Riff Journal | Spring 2016 | Issue 7 by Riff Journal

alternate (Tunings) Universe

TABLE OF CONTENTS

CONTENTS 5 A WORD FROM THE PUBLISHER

Twelve notes and an infinite possibility inspire us for aeons to come

6 NIK HUBER: LOVE AT FIRST SIGHT

Nik Huber, founder and owner, carries on a 100+ year old family tradition

18 PAT MARTINO: HERE AND

(VERY MUCH) NOW!

How do you present and appropriately document this extraordinary life force we know and love as Pat Martino?

28 RIFF RAFF WITH SHANE THERIOT: EPISODE

01 WITH JOHN OATES

RIFF RAFF EPISODE 01

Shane and John talk Hall and Oates, inspiration, and how he comes up with song ideas, guitars, pedals and some great stories from the road.

Shane and John talk Hall and Oates, inspiration, how he comes up with song ideas, guitars, pedals and some great stories from the road

32 LESSON: MINOR TO MAJOR: TRANSITIONS

ON THE PENTATONIC SCALE

Angus Clark takes us to the street for this lesson on when and how to transition

36 LESSON: THE MATRIX REVISITED

Seek inspiration from Bob Wolfman’s approach to using intervals to “paint by numbers"

40 LESSON: PEDAL POWER

Learn Eric Johnson’s pedal point lines with Jeff Beasley and power up your own melodic and harmonic approaches

FUNKY WORLDS COLLIDE

Freekbass and DJ logic are blurring the line between DJ and musician

PETE HUTTLINGER

We remember the heart, music, and message of Pete Huttlinger

44 LESSON: THE POWER OF INTERVALS

Robert Renman liberates us with his approach on the power of intervals

48 LESSON: DAMN THAT

DOUBLE UPSTROKE

Tough Frank Gamble lines are simplified by Terry Syrek and tackled with a path for success

52 DAVID GRISSOM: THE CRAFTSMAN

It’s all in the hands of the master to find the distinctive tone

THE DIGITAL DINOSAUR

Rob Garland dishes out how to really use Spotify

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60 FREEKBASS & DJ LOGIC:

THE MATRIX REVISITED

Seek inspiration from Bob Wolfman's unique approach to intervals

FUNKY WORLDS COLLIDE

In the world of music, musicians in bands typically occupy one hemisphere, while the DJs occupy the other. It’s a brand new world!

TABLE OF CONTENTS

NIK HUBER: LOVE AT FIRST SIGHT

Impeccable craftsmanship, elegant choices of woods and finishes, Dolphin and Orca inlays, immensely tasty hardware and Haussel pickups

66 THE DIGITAL DINOSAUR

Rob Garland dishes on how to really use Spotify and why you gotta listen a few times for clarity

72 ROBBIE CALVO: MAHALO MUSIC

See, hear, believe in the face of adversity to see your way to paradise

THE CRAFTSMAN

It's all in the hands of the master to find the distinctive tone

80 PETE HUTTLINGER: DONâ&#x20AC;&#x2122;T JUST LIVE, LIVE WELL

We remember the heart, music and message of our friend Pete Huttlinger

86 BEHIND THE GLASS

A series of studio narratives featuring guest artist Angus Clark

90 RIFF JOURNAL ARTIST DIRECTORY

Full listing and interactive links from the featured artists and educators

92 RIFFAGE: FEATURED ALBUM COMPILATION

Get your FREE download of featured music from Riff artists

94 CLOSING SNAPSHOTS

Photos from backstage, behind-the-scenes and on the road

BEHIND THE GLASS

Studio musings on what it takes to teach on camera

86 RIFF 3

CONTRIBUTORS “Some people have lives; some people have music.” - John Green Meet the Riff Band. We can’t wait to present our edition to you and share our passion with readers each quarter. In the meantime, shout out to us anytime online with feedback, questions and tasty tidbits.

RIFF BAND

riffjournal@truefire.com

@riffjournal

ALISON HASBACH Editor-in-Chief

Ali (a.k.a. prioress of the ‘Fire) is a founding partner and chief shooting & branding officer who likewise holds a M.B.A. (master of brewing administration) in Coffee Imbibement. She is fanatical about all things artistic (especially TrueFire Artists).

BRAD WENDKOS Publisher

Born in a cross-fire hurricane to itinerant Appalachian mountain people and then sold for a barrel of gunpowder to a wandering clan of Eastern European gypsies, Brad (thankfully) found his way home at TrueFire.

TOMMY JAMIN

Studio Department Editor

Tommy Jamin is a graduate of the Recording Arts program at Full Sail University and has been crafting top-quality video and audio content as a professional digital media producer over the last 14 years. In addition to being Director of Production at TrueFire, he’s also a singer-songwriter, production gear & tech enthusiast and family man.

AMBER ROPELIS Creative Director

Amber is an easy going pixel crafter with a flair for all things typographical and music related. She holds a BFA in Graphic Design & Digital Media from the University of North Florida and has cozied into her niche as Creative Director here at TrueFire. SPRING 2016 | ISSUE 7

facebook.com/riffjournal

JEFF SCHEETZ

Educational Department Editor

Jeff is the Director of Education at TrueFire, has released 8 music CDs, and 6 video instruction courses. He’s been a teacher for over 30 years and brings his own method and style to students from around the world. He has written guitar columns for many magazines and conducted workshops and clinics throughout the US, Europe and Mexico.

ZACH WENDKOS

Technology Department Editor

Zach holds a real M.B.A. and scavenges the planet for the latest and greatest in online marketing and technology applications. He leads the charge in honing the student online experience at TrueFire and dreaming up the new and cool.

KYLER THOMANN Music Editor

With Creative Utility Knife skills, Kyler bridges web and print, video, and digital images and has a passion for live events and all things musical. With his finger on the pulse of the live music scene, Kyler brings a keen editorial spirit to the magazine.

A WORD FROM THE PUBLISHER Photo by: Alison Hasbach

welve notes, a handful of rhythmic values, a dash of expressive embellishment, a spark of creativity, and another song is born into the world. Hundreds of millions of original melodies and songs spilling into the universe to treat our ears. All spawned from just twelve notes, with most using less than twelve.

With so few notes to work with, you’d think there might be an finite number of melodies triggering a musical TEOTWAWKI of sorts. Not according to Michael Steven’s ridiculously popular Will We Ever Run Out of New Music? video on YouTube (watch it here: https://youtu. be/DAcjV60RnRw) or Oli Freke’s mathematical examination, which predicts that we have another 2.6 trillion years worth of new music before we start running out of original and creative ways to combine those twelve notes together into song.

Want further testimony? Check out this edition’s free album, RIFFAGE: Volume 7, which features music from nine of our featured artists and educators. From Pat Martino’s Stone Blue to to David Grissom’s Skimming the Surface to Freekbass’ Milkhunt — you won’t find a more eclectic mix of melodies, genre’s and sub-genres. Here’s hoping this issue of RIFF inspires you to compose one of your own original songs very soon because we can’t wait 2.7 trillion years to hear it. This RIFF’s for you!

Brad Wendkos || Head Smoke Jumper

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Written by // Brad Wendkos

I first set eyes on a Nik Huber guitar in a crowded booth on NAMM’s main floor. Nik had about 15 guitars on display - all of them already sold by noon of the first day! I squeezed in to get a closer look and I can only describe the sensation as love at first sight. And what a sight...impeccable craftsmanship, elegant choices of woods and finishes, Dolphin and Orca inlays, immensely tasty hardware and Haussel pickups. I hadn’t even held the guitar yet, but already knew I had to have one. But when Nik put one in my hands to play, I knew I had to have all of them. Easier said than done because, even in the early years, Nik’s waiting list ranged anywhere from 1 year to 1 ½ year depending on the model and features requested. That didn’t stop me. I ordered my first immediately, and would go on to order another one every year for the next five years and counting. And I’m not alone! Professional musicians and bands like the Foo

Fighters, the Hives and many others are also hooked. But I’m also happy to share my prized Nik Huber possessions with friends and consequently, many of them are now proud owners themselves. The only exception to the sharing rule is the Orca Charcoal Burst that I just received a few months ago — that one’s mine and mine alone! I asked Nik to tell our readers a little bit more about himself and the history of the company, in their own words. But before I sign out of this article and turn the stage over to Nik and crew, I leave you with one bit of advice…order yours now!

RIFF 9 All photos provided by Nik Huber and Alison Hasbach

Nik Huber, founder and owner of Nik Huber Guitars, carries on a 100+ year old family tradition. In 1896, a heritage of woodworking expertise was born in Nikolaus Huber, in a small village in Southern Bavaria. Today Nikolaus Huber IV carries that expertise forward in the form of exquisite guitars. Nikâ&#x20AC;&#x2122;s father originally built him a guitar because he wasn't happy with the quality of the guitar he bought for Nik from the store. Nik himself began as a cabinetmaker to qualify himself as an apprenticeship for an architect. But it was only when he discovered a guitar-making school (Formentera Guitars), where he enrolled and within just a few weeks, knew he had found his passion and future. Founded in 1996, Nik Huber Guitars celebrates its 20th anniversary this year. Over the years, Nik Huber Guitars grew to establish itself as one of the leading boutique guitar makers in the world, by attending exhibitions in Europe and North America, and slowly but steadily building his reputation for quality craftsmanship and attention to detail. Currently, Nik and his team of seven highly skilled employees build 250 guitars a year. Nikâ&#x20AC;&#x2122;s instruments feature perfectly leveled frets, a balanced body and neck weight, superb string separation, great sounding pickups, extremely resonant tone woods and swoon-worthy design and attention to detail. There is a perfect blend between the hand-

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All Mine - Orca Charcoal Burst The Orca came later (late 1997/ 1998)

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Photos of some of TrueFire’s Well-Loved and Highly-Played Huber Collection by Alison Hasbach

made artisan quality of the process, as well as the consistency that the incorporation of new technology brings to each instrument. Nik leveraged new technology and started to use the CNC (Computerized Numerical Control) for the first time in 2007. The complex and sophisticated programming is taken care of by one of Nik’s longtime friend, a former Audi and Porsche engineer that became a part of the team. This year, the company’s 20th anniversary will be celebrated with a new limited run of special guitars, that will be presented at NAMM 2017, as well as on the Holy Grail Guitar Show (HGGS) that takes place for the third time in Berlin, starting the 8th of October 2016. Nik takes a rare break from his shop to answer a few questions from Riff editors.

