Posts Tagged ‘guitarist

10
Oct
10

The Original Dawg

David GrismanThe number of decades that mandolinist David Grisman has been creating music is only rivaled by the number of genres that his brand of acoustical music spans. Grisman is the original master of “dawg music,” and it has nothing to do with hip hop or rap.

Grisman began piano lessons in 1952 at the age of 7. After three years, he lost interest in the piano and his attention swayed toward the mandolin. Like many budding folk musicians in the late 1950s, Grisman discovered folk music through the Kingston Trio and the lively Greenwich Village music scene. Grisman started his musical career in 1963 as a member of the Even Dozen Jug Band. His close friend Jerry Garcia gave him the nickname “Dawg” in 1973. They first met in 1964 at a Bill Monroe concert.

“Dawg music” is what Grisman calls his fusion of bluegrass and Django Reinhardt/Stéphane Grappelli-influenced jazz, as highlighted on his 1979 album Hot Dawg. It was Grisman’s amalgamation of Reinhardt-era jazz, bluegrass, folk, Old World Mediterranean string band music and modern jazz fusion that personified “Dawg” music.

In 1975 Grisman got together with guitar virtuoso Tony Rice, multi-instrumentalists Mark O’Connor, Mike Marshall, Darol Anger — and featured guests such as violin genius Stéphane Grappelli — and formed the David Grisman Quintet. Although the lineup has changed through the years, the DGQ continues to produce music with the same confidence and finesse as it did 35 years ago.

This article was originally published in Eugene Weekly, October 7, 2010

16
Sep
10

A Wild Ride — No Bull

Ryan BinghamRyan Bingham’s smoke and whiskey etched voice is quite deceiving. You might think you’re listening to some dusty, middle-aged, leather-faced guitar slinger instead of a brooding, good-looking 29-year-old former bull rider. If his rusty-saw of a voice sounds familiar, then you probably saw the film Crazy Heart. Bingham penned the film’s theme song, “The Weary Kind,” for which he received both a Golden Globe and an Oscar for Best Original Song this year. That’s a wild ride for a guy who didn’t pick up a guitar until he was 17 years old.

Bingham’s work on the Crazy Heart soundtrack brought him together with producer T-Bone Burnett, who produced Bingham’s latest album, Junky Star, a vehicle for his ever-improving songwriting skills and his raw out-in-front vocals. It also has all the markings of a Burnett project, giving it a stripped-down, timeless sound. The unobtrusive acoustic accompaniment of Bingham’s longtime band, The Dead Horses, never overdrives the vocals.

The 12 tracks of Junky Star are populated with characters from the harder side of life — junkies, murderers, strippers and thieves — clinging to a slender glimmer of hope. Bingham’s vocal style ranges from the Dylanesque “Direction of the Wind” to a Nebraska-era Springsteen on “Yesterday’s Blues,” with others bringing Steve Earl or Tom Waits to mind. In the standout track “Hallelujah,” a man robbed and shot to death tells one of the most compellingly tragic tales. He unwillingly wanders between life and the afterlife, refusing to abandon his passion for life and the lover he left behind.

This article was originally published in Eugene Weekly, September 16, 2010

25
Aug
10

Tyler Fortier – The Next Big Thing?

The Next Big ThingI became aware of Tyler Fortier a few months ago while doing an article on an act for which he opened. Honestly, after going to the show, I liked Tyler’s music much more than the headliner. That’s just me.
I interviewed him and I’ve been enjoying his music. I’ve had an in depth article about him on the back burner for a couple of months now (that I promise will be my next entry).

In the meantime, Tyler is in the running for the “Next Big Thing” that is sponsored by Eugene Weekly. His entry is the very timely and driving  “Fear of the Unknown”. “Fear Of The Unknown” is a not-quite, almost finished version of a song that will be found on one of Tyler’s future releases. For a not-quite, almost finished version it sounds damn good. Go listen to it (you can click on the song name or on Tyler’s picture to go listen to it and vote). If you like it even half as much as I did, vote for it!

Tyler Fortier, at the age of 25, has released 4 CD’s and proves to be a consistent presence in the NW as a prolific singer/songwriter. With the release of his new record, This Love Is Fleeting on April 15th of this year, Fortier embarked on a 2 month long/40 city tour throughout the NW (OR, WA, ID) and has been playing shows and festivals in the Eugene area throughout the summer before he heads back out on the road in September. Since Fortier’s return home, he’s recorded 15 new songs and declares, “ he has many more to go,” already planning the releases of his 5th and 6th records.

Much more on Tyler Fortier coming to OKOM very soon!

20
Aug
10

Robert Earl Keen Interview – Part 2 of 3

Robert Earl KeenOn August 18, 2010 I was given the opportunity to interview the legendary singer/songwriter Robert Earl Keen. In Part One of this three part interview we talked about a variety of subjects – a burning car, Todd Snider, and Robert’s not-so-traditional love songs. In this portion of the interview we explore some of his more bizarre recordings and one of his somewhat unorthodox songwriting methods. Enjoy!

OKOM: Now, going back to your What I Really Mean album – There are two songs on there that I love, that’s “The Great Hank” and “Mr. Wolf and Mamabear.” Both of those make me want to ask a two-part question – Where did those stories come from, what were you smoking at the time, and where can I get some?

