The Western Illinois University Guitar Festival is holding a raffle to help fund the 2010 edition of the festival. All proceeds go directly to help sponsor the festival which will allow us to keep all festival events free of charge.

Tickets go on sale March 1st, 2010 and the raffle will be held on Monday April 12th, 2010. Winners will be notified by email/phone on Tuesday April 13th and can claim their prizes directly after that date.

Win $2600 in Prizes

• Grand Prize: Full Scholarship (tuition/room/board) to attend ANY 2010 National Guitar Workshop campus, including New Milford, CT, Los Angeles, CA, Chicago, Il, Austin, TX or McLean, VA, valued at $1500.

2010 NGW Guest teachers include Tommy Emmanuel, James Burton, Russell Malone, Paul Gilbert, Sonny Landreth, Pat Martino, John Scofield and many more.

For more info please visit www.guitarworkshop.com

• First Prize: Raezer’s Edge Stealth Cabinet valued at $500

For more info please visit www.raezers-edge.com/

• Second Prize: Full Scholarship (tuition) to attend the 2010 edition of the Interlochen Guitar Festival and Workshop, valued at $400.

For more info please visit http://college.interlochen.org/program/guitar-festival-and-workshop

• Third Prize: Four (4) $50 gift certificates from Strings by Mail, each gift certificate will be drawn separately.

For more info please visit www.stringsbymail.com

Tickets are $10 or three (3) for $25

To buy tickets, or for more information on the raffle, please email mr-warnock@wiu.edu or call 309-298-1328

For more information on the 2010 WIU Guitar Festival please visit:

http://www.tristatesradio.com/guitarmain.html

Prize winners must be legal residents of the United States at time of draw.
Grand Prize Winner may be required to claim the NGW scholarship on their tax return.

Stereo Night is a mood inducing, insistently catchy album by Minneapolis duo John Munson and Matt Wilson, who are collectively known as the Twilight Hours. With their strong song writing ability, and a wonderful assembly of side musicians, the duo of Munson and Wilson has brought forth an album that is lyrically relatable and musically enjoyable. Writing music that both touches the listener and relates to their everyday experiences, while still remaining musically relevant is no easy task. Though both of these highly sought after musical traits seem to be second nature for these Midwestern troubadours.

Written with a sensibility and folkiness that can only be described as Midwestern, in the best sense of the word, the songs on Stereo Night feature a folk-pop-rock sensibility that can only be learned through years of trial and error. Songs such as “Alone” and “Forget Me Now” are strong ballads, with some of the most memorable lyrics on the record. While “Queen of Tomorrow” brings a quasi-funk beat to the mix that will have heads bobbing and feet tapping as the melody climbs to it’s pre-chorus crescendo.

Though many of the tracks are laid back, bringing to mind long drives on the back roads of the Midwest, there is always plenty of emotion and interest generated from the lyrics and the band. While the focus of the album are the two band leaders, the assembled cast of sidemen, and women, make memorable contributions themselves. Of particular note is pedal steel guitarist Joe Savage. This accomplished picker melds the unique tonal quality of his instrument into the ensemble perfectly on songs like “Stay With You,” where the instrument takes on a vocal quality as it swells in and out of the songs intro.

Stereo Hours is a strong release by Munson, Wilson and company. It’s easy to ignore the more laid-back bands out there. Bands that are focusing more on the strength of their lyrics and music than on writing loud, brash, in your face songs. But don’t let the relaxed nature of these songs fool you, there is a depth to the lyrics and inherent enjoyment to the music that will draw you in and keep you hooked from beginning to end.

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Links

The Twilight Hours Homepage
Stereo Night on Amazon

Flood is a down to earth, gritty release by blues duo Moreland and Arbuckle, who are joined by drummer Brad Horner to form the group’s characteristic, bassless trio. Reaching out and drawing the listener in right from the first Mississippi drenched harmonica-guitar riff that opens “Hate to See You Go,” these seasoned blues storytellers don’t let go until the final notes of the banjo fade away on “Can’t Get Clear.” Featuring infectious grooves, solid lead harmonica and guitar playing and a strong understanding of blues lyricism, Flood is a powerful release, even for these accomplished bluesmen.

One of the most interesting and captivating elements of the album is Moreland’s use of the four-string cigar-box guitar. Handmade by a friend in Memphis, the instrument has four strings, strung across a cigar box, with one string running through a bass amp and the other three played through a guitar amp.