BW: What is it about whales and dolphins that

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inspire you to decorate the neck with this signature element? My wife Ingrid was a dolphin fanatic for as long as I can remember (and way before I became a guitar maker). We later both got involved in dolphin protection and when I had the chance to see dolphins in the wild, I was as hooked on dolphins as she was. When I needed a logo for my guitars, it was very clear to choose dolphin imagery. The Orca came later (late 1997/ 1998) when we introduced our Orca Model.

BW: How would you describe your aesthetic?

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I always liked the classic designs in the guitar world - the first electric that I built in 1993 was a LP. I had never intended to reinvent electric guitar design (I think only a very few guitar makers like Ulrich Teuffel or Claudio Pagelli made a good job in bringing on new shapes). When I started working on a plan to make a living at guitar building (and back then repairing too), I decided to work on my own guitar shape that did not stray from a classic design. It took me quite a while to draw with the dolphin shape, which I first built in 1995. My father and grandfather were very good craftsmen and painters. It seems that I have some of these skills in my blood ;-) I did draw and paint a lot as a kid.

BW: What is a CDC and how has that changed how instruments are built and how the craft evolves?

A CNC (Computerized Numerical Control) is a routing machine. I have done hundreds of guitars by hand resulting in very tired hands and bloody thumbs from the hand carving and performing the same steps over and over. The biggest reason to use CNC is to obtain consistency and most importantly, accuracy. CNC does not build the guitars at all, but it does free us to perform more important tasks in the building process. Why hand-chisel a pickup or electric cavity when there are hand routers that can do the job faster and more accurately? Now we are able to reproduce very accurate neck carves and arched top shapes. Weâ&#x20AC;&#x2122;re making 250 guitars a year (still small, but bigger than I ever thought) and the CNC technique was definitely helpful in getting to this point. But the real key to our success has been building a team of highly skilled, passionate employees.

nikhuber-guitars.com

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Everything about Pat Martino is “extraordinary” in the fullest sense of the word. At age 15, Pat was already playing professionally on the jazz circuit. Since the early 60’s, Pat has played on over 70 albums as a sideman, featured artist or bandleader. Pat’s remarkable musicality and prowess on the guitar has been blowing minds for almost six decades now. In 1980, at age 35, Pat had brain surgery that removed 70 percent of his left temporal lobe, resulting in severe retrograde amnesia. He didn’t know his name, he couldn’t recognize his parents, nor could he recall events prior to the operation. Pat didn’t even know he was a musician. After the operation, Pat moved back to Philadelphia with his parents. Hoping to rekindle Pat’s love of music and the guitar, his father would play Pat’s albums. “I would lie in my bed upstairs and hear them seep through the walls and the floor, a reminder of something that I had no idea that I was supposed to be anymore, or that I ever was.” Whether it was the love and care of his parents, the music being played in the house, or something locked deep inside seeking daylight, Pat rediscovered music and regained his mastery of the guitar.

Photos by Alison Hasbach

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There are secret doorways that only you know about in the house, and you go there because it’s a pleasurable thing to do. “As I continued to work out things on the instrument, flashes of memory and muscle memory would gradually come flooding back to me—shapes on the fingerboard, different stairways to different rooms in the house. There are secret doorways that only you know about in the house, and you go there because it’s a pleasurable thing to do. And that’s how you remember how to play; you remember the pleasure of it.” Seven years after the surgery, in February of ’87, Pat recorded The Return live at Fat Tuesday’s in New York City.

In a 2014 report in World Neurosurgery, neurosurgeon Marcelo Galarza wrote, “To our knowledge, this case study represents the first clinical observation of a patient who exhibited complete recovery from a profound amnesia and regained his previous virtuoso status.” Pat’s musical legacy is well documented and widely respected — he is truly one of the most influential and accomplished musicians walking the planet today. His brain surgery and recovery process is also well documented in his autobiography, Here and Now!, and in an engrossing documentary film, Martino Unstrung. I urge you to check them both out. When you watch the documentary and read the autobiography, you’ll also get a healthy glimpse of Pat’s perspectives on life, music and the “nature of guitar,” all of which are idiosyncratic, fascinating and inspirational. I’ve been a fan of Pat’s for as long as I can remember (what guitarist could say otherwise?!), but only recently watched the film, read the autobiography and had the opportunity and pleasure of working with and spending quality time with Pat while producing his TrueFire course, The Nature of Guitar.

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The opportunity to work with Pat was a dream come true for all of us here at TrueFire. We’ve always been captivated by his teachings, and the prospect of sharing his knowledge and perspective with the world was naturally very compelling. However, the more we interacted with Pat, the more ambitious the project became. Pat's oneness with his music reflects his oneness with life and the universe at large. Pat’s philosophies, perceptions, practices and music are all seamlessly intertwined. How do you convey that in an educational medium? How do you present and appropriately document this extraordinary life force we know and love as Pat Martino? Clearly, the biggest challenge we ever faced here at TrueFire, but also the most meaningful.

When we study something that generates ingenuity, it creates a condition that not only reveals more to us about ourselves, but in that process causes important changes in our viewpoints.

We spent two years producing the six hours of video, animations, tabs, text narratives, and musical notations that comprise The Nature of Guitar. Pat was very generous with his time and contributions. Response has been overwhelming from students, and we’re very proud of the final presentation. Most importantly, Pat is very pleased with our collaboration!

"The guitar is quite a phenomenon, one that goes far beyond what it initially appears to represent. When we study something that generates ingenuity, it creates a condition that not only reveals more to us about ourselves, but in that process causes important changes in our viewpoints." That's what these studies are about. They're designed to provide a greater insight regarding specific traits of the instrument itself, but at the same time joining with similarities found in many other things. In this way continuously producing what's needed to expand our perspectives. That's 'The Nature of Guitar.’" Over the course of The Nature of Guitar, Pat inspired all of us in many wonderful ways. We’ve learned so many things that seemingly have little to do with music, but when you look deeper, they have everything to do with music and the “here and now.” Thank you, Pat.

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In His Own Words

BW: What is it about the guitar that attracted you to it

the day is joined with night, a complete 24 hours is evaluated in unity as one.

That's a difficult question, because there are so many things about it that are significant. One of its strongest qualities is how intimate it can be, and I think there's something attractive about that for the kids.

Throughout my experience, happiness and sadness have been guided by that same phenomenon. It seems that one projects the other, and neither are continuous, unless seen as one. To selectively view it from a conscious distance produces a state that's often referred to as objectivity, or "the third eye," no longer controlled by polarity.

originally, and still fascinates you today?

Children love toys, and each of them have a lifespan. Some last longer than others, but the moment they've been captured and absorbed, interest begins to fade. Of all of the toys that captured my attention, the guitar has had the longest lifespan, in fact it's just as attractive now, as it was in the beginning. It's timeless, and that's what continues to fascinate me.

BW: Your idea of happiness? Happiness is one half of a condition that provides insight. In general, all things can be viewed through a comparison with their opposites, (man / woman, good / bad, ascent / descent, major / minor, etc.) When your question is viewed within those conditions it produces a different result (than if it were to be viewed singularly). Accordingly, when

All diagrams used are Patâ&#x20AC;&#x2122;s Vision on the Nature of Guitar

BW: Name three things a player can do to improve their musicianship.

Trained "musicianship" is a craft, and as such it remains separately outside of ones innate blessings. One should certainly consider the following: Purpose: What music has been chosen to be used for. Focus: The level of clarity and distinctness on the projection of oneâ&#x20AC;&#x2122;s ideas. Continuity: An uninterrupted connection, or union with oneâ&#x20AC;&#x2122;s commitments.

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Of all of the toys that captured my attention, the guitar has had the longest lifespan, in fact it's just as attractive now, as it was in the beginning. It's timeless, and that's what continues to fascinate me.

BW: If not yourself, who would you be?

BW: What are your aspirations?

Exactly what "I Am" in another vehicle.

I have one continuous aspiration, to remain in tune with Virtue.

BW: Given the changing business landscape of the

BW: Your favorite heroes in fiction?

music business and how tough it is to sell records etc — what are the positives about the current evolution of the music business? To begin with, "the music business" itself is more of a responsibility for management, booking, accountants, etc, not for the artist.

Definitions are different for each of us, and as far as works that are based upon our imagination, (as well as fiction) to me the Bible, the I Ching, the Koran, and others contain the greatest heroes of them all.

BW: What or who is the greatest love of your life?

One of the most positive facets of our current state is the condition of the recording process. For us to be fully equipped with what's needed to achieve an extremely high level of the art through systems that are miniature in size, as well as cost is profound. When compared to the past, communication has expanded, allowing us the availability of music programs, lead sheets, transcriptions, live performance examples, recordings, contact information, etc, at a very low cost. When coupled with social interaction, our experience, (and its outcome) is much higher than ever before.

Love itself.

BW: Your favorite motto?

The terms "like, or dislike" have very little to do with one’s commitment to purpose. As to what, or who, as what I AM. Why?, ..... to embrace Love itself.

"True music, like all true Art is an experience to be shared not judged, for praise cannot make it better, as blame cannot make it worse” - From "We'll Be Together Again" 1976.

