Tuesday, 17 June 2014

Etienne Cárdenas: #Bicio #DVMark Competition

Etienne Cárdenas first video post, some tasty playing on this entry to the Fabrizio Leo DV Mark competition

#Bicio #DVMark Competition [Etienne Cárdenas]

You can find all the competition details below

Bicio DV Mark "Alien Abduction" Guitar Competition 2014

John Huldt: solo for Evan Magness' tune "Falling Down" - great work

Here's a guest solo I did for my buddy Evan Magness' tune "Falling Down". Hope he likes it :D

Kenny Wayne Shepherd: announces October UK Tour

Five-time Grammy-nominated and multi-platinum-selling blues/rock guitarist Kenny Wayne Shepherd has confirmed an October 2014 UK Tour that starts at the Sheffield Plug on Saturday 25th October. Tickets go on sale at 9am on Friday 20th June from the 24 hour ticket box office: 0844 478 0898.  Book online: thegigcartel.com.

The Kenny Wayne Shepherd Band is a veritable who’s who in rock and blues. In addition to long-time vocalist Noah Hunt, the band features drummer Chris Layton, a 2014 inductee into the Musicians Hall of Fame as a member of Stevie Ray Vaughan and Double Trouble, ex-Firm bassist Tony Franklin and keyboardist Riley Osbourn, whom Shepherd met while Osbourn was playing in Willie Nelson’s band.


Sheffield Plug                                   Saturday 25th October
Gateshead Sage                               Sunday 26th October
Crawley Hawth                                 Monday 27th October
Manchester Academy 2                Thursday 30th October
Edinburgh Queen’s Hall               Friday 31st October
Leamington Spa Assembly          Saturday 1st November

The forthcoming UK tour follows the recent release of Kenny’s new album “Goin’ Home” – an exploration into the music of Shepherd’s biggest influences, and features guest performances by some of his closest friends including Ringo Starr, Joe Walsh, Warren Haynes, Keb’ Mo’, Robert Randolph, Kim Wilson (Fabulous Thunderbirds), and the Rebirth Brass Band.

Jeff Loomis,Keith Merrow: Conquering Dystopia gets a vinyl edition collectors LP

CONQUERING DYSTOPIA to release self-titled debut on LP via Century Media Records

CONQUERING DYSTOPIA, the project featuring guitar extraordinaires Jeff Loomis and Keith Merrow along with CANNIBAL CORPSE's Alex Webster on bass and drummer Alex Rudlinger, has announced that the vinyl edition of their self-titled debut album will be released via Century Media Records and in stores July 7th in Europe and July 8th in North America. Fans can pre-order the LP now here: http://www.cmdistro.com/Item/Conquering_Dystopia_-_Conquering_Dystopia_-LP-_-Black-_-PRE-ORDER-/47650

The album was originally crowd-funded last year (and exceeded their goal in less than 24 hours) and released this past March. The all-instrumental album was mixed at Audiohammer Studios by Mark Lewis (DEVILDRIVER, THE BLACK DAHLIA MURDER) and contains 12 tracks that, in addition to Loomis' epic shredding and Merrow's insane riffs, also feature guest guitar solos by Wes Hauch (ex-THE FACELESS) and Ola Englund (ex-SIX FEET UNDER, THE HAUNTED).

The band was put together by Loomis and Merrow; Loomis previously contributed a guest guitar solo to Merrow's second album, Awaken The Stone King, which was released in 2011. They quickly struck up a friendship and had the idea to record additional music together. Webster and Rudlinger soon joined the fold and the songs quickly came together. They decided to self-release the album and seek donations from fans to cover their expenses, thinking it would be a simple, low-key affair. Demand was so high and the reviews so strong that they were asked by fellow instrumentalists, ANIMALS AS LEADERS, to accompany them on their Spring North American tour. Given the strong reaction to both the album and their live show, new music and additional touring is certainly possible. Time will tell...

