Charlie Hunter Biography: As a young guitarist growing up in the San Francisco Bay Area, Charlie Hunter was looking for a way to stand out in the ’80s. His primary influences were jazz great Joe Pass and the fluid Tuck Andress (of the guitar/vocal duo Tuck Patti), both six-string guitarists who were adept at blending bass notes into their standard guitar melodies to make themselves sound like two musicians at once. But Hunter wanted to take it one step further, and set out to find an instrument on which he could simultaneously function as both a guitarist and a bassist.
For his self-titled 1993 debut CD, Hunter played a seven-string guitar for the duality effect, locking down the bottom with drummer Jay Lane and mixing melodically with saxophonist David Ellis. But on his trio’s sophomore 1995 release, Bing, Bing, Bing, Hunter unveiled his custom-made Novax eight-string, the guitar that finally allowed him to realize his capacity.
Designed by Ralph Novak, the instrument featured special frets and separate signals for its guitar and bass portions. Picking bass notes with his right thumb while fretting them with his left index finger (while at the same time fingerpicking guitar chords and single notes with his right hand’s remaining four digits as he frets with his left hand’s other three fingers), Hunter achieves the real sound of two-for-one.
Not only does he do simultaneous walking bass lines and melodies with ease, they sound quite sick too. An all around virtuoso musician with a great feel, Charlie is a one of a kind player that should be a household name for all guitarists.
Check out this awesome video of him performing solo at the 2006 Mendocino College Artist in Residence concert:
And also check out his website and join his mailing list!
This strong conviction to realize your life is beyond “successful” or “not successful.” Beyond any feeling of fear, you just do it. That is practice and that is the way-seeking mind, which goes beyond dualistic ideas of good and bad, right and wrong. You just Do it.-Shunryu Suzuki-roshi
No matter what genre or style of guitar you play, no one style is better. Being a guitar god like Joe Satriani or Hendrix is not the only measure of success.
The trick is to look inside yourself, and define your way for yourself. Don’t solely listen to outside opinions. You must look within yourself to find what is truly effective.
Once you realize what is effective to your personal music goals and dreams, you simply just go after it by acting. Too much time can be wasted thinking of the future and always analyzing what is happening. By being in the moment and being dedicated to a purpose, “just doing it” becomes the optimum choice for finding your unique way.
I recently read a great piece from Zen blogger, Derek Ayre, about Success and Failure. Click the link to read the full post:
Or would you curl up in a ball, cry yourself to sleep, and wake up the next day and sell your guitar on eBay?
Having the maturity and resolve to handle criticism is a skill that most guitarists and even people in general lack. Losing the ego and just taking in what others suggest can many times be beneficial to your growth as a musician. Granted, some people’s opinions can be pure crap, but one can always learn from criticism being given from a player with more experience.
If you become too absorbed in your own ego, how do you expect to learn and grow? By letting go of your ego and embracing the mind of a beginner (who is eager to learn anything and everything he/she can) you allow yourself to maximize your guitar potential and move further along the path of guitar enlightenment .
Check out this video of Segovia critiquing a student. Segovia knew this student had the technique to play the piece, but he challenged the student’s resolve to make music with the piece. Too often we get so enamoured with the mechanics of things and forget about the spirit of them. Listen to what the student has to say at the end:
We know that if you had the choice of playing guitar for a living or being an accountant, you would definitely choose playing guitar. Many guitarists are talented enough to make guitar their livelihood, yet they lack the information on how to go about doing so.
After interviewing some of the top studio session players around the country, I summarized some of the main concepts of becoming a successful studio guitar player into a FREE report for the first 1500 guitarists to download.
Since you guys are already on our mailing list, we wanted to let you be the first ones to know.
In the meantime, I am also working on putting together the interviews into an audio series to help the guitar community gain more insight on the world of professional and studio guitar players and how to go about becoming one.
Lawrence Blatt is quickly moving into the upper echelon of finger-picking acoustic guitarists, but with a background that includes a degree in microbiology, he also has deep insights into science and mathematics. On his second instrumental recording, Fibonacci’s Dream, Blatt combines his passions for music and math into a tribute to one of history’s most important mathematicians.
Leonardo Fibonacci, a 13th Century Italian, published a pivotal book, “Liber Abaci” (Book of Calculation) when he was 32. He introduced Europeans to the use of Arabic numerals (the system we use today) and discovered the “Golden Ratio” that appears frequently in nature (petals on a sunflower, seeds in a pinecone, a nautilus shell or the cochlea in human ears).
Much musical theory follows Fibonacci mathematics, so Blatt decided to take it a step further on his recording and consciously apply math structures and sequences to his compositions by utilizing numerical ratios in his chord patterns, repeated phrases and tonal intervals. All music is naturally built on a mathematical foundation, so Blatt’s tunes do not sound academic or sterile, but rather melodic, colorful, accessible and exhilarating. While the song structures may have a mathematical consistency, Blatt points out that the emotions within each composition are inspired by people, places and life experiences.