BW: Your favorite food and drink? Although I prefer a vegetarian diet, conditions change due to international travel. Under such, my concern is high quality, and the easiest form of adaptation. Sometimes that's mainly fruit, and pure water.

BW: In your next life, what or who would you like to come back as and why?

BW: The natural talent you'd like to be gifted with (other than music)?

BW: What do you dream about? Literally.

Mathematics and Imagination

To be honest with you, I dream very little, but when I do it's normally the opposite of what was experienced in real time. It's interesting how psychologist Carl Jung believed that even our most fanciful dreams are methods of compensation for events that occur in our waking lives.

BW: In life or in music, what is the one central key learning that you’d like to pass on to others? The profound nature of "NOW"

patmartino.com

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Hi there, my name is Shane Theriot. I’m a professional musician and guitarist. I like stories. I mean I REALLY like stories. Over the years, I’ve been lucky to work with many amazing people and musicians who have amazing stories. I want to capture these stories for other people to enjoy. Some people like to garden, or take photos…I like to document these stories. I hope that you enjoy them as much I enjoyed getting them together for you. This podcast is about the creative process, and yes, being a guitar player we do talk shop, gear, life in general…oh yeah…and we usually jam a bit too!

Riff-Raff Podcast by Shane Theriot

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Photo by Matt Christine Photography

EPISODE NO 1: JOHN OATES John Oates, as you probably know already, is one half of the legendary duo Daryl Hall and John Oates, the biggest selling pop duo in history. He is also a recent Rock and Roll Hall of Famer. He’s done way more interviews than I’ve even listened to or read in my whole life, so he’s a natural at it and easy to talk to. John is a great guitar player, something that I feel he doesn’t get enough cred for. I met John after I got a call to play on his solo record (Good Road to Follow), which I strongly suggest you check out. I was also lucky enough to get to work on his live DVD called Another Good Road that you may have seen on Palladia or VH1, which is a really great showcase of John’s songwriting and guitar playing abilities. I can honestly say that John is one of the nicest guys in the biz and has become a close friend in the past couple of years. This interview took place inside John’s room at the Historic Hotel Bethlehem in Bethlehem, Pennsylvania. In it we talk Hall and Oates, inspiration, how he comes up with song ideas, guitars, pedals and some great stories from the road. We even jam on a little ditty called “Maneater”. It’s my first interview and I hope you enjoy it. (ST) This episode of Riff Raff with Shane Theriot is available to hear online. Check it out.

Episode No 1: John Oates

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LESSONS

SKILL LEVEL - INTERMEDIATE

PENTATOINIC MAJOR & MINOR

SCALES

MINOR TO MAJOR: TRANSITIONS ON THE PENTATONIC SCALE By Angus Clark

When I was learning music I was influenced in two different ways: by the book and on the street. By this I mean that I had everything that I learned from my theory lessons in one box where all the by-the-book stuff lived, and then everything I picked up from my own record collection resided in a separate box. Whenever there was opportunity for crossover was when things really got interesting. This is one of those lessons. In pop music, as a guitarist I want to play bluesy, while at the same time adhering to the key center and chord structure, which very often is overwhelmingly Major. If I go for straight up Major Pentatonic licks I wind up sounding country, but if I go for Minor Pentatonic (or “blues” Pentatonic) licks, I’m very often just plain wrong. I had learned that you could switch between the two scales in parallel relationships (as in a Major Pentatonic to a Minor Pentatonic). But the question of when and how, and how long can you spend on each one is the issue. This is where I turned to my record collection to find this answer. It was evident on so many songs, but the two guys that really showed me the way are Eric Clapton and Angus Young. Let’s start with Eric. Two of his solos were particularly informative for me on this, one is “Crossroads,” which is obviously a blues, but in it he effortlessly switches between Major and Minor Pentatonic using trademark licks and fingerings. The other solo of his that applies these licks and fingerings in a more pop context is the one on “Badge.” You will not find a guitar solo that is more chock full of amazing licks that flirt between Major Pentatonic and blues.

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| FIND ALL TRACKS ON OUR ONLINE LINK DIRECTORY | RIFFJOURNAL.COM/LINKS-V7

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Clapton typically has the tonic under his index finger on the top string, and then works between the standard Minor Pentatonic box and fingering two of the parallel major, as in Example 1.

Clapton Lick 1

In Example 2, in D, we start in the Major Pentatonic fingering at the 10th fret, and then shift / slide into the Minor Pentatonic at the 13th fret. But here we tweak the 3rd Major so that we maintain the Major tonality even though we’re working from a Minor fingering.

Clapton Lick 2

Angus takes a slightly different approach in “You Shook Me,” which is perhaps slightly more Albert King inspired, still keeping the tonic under his first finger, but he bends from the second degree of the scale to the flat 3 (or #9, whatever, you nerds).

Angus Lick 1

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| FIND ALL TRACKS ON OUR ONLINE LINK DIRECTORY | RIFFJOURNAL.COM/LINKS-V7

In another example from “Highway to Hell,” Angus shifts down from the Minor box to the Major box, but here his point of transition is on the 4th string, where he bends from the flat 7 down to the Major 6th, and then plays a fairly straight up Major Pentatonic lick.

Angus Lick 2

In both cases, you really have to listen to how the licks sound in context with the harmony beneath them in order to really appreciate the sound that is achieved. Once you get it into your ear, you will be able to find your own way into using this kind of approach. Thanks for reading!

ABOUT THE EDUCATOR Angus Clark Angus Clark has toured and recorded for the last 12 years with Grammy-Nominated TransSiberian Orchestra. He spent 5 years touring and recording with the Grammy-Winning New Age artist Kitaro. He also appears regularly in the Broadway production "Rock of Ages" and has performed with numerous artists such as Paul Rodgers (Bad Co.), Jon Anderson (Yes), and Robin Zander (Cheap Trick).

VIEW ANGUS’ COURSE LIBRARY RIFF

LESSONS

SKILL LEVEL - LATE INTERMEDIATE

INTERVAL MATRIX CONTEMPORARY

BARRE

THE MATRIX REVISITED

MORE COLOR FOR YOUR JAZZ/BLUES COMPING Written By Bob Wolfman

As a kid, I remember those paint-by-number paintings in my dentist’s office or at some relative’s house. They were usually pretty ugly, but playing-by-numbers will add some really gorgeous colors to your chordal accompaniment. You create colorful chordal arrangements using chord substitutions, whereby we add extensions to chords with 9ths, 11ths, and 13ths in place of the simple “mother” chord. The tool we use for this process is the Interval Matrix. Most guitarists learn their chord vocabulary in pretty much the same way by referencing chord diagram books, sheet music, or your buddy Bill. First we learn simple “cowboy” chords, then some Barre chords, and then moveable forms, all of which are communicated or seen by shapes. This is fine for simple folk, rock, pop, or blues, but to beef up your comping and add more color, it makes sense to advance to the next level… to move beyond just seeing shapes! More advanced guitarists see the fretboard numerically, in the form of intervals

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DIAGRAM #1 – INTERVAL MATRIX Interval Matrix

Note: Check out the ~ Root on 3rd fret of 5th string, Major 3rdth on 2nd fret of 4th string, and minor 7th on 3rd fret of 4th string, and so on. 1) You can build any chord in the key of C using this matrix of numbers. 2) Apply this approach for any of the 12 keys in music simply by sliding the matrix up or down.

DIAGRAM #2 – CHORD SHAPES WITH INTERVALS C Major 7th Chord

C9 Chord

C Major 7th and C9 chord forms INTERVALLICALLY – not just as shapes

DRILL: 1) Pick a Chord – Map it out on paper in a fretboard diagram as in DIAGRAM #1. REMEMBER, interval locations will move depending on the key/root of the chord. 2) Locate the root and then write down all of the intervals on each string in relation to the root. The interval matrix remains the same, but just changes position depending on what key you choose. It just moves up or down the fretboard! You will quickly get accustomed to this approach.

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BASIC CONTEMPORARY 12 BAR PROGRESSION Bob Wolfman Medium Swing

4 4

Bb7

x x

F7 8

Bb7

x x

G-7 10

D7 10

Ab7 11

G7 10

Gb7 9

DRILL: 1) Play EXAMPLE #1 - Basic Contemporary 12 bar in F 2) Play EXAMPLE #2 - Basic Contemporary Form in F 3.) Write down some of the chords on paper in a fretboard diagram. Analyze the chords intervalically. EX: Where is the Root, 3rd, 5th, 9th, etc. 4) EXPERIMENT! Play an A13, then try altering the 13th. Raise or lower it and listen! 5) Apply step #3 above to different chords.

ABOUT THE EDUCATOR Bob Wolfman Legendary in Boston and the East Coast, Bob is admired for his ferocious “monster” guitar chops, passion and sensitivity. Bob has performed, and/or recorded with such greats as keyboard genius Chick Corea, Larry Coryell, Joe Beck, Victor Bailey, Kenwood Dennard, James Cammack, Robben Ford, and he’s played on several hundred recordings. Bob received his degree from Berklee College of Music, and founded Wolfman’s School of Music in Boston which served as a prep school for Berklee, as well as other college music programs.

VIEW BOB’S COURSE LIBRARY SPRING 2016 | ISSUE 7

BASIC CONTEMPORARY FORMS Bob Wolfman

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LESSONS

SKILL LEVEL - ADVANCED

PEDAL TECHNIQUE HYBRID PICKING

ARPEGGIOS

PEDAL POWER By Jeff Beasley

B B B B B B B B B B B B B B B B

Vinnie Moore

I rememberF the first time I saw Eric Johnson play “Cliffs ofF Dover” on Austin City Limits on a VHS tape my F The song was amazing F andF beautiful and the intro roommate had. It was a life changing moment for me. floored me. Eric was so articulate and moved seamlessly from one passage to the next. At the end of his free form intro solo"#he did"#something that made the biggest impression on me, an inverted pedal( point line that "# "# "! "! "! "! ) ) ) ) ( ( ( "& "$ "$ "# and had to know how "# he’d"!done that. I rewound "! that VHS ) he hybrid picked. Wow! I "% was blown away tape "' "% "# "# "! "! over* and over and watched that section until I could play it.

