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tony hallinan
Description
Tony Hallinan session guitarist, composer and recording studio owner.
Tony Hallinan’s melodic, instrumental rock guitar compositions immediately grab the listeners attention. Tony is a gifted composer with an ear for a catchy melody, perfectly complimenting the fire in his solos and improvised material. Elements of Tony’s style are reminiscent of Joe Satriani, Steve Vai, Gary Moore, Brian May, Eddie Van Halen, Paul Gilbert and Jeff Beck. Tony began playing at the age of six and by the age of fourteen had achieved grade eight in classical guitar by which time he had begun to perform professionally as a session guitarist ...
Tony Hallinan’s melodic, instrumental rock guitar compositions immediately grab the listeners attention. Tony is a gifted composer with an ear for a catchy melody, perfectly complimenting the fire in his solos and improvised material. Elements of Tony’s style are reminiscent of Joe Satriani, Steve Vai, Gary Moore, Brian May, Eddie Van Halen, Paul Gilbert and Jeff Beck. Tony began playing at the age of six and by the age of fourteen had achieved grade eight in classical guitar by which time he had begun to perform professionally as a session guitarist ...
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Dec 27, 2005
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1. pat kirtley
Pat Kirtley is a gifted performer who combines a rich musical heritage with masterful contemporary technique on the acoustic guitar.This National Fingerstyle Champion’s musical roots are from the southern country and bluegrass tradition, but it is his original material that places him on the cutting edge of new acoustic music. His repertoire is one that defies categorization, weaving tunes into a tapestry of folk, pop, celtic, and down-home country, translated to the guitar with honesty, humor and depth.
Clean, driving, melodically pure compositions are his trademark. His style expands the boundaries of the folk genre, reflect the far-reaching impact and current popularity of the acoustic guitar. Pat’s CD Kentucky Guitar was named one of the “Top 59 Acoustic Albums of 1996” by Japan’s Player Magazine, and Pat was honored to be named one of “The Next Generation of Hot New Acoustic Acts" by Acoustic Guitar Magazine in the December 1997 issue.
Pat's deadpan wit, engaging personality and splendid versatility are elements that combine to create a unique musical experience. He delights enthusiastic audiences at concerts, festivals, and workshops throughout the United States and Europe ...
Clean, driving, melodically pure compositions are his trademark. His style expands the boundaries of the folk genre, reflect the far-reaching impact and current popularity of the acoustic guitar. Pat’s CD Kentucky Guitar was named one of the “Top 59 Acoustic Albums of 1996” by Japan’s Player Magazine, and Pat was honored to be named one of “The Next Generation of Hot New Acoustic Acts" by Acoustic Guitar Magazine in the December 1997 issue.
Pat's deadpan wit, engaging personality and splendid versatility are elements that combine to create a unique musical experience. He delights enthusiastic audiences at concerts, festivals, and workshops throughout the United States and Europe ...
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“American music, Texas style.”
That’s Clarence “Gatemouth” Brown’s four-word description of his freewheeling musical philosophy (it’s also the title of his 1999 album). A living monument to the melting pot of American regional styles, he’s been dishing up his personal gumbo of blues, R&B, country, swing, bebop and Cajun for more than half a century. Born into a musical family in Vinton, Louisiana and raised in Orange, Texas, close to the Gulf Coast, “Gate,” as he’s known to friends and fans, has been a headliner for most of his 80 years.
Along the way, he’s kept audiences rocking, swinging and two-stepping all over the world, from his early days on the Southern “chittlin’ circuit” to concert halls, international blues festivals and network TV. A multi-instrumentalist, he fields a daunting arsenal of guitar, fiddle, mandolin, viola – just about anything with strings – as well as harmonica and drums.
He started as a drummer, but launched his career as a guitarist in 1947, when he picked up ailing headliner T-Bone Walker’s guitar at Houston’s Peacock Club and proceeded to tear the place apart, earning $600 in tips, quite a haul in 1947 dollars.
As luck would have it, the Peacock was owned by Don Robey, a gangster/entrepreneur who signed young Gatemouth to his new Peacock label and put him on the road fronting a big band.
Though he started as a T-Bone disciple, times were changing and Gate soon cut his own path, his edgier, more urgent blues attack contrasting with Walker’s mellow, jazzy approach ...
