Best Music Blog In The World

2020-04-24T16:25:00.000-07:00

Citizen DJ -Make hip hop music using the Library of Congress’s public audio collections.

Citizen DJ is a project by Brian Foo currently under development during his time as an Innovator-in-Residence at the Library of Congress. It invites the public to make hip hop music using the Library’s public audio and moving image collections. By embedding these materials in hip hop music, listeners can discover items in the Library's vast collections that they likely would never have known existed.

2019-06-24T15:14:00.001-07:00

Regina Spektor Tunes Up for Broadway

From The New Yorker Magazine

By Michael Schulman

June 20, 2019

https://www.newyorker.com/culture/culture-desk/regina-spektor-tunes-up-for-broadway

Slade

2019-06-22T09:57:00.000-07:00

Slade

Slade - Cum On Feel the Noize

https://en.wikipedia.org/wiki/Slade

Cum On Feel the Noize

Artie Traum

2019-04-02T05:42:00.001-07:00

Artie Traum

https://en.wikipedia.org/wiki/Artie_Traum

Artie Traum at the 1978 Norwich Folk Festival, U.K.

Telling her mother’s war story on stage with a piano

2018-09-19T10:09:00.000-07:00

https://www.washingtonpost.com/entertainment/theater_dance/telling-her-mothers-war-story-on-stage-with-a-piano/2018/09/17/94ddcbbe-b9e1-11e8-adb8-01125416c102_story.html?noredirect=on&utm_term=.a25c4a6a7636

Mona Golabek in Theater J’s “The Pianist of Willesden Lane.” (Hershey Felder Presents)

By Celia Wren

September 17

It hardly seems accurate to describe “The Pianist of Willesden Lane” as a solo show, even though storyteller/concert pianist Mona Golabek is the only performer onstage: The classical music Golabek plays is such a powerful presence — and one so integral to this affecting and intimate show — that it almost deserves its own curtain call.

Presented by Theater J at the Kennedy Center, “The Pianist of Willesden Lane” tells the true story of a brilliant young pianist, Lisa Jura — Golabek’s mother — before and during World War II. Raised in Vienna, Lisa is a teenager when the Nazi regime becomes a dire threat to her Jewish family. After escaping to England on the Kindertransport, Lisa finds herself a near-destitute refugee, working as a factory seamstress and stealing moments at a piano in a London basement as bombs fall during the Blitz. Her onetime dreams of a concert career now seem beyond her reach — or are they?

Golabek authored a book about her mother’s experience, “The Children of Willesden Lane” (written with Lee Cohen). This stage production was adapted and directed by Hershey Felder, the creator of other musical-biography plays, such as “George Gershwin Alone.” (“The Pianist of Willesden Lane” has previously run in New York, London and elsewhere. Here, it kicks off a season that Theater J is mounting at stages around the District while its parent organization, the Edlavitch DC Jewish Community Center, copes with renovations of its building.)

Felder’s conception works nicely here. Wearing a black dress, the soft-spoken Golabek tells the story in an appealingly simple, direct fashion. Ably channeling her teenaged mother, she refrains from waxing too actorly when depicting other characters, such as Lisa’s polite Viennese piano teacher (who is forced to stop teaching Jewish students), the harried director of a London refugee-assistance center, and a lovesick French Resistance fighter.

When the script touches on music that Lisa played — works by Debussy, Rachmaninoff, Edvard Grieg and others — Golabek sits at a grand piano and performs. These interpretations of (excerpted) scores are resplendent in themselves — Golabek’s technique and musicality are tremendous — and they also seem to bridge past and present. In a way, we are hearing what Lisa heard.

Hanging above the piano on the Family Theater stage are enormous gilded frames that relay projections, including images of Vienna streets, World War II fighter planes and Lisa’s family. Photos of children accompany a scene set in the eponymous Willesden Lane, where a generous matriarch takes in Lisa and other refugee kids. Needless to say, it’s a plot point that resonates, given the current world refugee crisis and recent family separations at the U.S. border.

Allman Joys in Atlanta

2018-08-24T08:51:00.001-07:00

The LEFSETZ LETTER: Bob Dylan Starter Kit

2016-05-27T06:27:00.000-07:00

Bob Dylan Starter Kit

http://encore.celebrityaccess.com/index.php?encoreId=567&articleId=53815

The LEFSETZ LETTER

Bob Dylan Starter Kit
Posted: May 26, 2016
I'm hearing people complain that Bob Dylan is not of the stature of the other Oldchella acts. This is patently untrue. The only star of his caliber is Paul McCartney, maybe in the history of rock and roll (extending Paul's fame and talent to the rest of the Beatles). Don't equate grosses with talent. Don't equate accessibility with talent. Don't equate airplay with talent. Years from now, it might be Dylan's material that maintains, certainly not that of the Stones, who have a soulful, blues-influenced sound and were great performers but were rarely groundbreaking. Waters had his moment, but it's hermetically sealed, it doesn't translate to modern times, you're looking back through binoculars. The Who is maximum rock and roll, but despite breaking ground with "Tommy," it was Bobby who was constantly testing limits. As did Neil Young, test limits and listen to his own heart, Young is Dylan-like, but I think even if you asked Neil he'd put Dylan atop the heap.

Not that this is about bringing the rest of the Oldchella acts down, they're all great. It's just that Dylan is on a higher plane, and too many people don't know it. Forget today's standards album, forget the ragged voice, forget the endless tour, let's go back to the music.