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Next, I analyzed exactly what was going on in the lick. I noticed he played a series or line of notes, but kept returning to a single tone. As a matter of fact, he returned to that note, every other note in the line. I later F 13 F that the note he kept returning to is called F and looked upF a bit of background on the discovered F a pedal technique. I found that the origin of the melodic idea was from the pedals of an organ, and that the great J.S. Bach, among many others, had made use of the idea. I thought back to my own training in college and tried to & a way & to incorporate & & $ $ my own $ " without " " " ! ! Johnson ! ! find the$ technique into playing copying exactly what Eric had ) ' ' & & $ $ " * ( ( the technique & & %I decided to give it a% try. # done. Now that I had a better understanding of itself and its origins,

B B B B B B B B B B B B B B B B

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First, here’s theMEric Johnson M M M M pedal:M

(Eric Johnson) 15

B B B B B B B B B B B B B B B B M

"& "*

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"& "(

FB "(

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Next, I took a simple one octave major scale and slowly pieced together my first pedal, using a hybrid picking technique as well. Initially in the key of A Major, I used this form of the scale:

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Pedal Power D D4 : D4

A Major scale 1

B B B B B B B B "!

B B B B B B B B

Pedal Power

B B B B B B | < | < | < BPedal | B< Power |B B< B| B< B| B< B| B< =| B B B B B B B B B B B B technique I used at first descending withBthe scale, using the highest root note as my pedal, and hybrid c D the pedal B B = B B B B B B D B B 4 B B B B picking B ofBmy picking hand (M). Using down-strokes with : D 4the pedal (A-2nd string 10th fret), Bwith Bthe middle B finger my pick on all the other scale tones, and holding the pedal with the middle finger of my fretting hand: DD : D 44

A Major scale 1

Pedal descending

A 4Major scale "! 1

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B B B B B B B B | | | |

B| B B| B B| B B| B | < | < | < | < | < | < | < | < =|| B B B B B B B B B B B B B B B B B BB B B B B B BB B B B B = B *

| B|

* "! Pedal ascending "" ""

|B|

"# M

Pedal ascending Pedal descending 7 4

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"! Pedal c descending 4

"! ""

B| B

"! "#

""""

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"" "!

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"# "" * I7 got the courage to try ascending even though I feared it could be twice"#as difficult,"" using the same "# techniques M M M M M M M M with myM picking and fretting hands: M M M M M M M

Arpeggio Pedal ascending 9 7

Arpeggio "!

9 ""

Arpeggio &

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BB "!

"! '

BB B

(

B B "!

B| (

B BB

(

B B B B B B BB B "!

B B

& & Getting the hybrid picking ' part and keeping the middle finger of my fretting hand on ' the pedal note was the ( ( most challenging thing initially about the lick. But, before I knew it I could play the lick reasonably well, in fact ( well enough to incorporate it into my typical soloing ideas, ascending and descending. It added a wholeMnew M M M M M M M dimension to my playing. It is a very useable melodic idea that breaks the monotony of scale and arpeggio lines, & typically grabs & & & & & and a listenerâ&#x20AC;&#x2122;s& attention. & & &

(

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Since that worked out pretty well, I tried to think of other applications. Reverting back again to my training in M M M M M M college I thought, would this work in an arpeggio? I thought of the simplestMform of an arpeggio I knewMat the

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Pedal Power DD : D 44

A Major scale 1

B B B B B B B B "!

| < | < | < | <

B B B B B B B B *

Pedal ascending 7

B &

B B B B B B B B "!

time, the same methodical approach I had with "! you guessed "! it an A major "! arpeggio! I used "! "! "! "! the *scale * "" placing the pedal between of the arpeggio, "# just as I had done with the scale, ascending * each note "" "# and descending. Using the middle finger of my picking hand for the pedal, and sustaining the pedal M M M M M M withMthe first finger of my fretting hand:

Arpeggio 9

| < | < | < | <

Pedal descending

B B B B B B B B

B &

B '

B &

B (

B &

| (

B &

B (

B &

B '

B &

I began to see the technique used quite frequently and soon realized that I had but scratched the surface of the pedal point technique, and its various applications. One example in particular that piqued my interest was an extended pedal in A Minor by the virtuoso guitarist Vinnie Moore, who also used the hybrid picking technique:

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B B B FB B B B B B B B B B B B F B

Vinnie Moore 11

| | M

)

| | M

(Eric Johnson)

(

)

B FB B FB B B B B B B B B B B B F B &

FB "

B B B B FB B FB B B B B B B B B "#

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)

(

)

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B B B B FB B B B B B B B B B B &

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Several years later the pedal point technique is still a part of my lick repertoire. I enjoy utilizing it in my own playing, but also teaching it to students. I know the technique will broaden their melodic and harmonic capabilities and add a new playing and"&technique, just"&as it did for me."&It can do the same for you. I encourage you to try "& dimension to their "& "& "& "* "( "* do some research and come up with your own "( ideas with the pedal technique. I’ve seen the ideas illustrated here, but "* "( everything from the Major and Minor Scales to the Pentatonic Scales used in a pedaling approach. There are plenty of resources to draw from. So give it a go, you’ll be glad you did!

ABOUT THE EDUCATOR Jeff Beasley Jeff Beasley holds degrees in Music and Classical Guitar, is a prolific educator, popular workshop and clinic instructor, former senior faculty member for the National Guitar Workshop, and is currently a faculty member with TrueFire. He has opened the Huntsville Institute of Music in 2015. Jeff has appeared in Guitarist Network magazine, Guitar Player Vault, Music For The World, Music and Arts, Musicians Hotline, and Premier Guitar magazines and is endorsed by Sierra Guitars, D'Addario Strings, In Tune Guitar Picks and Levy’s Leathers.

VIEW JEFF’S COURSE LIBRARY

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LESSONS

SKILL LEVEL - INTERMEDIATE

PERSPECTIVE MAJOR TRIAD

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INTERVAL

AS YOU ARE PLAYING SCALES OVER DIFFERENT CHORDS, YOU SHOULD BE RELATING THE NOTES YOU PLAY TO THE INTERVALS FOR THE CHORD YOU ARE PLAYING OVER. THAT’S WHERE THE POWER OF INTERVALS COME IN, BECAUSE YOU WILL THEN BE ABLE TO EASIER FOCUS ON THE CHORD TONES OF THE CHORD.

THE POWER OF INTERVALS By Robert Renman

One of the most useful applications of practical music theory is the concept of Intervals. Being able to both hear the Intervals and see them on the fretboard provides the means of breaking away from scale shapes, boxes and repetitive fretboard patterns. Intervals are everywhere, and we can use them to form scales and chords. In other words, Intervals can be viewed as fundamental building blocks of music theory. Simply put, an Interval is the difference between two notes, but that doesn’t really explain the benefit of using Intervals. The real key to learning and using Intervals is that each Interval is referenced from the root note (the 1). The distance between the root and any of these Intervals will never change. For example, a Major Third will always be two whole steps (4 frets) up from the root, and so on. As you are playing scales over different chords, you should be relating the notes you play to the Intervals for the chord you are playing over. That’s where the power of Intervals come in, because you will then be able to easier focus on the chord tones of the chord. That doesn’t mean the non-chord tone Intervals aren’t important. They sure are! Each Interval has its own sound, in relation to the root note. If you practice this concept regularly, you will over time develop the ability to instantly hear Intervals in melodies and in chords, and so on. In turn, that will enable you to truly “play what you hear.” It will take a lot of practice, of course, but it is very possible indeed. In this article, I will describe the use of Intervals in the Major Pentatonic Scale. That means that we are not dealing with more than 5 notes/Intervals in our discussion. However, I need to point out that we have 12 notes in total to work with on the fretboard, and each of those can also be viewed as an Interval. I will not cover those “extra” Intervals in this article, but you can read more about this on Wikipedia , if you so desire.

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INTERVALS & THE MAJOR PENTATONIC SCALE

The pentatonic scale has five notes, and we can use Intervals to dissect it. The Major Pentatonic scale has the following Intervals: ● Root (1) ● Major Second (2) ● Major Third (3) ● Perfect Fifth (5) ● Major Sixth (6) If we pick out the 1, 3, 5 above, we get a Major Triad. If you are playing a solo over a song in A Major, any of these 3 notes are chord tones for that chord. Any lick or line you play will usually sound best if you end on one of those notes. This is one benefit of knowing where the Intervals are on the fretboard, because you won’t have to worry about ending on a bad note!

EX 1

2 LICKS EXPLAINED WITH INTERVALS

Now let’s learn 2 simple blues licks, using the approach of understanding them from the “Interval perspective.” These licks start and end with the notes from a Triad (1-3-5 from the scale).

Ex. 1 - Major Triad

This lick is an A Major Triad lick, using the Major Pentatonic. It starts out by using the first 3 notes from the Major Triad. Then we go up to the 6th, which adds a nice flavor in blues. That note is used mostly as a passing note, because we are hanging on the root note next, before we travel back to where we started, playing a simple melodic line in the process. The last 3 notes are the notes from the Triad in reverse (Intervals 5, 3, 1).