The result is a low-end that sounds somewhere between a de-tuned guitar and the high end of a bass. Moreland’s ability to drive the rhythm like a freight train only adds to the instrument’s effectiveness, especially on the live version of “The Legend of John Henry,” which is one of the albums brightest moments.

While guitarists and musicians will find enjoyment in Arbuckle’s harmonica playing and Moreland’s guitar work, it is their songwriting ability that will reach out to people, blues fans or not, and draw them into the music. Drawing from personal experiences in their lyrics, the lyrics on Flood reveal just enough of the musician’s lives to captivate yet not too the point of isolating the listener.

These are stories and situations that could happen to anyone. There is no better example of the personalization of the lyrics than in the songs “Before the Flood” and “18 Countries.” After Arbuckle’s father lost his home in a bad flood, a deeply personal event, he was inspired to write the two songs, with the first being an introduction to the latter.

Whether it was a means of finding closure with the event, or simply trying to tell a personal story through music, the track is one of the high-points of an album full of great songs. One cannot help but picture themselves dealing with losing their home, of starting over at an age when they should be thinking of slowing down.

This ability to make connections with the troubles of the average person is one of the reasons the blues reaches so many people, and why Flood is so successful from a songwriting standpoint. Match that with a solid groove, great guitar playing and harmonica lines that sit right in the pocket and the result is one of the best blues releases of the new millennium.

Click here to view the embedded video.

Links

Moreland and Arbuckle Homepage
Flood on Amazon

Paul Meyers Quartet Featuring Frank Wess is a hard-swinging, bebop-based jazz album that brings together two of the genres finest players, alongside a world-class rhythm section consisting of Martin Wind bass and Tony Jefferson on drums. Aside from the instrumental tracks, vocalist Andy Bey makes a guest appearance with an inspired interpretation of the John Latouche and Jerome Moross tune “Lazy Afternoon.” Both Meyers and Wess are in top form as they weave between relaxed ballads, Brazilian grooves and fast swingers, with inspired and creative performances.

The tunes on the album are a mix of jazz standards, such as “In the Wee Small Hours of the Morning,” Just One of Those Things” and “I Cover the Waterfront,” and original compositions, with both Wess and Meyer contributing memorable works to the album. Meyers’ compositions “Blue Lantern” and “One for Miss D” are a showcase for the guitarist’s diverse musical interests. “Blue Lantern” is a hard-swinging modal tune that brings to mind the classic Miles Davis recordings of the early ’60s, while “One for Miss D” is a Benny Golsonesque tune that features a strong, catchy melody, and two of the album’s strongest improvisations, by both Wess and Meyer.

Not to be left out, Wess’s composition “Menage a Blue,” is a sultry, bluesy track that features some of the most emotional melodic interpretation and soloing on the album. Beginning with the saxophonist counting the tune off into the mic, one can already feel the groove emulating around the room, and the band hasn’t even started playing yet.

The song is also a showcase for the diversity that Meyers possesses as an accompanist. His chord work behind Wess’ melody line and solo are at the level of a Jim Hall or Ed Bickert. Every comping phrase has a melodic quality to it, reaching out and pushing Wess to reach new heights of creativity and interaction in his solo. Sometimes guitarists can overlook the importance of comping in an effort to showcase their solo chops, but this importance is not lost on Meyer, and it’s one of the reasons his playing has a maturity and level of musicality to it that makes him stand out from other players.

Overall, Paul Meyers Quartet Featuring Frank Wess is an enjoyable effort from these two accomplished performers. Showcasing each player’s affinity for modal, bebop and Brazilian jazz, the album is a welcomed addition to the jazz catalogue and will make a nice addition to any jazz fans musical library.

Click here to view the embedded video.

Links

Paul Meyers Homepage
Paul Meyers Quartet Featuring Frank Wess on Amazon

Gene Segal couldn’t have picked a better album name than Hypnotic for his debut release. The Russian born, and current New York resident, draws upon Trance grooves, exotic scales and a legato picking style to produce an album that is rhythmically enticing and aurally engaging at the same time. Featuring a modern organ trio formation, with Sam Barsh on organ and Matt Kane drums, Segal’s first release as a leader will get non-jazz fans up on the dance floor, while providing jazz and guitar aficionados with their intellectual fix.

All of the compositions, with the exception of one collaborative effort, were written and arranged by Segal. Drawing upon modern and traditional organ trios as his influences, the guitarist delves into the world of contemporary groups such as Medeski, Martin and Wood, “Hypnotic,” while at the same time tipping his hat to funk legends the Meters with tunes like “Alef,” which features some very funky horn work by Mike Sim, Bryan Beninghove and Jonathan Powell.