Spotify playlist: https://goo.gl/r3gvVK

© 2001-2016 Gen-Den Corporation. All rights reserved.
CelebrityAccess^SM and Gen-Den^SM are service marks of Gen-Den Corporation.

Adele Reportedly Signs $130 Million Contract With Sony

2016-05-27T06:15:00.002-07:00

Adele Reportedly Signs $130 Million Contract With Sony

Posted: May 23, 2016
LONDON (CelebrityAccess) -- The Guardian is reporting that British singer Adele has signed a record-breaking multi-album contract with Sony Music, worth a staggering £90m ($130.3m USD). If paid in full, it would be the largest recording contract in history.

The Guardian said that Adele was signed in a deal brokered by her manager Jonathan Watkins some months ago, just before Christmas after her contract with British independent label XL expired. However, Neither Sony Music, XL Recordings or Adele’s management would comment on the the story.

The deal eclipses previous record-holders, including Robbie Williams' £80m contract with EMI in 2002 and Whitney Houston's $100m Arista contract in 2001.

Adele's last album, 25, which was released last year, is credited with single-handedly helping to revive album sales after it shipped more than 19 million copies to date, worldwide. The album proved to be the top single-week seller since the metric began to be collected in 1991. - Staff Writers

iPhone 7 case hints at stereo speakers, no headphone jack

2016-03-21T04:57:00.005-07:00

iPhone 7 case hints at stereo speakers, no headphone jack

BY LUKE DORMEHL • 8:34 AM, MARCH 9, 2016

Manufacturers are gearing up for the iPhone 7, which means we’ll be getting our first blurry glimpses of what could potentially be Apple’s next-gen smartphone — courtesy of “leaked” iPhone 7 case pictures doing the rounds online.

Apple considering earlier-than-usual launch for 'iPhone 7' in 2016, source says

2016-03-21T04:55:00.005-07:00

Apple considering earlier-than-usual launch for 'iPhone 7' in 2016, source says

By Neil Hughes
Wednesday, November 04, 2015, 01:18 pm PT (04:18 pm ET)

Though Apple has used the month of September to introduce new iPhones for four straight years, that could change in 2016 with an earlier than expected debut for the "iPhone 7," a source has told AppleInsider.

What the Rumors are Suggesting About the iPhone 7 (AAPL)

2016-03-21T04:53:00.002-07:00

What the Rumors are Suggesting About the iPhone 7 (AAPL)

Since the first iPhone was revealed by Steve Jobs at the Macworld Conference in San Francisco in January 2007, the device has gone on to become one of the most popular and profitable products in history. Apple, Inc. (AAPL) is currently the world's most valuable public company, and iPhone accounts for the majority of the company’s revenue (a massive 68% in Q1 2016). Following the iPhone 6S launch in 2015, analysts expect the 2016 release will be called the iPhone 7 and feature a brand new design with substantial technology upgrades. In this article, we’ll review some of the major rumors surrounding Apple’s highly anticipated 2016 iPhone release.

Read more: What the Rumors are Suggesting About the iPhone 7 (AAPL) | Investopedia http://www.investopedia.com/articles/investing/031116/what-rumors-are-suggesting-about-iphone-7-aapl.asp#ixzz43XOiMYeG

2016-02-24T05:32:00.000-08:00

The Daily Snapshot. February 24th, 2016

Brooklyn Brewery mulls leaving longtime home in Williamsburg for elsewhere in the borough The company may relocate its Williamsburg plant to the Brooklyn Navy Yard or Industry City

2016-02-24T05:09:00.001-08:00

Brooklyn Brewery mulls leaving longtime home in Williamsburg for elsewhere in the borough

The company may relocate its Williamsburg plant to the Brooklyn Navy Yard or Industry City

Brooklyn Brewery mulls leaving longtime home in Williamsburg for elsewhere in the borough

Allman Brothers Band: Compilation Producer Bill Levenson Talks Deluxe '1971 Fillmore East Recordings'

2015-11-01T06:24:00.000-08:00

Allman Brothers Band: Compilation Producer Bill Levenson Talks Deluxe '1971 Fillmore East Recordings'

Posted 08/13/2014 at 1:34pm | by Alan Paul

Allman Brothers Band: Compilation Producer Bill Levenson Talks Deluxe '1971 Fillmore East Recordings'

The Allman Brothers Band At Fillmore East has been considered rock’s best live album since its 1971 release.

Recorded March 12 and 13, 1971, at the New York club, the album captured the original Allman Brothers Band at the peak of their powers, playing with verve, grace, intensity and seemingly telepathic communication.

Guitarists Dickey Betts and Duane Allman finished one another’s phrases, spun beautiful leads off each other’s riffs and prodded themselves to guitar heights that have rarely, if ever, been equaled.

Over the years, different versions have been issued, including the expanded The Fillmore Concerts, but the holy grail for Allmans fans has been hearing the many unreleased tracks from the shows, mostly stemming from Friday, March 12, as most of the album was culled from the final night.

A new deluxe set, The 1971 Fillmore East Recordings, delivers almost all of the music played by the Allman Brothers at the Fillmore East during these shows in great, remastered sound. The set consists of six CDs or three Blu-ray discs, which are mixed for Surround Sound and bring the band’s performance to a shimmering new life.