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| FIND ALL EXTRA LESSON ASSETS IN OUR ONLINE LINK DIRECTORY | RIFFJOURNAL.COM/LINKS-V7

Ex. 2 - Major Minor Triad

Here we are combining Major and Minor, and the lick is made a bit more interesting by the use of triplets. The first 4 notes are the A Major Triad. After that comes a bend, and you can either use a whole-step bend from B to C# (2nd to 3rd) for that Major sound, or you can do a halfstep bend, to get the Minor Third (C) sound it’s just a matter of taste. The remaining notes of this lick have the Minor sound. The last 5 notes are from the Minor Triad. In blues, it’s a cool thing to sometimes mix Major and Minor, and this lick is an example of just that.

SUMMARY

We have now learned what Intervals are. We also learned how they can make up Triads, and the benefits of utilizing them in your solos. Finally, I’ve provided examples of how you can analyze and understand licks from this perspective of Intervals. I hope you find this article useful, and please don’t hesitate to contact me if you have any questions. I hope you find this article useful, and please don’t hesitate to contact me if you have any questions.

ABOUT THE EDUCATOR Robert Renman Robert is a guitar instructor in Alberta, Canada, and he was the winner of TrueFire's Next Top Guitar Instructor Competition in 2013. He has been teaching for over 20 years, in the styles of rock, blues, country and jazz. With an eagerness for teaching music theory, rhythm guitar, lead guitar and improvisation together, his instructional approach has become very popular at his website. Robert regularly performs locally, and he has a large YouTube following at youtube.com/user/rotren.

VIEW ROBERT’S COURSE LIBRARY RIFF

LESSONS

SKILL LEVEL - ADVANCED

DAMN THAT DOUBLE UPSTROKE By Terry Syrek

I’m always interested in new things that are pretty simple, but sound cool. Once I get a basic version of a technique together, I’ll try and imagine how many different manipulations of it I can do. Can I bring it through a scale, if so…which ones? Pentatonic? Modes? Can I use it as an arpeggio? You get the picture. I spend a little time working on and refining a small technique or idea and then it becomes much easier to bring it into a larger forum. The double upstroke is one such idea. One simple little lick literally changed the way I play. At first, I though I’d never use something like it and it was pretty unwieldy. But in time, with some practice and focus on just this small lick,

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it became smoother and smoother. I first heard about the idea from fusion legend Frank Gamble. Now, Frank played this type of stuff and I thought, “There’s no way I’m gonna be able do that!” So I abandoned the idea several times over the years. Damn you, Frank Gamble! Then, born out of frustration, I came up with the lick I’ll show you below. Really short, really simple, but emphasizes the core idea. I had no expectations going into practicing it. Sounded nothing like the crazy stuff Frank was doing, but…it got the technique into my hands and I didn’t abandon it, this time. Here it is.

EXAMPLE 1

So, as time went by, I got the thing working, as I mentioned. Like anything else, I then thought “What’s next?” And so, I started to apply my newfound powers to slightly larger ideas. This one is our double up applied to the pentatonic scale.

EXAMPLE 2

And the ideas grew…here’s an Ionian scale version: RIFF

EXAMPLE 3

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Now, ultimately, you have to work the new ideas into the existing stuff you already know to make it less obtrusive and more musical. An idea I use I call bookending: play maybe 10 seconds of something comfortable and in the same key and position as your target “new” lick or idea. Practice seamlessly and fluidly passing into the new lick and then resolve it with another 5 to 10 seconds of same key/ same position comfortable stuff. Keep practicing that process, over a backing track, until things sound comfortable. You can check out these very licks and ideas above and a ton more about the double upstroke and its direct sibling, sweep picking, in my new TrueFire Workshop: “Lord of the Strings.” See you online!

ABOUT THE EDUCATOR Terry Syrek Terry Syrek is a guitarist, vocalist, songwriter, session musician, producer, instructor and author, known internationally for his virtuosic and passionate soloing and instrumental and vocal compositions. Terry received his Bachelor of Music degree from the prestigious Berklee College of Music, and has over 26 years of private and classroom teaching experience. He was a senior faculty instructor at the National Guitar Workshop. He currently resides and teaches in the Westchester, NY area (right outside of New York City), and is available for private lessons at his studio or Skype lessons online.

VIEW TERRY’S LESSON LIBRARY RIFF

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Photos by Alison Hasbach

There are very few players that elicit that sole reaction when you hear them. Even fewer can give you enough of their “signature” with just a few notes to make you know who they are. David Grissom is one of those.

You hear that familiar “click” as a tube amp turns on. Then, just a single A chord, followed by a simple blues lick. But that’s all it takes to make you think, “Tone, Man, TONE!” There are very few players that elicit that sole reaction when you hear them. Even fewer can give you enough of their “signature” with just a few notes to make you know who they are. David Grissom is one of those. David has honed his chops, along with his tone playing with a ton of “tonecentric” bands like the Allman Brothers, Joe Ely, and even a run as John Mellencamp’s guitarist. Of course he was the driving guitar force behind Storyville, which featured SRV’s Double Trouble rhythm section. All that touring along with being an in-demand session player helped him dial in a sound and style that sets him apart. As a songwriter David has worked with a lot of top writers and artists, but he started out similar to the way many players start. “The first songs I learned were ‘House of the Rising Sun’, and of course artists like Hendrix, The Beatles and The Stones. I had better luck with the latter two at first! ‘Sympathy for the Devil’ was the 2nd song I learned.”

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From there the similarities between David and the rest of us started to fade as David developed his own style. Was that something that he set out to do?

I would change is using too much gain. Back off the gain, and you will have a lot more dynamic control at your fingertips, then you can use a pedal (or three) to get more overdriven tones.“

“It just happened. I wish I could say I was smart enough to plan it all out, but it was just the natural progression of being drawn to a certain quality in music rather than specific genres.”

Of course once you have good tone, you need to be able to apply it in a unique way. One of David’s trademark playing characteristics is his creative rhythm approach. He can take a simple progression and turn it

...explore how you can vary the sound with just your hands. Your placement, attack, pick, fingers, everything changes the sound.

I asked David, if a player was actually setting their sights on developing their own sound and getting a better tone, what would be the best way to work on that? “Understand that the pickups in the guitar are basically microphones, so what you put into those pickups has everything to do with the sound you make. So, before plugging in, explore how you can vary the sound with just your hands. Your placement, attack, pick, fingers, everything changes the sound. The most common thing I see beginning and intermediate players do that

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into a classic riff. How does he do that? “Probably the most recognizable thing I do in a Blues/Rock setting are chords with no thirds, especially if I’m the only rhythm (comping) instrument, but again it always depends on the setting. Is there another guitar player or keyboard player? Am I going to be layering parts on a record? In the studio I’m usually asked to do at least 2 rhythm parts, so I’m thinking ahead as soon as I hear the song. I’m usually expected to play that second part right after we get the take the producer likes. So, I’m always thinking

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I’m also fascinated by, and collect old analog stuff. Watches, vinyl, audio gear, and really all kinds of handmade things that have a level of craftsmanship that is not as common these days.”

about alternate tunings, capos, baritone guitars etc.”

that have a level of craftsmanship that is not as common these days.”

It is that kind of thinking about “all” the parts that tends to make a player be a good fit in a band. David’s history of “getting the gig” speaks for itself. Many players aspire to land cool gigs and be “the guy,” so what advice would the man give to players trying to set themselves up for those opportunities?

Never one to slow down in the writing and gigging department, the next year is looking bright for Team Grissom.

“Take every gig possible at first, even if you don’t like the music, just to get gigs under your belt. Be someone you’d want to hang out with. It’s a given that you can play, but how are you in a bus with 8 other people for a month at a time. And, background vocals are a huge plus.”

With David’s “storied” past and his incredible pedigree you would think there may be nothing left for him to want to tackle. But like most creative types, there are always new horizons to get to.

Being a consummate musician takes time. Often players miss out on other things in life due to being all absorbed in music. What else does David do besides music? “The two main things would be reading and hiking. I’m also fascinated by, and collect old analog stuff. Watches, vinyl, audio gear, and really all kinds of handmade things

“I’m trying to finish writing my 5th CD… about halfway there on that. I have some cool sessions coming up, and may go back to Europe in early 2017.”

“The beauty of the creative process is that it is always unfolding if you are open to it. So, I hope there are a thousand things I haven’t done yet that I’ll get to discover.” The next time you hear a tube amp click on, remember, there are still songs that haven’t been written, and licks that haven’t been played. David is probably working on some of them right now with his signature style and tone.

davidgrissom.com

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In the world of music, musicians in bands typically occupy one hemisphere, while the DJs occupy the other. However, for Freekbass and DJ Logic, the fusing of the two worlds has paid off. Their unique brand of “Funktronic” grooves and live shows where the thunder boom flows has made them (and audiences) view and feel their combined musical world in a different light.

I talked with Freek about how this all came about and gained some insight into the process of merging live bass with DJ grooves.

JS: What was your earliest musical experience? When did you fist think that music might be your thing?

FB: I always felt connected to music, but it was when I was a little kid and heard 'More Bounce To The Ounce' by Zapp that I knew bass was the sound and instrument I wanted to create with.

JS: So how did you get hooked up with Logic in the beginning? FB: I had heard of Logic and his music for a long time. Back in 2010,

we were both on the same bill of a music festival in Pennsylvania. Logic was playing after my set. He asked if I would like to come up and jam on a song. Keyboardist Steve Molitz, from Particle, was also there for the jam. What was going to be a song ended up being over an hour-long jam after the crowd (and us) started feeling and digging it. That became the blueprint for the DJ Logic, Freekbass, Steve Molitz funktronica trio, Headtronics. Photos by Alison Hasbach

JS: While you guys play “funktronic” music with electronica as what many

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categorize it as, the reality is that all classic funk music has always had at its core a great beat and a grooving bass line, so do you feel like you are more new school or old school - or merging of the two?

infinite and always very fresh. JS: What are some of the challenges for someone who might want to do what you guys are doing?

FB: I definitely feel it is a merging of the two. As

grooves - or play things that you have worked out?

