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David Bromberg And His Big Band In Concert

David Bromberg And His Big Band In Concert

For a man who quit an established recording career in order to study the fine art of making violins, David Bromberg sure knows how to work a room. A veteran sideman to Dylan, Ringo Starr and Jerry Jeff Walker, as well as a solo performer and bandleader of more than 40 years standing, the bearded and bespectacled Bromberg may have kept a low profile through the so-called MTV era. But he didn't sleep through the more recent recording industry implosion and its attendant rise of the Pod People. Rather, he took his boundary busting energy back to the live stage, with the Count Basie Theatre in Red Bank, New Jersey playing a big role in this master entertainer's game plan.The multi-instrumentalist and musicologist has made the Count Basie Theatre a crucial pit stop in his annual tour schedule for each of the last four years ... While Bromberg may take the spotlight for an unaccompanied number or two, it's his role as bandleader and raconteur that prompted the New York Times to brand him "electrifying." A performance by the 12-piece David Bromberg Big Band fireballs forward like a bull in a used record shop, tracing its own musical logic - Bob Wills to Bob Dylan to Bo Diddley to Dave Dudley - with station stops anywhere from Sam Cooke to "a bluegrass tribute to Ethel Merman." Not to mention some fondly remembered originals from his vintage albums and a lot of things that you thought had been written by the Grateful Dead, Patsy Cline, Cab Calloway or even the Clash.Titles include: Sloppy Drunk, I'll Take You Back, Dark Hollow, Make Me A Pallet On Your Floor, Who's Lovin' You Tonight, This Love Affair, Tongue, It Takes A Lot To Laugh It Takes A Train To Cry, If You Don't Want Me, Nobody's, Sharon and Driving Wheel

DKK 214.00
1

Jazz Rock Guitar Of Mickey Baker And The Alex Sanders Funk Time Band

Jazz Rock Guitar Of Mickey Baker And The Alex Sanders Funk Time Band

Mickey Baker, best known for his Mickey & Slyvia hit Love is Strange, lived in France for the last thirty years of his life. During that time he played jazz as well as delving back into the roots of Black American music. As a result he began to experiment with various country blues techniques and styles. This exploration led to his album Blues and Jazz Guitar of Mickey Baker (SGGW107). At the same time he also began to perform as a solo jazz and blues artist which was quite different than his past where he usually fronted either a jazz or a rock band. His solo blues playing took him around Europe and during the last years of his touring throughout Africa on three occasions. On his last tour of Africa he was joined by the excellent bass player Alex Sanders and Mickey's show was able to expand to the full gambit of his musical experiences - from country blues to jazz. During this tour Alex and Mickey started to compose together and decided to try and record an album that would highlight their sounds and explorations. This is, in fact, the first jazz rock guitar album that Mickey Baker has ever done. It is full of surprises and intriguing sounds from a rendition of Rachmaninoff's Prelude In C# Minor to the disco sound of Alexander's Funk Time to the 7/4 of Ouagadougou. Plus for this album Mickey combined his skills of being one of the finest jazz guitarists with those of a teacher and prepared a tab/music booklet for students.

DKK 122.00
1

Ragtime Guitar

Ragtime Guitar

This is a challenging set of three lessons presenting a variety of tunes from string band rags to classic rags to novelty instrumentals. The three audio CDs give 3 full hours of note-by-note, phrase-by-phrase instruction. LESSON ONE: Two New Orleans standards are presented in this lesson. Both are played in the key of C with a style that combines an alternating bass with single-string runs and counterpoint lines. Mabel's Dream was popularized by the King Oliver Band. High Society is a well known Mardi Gras instrumental. LESSON TWO: Two rags are presented in this lesson. We begin in a dropped D tuning with the classic rag Powder Rag. This is followed by an arrangement of the 1928 Dallas String Band recording of Dallas Rag. This combines alternating bass with counterpoint techniques and single-string runs. LESSON THREE: One of Rev. Davis's most popular show instrumentals was Soldier's March. It has sections played in the keys of F and C and is a challenging guitar solo that takes the listener from early morning to lights out in the day of a soldier.