Duane Allman famously invited several guests, including soprano saxophonist Juicy Carter, harmonica player Thom Doucette and percussionist Bobby Caldwell (the drummer from the headlining Johnny Winter And), to sit in, much to the consternation of producer Tom Dowd. Dowd convinced the band to banish the horns for the second night and chose different versions of songs or edited out most of the guests’ contributions, which can now be heard — and mostly prove Dowd’s point.

The final performance captured on the collection came a few months later, on June 27, 1971, the closing show of the Fillmore East. It includes promoter Bill Graham’s entire, ecstatic introduction, which concluded with “We’re going to round it out with the best of them all, the Allman Brothers Band.”

We spoke with compilation producer Bill Levenson about the release.

GUITAR WORLD: This set has been talked about for so long. Do you think it came out the same way it would have if you had done it any time in the last 20 years?

The main difference in the last year or two was the Blu-ray and Surround Sound. I don’t think we would have done that in the Nineties when we were first talking about it. I think that’s what doing it in 2014 brought us — a Blu-ray set.

And I’m very excited about the Surround Sound. The goal was really to put the listener in the 10th row of the Fillmore, with everything in front of you and the reflections and the audience behind you. I grew up in New York and went into the Fillmore. It had a distinct sound, a fabulous sound, and you can feel the auditorium in any album recorded there. I was trying to recreate being in the Fillmore, and I do think we were able to capture the magic of what was in that hall.

Ringo Starr Comes to Brooklyn on Halloween: ‘Can You Dig It?’ By ALAN LIGHT

2015-11-01T06:23:00.002-08:00

Ringo Starr Comes to Brooklyn on Halloween: ‘Can You Dig It?’

By ALAN LIGHT

OCT 30 10:05 AM

Ringo Starr, last year. He is wrapping up a tour with his All-Starr Band with a show at Kings Theater on Saturday night. Cliff Lipson/CBS

Search ArtsBeat SEARCH OCT 30 7:51 PM Oct 30 7:51 pm Music Producer Files Lawsuit Over ‘Straight Outta Compton’ By MICHAEL CIEPLY

2015-11-01T06:18:00.003-08:00

Music Producer Files Lawsuit Over ‘Straight Outta Compton’

By MICHAEL CIEPLY

Jason Mitchell as Eazy-E and Paul Giamatti as Jerry Heller in "STRAIGHT OUTTA COMPTON" a film directed by F. Gary Gray.

Jaimie Trueblood/Universal Pictures

Jerry Heller, the former manager of N.W.A., filed a defamation lawsuit on Friday, Oct. 30, 2015 against rappers Ice Cube and Dr. Dre and NBCUniversal, alleging the film "Straight Outta Compton" portrayed him as a villain and has done lasting damage to his reputation.

Jim Cooper/Associated Press

The Circle Game by Joni Mitchell (1968)

2015-10-18T17:23:00.003-07:00

The Circle Game by Joni Mitchell (1968)

PreviousNext

1:29/4:45

Sydney Urshan

"The Circle Game" (Live) by Joni Mitchell (1968) — For more videos like this, please follow (Like) the Official Facebook Page of Sydney Urshan....

Joni Mitchell's friend Judy Collins recently posted an update about Joni's health on her Official Facebook Page:

"I have just heard from a close mutual friend that Joni is walking, talking, painting some, doing much rehab every day, and making good progress...I will try my best to see our songbird when I am in LA in the coming weeks..."

"The Circle Game" was written by Joni Mitchell, and released on her third album Lady's of the Canyon, in March 1970. This performance from 1968 was given two years before the album was released. There's another filmed live performance of "The Circle Game" that Joni gave on August 17, 1966, (almost four years before its release), for a TV series in Canada featuring Canadian folk songs.

"How Many More Times" live in Denmarks Radio March 17 | 1969

2015-10-18T17:13:00.003-07:00

1969 | Led Zeppelin

"How Many More Times"
live in Denmarks Radio
March 17 | 1969

https://www.facebook.com/BESSP0RN0/videos/468929673211732/

In Deep: Tribute to the Musical Genius and Signature Lead Guitar Style of Duane Allman

2015-10-17T17:09:00.000-07:00

In Deep: Tribute to the Musical Genius and Signature Lead Guitar Style of Duane Allman

Posted 10/29/2014 at 11:54am | by Andy Aledort

A true original, the late, great virtuoso guitarist Duane Allman led the Allman Brothers Band into rock history with his ferocious, deeply expressive and trailblazing guitar work.

Rounder Records offers ample testimony to the beauty as well as the breadth of Duane’s recorded work in the new, beautifully compiled box set Skydog: The Duane Allman Retrospective. In this edition of In Deep, we will examine some of the key elements of Duane’s signature style as a lead guitarist.

One of the best examples of the genius of Duane Allman can be found on the timeless, classic live album, At Fillmore East (1971), which captures the Allman Brothers Band live in concert at the peak of their powers.

Duane’s razor-sharp articulation and masterful touch abound, starting with the slide guitar tour de force “Statesboro Blues,” through the smoldering slow blues “Stormy Monday” and continuing through the fiery, aggressive solos performed on “Whipping Post,” “You Don’t Love Me” and other great tracks.

Duane’s rich, warm tone was achieved via his main ax, a 1958 tobacco sunburst Gibson Les Paul Standard, played through Marshall
“Plexi” 50- and 100-watt heads, usually running two 4x12 Marshall bottoms. For additional distortion, he very occasionally used a Dallas-Arbiter Fuzz Face, usually in the studio.