I remember a few years ago when I told other musicians I was doing a project with a DJ, they looked at me kind of funny and wondered how/ if it could be done live. That first step of the staircase is always the hardest, but once you start the climb it all comes in place. From a technical point of view, just make sure you have good ways of monitoring each other. Logic's speakers are always as big and loud as mine are so everything can be felt for the ultimate bump.

FB: When Logic and I play together 90% of what

JS: What do you have planned for the

much as I listen to P-Funk and Sly Stone, I also dig artists such as Daft Punk and Gramatik. Just like back in the day when George Clinton was being influenced by his contemporaries such as Zappa and Bowie, our Funk is influenced by the folks out making their mark today.

JS: When you do a live show, do you improvise

we play is improvised. With him, as a bass player, it feels very natural and not forced at all. He has such a strong knowledge and feel for the power of the groove.

JS: Do you find that the DJ/live bass combination creates its own space that lives in a different place than just DJ or just live band gigs?

FB: I think the main challenge is just doing it.

future together?

FB: I always love playing with Logic and think

there is some special magic that always happens when we do. I hope for him, Steve, and me to do a Headtronics album, something we have been talking about for a long time. The future is bright...and very Funky!

FB: For me, yes very much. The sonic

landscapes you can create in this medium are

facebook.com/headtronics

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progress takes a w a y what forever took to find. _

Dave Matthews Band

As a working musician for over twenty years (blimey, has it already been that long?), I am not overly thrilled with the way the music industry has changed in recent times. My argument against illegal downloads has always been to ask why any intellectual property created as art with a nod towards commerce should be pilfered for free? I’m assuming you wouldn't walk into a shoe shop, pick up a python boot and walk out without paying. I feel music should be thought of in the same way, it's still all about sole.

call ahead, but also does not expect to pay. I suspect these same individuals would not do this if they had a doctor’s or lawyer’s appointment, but because playing music is fun and for many people a hobby, there is a disconnect with notions of common courtesy. I am actually a user of a streaming service (Spotify), even though it pays artists next to nothing. I know this as some of my music is published there. It's not just us small indie artists, word on the street (wherever that is) Beyoncé doesn't make much from it either. Luckily she can still dance. Yes, I am old fashioned when it comes to music, I still have a closet filled to the brim with CDs and I was one of those people who sniffed their vinyl. There's

The way I use Spotify is to indulge my ever-revolving musical genre whims. I really like the fact I can dig into the back catalog of many artists and access music that I may not have heard. I become excited about discovering an artist and obsessively listen to their collected works.

But there is a double standard with art. I’m sure fellow guitar teachers would concur that over the years we have all had the occasional student who does not turn up for their appointed lesson, does not

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probably a term for that. But more importantly why do I use a streaming service? The way I use Spotify is to indulge my everrevolving musical genre whims. I really like the fact I can dig into the back catalog of many artists and access music that I may not have heard. I become excited about discovering an artist and obsessively listen to their collected works. I still like to listen to albums from start to finish, which has become a very foreign idea. By the time my 3-year-old daughter is old enough to

I do think this is a great time to be a fan of music, never before has so much different music been so accessible at the touch of a button, or the swipe of a finger and that's a positive thing. listen to the music of her choice (rather than the current daily musical brainwashing she receives from me) she'll probably be listening to several ringtones simultaneously whilst watching a video projected into her mind’s eye from her Google glasses and levitating. When I find music I’m interested in, I tend to buy it on CD in part because I know the blood, sweat and tears that go into making a record (even if it’s not an album by Blood, Sweat and Tears). I’m one of those people who obsesses at 4am that the second rhythm guitar needs to come down in the mix by 1.5db. Just ask my wife, I’m not exaggerating and I like owning a physical product, harkening back to the days of the gatefold and linear notes. My eclectic musical tastes often go beyond what's currently available on streaming services, so that’s another reason I buy music on CD. Therefore I'm justifying my use of a streaming site as the lesser of two evils. I refuse to download anything for free, well, unless a musician genuinely expresses that they want it that way. In this industry sometimes that's the only method to get your music out there, especially if it’s a little left of center, as my music often is.

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Sometimes music takes a while to grow on you and in some cases I find you have a richer more rewarding experience from hearing an album unfold over time. Now you could argue that the record companies were always ripping artists off since the dawn of time and yes, that's true, but at least people had a choice to amble down to the crossroads, have a friendly chat with the ol’ cloven hoofed one and sign on the dotted line. These days an album is often available on illegal download sites before the musicians have even had a chance to promote it and in some cases even finish mixing it! Imagine if one of your favorite novels was released before the final draft. Who knows what changes the author made whilst editing? Perhaps in the penultimate draft of George Orwell’s 1984 the final few paragraphs saw Winston enjoying a fruity cocktail with his sense of self still firmly intact, feeling optimistic about the future. Luckily we’ll never know. But it's not all doom and gloom, I do think this is a great time to be a fan of music, never before has so much different music been so accessible at the touch of a button, or the swipe of a finger and that's a positive thing. Mainstream radio is long dead and the media offers us the same four artists, not so cleverly repackaged as alternative rock, punk-pop, or country, so it’s fun to see what’s out there. But with great power comes responsibility. So my suggestion would be to use a streaming service as if you were on a record-scouting trip like the ones my friends and I used to make on a Saturday afternoon as teenagers. Find an album that sounds interesting and listen to it, yes all of it, maybe even in the order it was intended. And if you love it, or are at the very least intrigued, then buy it as a download or a CD, sit quietly and listen to it again from start to finish. Maybe even twice! Sometimes music takes a while to grow on you and in some cases I find you have a richer more rewarding experience from hearing an album unfold over time. Sometimes it takes a little listening

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work to really hear what’s there, which is in direct contrast with our fast food society. Case in point, it took me about ten years of listening to really enjoy traditional jazz and now I love it! This also pertains to learning to play the guitar. I spent a lot of my teenage years lifting the needle (that's a vinyl reference, not to heroin) and rewinding my cassettes

trying desperately to figure out what the last lick or chord was. Of course I'd also have to spend a fair amount of time fixing the tapes with a pencil after they vomited in my cassette player, but you get the point. There is so much tuition material online presently it’s important to find an effective learning path and stick with it, build a relationship with your teacher over time and try to avoid being pulled in by the

The sense of achievement and fulfillment you’ll attain from working on a technique or a song over time and watching it slowly come to fruition, will likely trump (ahem, that’s a bad choice of word these days) any quest for instant gratification.

force of instant gratification. The sense of achievement and fulfillment you’ll attain from working on a technique or a song over time and watching it slowly come to fruition, will likely trump (ahem, that’s a bad choice of word these days) any quest for instant gratification. I see this in other forms of art as well. Compare mainstream movies over the past twenty years and you’ll see less slower-paced, script-based films today with the fear that if we don’t “get to the chorus” in the first 20 minutes the

audience will lose interest. There is a lyric in the song “The Dreaming Tree” by Dave Matthews Band that seems rather apt: “Now progress takes away what forever took to find.” Hopefully this will be food for thought if there are some other digital dinosaurs out there like me.

Written by Rob Garland

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Photos by Alison Hasbach

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The guitar, to this day, remains one of the few instruments that never goes out of style, can be played acoustically or manipulated through effects and amplification.

I could fill this entire edition of Riff with my impressions, accolades and studio stories about Robbie Calvo. There are so many facets and colors to his talents and personality that somebody should - and probably will - write a book about him. The first thing I remember about Robbie is his smile. He’s always smiling, even in the face of adversity. That smile won me over immediately at our first session together. We connected inside of five minutes and I knew then that we’d collaborate on a lot of projects together. And we have — 17 topranked, best-selling courses to date and counting. The next thing that will grab you is his smarts - and that’s not just because he speaks with an eloquent British accent. This chap is highly intelligent, creative and articulate, which makes for great concepting, efficient curriculum preparation, and spot-on presentations for the camera. He’s funny too. He can take a joke and dish it out with the best of them. And indeed, quite a lot of that goes on in the studio when Robbie’s in town. There’s a lot of laughing going on in between takes and the sessions are always a blast.

Oh, and the boy can play some serious guitar across virtually any style, technique or musical setting. The diversity of his course library is a clear testament to that. He can also communicate very sophisticated concepts and techniques in a very accessible manner — no wonder his TrueFire fan base is massive and very dedicated. Robbie is multi-talented as well. Nashville‐based session player, songwriter, musical director and master educator. He’s also an award-winning interior designer and decorative painter winning Nashville’s best decorative painter award for 3 consecutive years. What I love best about Robbie is his inspiring free spirit and imagination. Most people dream about moving to the islands or some other exotic destination. Robbie manifests those dreams into realties. As successful as he is in Nashville, he’s recently been drawn to the island life and talked about making a move a few sessions ago. We thought it was just talk, but the next thing we know, he’s living the beach life on a Kona coffee plantation in Hawaii, putting a roof over his head and good food on the table playing gigs at all the popular venues where the locals love him as much as we do. Robbie, if you’re reading this…Mahalo (and save a beach towel for me)!

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BW: What is it about the guitar that attracted you to it originally, and still fascinates you today?

The guitar has always possessed many attractive qualities to me. There’s the artistic and aesthetic pleasure I get from holding and looking at its many colors, shapes and tone woods and then there’s the vibrational and musical aspects. The guitar, to this day, remains one of the few instruments that never goes out of style, can be played acoustically or manipulated through effects and amplification. But above all, it’s the one instrument that translates personal style, personality and passion.

BW: Your idea of happiness? Swimming in the crystal-clear blue Hawaiian ocean with my dog and then showering naked, outside in the sun and sand. Doesn’t get much better than that.

BW: Whether living or dead, who would you like to have dinner with?

Jennifer Love Hewitt. Beautiful, natural, funny and a light spirit. Call me.