DKK 285.00
1

Fred Sokolow: The Music Of The Grateful Dead

Fred Sokolow: The Music Of The Grateful Dead

There'll never be another band like the Grateful Dead, but the Dead's music lives on. Now you can start to play and sing nine classic Grateful Dead tunes from start to finish with Fred Sokolow's 92-minute instructional DVD. For each song Fred shows you how to fingerpick backup while singing, how to play an instrumental solo, and how to begin and end the tune. Along the way you'll learn a lot about fingerpicking, backup patterns, soloing ideas and chord positions.

DKK 242.00
1

Dix Bruce: Basic Swing Guitar

Dix Bruce: Basic Swing Guitar

Dix Bruce gives you a detailed introduction to this highly energetic but surprisingly accessible approach to the fingerstyle guitar. This combination of moveable chords, 'swing' feel and fingerstyle techniques has been the starting point for generations of Jazz guitarists. You'll learn eight carefuilly kchosen songs that every swing player should know, including standards by Gershwin. The lessons begin with simple two and three chord songs, building through to more complex Jazz chord forms in a manner that is both logical and easy to absorb. By the end of the DVD you will have the skills and confidence to begin playing with any swing band!

DKK 242.00
1

Hot Tuna: 25 Years And Runnin' On

Hot Tuna: 25 Years And Runnin' On

Hot Tuna started life as a set-breaking acoustic showcase by the members of Jefferson Airplane intended to contrast with the band's infamous psychedelic rock explorations. Long before the days of MTV Unplugged, these impromptu performances would feature guitarist Jorma Kaukonen and bassist Jack Casady rockin' through ragtime blues standards and Tuna originals, true to the free spirit of the music's very roots.Jesse Block's concert documentary, 25 Years & Runnin' celebrates Hot Tuna's dedication to their influences and musical traditions. Jorma and Jack reflect on their influences and musical partnership since playing in a high school garage band, while their fans explain the Jorma/Jack chemistry that's kept them tuned to Tuna for a quarter century.

DKK 217.00
1

Fred Sokolow: Beginner's Rock Guitar

Fred Sokolow: Beginner's Rock Guitar

Before rock n' roll became a big corporate industry, playing rock guitar used to be the most fun you could have with your pants on! Fred Sokolow shows why in this 72 minute DVD that uses your favorite garage-band tunes to demonstrate how to:Play power-chord backup in any key - the Louie Louie way Solo and play Chuck Berry style boogie backup on tunes like Roll Over Beethoven and School Days (duck-walk not included) Use blues scales and 'substitute' scales for soloing Solo with sliding major pentatonic scales in the styles of Dickey Betts and Jerry Garcia Chord-based licks and double-note Steve Cropper-style licks Includes a 64 page tab music booklet.

DKK 242.00
1

Fun on The Frets

Fun on The Frets

The more you play the guitar the better you'll become and the more fun and enjoyment you'll have. When I asked Rev. Gary Davis when and how I should practice on my guitar his answer was clear. He told me to play first thing in the morning and then last thing at night. He said I should keep my guitar out of its case so that I could play it whenever I wanted. The message was to play and enjoy yourself. This collection of blues, jug band tunes, rags and novelty songs should present you with hours, weeks, months and even years of enjoyment and challenges. The arrangements vary from easy to difficult. Includes access to online audio. The tunes presented include: Going To Germany,Walk Right In, My Money Never Runs Out, Cocaine Habit Blues, KC Moan, Stealin', Stealin', You May Leave, Mississippi River Waltz, He's In The Jailhouse Now, Show Me The Way To Go Home, Guitar Stomp, Mississippi Blues, Blues For The Mann, Shine On Harvest Moon, Creole Belles - March & Two Step, The Teddy Bears' Picnic, Nola, Dallas Rag, At A Georgia Camp Meeting, St. Louis Tickle, Mabel's Dream, Powder Rag and Silver Swan The more you play the guitar the better you’ll become and the more fun and enjoyment you’ll have. When I asked Rev. Gary Davis when and how I should practice on my guitar his answer was clear. He told me to play first thing in the morning and then last thing at night. He said I should keep my guitar out of its case so that I could play it whenever I wanted. The message was to play and enjoy yourself.This collection of blues, jug band tunes, rags and novelty songs should present you with hours, weeks, months and even years of enjoyment and challenges. The arrangements vary from easy to difficult. Includes access to online audio.