Conquering Dystopia track-listing:
1. Prelude to Obliteration (4:39)
2. Tethys (5:16)
3. Ashes of Lesser Men (5:35)
4. Doomsday Clock (2:15)
5. Inexhaustible Savagery (4:05)
6. Totalitarian Sphere (guest solo by Ola Englund) (4:35)
7. Lachrymose (3:02)
8. Autarch (guest solo by Wes Hauch) (5:07)
9. Nuclear Justice (5:51)
10. Kufra at Dusk (3:54)
11. Resurrection in Black (1:01)
12. Destroyer of Dreams (7:36)

Jeff Loomis- Guitar
Keith Merrow- Guitar
Alex Webster- Bass
Alex Rudinger- Drums


Steve Khan: Subtext the new album on preorder

Steve Khan: Subtext
Steve Khan: Subtext ** Releasing June 24
Steve Khan (Guitar); Rubén Rodríguez(El. Bass & Baby Bass), Bobby Allende(Conga), Marc Quiñones(Timbal), and Dennis Chambers(Drums); Rob Mounsey(Keys & Orchestrations); Randy Brecker(Flügelhorn); Gil Goldstein(Accordion); and Mariana Ingold(Vocals)

Steve Khan's SUBTEXT, subtitled Subtexto en Azul, stands out among the prolific jazz guitarist's much lauded body of work, and is highlighted with lyrical guitar phrases that weave in and out of a set of carefully chosen, superbly arranged and performed compositions. On the album, Steve continues his explorations of the grand traditions of Latin music, and this time, the core group features: Rubén Rodríguez(El. Bass & Baby Bass), Bobby Allende(Conga), Marc Quiñones(Timbal), and Dennis Chambers(Drums). At varying moments, they are joined by some great musicians as guest artists, including: Rob Mounsey(Keys & Orchestrations); Randy Brecker(Flügelhorn); Gil Goldstein(Accordion); and Mariana Ingold(Vocals). Japan's JAZZ LIFE magazine has already written that the recording is: An ambitious work, hot music filled with Khan's artistry

Track 1 Bird Food (LISTEN TO AUDIO)
Track 2 Blue Subtext (LISTEN TO AUDIO)
Track 3 Baraka Sasa (LISTEN TO AUDIO)
Track 4 Infant Eyes (LISTEN TO AUDIO)
Track 5 Heard (LISTEN TO AUDIO)
Track 6 Never Let Me Go (LISTEN TO AUDIO)
Track 7 Cada Gota De Mar (LISTEN TO AUDIO)
Track 8 Hackensack (LISTEN TO AUDIO)
Track 9 Bait and Switch (LISTEN TO AUDIO)

Hiromi: Alive/Anthony Jackson and Simon Phillips

Hiromi: Alive
Hiromi: Alive/Anthony Jackson and Simon Phillips
Hiromi (Piano); Anthony Jackson (Bass); Simon Phillips (Drums)

2014 Release. The major characteristics of life include birth, growth, movement, awareness, adaptation and death. And ever since she emerged on the scene in 2003, Hiromi has been one of the most profound and prolific living forces in 21st century music. Mentored by the legendary Ahmad Jamal, the Japanese pianist/composer has created music that grows with every performance, moves easily beyond stylistic genres, exhibits an awareness of the entire jazz tradition and adapts to the contributions of her fellow bandmates.

So it’s only apropos that her latest recording, set for release on June 17, 2014, via Telarc, a division of Concord Music Group, is entitled Alive.

Her ninth CD as a leader, Alive, heralds the return of Hiromi’s Trio Project, featuring contrabass guitarist Anthony Jackson (Steely Dan, Paul Simon, Michel Camilo, The O’Jays and Chick Corea) and drummer Simon Phillips (Toto, The Who, Judas Priest, David Gilmour and Jack Bruce). This terrific triad, which DownBeat magazine proclaimed as “one of the most exciting groups working in any genre today,” first formed in 2011 and recorded their first CD, Voice, that year, followed by Move in 2013. On Alive, Phillips’ powerful, yet poetic percussion and Jackson’s flowing, glow-in-the-dark basslines beautifully buoy and support Hiromi’s ingenious and impassioned improvisations. Her evocative and expansive compositions evoke the myriad moods and mysteries of life and reveal the soulful, syncopated simpatico of her thrilling threesome.

“Alive has a double meaning for me,” Hiromi says. “I wanted to write songs that deal with things and emotions that we encounter in life. But the word Alive can also mean ‘played live.’ I’ve been performing with Simon and Anthony for four years. We’ve made three records together, and we’ve done so many live shows as a trio. We have a great time being adventurous, and I felt that we can make the record sound like a live recording in front of the audience.

That’s the great thing about having a working trio: We understand how to make each other shine. Anthony is an amazing improviser. He composes incredible counter-lines when I solo, and he always plays something to make [the music] shine even more. And Simon has an amazing tone and a beautiful sound on the drums; he's like an orchestra. They can play anything, and they understand so many different genres of music. They have no boundaries. It’s been a great journey with this group.”