While these, and other tracks such as “Truth,” fall into the funk-jazz category, there are also tracks that could easily be found on any ECM release, especially those of guitarist John Abercrombie’s organ groups. Tunes such as the ethereal ballad “Four Flights Up” and the appropriately titled “Captain Chaos,” dig deep into opposite ends of the emotional spectrum and give the listener a peak into Segal’s jazz orientated influences.

By writing material that is not just funk, or just modern ECM jazz, Segal prevents the album from becoming monotonous or one dimensional. Each new track keeps the listener on their toes as the guitarist changes his harmonic, rhythmic and melodic track.

As a guitarist, Segal possesses a legato approach to single lines that immediately makes him stand out from the crowd. Right from his opening line on the albums first track “Red Eyes,” Segal displays his characteristic fluidity, and penchant for non-traditional modes, as he grabs the listener’s attention and doesn’t let go until the final notes of “Truth” fade into the ether.

Aside from being a strong improviser, within the context of an ensemble, Segal displays his solo chops on the intro to the haunting composition “Free Fall.” Using his delay pedal with great accuracy and effectiveness, Segal weaves through layers of harmonic textures as he sets up the tunes main melodic material. The diverse nature of his playing is another reason for the albums success. If he had stuck to single-line soloing throughout, the album may not have been so interesting or texturally engaging.

Hypnotic is a strong debut release for Segal, and is a showcase for the guitarist’s talents as a composer and performer. Fans of Medeski, Martin and Wood, Soulive and John Abercrombie’s organ trio records would do well to check this album out. It will not disappoint.

Click here to view the embedded video.

Links

Gene Segal Homepage
Hypnotic on Amazon

American Rock Beauty is an intellectually captivating and aurally stimulating album by modern-jazz guitarist Torben Waldorff. Playing the role of performer, band leader and composer-arranger, Waldorff has brought together a strong ensemble, featuring Donny McCaslin sax, Jon Cowherd keys, Matt Clohesy bass and Jon Wikan drums, to compliment the eight original compositions on the album.

These five musicians are at the top of their games on this recording as each melody line is cleverly stated, solos are technically virtuosic and sonically engaging and the band plays together with a sense of cohesion that borders on E.S.P. A quality that is often lacking in a day an age when working bands are become a rare commodity and more and more jazz recordings are done quickly, and with minimum rehearsal time. These musicians sound like they’ve been on the bandstand together for years, which is one of the reasons for the albums success as a whole.

Waldorff draws from a variety of backgrounds and influences in his writing and arranging. As with any modern-jazz guitarist, his tunes meld modal jazz, rock, blues and funk grooves, producing a unique sound that is fresh and exciting, without being too over the top or jarring. The overall vibe of the album is laid-back, but with an underlying aggressiveness and intensity that is not lost on the listener. Instead of bashing his audiences over the head with his compositions, Waldorff chooses to ebb and flow between the intense and quieter moments. By doing so, Waldorff is reaching out to the listener. Leading them along his musical path, rather than playing over their heads, something that is missing from a section of the modern-jazz scene.

From a guitar standpoint, Waldorff is as conscientious about his playing as he is his composing and arranging. The album’s title track is a great example of Waldorff’s subtle, yet engaging, approach to soloing. His solo is built out of small, melodic fragments that proceed to grow into longer phrases and melodic ideas. Never overplaying, Waldorff seems to tease the maximum amount of emotion from every note he plays. Holding certain notes for dramatic effect, cutting lines off seemingly mid-sentence to create tension and a dramatic use of space are all present in this solos, as they are throughout the album. His high-level of musicality allows Waldorff to take chances, without sacrificing lyrical or emotional content, allowing the guitarist to reach out and relate to the audience on a very intimate level.

American Rock Beauty is a strong release for Waldorff, and another example of why the Artist Share Network is quickly making a name for itself as the go to label for modern jazz musicians. While jazz music in general seems to be taking it from all sides these days in an increasingly competitive market, it is albums like this that help keep the music moving in a forward direction while not isolating the general audience along the way.

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Links

Torben Waldorff Homepage

World on a String is a rhythmically driving and melodically engaging album by nylon-string guitarist Paul Meyers. With a world-class ensemble by his side, including saxophonist Donny McCaslin, pianist Helio Alves, bassist Leo Traversa and percussionist Vanderlei Pereira, Meyers has put together an album that will get people up on the dance floor, while at the same time provided ample intellectual stimulation for the seasoned jazz fan. This duality allows this album to reach beyond the normal jazz crowd, while never falling into the watered-down realm of smooth or pop jazz. This is enjoyable music, regardless of its labeling, with something to offer listeners of many backgrounds and musical tastes.