BW: Name three things a player can do to improve their musicianship.

In my experience guitarists are terrible listeners and play before they understand what they’re hearing…so…listen first, then respond. It’s like good conversation — listen, comprehend and then reply with an appropriate answer. Secondly, having a solid understanding of time, measures of music and basic music theory. If you can count 2-, 4- and 8-bar sections of music, then you’ll interact better with other musicians and improvise better solos and rhythm parts.

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If you understand the basics of harmony and theory, then you’ll be able to communicate your ideas to other musicians and figure out new voicings and compositions. It’s a lot of work, but well worth it. Thirdly, stop trying to play things to impress people — it isn’t a competition. Soulful music can be simple and passionate. Most of the music I write and play contains just a few simple chords. I try to express those chords with interesting musical voicings and sounds that work with them. My melodies are usually simple motifbased ideas that are phrased to sound unique. They have a beginning, middle and crescendo. Consider note choice, resolutions and phrasing first and then you are truly expressing yourself.

BW: If not yourself, who would you be? I’ve never wanted to be anyone else. I truly believe we’ve all been put here as complete individuals to learn and impart wisdoms that we’ve learnt along the path. If I had to be someone else though, how about Hugh Hefner in his 30’s, robe and all!

BW: Given the changing business landscape of the music business and how tough it is to sell records etc — what are the positives about the current evolution of the music business?

I don’t actually see any positives in the current evolution of the music business. It’s a dying model and without a way to monetize music, musicians will need to take other jobs to sustain a living. If we are talking about technologies however, there are some amazing developments in amp modeling, effects and home recording. The Line 6 Helix unit takes this technology to a wonderful new level. I never thought I’d use anything other than a tube amp, but it’s pretty amazing!

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BW: Your favorite motto?

BW: Your favorite food and drink?

Feel the fear and do it anyway.

Mediterranean cuisine, Italian pastas and marinara, Italian red wine. On the fast food side of things — beans on toast and a mug of tea!

BW: What do you dream about? Literally. My dreams usually consist of finding my soul mate and enjoying the most amazing time together. My other dreams are usually frustrations; running a lot and not getting anywhere. Do I need a therapist?!

BW: What are your aspirations? I just want to do good work on the planet, play music for appreciative audiences around the world, impart my philosophies on creative musicianship to those who have ears to listen, and have a peaceful heart. Oh!…And to vaporize the gatekeepers!

BW: Your favorite heroes in fiction? King Arthur and the Knights of the Round Table. Times of valor, truth, honor and romance…things we could use more of in today’s society.

BW: What or who is the greatest love of your life?

BW: In your next life, what or who would you like to come back as and why?

I’d like to come back again as myself. I’m sure this life won’t be long enough to enjoy and achieve my personal desires, so let’s have another go at it!

BW: The natural talent you'd like to be gifted with (other than music)?

I’d love to be able to dance. I’m way too self conscious to do that, but I think it would be so amazing to just let yourself go and express feelings and emotions through body movement — without people laughing at you!

BW: In life or in music, what is the one central

key learning that you’d like to pass on to others? Be authentic. Trust your instincts. Visualize your goals and manifest the reality.

My best friend and dog, Poopy Jones. She is there for me no matter what. I miss her!

robbiecalvo.com

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Photos by Alison Hasbach

Guitar virtuoso, brilliant recording artist, passionate educator, and gifted composer, Pete Huttlinger passed in January of this year of heart failure after years of battling a host of heart ailments. Pete was a dear friend of ours and we are saddened way beyond words.

Pete was not just a friend — he was a hero of mine. Not just a guitar hero (which he certainly was), but a real life hero as well. The courageousness, positivity, and humor Pete demonstrated throughout his medical crisis are the qualities of those extraordinary human beings who inspire us to be better people, to never give up, and to always see the light at the end of the tunnel as we strive to overcome the challenges that we all face in our lives. Over the last couple of years, we collaborated with Pete on two of his TrueFire courses. I’m smiling now as I

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recall the jokes he made about charging the batteries in the medical apparatus that he wore under his clothes to keep his heart beating. I’m smiling as I remember the professionalism of his performance and the brilliance of his teachings during those sessions. I’m smiling as I remember the passion Pete had for his music, and how generous and enthusiastic he was about sharing his knowledge with fellow students of guitar.

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I’m smiling as I watch videos of Pete playing Josie, and Superstition, and While My Guitar Gently Sleeps, and the dozens of other amazing arrangements and performances that Pete shared with us. Yes, I am saddened, but I am also smiling because Pete would want us to. And I’ve got a feeling Pete is also smiling as we reflect on the magnificence of the musical gifts and inspiration that he left behind. Keep smilin’ Pete! Please join us and many others in the outpouring of support for his beloved wife, Erin Morris Huttlinger who established The Pete Huttlinger Fund for Adult Congenital Cardiac Research through Vanderbilt University. Simply donate here: http://www. petehuttlinger.com/memorialfund.cfm Pete put together an inspirational video promo piece for a talk he was giving across the country, which he called Don’t Just Live, Live Well! Please watch it here: https:// www.youtube.com/watch?v=ykduW2v73tk One last thing… please find it in your heart to visit Pete’s store to purchase as much CD, DVD and instructional material that you are able to afford. These sales will help Erin mange through the mountain of medical expenses that she is faced with today. Visit the store here: http://www.petehuttlinger. com/store.cfm

petehuttlinger.com

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BEHIND THE GLASS FEATURING: ANGUS CLARK WRITTE N : BY TO MMY JAMIN

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We’ve produced over five hundred courses with pro artists and educators here at TrueFire. Our artists come from varying musical backgrounds and walks of life, each bringing a unique skillset to the educational table. One of my roles here as producer is recognizing the different qualities each educator brings before they take the seat and before we start rolling cameras. In every case, behind the glass, one thing rings true; the artist out there is an extremely talented musician with an incredible understanding of the craft. They know their instrument inside and out. But from an educational perspective one of the other things we have to be sensitive to are things like how well they connect with the student through the lens, how well they can nail a solo with three cameras pointing at them, and how clearly they can articulate the fine motor skills that go into making the sounds they create. You’d be surprised at how challenging it really is…the ability to slow down and compartmentalize complex, yet predominantly muscle-memory driven movements. While personality and skillset varies from educator to educator, from a producer’s perspective, most fit into one of two major camps. On the one hand there’s the pure academic camp; those that teach at university or make their living teaching private lessons in person or via the cloud. On the other hand there are the pro players, those supporting headlining acts on tour, in studio sessions, or who are the headliners themselves. Don’t ask for the details on who’s who; the majority of our educators sit somewhere in between (with a few exceptions). At the center of that spectrum...that’s the sweet spot for us. Those are the stars that shine the brightest in the educational world. They’ll spark your attention with stellar performances nailed in a single take, and they’ll teach you what’s what with such charisma and clarity you’ll be convinced you can master their moves with a little grease. OK, OK, I’ll name one name: Angus Clark. He’s the real deal. Angus boldly embodies the unabashed stereotype of a modern rock star, while remaining completely authentic to the skill and sound of the style. He’s a successful, professional, authentic rock musician in a tough music industry. Avoiding the pitfalls of the career guitarist path, he’s built success as the lead guitarist for the Trans-Siberian Orchestra and the Broadway smash musical, “Rock of Ages.” He’s also helped pioneer an

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experiential music agency called Song Division, servicing Fortune 500 companies with songwriting-based teambuilding events and entertainment programs. He demonstrates that being a professional musician isn’t simply knowing how to play an instrument, albeit with great mastery. He’s mastered the art and culture of rock ‘n roll guitar, plus he’s able to leverage it as a powerful creative musical business in very dimensional ways. Last week, we shot two cool projects with Angus. One of them was part of a learning methodology we’ve developed in house that we call the Play Guitar Series. It’s a quickstart beginner method that’s very handson and innovative (you’ll be hearing more about this in the coming months). Angus is one of our go-to guys, so of course, is was natural for him to be included in this project designed for the budding rock guitarist. The other project we produced was another addition to his Radio-Rock line, this one being in the “Essentials” format. 10 radioworthy rock solos performed, broken down piece-by-piece, and presented alongside tab

and notation to keep your rock rig gassed up and ready to roll. Angus’ pedigree in the touring music circuit has also made him the dream of any studio or stage sound engineer. He minds his volume knob the way an English student minds his grammar, constantly attenuating his volume to quell any pickup noise while he speaks or otherwise isn’t playing on camera. Watching the way he works his volume knob is an essential lesson in itself, and while many of our educators do mind the knob, few have graced the studio with such sonic sensitivity. He teaches and plays rock guitar the way you want to hear it, never becoming distracted by the theory or focusing more than necessary on the academic aspects of what it takes to make it happen. He’ll teach you to play soaring, melodic solos spiced with just enough flash and emotional content to keep you hanging on every note (and he looks 100% the part, too). He comes off confident without being cocky. The guy is a rock star amongst pros, and he’s an all-star educator too, Straight up. RIFF

HOUSE NEWS

ARTIST DIRECTORY Artists Featured in this Edition of Riff

ANGUS CLARK Angus Clark has toured and recorded for the last 12 years with Grammy-Nominated Trans-Siberian Orchestra. He spent 5 years touring and recording with the Grammy-Winning New Age artist Kitaro. He also appears regularly in the Broadway production "Rock of Ages" and has performed with numerous artists such as Paul Rodgers (Bad Co.), Jon Anderson (Yes), and Robin Zander (Cheap Trick).

BOB WOLFMAN Legendary in Boston and the East Coast, Bob is admired for his ferocious “monster” guitar chops, passion and sensitivity. Bob has performed, and/or recorded with such greats as keyboard genius Chick Corea, Larry Coryell, Joe Beck, Victor Bailey, Kenwood Dennard, James Cammack, Robben Ford, and he’s played on several hundred recordings. Bob received his degree from Berklee College of Music, and founded Wolfman’s School of Music in Boston, which served as a prep school for Berklee.