A key to Duane’s virtuosity was the fact that, like Jimi Hendrix, he had extensive experience as a session guitarist, working closely alongside R&B greats like Wilson Pickett, Aretha Franklin and King Curtis. Through his studio work, Duane had developed a great sense of rhythm as well as a keen understanding of economy, in terms of phrasing.

This understanding resulted in improvised solos that remained cohesive and conversational no matter how long they stretched out or how far they roamed from the original starting point. For this column, let’s use two of Duane’s signature songs, “Stormy Monday” and “Whipping Post,” as our points of focus.

“Stormy Monday,” written and originally recorded by blues great T-Bone Walker, is played in the key of G. For soloing, Duane relied primarily on a few standard “bluesapproved” scales. FIGURE 1illustrates a scale most guitar players are well familiar with, G minor pentatonic (G Bf C D F), as played in third position. FIGURE 2 illustrates the G blues scale, which is the same as G minor pentatonic but additionally includes the flatted fifth (f5), Df.

Most blues players move alternately between minor and major pentatonic scales based on the same root note. Eric Clapton and B.B. King are two great examples of guitarists whose solos are almost always based on a combination of these two scales. FIGURE 3 illustrates the G major pentatonic scale (G A B D E) in an extended pattern that diagonally traverses the fretboard from third to 12th positions.

Duane often used a soloing device that can be traced to B.B. King, one of his biggest influences. King’s signature soloing approach combines the notes of minor and major pentatonic scales in a very specific fretboard pattern, or “shape.” The pattern, known as “B.B.’s box,” is illustrated inFIGURE 4.

This small handful of notes can be ordered and phrased in nearly an infinite number of ways, resulting in many great blues licks. FIGURES 5–8 offer four different ways in which Duane would use this shape as a jumping off point to improvised solo ideas.

PART ONE OF THREE

Now let’s focus on soloing over a 12-bar slow blues form along the lines of “Stormy Monday” and in the style of Duane Allman, as illustrated in FIGURE 9.

I begin in bars 1 and 2 with a melodic idea based on G major pentatonic, but in bar 3, I morph into G minor pentatonic by overbending the second, A, up and step and a half to the fourth, C. At the end of bar 4 into bar 5, I apply the overbending technique to E, the sixth, bending that note all the way up to the G root note, repeating the melodic motif into bar 6.

When performing these bends, line up additional fingers behind the fretting finger—for example, reinforcing the ring finger with the middle finger or both the middle and index—to help it push the string. Doing so will give you better pitch control and stability when bending. The same is true for bend vibratos.

Throughout the remainder of the example, I limit my movement to the eighth and 10th positions to demonstrate that a great amount of melodic invention can be found without moving up and down the fretboard. The intent here is to create lines that are expressive and vocal-like while also evoking a bit of the Duane-like focused intensity.

For his “Whipping Post” solo, Duane drew primarily from the A Dorian mode (A B C D E Fs G), two fretboard patterns of which are shown in FIGURES 10 and 11. Both patterns are very useful for soloing, so you’ll want to memorize them thoroughly.

FIGURE 12 offers an eight-bar solo along the lines of Duane’s “Whipping Post” solo. The song is played in 12/8 meter, which affords a lot of room for rhythmic creativity, and Duane made the most of the opportunity every time he played it. I begin this solo with a wholestep bend from the A root up to the second, B, followed by subtle movement down through the notes of the A Dorian mode.

In bar 2, I play a quick repeated hammer/pull phrase that emphasizes two notes of a G major triad (G and B) before moving into a line based on A minor pentatonic (A C D E G).

Bar 5 offers a unique rhythmic superimposition that Duane used often. Another classic Duane-ism is illustrated in bar 7, as quick pulloffs on the top three strings alternate back and forth in an ascending-and-descending manner.

Try using your index and ring fingers to execute this phrase as well as your index and middle fingers and index and pinkie, or a combination of any of these. The aim should be, as always, clarity in execution.

PART TWO

PART THREE

In Deep with Andy Aledort: Slidedog — the Slide Guitar Mastery of Duane Allman

2015-10-17T17:01:00.000-07:00

In Deep with Andy Aledort: Slidedog — the Slide Guitar Mastery of Duane Allman Posted 03/12/2015 at 11:07am | by Andy Aledort

In Deep with Andy Aledort: Slidedog — the Slide Guitar Mastery of Duane Allman

Last month, we examined the guitar genius of the great Duane Allman, who, as founder of the Allman Brothers Band, rose to prominence as one of the greatest and universally heralded blues-rock guitarists of all time.

In honor of the expansive new box set from Rounder Records, Skydog: The Duane Allman Retrospective, we focused on his single-note soloing on classic Allman Brothers’ cuts like “Stormy Monday” and “Whipping Post.” This month’s column is dedicated to Duane’s mastery of the art of slide guitar.

Duane possessed an instantly recognizable sound on electric slide, earmarked by masterful phrasing and smooth, “singing” vibrato.

Great examples of his slide guitar prowess include “Trouble No More” and “Dreams” from the band’s debut release, The Allman Brothers Band; “Don’t Keep Me Wonderin’,” from Idlewild South; “Statesboro Blues” and “Done Somebody Wrong” from At Fillmore East; and “One Way Out” from Eat a Peach.

He also lent inspired slide work to the title track and many others on the Derek and the Dominoes album Layla and Other Assorted Love Songs.