DKK 252.00
1

Ernie Hawkins: The Music Of Louis Armstrong Arranged For Fingerstyle Guitar

Ernie Hawkins: The Music Of Louis Armstrong Arranged For Fingerstyle Guitar

This DVD lesson could be titled The Music of Louis Armstrong for Finger-picking Guitar or Gary Davis Meets Louis Armstrong. Born in 1896, the brilliant Piedmont guitarist Gary Davis came of age in the teens and the twenties. He was in his prime during the Jazz Age and his playing shows it. His guitar style and techniques came out of the twenties. It enabled him to play like a band. His thumb playing the rhythmic sections of the band while his index finger soloed over this. Rev. Davis only used his thumb and index fingers to pick. When asked why he replied with a smile: ?That?s all I need!? In Rev. Davis?s playing you can hear the drive of Louis Armstrong as well as Louis?s bugle call riffs.Rev. Gary Davis's style is made to order to play Louis Armstrong tunes on guitar. As I learned most of what I know and do on the guitar from Rev. Gary Davis, this is how I see it and how I have approached arranging the tunes on this DVD lesson. Once you find the right key on the guitar these early jazz masterpieces seem to fall right into place. Putting Cornet Chop Suey into the key of C, for instance, enables you to play the patented ?Gary Davis Slow Drag G form C run' throughout as the statement of the initial melody.This lesson is over 2 hours and forty minutes. The arrangements are for the intermediate to advance players. They are multi-section compositions with lots of fingerpicking challenges. But all your hard work will be very worthwhile as these tunes are some of the greatest in the early jazz repertoire. Ernie teaches phrase by phrase and then uses the split-screen so you can carefully study what each hand is doing. Detailed tab/music booklets are included as PDF files on both DVDs.

DKK 242.00
1

Ragtime Guitar Of Rev. Gary Davis - 2 DVD Set

Ragtime Guitar Of Rev. Gary Davis - 2 DVD Set

Rev. Gary Davis was an incredible ragtime guitar player. His arrangements illustrate what has become known as the Piedmont guitar style. As a young man Rev. Davis played in a string band with the legendary Willie Walker. Several of the tunes featured on this double DVD lesson come from Walker?s repertoire, i.e. Make Believe Stunt. Rev. Davis used to talk about Blind Blake?s sportin? right hand and you can hear this influence in all of Rev. Davis?s ragtime playing. These are challenging and difficult multipart arrangements. Ernie Hawkins teaches each section phrase by phrase and carefully shows you the right hand picking as well as the left hand fingerings that were unique to Rev. Davis?s approach. You will be able to easily follow the instruction with the tab/music booklet. Also featured are split screen segments where each section is played slowly and you can study the movements of each hand. As a bonus we have included various audio performances of Rev. Davis playing each song.

DKK 306.00
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Holy Blues Of Rev. Gary Davis

Holy Blues Of Rev. Gary Davis

In this book, six of Rev. Davis' Holy Blues are presented-- gospel songs with a taste of the blues. The accompanying three CDs of lessons teach these arrangements phrase by phrase as well as presenting the original recordings. These lessons are for the intermediate to advanced fingerstyle guitarist. All of the music is in notation and tablature. LESSON ONE: Rev. Davis played many gospel songs with a blues feel. These are referred to as "Holy Blues." Death Don't Have No Mercy is an excellent example of a Holy Blues in the key of Em. Let Us Get Together follows, and is played in the key of G. This is a difficult arrangement illustrating Rev. Davis's control over his right hand. LESSON TWO: Rev.Gary Davis's religious arrangements in the key of C: I Belong to the Band and Tryin' to Get Home. LESSON THREE: For ragtime playing Rev. Davis would approach his guitar as if it were a piano. For gospel songs the guitar takes on the role of a full Baptist church! In this lesson we study two gospel arrangements, Pure Religion and I Am the Light of the World. Both are played in the key of C and have become popular in today's pop world.