And the journey continues on Alive, featuring nine selections, all composed by Hiromi, beginning with the leadoff title track, which features a shimmering McCoy Tyner/Coltrane-like introduction that morphs into a torrid up-tempo pace. “I wanted the first track to sound like the beginning of life,” Hiromi says, “with every complicated and detailed combination of life’s creation.”

“Wanderer” features some no-nonsense, 4/4 swing, seasoned by Phillips’ zesty solo drumming, contrasted by the Latin-tinged “Dreamer” and the bouncy, nursery rhyme melody of “Seeker.” Hiromi injects a sly, Thelonious Monk “Well You Needn’t” motif in the intro of “Player,” with a fluid and formidable solo by Jackson. “It can be taken as musicians making music,” she says, “and at the same time, just playing or having fun.”

“Warrior” begins with a ballad introduction that morphs into a brisk, staccato melody that serves as an anthem for people to fight for the things they want in life. “Firefly” is a solo ballad composition; a kaleidoscope of aural colors akin to Erik Satie’s Gallic impressionism. “Spirit” – dedicated to those who have passed on – is a sparkling, gospel-grooved selection that reveals the true colors of Hiromi’s soul, with Phillips’ signifying solo. “[The song] is a prayer,” Hiromi says. “People lose loved ones and friends, but when you close your eyes, you can be with their spirit.” The album closes with the optimistic, ebullient backbeats of “Life Goes On.”

“I’ve always enjoyed and appreciated so many different kinds of music,” Hiromi says: “classical, rock, jazz and pop and so on. And that’s why my compositions are so varied.”

As evidenced by this impressive and important recording, Hiromi’s astonishing artistry is very much Alive: It breathes, grows, adapts and, more importantly, it evolves. Hiromi’s evolution has been fueled by her ever-evolving gifts as a pianist, improviser, composer, bandleader and – most of all –listener.

“My listening skills have improved,” she says. “Over the years, I’ve learned how to listen more carefully, and respond musically to what is happening in the moment. That’s what makes my trio shine as a team.”

Track 1 Alive (LISTEN TO AUDIO)
Track 2 Wanderer (LISTEN TO AUDIO)
Track 3 Dreamer (LISTEN TO AUDIO)
Track 4 Seeker (LISTEN TO AUDIO)
Track 5 Player (LISTEN TO AUDIO)
Track 6 Warrior (LISTEN TO AUDIO)
Track 7 Firefly (LISTEN TO AUDIO)
Track 8 Spirit (LISTEN TO AUDIO)
Track 9 Life Goes On (LISTEN TO AUDIO)

Tommaso Zillio: Create New Guitar Licks By Changing The Rhythm Of The Old Ones!

Create New Guitar Licks By Changing The Rhythm Of  The Old Ones!

by Tommaso Zillio

Do you always us the same few phrases and tricks in your playing? And despite your

efforts to learn new things, your music seems to be the same? Here is why you might be

unable to use in real life what you learned in your practice.

The problem that most people have when they try to apply their "exercises" in actual

songs is that they simply try to play the exercise on the song as they learned it. And they

quickly discover that the exercises does not "feel" right, does not "groove" with the song.

What is happening here? This: they learned the exercise, but they have not mastered the

possible rhythm variations of the exercise.

Rhythm is what I call an "invisible area" of musicianship: it's something that everybody

thinks should be "natural" and able to "feel". As a result, most people either do not

practice their rhythm, or they don't practice it enough, or in the right way. Fact is, with just

a little effort you would be able to be so much more flexible in your rhythm skills that you

would be able to "adapt" most licks to most song, on the spot.

What can be done about it? Well, the very first thing is to learn how to manipulate rhythm

by displacing the accents in a phrase (whoa, that was a mouthful). This allows you to do

two important things:

• It makes "old" like sound "new" because now their rhythm is different, and

• It helps you "fitting" the exercises you know into songs that may have a different


Now, I could explain how to do that forever, but I think that the best way to learn it is by a

direct and simple example, so you can HEAR what I am doing. If you play the video below

I will show you a very simple example and some suggestions on how to apply this to

everything you do. It's so simple and you will use it so often that you will wonder how

could you live without it. :­)

After watching the video, it is your turn to take your licks and change their rhythm as

shown in the video. this system will work beautifully also (and especially) with the licks

that you think you play "too much". If there is a lick that you don't want to play because

you have played it too many times, this procedure will make it fresh and new.

You don't need to know thousands of licks: you need to know just a few of them and then

master all their variations: this way you will sound with a coherent style and it will be much

easier for you to improvise and write your solos.


About the Author

A professional guitarist, teacher, and composer, Tommaso Zillio enjoys particularly writing

about music theory and its application to guitar playing