Incredibly, Duane had been playing slide guitar for only about a year at the time of the band’s debut release. He recalled, “I heard Ry Cooder playing slide on Taj Mahal’s debut album, and I said, ‘Man, that’s for me.’ ” Brother Gregg Allman concurs. “He just picked it up and started burnin’. He was a natural.”

For slide playing, Duane wore a small glass Coricidin bottle (Coricidin was a cold medication) on his ring finger. He usually played slide in open tunings, most often open E (low to high, E B E G# B E) and occasionally open A (E A E A C# E). He also played slide in standard tuning on songs such as “Dreams” and “Mountain Jam.”

In the early days, Duane would retune his gold-top Gibson Les Paul between songs in order to play slide. Later, co-guitarist Dickey Betts gave Duane a two-pickup 1961 Gibson SG/Les Paul Standard that was used solely for slide playing. The design of the SG, with its double-cutaway body, is well suited to slide work, allowing easy access to the upper regions of the fretboard.

Duane chose to wear the SG high on his body to facilitate navigating the board overall. The musical examples in this column focus on the use of open E tuning for slide. FIGURE 1 illustrates how to tune to open E: the sixth, second and first strings are tuned normally (E, B and E); the fifth and fourth strings are tuned one whole step higher (A to B and D to E); and the third string is tuned one half step higher (G to G#). The resulting tuning is, low to high, E B E G# B E. Strumming across all of the open strings sounds an E major chord.

The same is true when barring or placing the slide across all of the strings at the 12th fret. Likewise, barring a finger or placing the slide across all of the strings at any given fret will form a major chord, as shown in FIGURE 2. A great majority of slide licks in open E tuning are formed by moving back and forth between a two-fret span of the fretboard.

FIGURE 3 illustrates one such pattern, which forms an E hybrid scale, one that combines elements of E minor pentatonic (E G A B D) and E major pentatonic (E F# G# B C#). Two notes are sounded on each string at either the 10th or 12th fret, and three notes are sounded on
the fifth string with the inclusion of Gs, at the ninth fret.

Practice this pattern by first fretting normally, and then play it using the slide. Some basic rules for slide playing: For proper intonation, you’ll want to, in most cases, position the slide directly over and parallel to the fret wire. Apply only enough pressure against the string to sound a note clearly; do not allow the slide to “bang” into the frets. Also, lightly lay unused fret-hand fingers across the strings behind the slide to help suppress unwanted overtones and ghost notes.

When playing slide, Duane fingerpicked exclusively, using his thumb, index and middle fingers to pick the strings. A major element in the uniqueness of his sound was his pick-hand muting techniques: while one finger picked a string, the other two were used for muting.

For example, when he picked a string with his thumb, his index and middle fingers would rest lightly on the higher strings, muting them; when he picked a string with his index finger, his thumb would mute the lower strings; and when he picked with his middle finger, he would mute the string with his thumb and index fingers. This technique afforded Duane’s slide playing unparalleled clarity and precision. An essential slide exercise involves sliding back and forth between notes of the E hybrid scale, with careful attention paid to playing “in tune.”

FIGURES 4 and 5 offer two different ways one can practice sliding to and from each note in this position. One of the most common vehicles for slide soloing in blues and rock is the 12-bar blues shuffle. FIGURE 6 illustrates a basic shuffle rhythm part played in the key of E using open E tuning. Use only conventional fretting (no slide) to perform this part. FIGURE 7 offers an example of how to play a slide solo over this rhythm part: repeatedly moving the slide back and forth (higher and lower) on the fretboard creates the sound of a slide vibrato.

The “width” of this movement, as well as the speed, is every player’s choice; strive to keep the center of the vibrato movement over the fret for proper intonation. The aforementioned “Statesboro Blues” and “One Way Out” are celebrated slide guitar masterpieces. FIGURE 8 illustrates a “Statesboro Blues”-like solo, and FIGURE 9 offers a solo in the style of “One Way Out.”

Work through each example carefully, and for inspiration, listen to the recordings and pay strict attention to every detail in Duane’s articulation.

PART ONE

PART TWO

In Deep: The Signature Sound and Scales of Dickey Betts of The Allman Brothers Band and Great Southern — with Videos

2015-10-17T16:56:00.000-07:00

In Deep: The Signature Sound and Scales of Dickey Betts of The Allman Brothers Band and Great Southern — with Videos

Forrest Richard “Dickey” Betts, founding member of the legendary Allman Brothers Band, successful solo artist and leader of his own ensemble, Great Southern, possesses one of the most distinct and influential guitar styles in the history of rock.

Combining elements of blues, rock, jazz, country, folk, bluegrass and world music, Dickey Betts forged his signature sound while laying the groundwork—along with Grateful Dead guitarist/leader Jerry Garcia—for the unique, progressive and forever mysterious genre known as “jam band” music.

In this edition of In Deep, we’ll take a look at a few of the scales Dickey relies on most when weaving his classic solos and melodic patterns.

One of the scales closely associated with the Dickey Betts sound is major pentatonic, the five-tone scale built from the first, second, third, fifth and sixth major scale degrees. FIGURE 1 illustrates G major pentatonic (G A B D E) as played in “open” position, using open strings. This pattern is used very often for soloing in bluegrass and country music, and Dickey learned about its use in this context as a young child, playing acoustic “string music” with his father and uncles.