DKK 247.00
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Spirituals For Fingerstyle Guitar : Taught by Cory Seznec

Spirituals For Fingerstyle Guitar : Taught by Cory Seznec

Some time ago Cory began delving fairly deeply into the rich repertoire that is African-American Spirituals. Listening to the jubilee singers of yore, and some of the terrific recordings by Alan Lomax of vocal groups spurred him to find old hymnals and songbooks in order to arrange tunes for the guitar. Give Me Jesus is a soulful number that ended up being somewhat inspired by the playing of John Fahey, with down tempo strumming followed by more classic alternate bass picking. Roll De Ol' Chariot Along has a rollicking, syncopated feel that never really stays in one place, bouncing up and down the neck à la Revered Gary Davis. Lift Every Voice and Sing, aka the Black National Anthem, has a beautiful, harmonically rich feel and the 6/8 tempo allows the guitarist a fair amount of room in which to maneuver. Also included is a spirited version of This Train Is Bound For Glory, originally inspired by Big Bill Broonzy’s walking bass line, an arrangement of A Closer Walk With Thee that taps into the feel of a New Orleans brass band funeral procession, and a heavily swung and syncopated take on Rev. Thomas A. Dorsey’s heart-wrenching piece Precious Lord, Take My Hand. Titles include: Give Me Jesus, Precious Lord, Take My Hand, Lift Every Voice And Sing, Roll De Ol’ Chariot Along, A Closer Walk With Thee, This Train Is Bound For Glory

DKK 234.00
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Spiced Up Fingerstyle Arrangements : Taught by Cory Seznec

Spiced Up Fingerstyle Arrangements : Taught by Cory Seznec

This lesson features a mixed bag of six songs arranged in a variety of ways with the idea of adding some spicy seasoning to the fingerpicker’s cookbook. The lesson employs tricks and licks that Cory has picked up over the years in his quest to find his own “style”. In this almost four hour lesson each song has it’s own built-in exercises for fingerpicker’s looking to head in new directions. The old standard A Sin To Tell A Lie becomes a highly arpeggiated waltz with some fun licks up the neck. Somebody Stole My Gal incorporates counterpoint, chord inversions, and nice bass movement. The old jug band tune Sadie Green (The Vamp of New Orleans) gets revamped with a feel that bounces from down low New Orleans rumba to punchy ragtime picking and back again. A highly unorthodox treatment of Blind Willie McTell’s East St Louis Blues gets deep into Cooder-esque syncopation, and a chorus was added to make it a little less repetitive. The instrumental “showpiece” No Hiding Place was influenced by Cool John Ferguson’s virtuosic zinger off of a Music Maker Relief Foundation music compilation (likely Ferguson’s take on the old gospel number No Hiding Place Down Here), and then taken on a bunch of detours. Those looking to “Africanize” their playing will enjoy Cory’s take on The Parting Glass which takes this old Celtic drinking ballad on a trip to east Africa, featuring funky polyrhythms and muted strings in 12/8. Titles include: Somebody Stole My Gal, A Sin To Tell A Lie, East St Louis Blues, Sadie Green (The Vamp of New Orleans), No Hiding Place, The Parting Glass

DKK 302.00
1

Lasse Johansson: Early Jazz for Fingerstyle Guitar (DVD)

Lasse Johansson: Early Jazz for Fingerstyle Guitar (DVD)