That’s Clarence “Gatemouth” Brown’s four-word description of his freewheeling musical philosophy (it’s also the title of his 1999 album). A living monument to the melting pot of American regional styles, he’s been dishing up his personal gumbo of blues, R&B, country, swing, bebop and Cajun for more than half a century. Born into a musical family in Vinton, Louisiana and raised in Orange, Texas, close to the Gulf Coast, “Gate,” as he’s known to friends and fans, has been a headliner for most of his 80 years.
Along the way, he’s kept audiences rocking, swinging and two-stepping all over the world, from his early days on the Southern “chittlin’ circuit” to concert halls, international blues festivals and network TV. A multi-instrumentalist, he fields a daunting arsenal of guitar, fiddle, mandolin, viola – just about anything with strings – as well as harmonica and drums.
He started as a drummer, but launched his career as a guitarist in 1947, when he picked up ailing headliner T-Bone Walker’s guitar at Houston’s Peacock Club and proceeded to tear the place apart, earning $600 in tips, quite a haul in 1947 dollars.
As luck would have it, the Peacock was owned by Don Robey, a gangster/entrepreneur who signed young Gatemouth to his new Peacock label and put him on the road fronting a big band.
Though he started as a T-Bone disciple, times were changing and Gate soon cut his own path, his edgier, more urgent blues attack contrasting with Walker’s mellow, jazzy approach ...
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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" ...
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4. paul asbell
Paul Asbell is one of America's premier acoustic guitar players. His new CD, Steel String Americana is now available.
From his early years, playing blues on Chicago's South Side, to his present multi-faceted career based out of northern Vermont, Paul has earned an underground reputation as a true "musician's musician". He has played and recorded with Muddy Waters, John Lee Hooker, Howlin' Wolf, Lightnin' Hopkins, Otis Rush, Magic Sam, Earl Hooker, Lightnin' Slim, Paul Butterfield, Sam Lay, Pops Staples, Donny Hathaway, and numerous others while in his hometown of Chicago, Ill. (Hit the "Bio" or "Discography" buttons at left for more detail!)
Paul moved to Vermont in the heady "back-to-the-land" days of 1971, where he still lives. He soon started playing with a head-spinningly diverse array of artists, including Big Mama Thornton, singer-songwriters Paul Siebel, Jim Ringer, Mary McCaslin, and Rosalie Sorrells, jazz greats Jon Hendricks, Bobby McFerrin, Sonny Stitt, and Nick Brignola, and many others. In 1978, seeking an outlet for more personal musical visions, he formed Kilimanjaro, and recorded 2 award-winning albums for Philo Records which led to several appearances at the Kool Jazz Festival at SPAC, the Atlanta Jazz Festival, the Montreal Jazz Festival, the Montreux Jazz Festival in Switzerland, the Roskilde Festival in Copenhagen, and numerous national tours and concert dates. In 1981, he and other members of Kilimajaro joined forces with a legendary saxophonist/blues singer to form Big Joe Burrell and the Unknown Blues Band, which remains a Northeast regional favorite to this day. (For upcoming dates, hit "Calendar" button above).
Recent performance/recording credits include David Bromberg, Paul Butterfield, Betty Carter, Joshua Redman, James Carter, Kermit Ruffins, Michael Ray, the Sun Ra Arkestra, The Wild Magnolias, John Stowell, guitar wunderkind Julian Lage, and former student Trey Anastasio. He has also taught guitar for over 30 years, at Dartmouth College, University of Vermont, St. Michaels College, Skidmore College, and presently at Middlebury College. (For more info, hit "Guitar Instruction" button) ...
From his early years, playing blues on Chicago's South Side, to his present multi-faceted career based out of northern Vermont, Paul has earned an underground reputation as a true "musician's musician". He has played and recorded with Muddy Waters, John Lee Hooker, Howlin' Wolf, Lightnin' Hopkins, Otis Rush, Magic Sam, Earl Hooker, Lightnin' Slim, Paul Butterfield, Sam Lay, Pops Staples, Donny Hathaway, and numerous others while in his hometown of Chicago, Ill. (Hit the "Bio" or "Discography" buttons at left for more detail!)
