Tag Archives: Guitarist

Great Guitarists #1: Earl Klugh

It’s Blue Monday today, statistically, the most depressing day of the year. The reasons include Christmas already feeling like a distant memory, while many of us are feeling the pinch financially, with payday still almost a fortnight away. So how better to combat this than a week-long celebration of some amazing guitar players?

This mini series will feature one guitar player a day from Monday to Sunday. I’ve selected artists who have been both an inspiration and influence on my own guitar playing or musical practice, and I’ll try to include a few details about them as well as a track for ‘essential listening’. I hope you get something out of it. Do feel free to comment on my picks for Great Guitarists! First up…

Earl Klugh

Earl Klugh was born in Detroit, Michigan, in 1953, and first picked up the guitar at the age of ten. His early influences included legendary Brazilian guitarist Laurindo Almeida, pioneering jazz guitarist Wes Montgomery and Country/crossover star Chet Atkins (with whom he would later record). Many jazz players (including the pianist Bill Evans) as well as an array of Latin and classical players continued to inform the way Klugh developed his guitar technique. Like many Latin-influenced guitarists, Klugh has stuck largely with nylon-strung guitars for his entire career, but his wide mix of influences give him a unique voice of his own.

Klugh made his professional debut on flautist Yusef Lateef’s 1970 album, Suite 16, aged just 15, after Lateef heard him playing in his local music store. Later, Klugh joined the band of the legendary guitarist George Benson (keep an eye out for Benson later on in this week’s series). As well as performing guitar live with Benson’s band, Klugh also played on two of his classic jazz albums (before Benson started to focus more on singing & becoming a more commercial star), White Rabbit (1972) & Body Talk (1973).

Releasing his eponymous debut solo album in 1976, Klugh has since released over thirty records, in a variety of formats, including solo, duo and ensembles of various sizes. Over his career, he has received twelve Grammy nominations, winning the award for ‘Best pop instrumental performance’ with 1981’s One On One, recorded with jazz pianist Bob James.

I first discovered Klugh in the late 90’s and often used his composition ‘Kiko’ (from his 1976 album Living Inside Your Love) as a solo guitar piece for auditions. It featured in my repertoire for performances long before I caught the bug for Latin music, and Klugh (along with Santana) were the gateway to discovering the wonderful genres of South America.

As a classically trained guitarist, the sound of Klugh’s instrument felt comfortably familiar, although his main way of plucking the strings (using his thumb in both directions, like Wes Montgomery) was a rather alien concept to start with. Try it though – it’s worth persevering with, as it opens up a whole new, and potentially faster, way of playing the lower strings.

The track featured in this video is ‘Dr Macumba’ from his 1977 album Finger Paintings. It’s a great example of Klugh’s style, opening with a funky latin-infused riff, through to his cloud yet melodic jazz phrasing. Although it appears to start as a fairly small ensemble piece, this tune turns out to be a bigger production than expected, including rather brief string arrangement providing a classic 70’s lift in the middle of the piece!

Dr Macumba’ by Earl Klugh

I thoroughly encourage you to take a look into Klugh’s extensive back catalogue of LPs and concert videos. Even if the Latin stylings aren’t your thing, there’s a lot to be learned about jazz soloing from his playing. As always, let me know what you think. I’ll present another Great Guitarist tomorrow, but until then, enjoy the video!

Why practice should NOT make perfect

Does practice make perfect?

It’s undoubtedly true that the more you focus on doing something, the better you become at its accomplishment. However, as this Guardian news story from 2019 highlights, the modern convention of ‘the 10,000 hour practice rule’ may not be quite the guarantee some people have sold it as. Personal improvement, in any sphere of one’s life is never so cut-and-dry, nor can the same methods work for every individual.

The key question is why do you practice, or rather, what are you practicing for?

For instance, is it to sound like a particular musician? And if so, why?

Take this example: I love BB King, and have listened to his music for over two decades to date; I’ve learned some of his key phrases, his recognisable musical characteristics such as his blues box, vibrato technique and the space he’s leave between notes, etc. And despite learning & digesting all of this information – heck, I used to teach these techniques at specialist masterclasses focusing on the blues master – I still sound nothing like him when I play guitar.

That’s not a bad thing, either. It doesn’t represent a failure on my part. If anything, bring able to incorporate so many elements of a player who got so much right, while still retaining my own musical voice, has to be an achievement worth celebrating in some small way. Of course, a large part of a guitar player’s sound comes from their fingers, so I’d never have been able to completely obscure who I was, even if I wanted to.

Perhaps you simply wish you could execute certain techniques as well as the great masters of your chosen instrument? Read that Guardian article again, then learn to measure success by your own improvement, in comparison to your past self only.