The ragtime and early jazz music pioneers during the first decades of the last century didn?t know that the sounds they created would echo in the music that people loved for years to come. They started an American music tradition that is alive to this day. I was born and raised in Sweden and I have always enjoyed the music from that era but being a Guitarist, I never thought that playing back-up in a jazz band was for me. I?d rather do something with these songs so that they would fit my approach playing fingerstyle Guitar.Many of the early jazz songs and of course classical ragtime often is played as Piano music, with a steady left hand playing bass notes and chords together with the right hand playing a syncopated melody on top. This style of playing is very similar to the alternating bass style on the Guitar. So these tunes easily lend themselves to a fingerstyle arrangement.With classical ragtime I approach arranging by transcribing the original Piano sheet-music. The important thing is to find keys that suit the Guitar and then decide what notes not to play since it is not technically possible to play all the notes in a Piano score on the Guitar. I like to play in keys that will give me the opportunity to use open strings in the bass while the melody moves up and down the neck. This is especially important since my aim is to make my arrangements not too difficult to play, so that the player can concentrate on the music instead of being too concerned with the technical aspects of his/her playing. The most important challenge though, is to make the tune sound like Guitar music, not Piano music played on the Guitar.

DKK 242.00
1

Eric Bibb: Guitar Artistry

Eric Bibb: Guitar Artistry

Eric Bibb was raised in the folk tradition, the son of the folk singer Leon Bibb. Bibb?s uncle was the world-famous jazz pianist and composer, John Lewis, part of the Modern Jazz Quartet. Bibb was raised in a music-filled household, as family friends in the 1950s and 1960s included Pete Seeger, Odetta, Bob Dylan, and the late Paul Robeson, who was named Eric?s godfather. Bibb got his first steel guitar at age seven, and he got some advice from Dylan that he never forgot, to ?keep it simple, forget all that fancy stuff.? When he was 16, his father asked him to play guitar in the house band for his TV talent show, Someone New.In 1970, Eric left New York City for Paris, where he met with guitarist Mickey Baker. There he began to focus on blues guitar and after moving to Stockholm, he became enamored with prewar blues. A breakout performance at the 1996 London Blues Festival catapulted Eric to a higher level of visibility. Since then he has toured the world, performing at concert halls and major festivals. He has toured with Robert Cray, Keb Mo, Corey Harris and even opened shows for Ray Charles.Eric earned a Grammy nomination for his collaboration (with Taj Mahal and others) on the children?s record, SHAKIN? A TAILFEATHER. His album PAINTING SIGNS was recognized by New Age Voice as a Finalist for Best Folk Album of 2001. He joined Maria Muldaur and Rory Block to record the gospelflavored SISTERS & BROTHERS, and then released FRIENDS, a collection of duets with Taj Mahal, Odetta, and others. He has been nominated for many W.C. Handy Awards in a variety of categories. Eric?s rich and sensitive vocals and lyrics provide a perfect balance to his fine fingerpicking technique. Purveying a beautifully realized and deftly accomplished soulful folk-blues, Eric has no problem blending various genres effortlessly, melding a traditional rootsy American style with a subtle, contemporary sensibility.