REK: [Laughs] Well, “Mr. Wolf and Mama Bear” has to do with a personal small-town politic thing that I got involved in. Well, I didn’t get involved in it; I got sucked into it. I didn’t ever want to be a part of it.

OKOM: Wow, really?

REK: Yeah, and it [the song] was my vindication.

OKOM: [Laughs] That’s great.

REK: That’s how I vindicated the entire scenario, to be able to write something in kind of a puzzle form. What do they call it? It’s kind of an allegory without any religious overtones.

OKOM: I’m assuming that you can’t say where that took place.

What I Really MeanREK: Yeah, it was where I was living there in Bandera, Texas. It was all pretty well documented. It was in all the papers and all kinds of stuff. My thing was – because I tried to really hold the noble and gentlemanly line on the whole situation – I never felt like I got my true emotional indoctrination out there. I never really let them have it like I wanted to, so I did it in a song.

OKOM: So, that was your payback.

REK: Yeah, that was my payback. [Laughs] Oddly enough, I have a few songs like that, and every time you sing those kinds of songs, you kind of get your own inner-grin going about that kind of thing.

OKOM: Yeah, I can imagine.

REK: And “The Great Hank” was kind of a combination of some long thoughts on Hank Williams and his career, the strangeness of it, and the shortness of it. And I was in a play in Philadelphia about fifteen years ago that had some elements of Hank Williams. I was truly trying to do one those things that was really interesting and really sideways. I got naked and laid down on the floor in the shack that I write in –

OKOM: [Laughs] You’re kidding, right?

REK: No, I’d lay on the hardwood floor and I’d play the guitar until that kind of popped out. Once it popped out, it was all there in front of me like a hologram. I thought, “Wow, this is it!” So I just stayed with it. I even thought of changing the end but it came out so smooth and beautiful that I didn’t even want to mess with it. I could have tweaked the end a little bit because it does kind of fade off into the dust.

OKOM: Yeah, it does.

REK: I could have come with a little bit more of an impact or something like that, like I like to do, but it just fell out so great – I left it alone.

OKOM: The first time that I listened to it, I had to back it up and listen again where you have that line about him being in drag.

REK: Yeah.

OKOM: Plus, the visuals of him sitting there under the glow of the TV with mascara running down his cheek – it’s just priceless.

REK: Yeah [Laughs]

OKOM: [Laughs] It’s just great, man.

REK: Well, thanks. Yeah, I love that one. That’s fun, but it’s hard to do on stage though, because there’s a bunch of words, a lot of words. It’s almost a tongue twister. If I get started and I stumble – I’ll stumble big time.

OKOM: So, that’s one of your personal favorites?

REK: Yeah, I like to do it. It’s fun to do. It’s more of a performance piece than it is a song.

Gravitational ForcesOKOM: Another one of yours – that just popped into my head – that’s along those lines is “Gravitational Forces.” Were you actually in a club like that?

REK: [Laughs] Yeah, yeah. That was all, like I said, more journalistic. I was pretty much talking and telling what I thought. But what I wanted to do with that was the music gave it that spaceiness, gave it the total weird vibe that was really occurring at that place. That was a nightmare from start to finish. I could write another song about the gig itself.

OKOM: Wow, so that actually did happen.

REK: Yeah, oh yeah. It was this place called the E9 Club in El Paso, Texas – the worst place ever. I mean, I’ve played worse places, but that was one of the more bizarre bad places.

OKOM: Man, that’s great. I thought – as bizarre as it sounded – this place can’t really exist. If it did, that’s really something.

REK: Only in El Paso, basically.

OKOM: I guess anything goes there.

REK: Yeah.

Go read Part Three…

Go back to Part One…


15
Jul
10

What the Road Has Brought Together

Kelly Joe Phelps and Corinne West

Corinne West and Kelly Joe Phelps have traveled the same roads for years — paths deeply rutted by countless musical gypsies past — but they rarely met. In late 2009, their musical avenues meshed when Phelps performed alongside West in a series of CD release shows for her most recent album The Promise. During these shows it became apparent that each had found a true musical partner. The next path to follow: Become one as a duo.

Their partnership, built on the foundation of mutual respect and admiration of each other and their craft, led to the 26-minute, six-song EP Magnetic Skyline, recorded live-off-the-floor at Skywalker Sound (the sound division of George Lucas’ Skywalker Ranch) in Novato, Calif. The songs on Magnetic Skyline, previously released on two of West’s earlier albums — the critically acclaimed debut Bound for the Living (2004) and The Promise (2009) — are innovative again with two destined-to-be-together voices soaring on the wings of their beautifully intricate but seeming effortless acoustic guitar work.

Coupled with her sensuously soulful voice, West’s insightful and provocative songwriting is an airy, free-flying vehicle, perfect for Phelps’ innovative and artistic guitar skills. A brilliant improviser, Phelps is known for his remarkable ability to reinvent a song — blending multiple influences with his own voice — every time he plays.
This article was originally published in Eugene Weekly, July 15, 2010

30
Jan
10

Will Kimbrough’s “Three Angels” video

Will Kimbrough opens his angel-filled home to us with his new video. Enjoy! Be sure to buy his latest album Wings – available February 23rd, 2010




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