It almost sounds trite, but you can’t stop being you, so be the best you possible

So how should you practice? This interesting article from Bulletproof Musician offers some insights into what you should be looking for, and offering the term deliberate practice instead.

For further reading, feel free to peruse my older blogs & reblogs on the subject of practice, such as my warm-up and practice recommendations, and this reblogged article from Nicole Rogers on how to practice effectively.

…Just remember, perfection is an illusion, and no amount of practice will stop you from being you. Perhaps we should all embrace that.

Guitar tone: have you been missing the obvious trick?

Still looking for a better guitar tone? You might have been missing something obvious for some time. You have the guitar, the amp, the overdrive pedals, EQ, but that sound isn’t quite there? It just doesn’t feel right. The obvious answer is to do less. More specifically…

Dial down the gain. Clean up your sound.

Sound ridiculous? Stay with me for now and I’ll try to explain why I believe a cleaner sound makes for not only a better guitar tone, but also helps your sound cut through the mix of a full band. A few things to consider…

Here comes the science (sort of)

Adding overdrive or distortion to your guitar smooths out the tone. Yes, it can sound lovely and ‘syrupy’, not unlike Clapton’s famous ‘woman tone’ or the thick lead sounds of Gary Moor or Slash, but have you ever noticed how your solo cans till get lost in the live mix? This is particularly true if your band includes keys, a second guitar player or a horn section, as all of these instruments predominantly occupy the midrange of the frequency spectrum. In effect, your smooth tone is competing with many different voices, and all that lovely smoothing-out (which sounds so cool for your legato runs, etc) makes your sound more likely to dissolve into the wider sound of your band.

The trick is volume over distortion

Try listening to pretty much any classic rock record from the late sixties and seventies (the age of the ‘guitar hero’). Notice how so many of those riffs are only slightly overdriven, at best? Some, such as Lynyrd Skynyrd’s ‘Sweet Home Alabama’, make use of guitar sounds which are virtually clean. That classic sound you hear is usually a small amp (say 30 watts) being turned up full, and breaking up into a light overdrive sound. This applies to most of the back catalogues for most of your favourite ‘heavy’ bands, from Led Zeppelin and The Who to early Aerosmith and even Black Sabbath.

My favourite example to highlight this is the classic song, Smoke On The Water by Deep Purple. The link takes you to the studio recording. Compare this with every covers band that had played this song. Ever. Heck, compare it with how Deep Purple play it now! Everyone has a different opinion, but wouldn’t most agree that the original sounds better?

These bands sounded heavy because they were playing the loudest amplifiers available, and as they got bigger, the sound got heavier, but we’re still a long way from the Mesa Boogie levels of heaviness the eighties would bring along…

Wouldn’t these bands have played heavier, if they had been able to?

Quite probably. They were considered pretty noisy for their time! If those full, thick distortion sounds had been more readily available in the mid-sixties, would the sound of rock guitar have been very different? The truth is, we’ll never know. Those artists used the equipment they had available, and we can only hypothesize as to alternative outcomes. Here it becomes a little too ‘chicken-and-egg’ for my liking, though there are numerous threads on guitar forums across the internet if this is the kind of debate you’re looking to investigate further.

Of course, one counter-argument would be the fuzz pedal. This was heavily used by some artists, notably Hendrix (if you’re not sure how that fuzz sounds, think of the opening riff to ‘Satisfaction’ by the Rolling Stones as your starting point). This effect created a thick and – it goes almost without saying – ‘fuzzy’ sound to the guitar’s tone, making solos sustain for longer and creating a warm, distorted sound. However, the fuzz pedal didn’t take over the sound of rock guitar as we know it. Perhaps distortion wasn’t the end-goal for guitar players back in the sixties, after all?

So should I play clean but loud for the rest of my guitar-playing career?

Probably not a good idea. Your band mates will most likely not appreciate it!

However, I might suggest you start by dialing back the gain a little on your drive channels, pedals, etc, and make better use of volume and tone controls (on the guitar, amp and any stompboxes you are using) to allow the sound of your guitar to ring through.

But what about sustain?

It’s not always possible to turn up loud and play away. I currently gig with a digital amp which is DI’d into my band’s mixing desk, with no output from the amp itself. My main channels are a clean and a slightly overdriven channel, both of which are fairly ‘dry’ signals (not effects except for a very small amount of reverb). My lead sound (for solos) is another version of the overdriven sound, with a slight boost in volume and treble frequencies. Crucially, this sound also includes a fair bit more reverb dialed in, plus a short delay mixed low underneath the original signal. The reverb and delay both act to thicken up the sound, and assist my guitar sound not only through increased sustain, but in helping the sound to cut through the mix.