A common technique when soloing with this scale is to use the minor, or “flatted,” third as a passing tone between the second and the major third. In the key of G, the minor third is Bf and the major third is B. FIGURE 2 presents a Betts-like bluegrass-style three-bar solo that features the use of the flatted-third passing tone as well as many hammer-ons, pull-offs and finger slides, used to yield a smooth, legato sound.

As is the case when studying any scale, it is essential to plot it out on every area of the fretboard and memorize it. FIGURE 3 illustrates G major pentatonic as played in second/third position, with a quick shift up to fifth position and then back to third position on the high E string. This pattern encompasses only fretted notes, so it is easily moved to other positions and keys up and down the fretboard.

One of the signature elements in Dickey’s soloing style is his use of small melodic “cells” that progress in either an ascending or descending manner throughout a phrase. FIGURE 4 shows a solo pattern based on the previously shown scale position of G major pentatonic and built from steadily descending 16th-note melodic cells on each beat. As you play through the figure, notice the subtle differences in the melodic shape of each four-note group as it falls on each successive beat. Classic examples of Betts utilizing this specific technique can be heard on perennial Allman Brothers favorites like “Jessica,” “Melissa” and “Ramblin’ Man.”

The major pentatonic scale lends itself well to performance over large spans of the fretboard, especially when incorporating hammer-ons and slides in order to shift quickly from one position to another. FIGURE 5 illustrates G major pentatonic in an extended pattern that starts in third position and ends in 12th. Play this pattern up and down utilizing the hammer-ons, pull-offs and legato finger slides as shown.

In FIGURE 6, I use this extended pattern to weave another three-bar solo-type phrase that moves smoothly from position to position. When forming the four-note melodic cells, one phrase can be connected to the next using a great variety of choices. At the end of bar 2 into bar 3, I decided to repeat the G root note on the downbeat of beat one in bar 3 to begin the subsequent phrase.

As alluded to in FIGURE 2, passing tones are very useful when building solo phrases from the major pentatonic scale. Along with using the minor third as a passing tone into the major third, the minor, or “flatted,” sixth works great as a connecting note between the fifth and major sixth. In FIGURE 7, I use both of these passing tones in different octaves in order to shape a more interesting melodic line. At the end of the phrase, on beat three of bar 2, I use an oblique bend—a bent note on one string coupled with an unbent note on a different string—to wrap up the phrase.

The sound of oblique bends is one closely associated with the pedal-steel guitar, and Dickey often mimics the pedal-steel sound by incorporating alternating oblique bends in his solo phrases. In FIGURE 8, an A note on the B string’s 10th fret is bent up one whole step, to B, and held while a series of alternating notes are played against it on the high E string. It will take practice to hold this bend firmly and in tune while switching between the different notes on the high E, and I suggest using the middle finger for the bend and the other three fingers for the notes fretted on the high E string.

Another scale that Betts uses to great effect is the six-note major hexatonic, which is nearly identical to the major pentatonic, the difference being that it additionally includes the perfect fourth (in the key of G, that would be C). As depicted in FIGURE 9, G major hexatonic is built from the notes G A B C D E. The major hexatonic can be used very effectively when harmonizing a major pentatonic line. FIGURE 10a illustrates a classic Betts-style major pentatonic melody, and FIGURE 10b harmonizes this melody a third higher, using notes from the G major hexatonic scale (G A B C D E).

Dickey’s best-known use of major hexatonic is most likely within his song, “Blue Sky,” and FIGURES 11a and 11b offer a G major hexatonic melody and a lower harmony line, thirds apart, the latter being based on G major pentatonic.

The Allman Brothers Band: The Road Goes on Forever

2015-10-17T16:52:00.000-07:00

The Allman Brothers Band: The Road Goes on Forever Posted 07/20/2009 at 12:09pm | by Alan Paul

The Allman Brothers Band: The Road Goes on Forever

Originally published in Guitar World, July 2009

They’ve suffered breakups, addiction and death. But 40 years on, the
Allman Brothers Band remain a force to be reckoned with. In this exclusive oral history, Gregg Allman, Dickey Betts and others tell the story behind rock and roll’s enlightened rogues.

"The Road Goes on Forever.” Gregg Allman wrote and sang the words in “Midnight Rider,” and his Allman Brothers Band (ABB) adopted them as a motto, and for good reason: despite the death of two founding members, two breakups and an acrimonious parting with guitarist Dickey Betts, this summer the band is marking its 40th anniversary and doing so in high style. Warren Haynes and Derek Trucks, who have now played together for nine years in the ABB, form a dynamic, explosive duo that blows away the competition. In that respect, some things in the Allman Brothers Band never change.

The road for the ABB began in 1968 when Duane Allman, a red-hot session guitarist who had made his mark recording with Otis Rush, Boz Scaggs, Aretha Franklin and others, headed to Jacksonville, Florida, looking to put together a band. His manager wanted a power trio—just like Cream—but Duane reportedly scoffed at the notion, saying, “I ain’t on no star trip.” It was a revealing statement, for the group that resulted from Duane’s quest for kindred musical souls was anything but ego-driven. The music of the Allman Brothers Band has revolved around group improvisation and dynamics since their self-titled 1969 debut.

Duane’s musical vision and open mind allowed him to ignore protocol and put together a completely unique hard-rocking outfit featuring two very different but complementary drummers (Jai Johanny “Jaimoe” Johanson and Butch Trucks), an inventive bassist who could hold down the bottom end while displaying melodic flair (Berry Oakley), a soulful singer and organist (brother Gregg), and another hot lead guitarist (Betts).