Una Vida
“One thing I learned from my biology studies is the axiom that simple rules lead to complex behaviors,” explains Blatt. “So by integrating some of Fibonacci’s math into my music, I started with fairly simple structural rules. However, the result was music that became not only more complex, but more intrinsically-beautiful in its cohesiveness.”
Blatt’s fluid acoustic sound – sometimes created purely on a single guitar and other times featuring several layered and entwining instruments – can feature subtle counter-melodies, rhythmic interplays or even multiple parts played simultaneously on one guitar (lead, rhythm and bass at the same time, for example). Blatt’s exceptional technique mixes delicate nuances one moment with passionate fire the next. On the album, Blatt played all of the instruments — both steel-string and nylon-string acoustic guitars, acoustic bass, an Hawaiian 8-string ukulele, a 128-year-old bowl-back mandolin, two small South American 10-string guitars (a charango and a ronroco), piano (on one tune) and ethnic percussion. He also composed, arranged and produced all the music. Blatt’s style bridges many genres including new age, neo-classical, folk and world music with subtle, hinted-at elements including Latin, Mid-Eastern, jazz, bluegrass, Hawaiian and pop-rock.
A rising star in the world of instrumental music and acoustic guitar finger-picking, Lawrence Blatt won an international radio LifeStyle Music Award and was named last year’s “Best New Artist” by New Age Reporter for his debut CD, the Top 10 airplay Out of the Woodwork. In addition, the album was selected as a finalist for the 2007 Independent Music Awards’ Best New Age Album. Meanwhile, Fibonacci’s Dream is already #2 on the international NAR chart. Both CDs can be purchased online at his own website (lawrenceblatt.com), CDbaby.com, Amazon.com, Tradebit.com, Musicishare.com, and digital download locations such as iTunes and Napster.
Blatt has studied under guitar players and recording artists such as Laurence Juber, Pierre Bensusan and Brian Gore. Following the technique used by those teachers, Blatt picks the strings using his fingertips rather than utilizing real or fake fingernails. Blatt uses both standard and open tunings on his guitars. Blatt also believes in “complete takes” when recording (rather than seeking perfection with patched-together solos), and does only minimal studio manipulation of the sound after it leaves his instrument.
Lawrence grew up initially in the Los Angeles-area (Van Nuys) through grade school, and then moved to Carmel, Indiana, where he attended junior and senior high school. He began classical violin studies at age eight (immersed in Mozart, Bach, Mendelssohn and Bernard Heiden) which continued through his senior year (although Lawrence also played classical bass for two years and learned basic piano skills). While still in junior high, he became the youngest member of the Indianapolis Youth Symphony (conducted by Jackson Wiley). In addition, when Blatt was twelve, he began learning guitar, and over the next decade became a part of the Indiana folk scene as a singer-songwriter-guitarist while continuing to study classical music.
In high school, Blatt was influenced by singer-songwriters such as Neil Young, James Taylor, Cat Stevens, Carole King, Jesse Colin Young, Van Morrison, Dan Fogelberg, America and Boz Scaggs. Blatt went on to graduate from Indiana University where he studied both microbiology and music (Leonard Bernstein was on the adjunct faculty giving lectures and concerts). Lawrence’s musical interest expanded to include artists such as John Lee Hooker, Al Jarreau, Joe Jackson and Chicago. Blatt moved to Los Angeles and earned his MBA and PhD degrees in science (“it was something I enjoyed and had an aptitude for”), and listened to a lot of folk (Steve Earle, Steve Goodman, John Prine, Lyle Lovett) and jazz (Larry Carlton, Brandon Fields). Blatt went to Boulder, Colorado, for five years, began his “serious music career,” and delved deeply into finger-style playing. In addition to studying with Juber at this time, Blatt was influenced by other finger-pickers including Dave Wilcox, Leo Kottke, Michael Hedges, Ottmar Liebert and The Netherlands’ Harry Sacksioni. In 2001 Blatt moved to San Francisco (where he now lives) and started performing regularly, recording and studying intensely with Brian Gore.
Shortly after Blatt released his first CD, Out of the Woodwork, several tunes received airplay on John Rothman’s current-affairs nationally-syndicated radio program, and listener response and sales were immediate. The album went on to be one of the most-played albums in its genre on radio stations around the world for several months. The title tune was chosen to appear on the compilation CDs Care Packages (distributed to American troops in Iraq) and GOA Chill Zone. “Here We Go” was licensed to appear in a Tom Green film (“Shred II”); “Under the Sun” appeared on the CD No Cover’s Best New Bands; “Z Squared” was included on the Java for Javelins compilation; and “Keiki Lullaby” will be used on the PBS/Showtime-TV magazine show “This American Life.”