The tunes on the album were all written by Meyers, with the exception of the title track and a refreshing interpretation of the Beatles classic “Because.” One of the most engaging aspects of these pieces is the arrangements. These are not merely head charts, nor are they so overly complex that they go over the listener’s heads. The melodies are carefully conceived, and never discarded in order to race to the solos. The improvisational sections are logically, and smoothly, connected to the rest of the pieces, giving the sense that the pieces are a unit and not just vehicles for improvisatory explorations.

Meyers’ playing on the album is first rate. His tone is solid and consistent throughout, which is no easy feat on the nylon-stringed guitar, and his improvisations are highly creative while staying true to the pieces themselves. A great example of this is on the albums opener, and title track, “I’ve Got the World on a String.” After presenting a chord melody style interpretation of the tunes head, the band drops out and allows Meyers to lay down a solo, funky groove-oriented phrase that sets up the songs improvisational sections.

After a wonderful solo by pianist Alves, Meyers is given an extended solo section. This time deviated from the previously played groove, and entering the world of the truly improvisational, before the band jumps back in and supports the guitarist during the rest of his solo. Relying on his vast repertoire of melodic ideas, Meyers plays the rest of the solo in a single-line fashion. This diversity, playing chord melody, funky groove-based sections and melodic single-lines, create layers of interest throughout the piece and is one of Meyers’ strongest attributes as a performer. Many guitarists out there today can match Meyers’ single-line chops, or comping range, but few can perform with such a wide range of techniques and textural variation in their playing as Meyers possesses.

World on a String is an enjoyable album that will be a welcomed addition to any jazz or instrumental music fans library. The pieces are well written, craftily arranged and the ensemble performs on a world-class level. What else could one ask for in a jazz guitar album?

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Links

Paul Meyers Homepage
World On A String on Amazon

Artists Around the World Perform Stephen Funk Pearson is an exceptional collection of works by the highly-acclaimed composer and guitarist. Though a well-regarded performer in his own right, Funk Pearson decided not to feature himself on guitar for this album. Instead, he brought together nine of his compositions, performed by different artists and ensembles from around the world, and set them in a program that is both engaging and aurally stimulating. Coming from diverse backgrounds and geographic locations, these artists bring a myriad of interpretations to Funk Pearson’s work. This diversity provides an extra layer of interest as each performance is unique from a compositional, ensemble and interpretational point of view.

All of the nine pieces feature the guitar in a variety of situations. From solo performances, “Jaringhe” and “Variegations,” to duo’s with marimba, “Copasfivah,” violin, “Mountain Moor” (closing version) and mandolin, “Mountain Moor,” (opening version), Funk Pearson’s ability to create walls of sound, intimate textures and unexpected sonic timbres from the guitar prevent the album from becoming tedious or monotonous. Each new piece is filled with fresh sounds, harmonic and melodic colors and timbres.

What makes this album differ from other compilation albums is the fact that Funk Pearson chose these recordings, for the most part, after they had already been recorded. Because of this, the interaction between composer and performer before the recordings were made on many of the pieces was minimal, and in some cases non-existent. While on other albums this would have been a detriment to the quality of the performances, on Artists Around the World, it allows each performer and ensemble to personalize their performances, and the result couldn’t have been better if it had been planned out from the beginning.

As well, Funk Pearson’s flexibility as a composer, often drawing from American folk, jazz and blues in his pieces, and his openness to improvisation as a composer create some very special moments on the album. Funk Pearson’s use of improvisation and percussive sounds in the playful piece “Elassomorph” is a great example of this openness. Pearson allows each performer to insert their personalities and unique musical voices into this, and other, pieces.

While many composers often prefer to have their pieces performed in a very specific way, and often times the exact same way every time, Funk Pearson has chosen performances that sound more fluid in their interpretations. That is not to say that these performers stray too far from the original scores, but each piece sounds as if the ensemble is putting their own stamp on the music. Without this sense of freedom and creative interpretation the album may not have come off as successful as it does.

Artists Around the World Perform Stephen Funk Pearson is a well conceived compilation of some of the composer’s most enjoyable works. Though many of the pieces were originally performed without the composer’s direct knowledge, the album presents itself in such a way that it sounds like a concert program, and not merely a collection of random recordings. The fact that Funk Pearson was able to bring all of these performances together and present them in such a fashion is a testament not only to his abilities as an editor, but to the universal nature of his compositional style.