DKK 214.00
1

Masters Of The Ragtime Guitar

Masters Of The Ragtime Guitar

Ragtime guitar is one of the most exciting and complex styles for a guitarist to master. The techniques involved can become very complicated and for a novice these can sometimes interfere with the spirit of the music. But in the hands of a talented and experienced guitarist this music can capture a unique texture as well as being one of the most rhythmic and attractive musical forms known. This album presents four of the leading exponents of ragtime guitar. Their approach to ragtime differs, yet each one manages to capture that all important element called "feel."Duck Baker's playing on his nylon strung flamenco guitar has excited audiences throughout Europe, Japan and America. He brings an energetic spirit to each tune that he plays. His right hand technique coupled with the use of a flamenco guitar creates a strong and rhythmic sound.Tim Nicolai also uses a nylon strung guitar though his technique is more classical oriented. His rendition of Solace - A Mexican Serenade demonstrates clearly how well classic rags can be adapted to a classical guitar approach. The shades and tones of Tim's arrangements show a gentleness and true understanding for the music.Likewise the Dutch Wizard, Ton Van Bergeyk brings his own touch and humor to two original ragtime oriented instrumentals. Ton's command of the steel string guitar is very impressive. His arrangements combine many elements and clearly show his love for the music of Scott Joplin to Glenn Miller! Ton has recorded several solo albums on as well as being heavily featured on the album I Got Rhythm (SGGW133).Lasse Johansson adds another approach to ragtime guitar with his four solos. His version of Creole Belles is very interesting and demonstrates how successfully a brass band arrangement can be adapted to the guitar. It is also interesting to hear this composition as one of the sections has become very popular through the playing and recordings of Mississippi John Hurt.Lasse's duets with Claes Palmqvist are fine examples of the art of duet guitar arrangements.Together they have created delicate and yet spirited version of two well known rags. Both arrangements are highly successful and each adds a different dimension to their collaborations.This collection is an exciting tour de force in ragtime guitar. Duck, Ton, Tim, Claes and Lasse are truly masters of this style. And as usual the guitar players who are eager to try to pick up these tunes will have a happy time with the PDF tab/music booklet that has been prepared to go along with this project and can be found on the CD. This booklet presents many of the tunes played.

DKK 122.00
1

David Laibman: Playing The Classic Rags Of Scott Joplin, James Scott & Joseph Lamb

David Laibman: Playing The Classic Rags Of Scott Joplin, James Scott & Joseph Lamb

The great ragtime pieces of the early 20th century were written mostly for Piano, but many translate superbly for the Guitar, and David Laibman will show you how.Here's a mystery: if the great ragtime pieces of the early 20th century were not written for Guitar, and if they weren't player on the Guitar at all (until some of us started doing so half a century ago), then why do they work so will on Guitar?Well, thumb vs. three fingers on the right hand (we'll leave out the pinky for now) creates that subtle antagonism between steady bass and syncopated melody - the 'twinkle in the eye' of Ragtime. There is a theory that the original borrowing actually went in the other directed, from three-finger Banjo to Piano. Who knows? But I'm finding that the 'educated thumb' is only one neat thing about ragtime Guitar. Classic rags are very expressive, with moods and tempers, hills and valley. You can capture some of this with left-hand notes (slides, hammer-ons, pull-offs), with right-hand brushes, rolls, nail strokes, with clever use of open strings and natural harmonics. This works. It is it's own story - not an imitation of a Piano, or of a dixieland or jazz band. It is, simply - ragtime Guitar.In these lessons, I have tried, for the most part, to meet two goals. First, to create versions of some of the most beautiful classical rags that 'lay down' well on Guitar, so when you play them you are working with the instrument, not fighting it. I have tried to pitch and arrange the pieces so that a lot of the action is in first position rather than high up on the neck, and to keep left hand gymnastics to a minimum. Second, I didn't want these arrangements to sound like 'student' arrangements, too elementary to be believable. It is all about striking a balance. I am generally pleased with the result, and I hope you will be too.While the focus of these lessons is on the 'greats' - Joplin, Lamb and Scott - I have also included one of my own recent compositions: Pandora's Rag. This version is simpler than the one I play on my recent CD, Adventures in Ragtime, in Em, G and E, rather than Am, C and A, and not so high up the neck. I hope you like it; I think it has some nice harmonies. No one will ever touch the ragtime masters, but I would not be doing them justice if I didn't try to use their inspiration to strike out on my own a bit.And that is what you should do too! It would be great is you learn to play these charming and challenging pieces. But even greater if you improve the arrangements, adapt them to your own tastes, see if you can apply the various techniques to other music - ragtime, and beyond - that can give pleasure to yourself and others, and enrich the treasure-house of fingerstyle Guitar. None of us has tapped even a fraction of its full potential - and that's what makes it fun!" - David Laibman

DKK 261.00
1