Betts would prove to be a monumental addition, for his participation underscored the band’s adherence to a rule of jazz: that a group needs multiple, equally powerful lead voices to truly generate sparks. Betts and Allman rewrote the rules for how two rock guitarists can work together, completely scrapping the traditional rhythm/lead roles to stand toe to toe, alternately cutting each other’s heads and joining together for marvelous flights of harmony.

[[ Longtime Guitar World writer and editor Alan Paul has published One Way Out: An Oral History of the Allman Brothers Band. The Ebook is available exclusively through Amazon Singles for $2.99. “It’s their story in their words,” Paul says. “I went through hundreds of hours of interviews, pulling out the quotes to tell the tale of this American institution.” ]]

The ABB’s instrumental majesty was grounded in the blues and in the excellent tunes penned by Gregg Allman and Betts. This combination of a unique vision, instrumental superiority and great songwriting has carried the band through four decades. The Allmans pushed on after Duane Allman’s and Berry Oakley’s tragic deaths, reunited after two breakups and, perhaps most shockingly, have performed without Betts since 2000.

What follows is the ultimate overview of the band’s career, an oral history told in the words of the people who lived it.

Duane Allman met drummer Jai Johanny “Jaimoe” Johanson while working on sessions in Muscle Shoals, Alabama. Duane wanted to form his own band, and his manager, Phil Walden, suggested that he create a power trio in the spirit of Cream and the Jimi Hendrix Experience. Allman targeted bassist Berry Oakley, a Chicago native who was then playing in a Florida band called Second Coming with guitarist Dickey Betts. At Duane’s invitation, Oakley came to Alabama for jam sessions.

DICKEY BETTS The band just sort of happened. It was supposed to be a three-piece with Duane, Berry and Jaimoe. Duane and Jaimoe kept coming and sitting in with Second Coming to get used to playing together, and as we started jamming, something clicked. Eventually Duane asked if I’d go with them. When Butch [Trucks] came along one day and jammed with us, it was something special. All of a sudden the trio had five pieces. We all were smart enough to see that each of us was making a contribution to the sound.

BUTCH TRUCKS I had played with Gregg and Duane before, and he called me when he came back to Jacksonville. He was jamming with lots of different people. We played, and it just worked. Jaimoe told Duane I was the guy they needed—he wanted two drummers like James Brown had—but I don’t think Duane wanted me in the band. I fit musically, but I was a bundle of insecurity, and he didn’t want that. He was such a strong person—very confident and totally sure of himself—and that’s the kind of people he wanted around him.

BETTS It says a lot that Duane’s hero was Muhammad Ali. He had Ali’s type of supreme confidence. If you weren’t involved in what he thought was the big picture, he didn’t have any time for you. A lot of people really didn’t like him for that. It’s not that he was aggressive; it was more a super-positive, straight-ahead, I’ve-got-work-to-do kind of thing. If you didn’t get it, see you later. He always seemed like he was charging ahead.

Interview: Gregg Allman Discusses His New Solo Album, 'Low Country Blues'

2015-10-17T16:47:00.000-07:00

Interview: Gregg Allman Discusses His New Solo Album, 'Low Country Blues'

Posted 04/20/2011 at 1:17pm | by Alan Paul

Interview: Gregg Allman Discusses His New Solo Album, 'Low Country Blues'

Look at this." Gregg Allman pulls up his long-sleeved Harley-Davidson T-shirt and reveals two long, pink scars running diagonally up his midsection just below the rib cage.

He’s sitting in a New York hotel room, less than five months after receiving a liver transplant, without which he would have died. The 63-year-old Allman is looking hale and hearty, his thick blond hair pulled back in a ponytail as he sips a cup of coffee.

“I’m happy to be here, that’s for sure,” he says. “And I have a sense of urgency to get stuff done, get out there and make some great music.”

Allman is gearing up not only for a year of touring with the Allman Brothers Band but also for solo dates in support of Low Country Blues, his first solo album in 14 years. Produced by T Bone Burnett, the collection features original takes on blues chestnuts and a haunting new original co-written with Warren Haynes.

“When Bone said he wanted me to come to Los Angeles and leave my band behind, I said, ‘Hell triple no,’ ” Allman recalls, with a laugh. “Then I realized maybe it was time to try something new, and I’m glad I did.”

Allman grooved on Burnett’s old-school recording approach, cutting live with everyone in the room, using upright bass and analog effects, like tape echo. And he was thrilled when he learned the house band would be anchored by old friends Dr. John (piano) and Doyle Bramhall II (guitar). “Me and Bone got along from here to the horizon,” Allman says.

The hardest part of his recovery, he says, was taking four months off the road. “That was the longest I went without performing since I was 16,” Allman relates. “I am fiercely devoted to my music, and I’ve got a lot of gypsy in my blood, so I’ve never minded the road. I just love to play, man.”

Band of Brothers: Guitarist Scott Sharrard Discusses Life in the Gregg Allman Band

2015-10-17T16:43:00.000-07:00

Band of Brothers: Guitarist Scott Sharrard Discusses Life in the Gregg Allman Band

Guitarist Scott Sharrard's fingerprints are all over the recent excellent live CD/DVD Gregg Allman Live: Back to Macon, GA.

The recording highlights not only Sharrard's tasty, blues-inflected playing but also his excellent work as musical director.