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Links

Stephen Funk Pearson Homepage
Interview with Stephen Funk Pearson
Artists Around the World on Amazon

After the Last Dance is a hard grooving, impressively creative release by the New Zealand based Charmaine Ford/Nick Tipping/Richard Wise Trio. While most people wouldn’t think of New Zealand as being a hotbed for modern jazz, these three musicians are aiming to change that and bring to light the strong NZ jazz scene with this release. Each tune is thoughtfully composed and carefully arranged, the group is tight and feeding off of each other’s energy and the level of creativity is always high during every improvised solo and melodic interpretation.

Each of the nine tunes on the album was written by either Ford or Tipping, or as collaboration between these two adept composers. Both musicians bring a strong melodic and harmonic sense to each tune, but one of the most interesting elements of their writing is their penchant for writing in 3/4 time. Ford’s “Eleven O’clock” and “Itchy Thought” as well as Tippings “Folieta” are all well crafted tunes that take advantage of the rhythmic and compositional opportunities that 3/4 can offer a piano trio. Their use of rhythmic variation and phrasing brings to mind the classic piano trio recordings of the late, great Bill Evans, who also had a mastery of this time signature.

Apart from the strong compositions, the album also features very tasteful and highly energetic performances by all three of these talented musicians. Ford brings a strong sense of traditional rhythms and modern harmonic vocabulary to her solos, which provides a sense of the historical significance of the music alongside a feeling of her willingness to push the music forward into new and unexplored territory. Tipping and Wise are also at the top of their games as both compers and soloists. Tipping’s solo on “Likewise” digs deep into the pocket while the bassist lays down a series of tasty, melodic based riffs that are the perfect compliment to the preceding melody section and the Latin groove interlude that proceeds it.

After the Last Dance provides a glimpse into the musical lives of these three hard working and talented musicians, as well as gives some well deserved exposure to the New Zealand jazz scene. The trio is tight, the tunes are creatively arranged and the improvisations are first rate, everything a piano trio album needs to be successful.

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Links

Charmaine Ford Homepage

Only Human is an entertaining and intellectually challenging jazz-rock fusion release by Boston based instrumental guitarist and composer Christopher Schreiner, A.K.A. “The Guy.” The album features a strong supporting cast, with David Livolsi on bass, Tyger MacNeal on drums and keyboardist Chris Coogan contributing on two of the albums eight tracks. After graduating from the Berklee College of Music, Schreiner has established himself as one of the strongest up and coming guitarists on the East Coast. With such a strong debut release in Only Human, Schreiner has furthered that reputation and given himself a forward momentum that few young guitarists can hope to experience.

All of the compositions, with one exception, on the album were written and arranged by Schreiner. Showcasing his diverse influences, and tastes in music, the compositions range from the hauntingly ethereal “Intro,” to the fantastically funky “Zebra Club,” complete with sampled jungle sounds, to pop-rock-jazz hybrids such as “Icarus.” With such a wide range of genres, styles and grooves covered on one album, Schreiner is ensuring that there is something for every fan of instrumental guitar, rock, pop-rock and jazz to enjoy. While many young players tend to release an album of covers and standard tunes for their debut efforts, Schreiner should be commended for not only writing solid material, but for sticking his neck out by recording a debut album of original material.

Schreiner’s guitar work blends together modern rock-fusion elements with bluesy, jazz based harmonies and melodic material. Songs like “Icarus” draw up images of Vai, Satriani, Holdsworth, Metheny and Scott Henderson, with just enough Malmsteeneqsue sweep picking to keep shred heads happy, an homage to the diversity in Schreiner’s playing and in his musical influences. Other tracks, such as the Coltrane classic “Syeeda’s Song Flute,” are more laid back, focusing on the groove more than on chops. The result is a hard-driving, absolutely funky reinterpretation of a classic jazz tune. Overall Schreiner’s guitar playing is sophisticated, energetic and aurally stimulating, not bad for a player fresh out of College.

Only Human is a strong debut release for instrumental rock-jazz guitarist Chris Schreiner. The band is tight throughout, the tunes are well written and the solos are exciting and engaging. Few young guitarists out there today could have released a debut album as strong as this, and it leaves the door wide open for Schreiner to have a long and successful career if he continues to write, play and record at this level.

Click here to view the embedded video.

Links

The Guy Homepage
Only Human on Amazon