On Fibonacci’s Dream, Blatt’s ability to perform multiple parts on a guitar without overdubs is showcased on the tunes “I’m Leaving Now” (influenced by Lindsay Buckingham), “Bern ‘The Bear’,” “Just Before Dawn,” and two that include a little percussion added — “Five Nights” and “La Selva (The Rainforest)” (featuring the tiny South American ronroco). But in addition to these single-guitar spotlights, Blatt also creates wondrous multiple-guitar arrangements on the Latin-influenced “Una Vida (One Life)” with its 35-second solo charango coda, “Catalina,” “Fibonacci’s Dream” and “Song For Chava” (an homage to Blatt’s Eastern European heritage).
I’m Leaving Now
Several of the pieces develop interplay between the guitar and bass, such as “In A Heartbeat” and “A Little More Sunshine.” “‘In A Heartbeat’ is example of two guitars talking to one another,” Blatt explains, “like a first and second violin in an orchestra, where the melody only emerges when the two are playing together.” “I Remember When,” written in Hawaii using a “taro-patch tuning,” incorporates an eight-string ukulele. The album ends with a tune dedicated to “the senselessness of war.” “Move Um Out” moves from delicate harmonics to a marching pace and, following several brief lulls, into frenetic strumming and percussion.
“I didn’t set out to make an album of any particular genre. My music includes simple tunes, ones that are harmonically and rhythmically complex, some with a modern-sounding edge, and others with a mysterious quality and feeling that could have been written in the 18th century. As a solo instrumentalist, my guitar is my voice, and I have a lot I want to say.”
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Well it’s been a great weekend attending the World Famous Dallas Guitar Show. In its 31st year, this show is always something I look forward to checking. Not only are some of the nicest builders, industry professionals, and innovators present, but their are always some kick ass guitarists performing on the various stages throughout the event.
Guitar Prodigy Johnny Hiland-This guy can shred, chicken pick, and play some soulful blues. And to top it off, he is one of the nicest guys you will ever come across. His bass player was a badass, too. I think his name was Michael Hill though I could be wrong.
As far as gear goes, the Dallas Guitar Show was loaded with quality vintage and boutique manufacturers. One pedal company really stood out though.
This company really prides itself on designing and manufacturing futuristic analog effects unlike anything you’ve seen before. The name of this innovative pedal-maker is Pigtronix.
If you are looking to develop your own sound and stand out from the crowd, you better do yourself a favor and look into these pedals. Their overdrive PolySaturator was so smooth and harmonically rich, I almost ruined my pants. And their EchoLution (Delay) and Envelope Phaser were just sick.
Seeking personal praises from the likes of Tommy Emmanuel, Jennifer Batten, Dave Weiner, Jude Gold(Editor Guitar Player Magazine), and Chris O. Byrne(Editor Guitar One Magazine) among others, Paul Lowe is one serious picker.
Having played in 24 bands throughout his life and teaching the fine art of guitar to many, Paul still leads a musically rich life, and his devotion to the instrument is unmatched by most.
Check out this tasty improv “From Dusk til Dawn,” and keep reading to learn more about this week’s Featured Artist.
Everything has its beauty but not everyone sees it.
-Confucius
Stressing the importance of benevolence, respect for others, and looking pragmatically at individual situations rather than blindly following traditional rules, Confucius was also known for his wicked Guqin chops. Scholars have even linked Eddie Van Halen’s family tree back to Confucius.
(Ok not really.)
So how does one see beauty in everything? Can you really even say that an Ashlee Simpson song has beauty?
Now maybe Confucius would re-phrase his words after hearing some of today’s music, but yes, even an Ashlee Simpson song has beauty to it. You just might have to look a little bit harder to find it.
So how can you expand your horizons and learn to appreciate styles of music that you presently dislike? And why is this even important for guitar players? [Read more →]
This is a great video I recently found at artisthousemusic.org and wanted to share with the guitar community about the changes in the music industry.
This video features Don Passman, an entertainment lawyer and author of All You Need to Know About the Music Business. He discusses how changes in the music industry such as shrinking album sales and new technology are affecting both artists hoping to make a career in music, and people seeking a career on the business side of the industry, and what people should expect in this changing environment.
Is this bad for guitar players? It is going to be different and those that are savvy about utilizing the latest trends will be the successful ones. Now is the time to learn about them people! The industry is turning into a do-it-yourself style industry and those waiting and hoping for a record deal to come along might be waiting a long time. But don’t worry, there are so many ways to reach your fans and find new ones these days. For example, you could start contributing your experience and expertise to GuitarPlayerZen.com! Being active in a community is a great way to make friends and fans.
For studio guitarists, this digital revolution means that guitar players don’t even need to leave their home studio to record on demos and albums. Producers and engineers can upload the tracks via ftp or mail them in dvds. The studio guitarist can then download them on the ftp or if it is a dvd format, record his tracks on them and ship them back. This is something our friend Ron Zabrocki does often, and in our upcoming audio interview series, he goes into more detail about the whole process.
To learn more about what it takes to become a successful studio guitarist, visit our sister site, StudioProGuitar.com