Another trick to use in the studio is to use two amps when recording; one with an overdriven sound, and another set to an almost clean tone. The cleaner of the two amps can be mixed quite low, but it’s presence will add some clarity of definition which the heavier sound loses. The whole thing makes for a guitar tone which is not only more thick, but more true to the sound of your guitar – try it!

Take away points:

  • Clean up your tone – wind back that gain!
  • Use effects to create the impression of more volume (such as reverb and delay) instead of piling on the distortion

Caveats:

I fully appreciate that everyone’s opinion is bound to differ on subjects as personal as guitar tone. What works for me may not necessarily work for you. It is also worth remembering that certain styles of guitar-based music rely on a super-distorted sound as an integral element to their sound (think of bands like Nirvana and Skunk Anansie, for instance). However, don’t be afraid to try experimenting with a cleaner tone. Be warned though, with a clean sound, there is nowhere to hide any weaknesses in your playing technique!

Reblog: NAMM 2018 – meh

Another insight regarding NAMM 2018.

What I find particularly interesting is the self-acceptance near the start (“I’ve found my sound. I know that whatever gear I play, I will sound like me”) which I feel all good guitarists, and indeed musicians, reach at a certain point.

Don’t get me wrong, I love talking about gear and guitars, but for me, these are tools. My guitars are facilitators, helping me achieve my own sound in the most effective and hassle-free manner possible. As always, I’d be interested to hear your own experiences in this regard, so do get in touch!

See the full reblog below:

NAMM 2018: Meh…

Until next time!

Tim X

‘Lagrima’ by Fransico Tárrega

Happy New Year, everybody!

To celebrate the beginning of 2018, here’s my long-promised interpretation of the Fransico Tárrega classic ‘Lagrima’. As always, feel free to let me know what you think! Here it on Vimeo here.

I’ll be back with more regular blog posts soon. Until then, stay happy and let’s make this year a great one, full of wonderful new music! xx

R.I.P. Glen Campbell (1936-2017)

I’m writing too many of these. Am I nostalgic? Or was there a truly golden period, filled with stars who so much that their passing inspires grief in even the most removed and passive music fan?

This morning, I leaned of the Glen Campbell’s passing. He was 81 and has only recently retired from performing following a diagnosis of Alzheimer’s Disease in 2011.

Beyond the country-pop hits Campbell enjoyed in his long career (‘Rhinestone Cowboy’ to ‘Gentle On My Mind’, as well as the classic ‘Wichita Lineman’, in the video below), he was also an accomplished session guitarist.

Campbell’s early influences included gypsy jazz legend Django Reinhardt and one of my own guitar heroes, session guitarist Barney Kessel. Campbell’s career would see him in the same first-call bank of musicians as Kessel (now referred to as ‘The Wrecking Crew’ – I highly recommend you read up on these amazing musicians and the inumeroua hits they helped to create). In this role he performed on records by Phil Spector, The Monkees, Frank Sinatra, The Beach Boys and countless others. In fact, he was the live replacement in The Beach Boys for Brian Wilson, who was not up to touring by the mid-sixties.

Aside from and indeed above his beautiful singing voice, I will remember Campbell as a highly versatile and talented guitar player. I hope you enjoy the video below.

R.I.P. Glen Travis Campbell (1936-2017).

Video: Funk & Soul Medley (with Switch)

Been a while since my last post (several life-changing events recently – all positive!) but thought I’d post a new video from Switch.

For those new to my blog, Switch are my main function band at the moment. I’ve been their guitar player since the beginning of 2015, and we’ve performed at all manner of function & event in that time.

This medley was recorded last winter, but only recently uploaded by the band. It features three funk & soul songs, all of which are staples of the wedding/function band scene:

  • Signed, Sealed, Delivered (Stevie Wonder)
  • Never Too Much (Luther Vandross)
  • Ain’t Nobody (Chaka Khan)

This medley showcases Switch’s full six-piece lineup of female vocals, bass, drums, keys, guitars & male backing vox (me), plus alto sax & female backing vox.

For my part in this recording, the guitar used was my Fender Modern Player Stratocaster (short scale model), DI’d direct into the studio desk. Recording took place at Nemix Studios in Newcastle upon Tyne, England. I must admit that I don’t know which ‘re-amp’ patches were used for my guitar tones, other than I requested a Fender Blackface/Deluxe style amp for the clean sound. Sorry there isn’t any more detail….

As always, let me know what you think. In case the video above does not play, you can access it on YouTube here.

Enjoy! xx