications, leading to widespread interest in Satriani's playing. The timing couldn't have been more perfect for Satch, as he'd just issued his first full-length solo album, Not of this Earth, which automatically made ripples in the rock guitar community.
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5. jerry hahn
Jerry Hahn is a jazz guitarist and instructor currently residing in Wichita, Kansas. He has played with such notables as the John Handy, and is the author of the Complete Jerry Hahn Method for Jazz Guitar series published by Mel Bay Publications. Jerry offers University Curriculum guitar instruction for music majors and has several recordings available online.
Jerry Hahn has long been recognized as one of jazz’s most influential guitarists. He became a major name in the 1960s and 1970s for his de facto contribution to the emerging fusion movement, and has remained one of its ardent promoters throughout his career.
Born in Nebraska September 21, 1940, he was raised in Kansas. He began playing the guitar at age 7. At age 11 he began playing professionally with the Bobby Wiley Rhythmaires, appearing daily on Wichita’s first television station KEDD. At 21 he moved to San Francisco, where he joined the John Handy Quintet in 1964, recording two albums for Columbia Records including the critically acclaimed “Live at Monterey”.
In 1967 he recorded his first album The Jerry Hahn Quintet for Arhoolie Records with Jack DeJohnette on drums. In 1968, he joined the Gary Burton Quartet with Roy Haynes and Steve Swallow, recording three albums and toured the United States, Europe, Canada, and Japan. Then, in 1970, he formed the Jerry Hahn Brotherhood, performing, touring, and recording for Columbia Records. In his book “The Jazz Book”, German born jazz authority Joachim Berendt noted the Jerry Hahn Brotherhood as being one of the “trailblazers of rock-jazz integration”. Jerry also began to write a monthly column for Guitar Player magazine entitled “Jerry Hahn’s Guitar Seminar” which continued for five years, and started work on his formidable book and CD Complete Jerry Hahn Method For Jazz Guitar for Mel Bay Publications ...
Jerry Hahn has long been recognized as one of jazz’s most influential guitarists. He became a major name in the 1960s and 1970s for his de facto contribution to the emerging fusion movement, and has remained one of its ardent promoters throughout his career.
Born in Nebraska September 21, 1940, he was raised in Kansas. He began playing the guitar at age 7. At age 11 he began playing professionally with the Bobby Wiley Rhythmaires, appearing daily on Wichita’s first television station KEDD. At 21 he moved to San Francisco, where he joined the John Handy Quintet in 1964, recording two albums for Columbia Records including the critically acclaimed “Live at Monterey”.
In 1967 he recorded his first album The Jerry Hahn Quintet for Arhoolie Records with Jack DeJohnette on drums. In 1968, he joined the Gary Burton Quartet with Roy Haynes and Steve Swallow, recording three albums and toured the United States, Europe, Canada, and Japan. Then, in 1970, he formed the Jerry Hahn Brotherhood, performing, touring, and recording for Columbia Records. In his book “The Jazz Book”, German born jazz authority Joachim Berendt noted the Jerry Hahn Brotherhood as being one of the “trailblazers of rock-jazz integration”. Jerry also began to write a monthly column for Guitar Player magazine entitled “Jerry Hahn’s Guitar Seminar” which continued for five years, and started work on his formidable book and CD Complete Jerry Hahn Method For Jazz Guitar for Mel Bay Publications ...
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