DJ LOGIC As one of the world's most accomplished turntablists, DJ Logic is widely credited for introducing jazz into the hip-hop realms. Since his emergence in the early nineties amidst the Bronx hip-hop scene, he has been amassing a mountain of collaborations ranging from the likes of Medeski Martin & Wood, Christian McBride, Vernon Reid, Charlie Hunter, Jack DeJohnette, John Mayer, Ben Harper, Mos Def, and more.

DAVID GRISSOM David Grissom has toured and recorded with artists such as John Mellencamp, Joe Ely, Storyville, The Allman Brothers Band, The Dixie Chicks, Chris Isaak, Robben Ford, The Fabulous Thunderbirds, Ringo Starr, Buddy Guy, and John Mayall. His songs have been recorded by Trisha Yearwood, Lee Ann Womack, John Mayall, Shannon Curfman and Storyville among others. David is currently doing sessions and working on his 5th solo studio album.

FREEKBASS Freekbass initially wanted to be a magician. While most kids were listening to Nirvana and Green Day, he connected with the sounds coming out of the boom boxes like Zapp and Midnight Star. While working in a music shop to pay off his first electric bass, he began to study the classics of Larry Graham, Sly Stone, Stevie Wonder, Parliament and Bootsy with a bass in one hand, and an MPC2000 in the other. Today Freek is an active and prolific recording artist, educator, collaborator and performer.

JEFF BEASLEY Jeff Beasley holds degrees in Music and Classical Guitar, is a prolific educator, popular workshop and clinic instructor, former senior faculty member for the National Guitar Workshop, and is currently a faculty member with TrueFire. He has opened the Huntsville Institute of Music in 2015. Jeff has appeared in Guitarist Network magazine, Guitar Player Vault, Music For The World, Music and Arts, Musicians Hotline, and Premier Guitar magazines and is endorsed by Sierra Guitars, D'Addario Strings, In Tune Guitar Picks and Levy’s Leathers. SPRING 2016 | ISSUE 7

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PAT MARTINO Martino has been recognized as one of the most exciting and virtuosic guitarists in jazz. As a young man, Martino had suffered a severe brain aneurysm and underwent surgery. After his operations he could remember almost nothing (not his parents, the guitar or his career). Through intensive study of his own recordings, Pat managed to reverse his memory loss and return to form on his instrument. With a distinctive sound and gut-wrenching performances, he represents the best, not just in jazz, but in music.

PETE HUTTLINGER Comfortable with his guitar, a mandolin, a resonator, and other stringed instruments, Pete Huttlinger was a phenomenally talented musician whose work extended beyond stage performances and recording sessions into the world of education as well. His excellence as a teacher is evidenced on many instructional DVDs and other materials. Pete passed away in January 2016. He will not be forgotten.

ROB GARLAND Rob Garland is as completely obsessed with music and the guitar now as he was as a teenager. He has performed hundreds of gigs across Europe and the US, worked as a session musician, an author, given tuition clinics and been featured in magazines such as Guitarist & Guitar One. Rob is extremely proud to be a TrueFire Artist where he has courses, online workshops and classrooms, which he describes as "20 years of teaching all in one place."

ROBBIE CALVO A native of England, Robbie is a session player, live performer, songwriter and master guitar educator. An alumni of GIT, Hollywood, California, Calvo’s pedigree as a musician is well established. Robbie has 18 best-selling guitar instructional courses published with TrueFire and continues to host workshops, film video content for some of the largest gear manufacturers in the world and perform ‘live’ in the Hawaiian Islands, as a solo artist and with his band, Vinyl.

ROBERT RENMAN Robert is a guitar instructor in Alberta, Canada, and he was the winner of TrueFire's Next Top Guitar Instructor Competition in 2013. He has been teaching for over 20 years, in the styles of rock, blues, country and jazz. With an eagerness for teaching music theory, rhythm guitar, lead guitar and improvisation together, his instructional approach has become very popular at his website. Robert regularly performs locally, and he has a large YouTube following at youtube.com/user/rotren.

TERRY SYREK Terry Syrek is a guitarist, vocalist, songwriter, session musician, producer, instructor and author, known internationally for his virtuosic and passionate soloing and instrumental and vocal compositions. Terry received his Bachelor of Music degree from Berklee College of Music, and has over 26 years of teaching experience. Terry has been featured in Axe, Guitar, Guitar One, Guitar Player, Guitar for the Practicing Musician, Guitar Techniques, and Premier Guitar magazines, as well as the New York Times newspaper.

SHANE THERIOT Shane Theriot is a guitarist, composer and Grammy award-winning producer. He is a highly sought after sideman/studio guitarist, he has recorded and or performed with The Neville Brothers, Dr. John, Jewel, Beyonce’, Sammy Hagar, Willie Nelson, Rickie Lee Jones, Larry Carlton, Branford Marsalis, Hall and Oates, Harry Connick Jr., Boz Scaggs, Amos Lee, LeAnn Rimes, Little Feat. Shane is currently on the TV show “Live From Daryl’s House” featuring Daryl Hall, in which he serves as Music Director/Guitarist.

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Lessons COMPILATION ALBUM

RIFFAGE: VOLUME 7 Here ye, here ye! Audiophiles, guitar aficionados and enlightened children of the ‘Fire — prepare thy ears and hearts for magical music from the artists and educators featured in this edition of RIFF. Click the download button below for your personal copy of RIFFAGE Volume 7…

Stone Blue - Pat Martino & Joyous Lake Skimming the Surface - David Grissom Little Hat - Shane Theriot Milkhunt - Freekbass The Dolman's Tears - Angus Clark Souls Are Tied - Robbie Calvo Dance of the Satyr - Rob Garland Page Nine - Jeff Beasley Transition - Bob Wolfman Have A Cigar - Terry Syrek

Download the FREE Album

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BEHIND THE MIX We can’t say it enough — the not-so-secret ingredients of TrueFire are the artists and educators that we are privileged to collaborate with. Not just amazingly talented educators, they are also brilliant composers, arrangers and recording artists in their own right. Enjoy their music and please visit their websites and social media networks.

Stone Blue - Pat Martino & Joyous Lake “Stone Blue” was recorded in February 14-22, 1998. It features Pat Martino on guitar, Eric Alexander on tenor saxophone, Delmar Brown on keyboards, James Genus on bass, and Kenwood Dennard on drums and percussion. Pat Martino’s music can be purchased either on Amazon or iTunes. Skimming the Surface - David Grissom This tune utilizes an open string technique I use a lot. The fretted portion of the melody is mainly on the higher frets and, combined with lots of open strings, makes for some very cool sounds and intervals. Milkhunt - Freekbass “A new bass-centric track from the current Freekbass release, 'CINCINNATI.’ This song features some of Freekbass' signature bass techniques such as the 'double-thumb' technique and is available on Ropeadope Records.” The Dolman's Tears - Angus Clark "This is a tune called “The Dolman’s Tears” from my solo album Your Last Battlefield. This is part of a song cycle inspired by Star Trek the Original Series. Elaan of Troyius is the Dohlman of Elas on or about star date 4372.5. Should a man come in contact with one of her tears he will become enraptured and enslaved to her forever. Kirk promptly does this and then spends the rest of the episode trying to get out from under her spell. / Jethro Tull / Roxy Music / John Lord, etc. She played violin. I played electric sitar and guitar.” Souls Are Tied - Robbie Calvo “Souls Are Tied” was written as a song with lyrics. It's the story of my relationship with Tori DiVito. I sang the song to Tori one day, without her knowing what the song was about. She cried. I guess the lyrics and melody and the passion behind them hit home and spoke to her in a way she could truly understand. This is my instrumental version of that song. Listen to the notes, the grace and the passion and maybe you'll hear what I felt, even without the words.

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Little Hat - Shane Theriot “Little Hat” is a tune from my 2nd solo record, The Grease Factor. The tune features a quick “hyper second-line” groove played by Johnny Vidacovich on drums. This piece was really fun to put together and was quite a challenge to record and get up to tempo. Hope you enjoy! Dance of the Satyr - Rob Garland “This song is taken from Rob’s new jazz fusion E.P. Seven Voices. The track was written and performed by Rob’s Eclectic Trio. It is dedicated to the cheeky goat man who has been known to appear at the band’s gigs and the full album is available to buy from Amazon, iTunes and to stream on Spotify, Apple Music, etc.” Page Nine - Jeff Beasley I recorded this song in December of 1997, after not touching my guitar for a year. I pieced it together in my head and went and recorded it in about an hour and a half. At that time in my life, I was on a Jason Becker kick, and wanted to record something that I thought at least remotely resembled his masterpiece "Air" from his landmark album Perpetual Burn. The title of the song "Page Nine" is derived from a goof on the name Paganini who also at that time was one of my favorite composers. Transition - Bob Wolfman This title cut “Transition,” was composed by Larry Coryell especially for Bob Wolfman. Larry's goal was to showcase Bob's wide range as a guitarist/ vocalist and composer, and his musical styles and abilities. Fully aware of Bob's love for Jeff Beck's genius as well as Coryell's own genius, Larry composed the title cut "Transition" as a vehicle for Bob to pay homage to Jeff Beck, his other lifelong hero and to demonstrate Bob's “Monster" chops! Have a Cigar - Terry Syrek “This song is my interpretation of a song by one of my biggest influences, Pink Floyd. Maybe just a tiny bit different than the original, but I hope I could retain the spirit and give it my own stamp at the same time.”

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SNAPSHOTs

Guess who? I’d recognize those argyle socks anywhere…Tommy Emmanuel in the house!

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T hrowback Tuesday - Brad and Ali on the cover of Rolling Stone. How DO they make the time?

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