"I just love this band I've got now," Allman says. "It took me years to put it together just so, and I just love playing with them. Scott's done a great job getting this to a very good place."

Allman went on to single out every single band member for praise and told me several times how disappointed he was that current keyboardist Pete Levin wasn't yet in the band when they recorded the live album.

To get a little deeper into all this, I got in touch with Sharrard, who called in from a Brooklyn studio.

GUITAR WORLD: How long have you played with Gregg?

I joined the band in the fall of 2008, so about seven years.

How have you seen him change in his approach?

Gregg’s health was in jeopardy the first few years I was in the band. Even once he got his liver transplant there were unforeseen complications afterwards. Through all of it, Gregg gave some incredible performances and we had some amazing tours.

As far as changing his approach to music, I think Gregg has had a process that works for a long time. Like all the great band leaders, he knows how to surround himself with talented people who help him to sound his best and push him at the same time. His health now is really good and his energy is very positive so the sky’s the limit once that happens.

Does he seem more confident?

Definitely.

Have you noticed any changes in his approach since the ABB are gone and GAB is his full-time gig?

Gregg loves the Brothers and his band. As far as why those guys retired now, you’d have to ask them, but it would seem self-evident that now would be the time to focus their creative energies on solo pursuits. Gregg has gone headlong into his band. He’s writing and we are adding songs to our repertoire all the time, especially some gems from his back catalog for our live show.

As MD, you hire the band. How involved is he in the decision making?

I make suggestions and so do guys from within the band. Gregg then checks out the player and gives his blessing or asks me to keep looking for another guy. The band we have right now seems to be the perfect fit.

What is something musical about Gregg that people would be surprised to learn?

I don’t know if people would be surprised but Gregg is always checking out the masters and listening constantly. The other day I went to his room and he was blasting Pharaoh Sanders! He also always goes to the deep blues well and finds constant inspiration. Muddy Waters, Howlin' Wolf, Bobby "Blue" Bland—those guys are constant. Gregg is part of that generation of rock and roll innovators that always build off the blues. That’s why we love them!

How are you feeling about the chances of recording with this band in Muscle Shoals?

Well, there are a lot of variables; we are talking about the music business here! But Gregg and I have written a couple of tunes and he has a couple in the chamber as well as some great cover ideas. I’ve heard that Don Was might be involved, which would be fantastic. Whatever happens I sure hope someone records this band because it is very special and, given the chance, I think we could help Gregg make a great record—maybe the best of this period if we are lucky!

Anyway, for now we are just happy to play and grow as a band under Gregg’s direction. Its always a ball traveling and playing with these guys, it's become like a family out here.

How did you first hook up with Gregg?

I was playing guitar in Jay Collins’ band around New York City for a few years and he was trying to convince Gregg to hire me for a while. At the time Gregg had no idea who I was but eventually I got my shot to play with him when I sat in with the Allman Brothers at a shed in Camden, New Jersey. It was very last minute. Jay called me up the day before and told me to meet him and we would head out.

I met Gregg before we jammed, of course, and we really hit it off from jump street. I think he really liked the fact that I knew who Wayne Bennett was, to be honest! Wayne was the guitarist for Bobby "Blue" Bland for many years. The interplay between Bobby’s voice and Wayne’s guitar on some of those early recordings was a big inspiration for that call-and-response style of guitar and voice you can hear Duane and Gregg doing on the early Allmans records. I was very familiar with Wayne’s licks, and that was a bonus. Then I sat in and we just took it from there. That was in the fall of 2008 and it's been full steam ahead ever since…

What's the latest with your own band?

We are based in New York City, and we have residency at a great little spot in Brooklyn called Bar Chord, where we play every Thursday night when I’m not on the road. Man, we have had some great cats come play with us as guests, Ian Hendrickson Smith [Sharon Jones, the Roots, Amy Winehouse, Jimmy Fallon Band saxophonist and horn arranger] comes down and plays with our buddy Marcus Parsley (trumpet for JJ Grey, Sharon Jones) and they are a killer section. We also have Scott Metzger (Phil Lesh, Joe Russo’s Almost Dead) join us on guitar sometimes, Teddy Kumpel and Clark Gayton have come down. It’s a great place to hang and play.

I also have plans to bring my band to Memphis to make a new album of original material and my buddies from the Bo Keys will be involved with that alongside some of the original Hi Records rhythm section. We hope to record that this winter. I also have a great new management team with a new company called Busters Main Stem, and those guys are kicking ass getting us set up for some more touring in between Gregg Allman runs. It's gonna be a busy year for sure!

Apple Watch review UPDATED: The definitive verdict on Apple's wearable debut

2015-10-17T05:33:00.003-07:00

Apple Watch review UPDATED: The definitive verdict on Apple's wearable debut

Source:

http://www.wareable.com/apple-watch/apple-watch-review

Friday

October 2, 2015

By James Stables

@stablesjames

It's sometimes easy to think of Apple as a miracle worker – the brand with a Midas touch. There's nothing the company can't turn to gold. But with the Apple Watch – its first foray into wearables, two years after Pebble smashed the market wide open – Apple faces its toughest challenge yet.

Apple has the opportunity to define the smartwatch – something that Android Wear, Pebble and Samsung have largely failed to do. But it's faced with the same shortcomings of screen size, battery life and user experience as everyone else – so can it work another miracle? And has watchOS 2 transformed the Watch's shortcomings?

Read our definitive Apple Watch review to find out.