Paul moved to Vermont in the heady "back-to-the-land" days of 1971, where he still lives. He soon started playing with a head-spinningly diverse array of artists, including Big Mama Thornton, singer-songwriters Paul Siebel, Jim Ringer, Mary McCaslin, and Rosalie Sorrells, jazz greats Jon Hendricks, Bobby McFerrin, Sonny Stitt, and Nick Brignola, and many others. In 1978, seeking an outlet for more personal musical visions, he formed Kilimanjaro, and recorded 2 award-winning albums for Philo Records which led to several appearances at the Kool Jazz Festival at SPAC, the Atlanta Jazz Festival, the Montreal Jazz Festival, the Montreux Jazz Festival in Switzerland, the Roskilde Festival in Copenhagen, and numerous national tours and concert dates. In 1981, he and other members of Kilimajaro joined forces with a legendary saxophonist/blues singer to form Big Joe Burrell and the Unknown Blues Band, which remains a Northeast regional favorite to this day. (For upcoming dates, hit "Calendar" button above).
Recent performance/recording credits include David Bromberg, Paul Butterfield, Betty Carter, Joshua Redman, James Carter, Kermit Ruffins, Michael Ray, the Sun Ra Arkestra, The Wild Magnolias, John Stowell, guitar wunderkind Julian Lage, and former student Trey Anastasio. He has also taught guitar for over 30 years, at Dartmouth College, University of Vermont, St. Michaels College, Skidmore College, and presently at Middlebury College. (For more info, hit "Guitar Instruction" button) ...
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5. miguel mega
Miguel Mega:
My first interest in music was when I watched a Queen concert on TV in 1981 . I started to play acoustic guitar in 1983 when I was 13 very influenced by my stepfather , Edilberto Abrăo , that plays in brazillian jazz bands .I play electric guitar since I was 15 and I´ve been trying to really understand what "music" really means since then. My first work in vinyl, was in 1992 with my band Last Joker. With Last Joker I recorded one album untitled "Last Joker" and performed big venues with the greatest names of the brazilian heavy metal such as, DR. SIN , ANGRA, SEPULTURA, R.D.P., KORZUS etc... By the end of 1994 LAST JOKER broke up and I went to Los Angeles to study music business, recording thecnics and my passion: THE GUITAR!. I lived in LA for 2 years and studied guitar with Joey Tafolla (solo artist) and Jean Mark Belkadi who lectures at LAMA (Los Angeles Music Academy)and at MI (GIT) Musicians Institute. I did some production and recording courses at the Music Box Studios in Hollywood, too. I came back to Brazil in ´97 and for the very first time in my life I wanted to record an instrumental and experimental free-form album. Untitled simply "Miguel Mega" and recorded on a 4 track (analog), it was my first experience and cd release . In 1999 I came up with my 2nd solo cd, untitled "intuitive". Recorded at my private studio and all produced by myself between july 98 and january 99, it presents a fusion of my favorite styles such as blues, rock, jazz, funk , brazillian jazz and country. In my opinion , "Intuitive" sounds much more composed than "Miguel Mega", which is great because it means that I grow up as a musician ...
My first interest in music was when I watched a Queen concert on TV in 1981 . I started to play acoustic guitar in 1983 when I was 13 very influenced by my stepfather , Edilberto Abrăo , that plays in brazillian jazz bands .I play electric guitar since I was 15 and I´ve been trying to really understand what "music" really means since then. My first work in vinyl, was in 1992 with my band Last Joker. With Last Joker I recorded one album untitled "Last Joker" and performed big venues with the greatest names of the brazilian heavy metal such as, DR. SIN , ANGRA, SEPULTURA, R.D.P., KORZUS etc... By the end of 1994 LAST JOKER broke up and I went to Los Angeles to study music business, recording thecnics and my passion: THE GUITAR!. I lived in LA for 2 years and studied guitar with Joey Tafolla (solo artist) and Jean Mark Belkadi who lectures at LAMA (Los Angeles Music Academy)and at MI (GIT) Musicians Institute. I did some production and recording courses at the Music Box Studios in Hollywood, too. I came back to Brazil in ´97 and for the very first time in my life I wanted to record an instrumental and experimental free-form album. Untitled simply "Miguel Mega" and recorded on a 4 track (analog), it was my first experience and cd release . In 1999 I came up with my 2nd solo cd, untitled "intuitive". Recorded at my private studio and all produced by myself between july 98 and january 99, it presents a fusion of my favorite styles such as blues, rock, jazz, funk , brazillian jazz and country. In my opinion , "Intuitive" sounds much more composed than "Miguel Mega", which is great because it means that I grow up as a musician ...
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