Vai - Ability!

There is a reason I started to write about guitarists and last night Steve Vai illustrated it perfectly. He is a virtuoso.

On his first solo tour in seven years, he played his 5th date in Charlotte NC at  the Fillmore.

For those that have not seen him tour before, it is an experience you shall not soon forget.

The audience was filled with guitarists: it was obvious, as they were glued to Vai from the moment he walked on stage...and reasonably so.  Donning a large brim cowboy hat, (in what was to be the first of several costume changes) Vai settled in to do what he does best: play guitar.  The hands of the rapt audience moved unconsciously up and down unseen guitar necks, my own fingers bent imaginary strings as I yearned, like everyone else in the room, to perhaps inhale some of the talent that floated off the stage in the midst of the smoke that swirled at times around his feet and then drifted on toward us.

I found myself watching not just his hands but his whole body as every part of him was engaged in bringing music forth: hands, arms, shoulders, back, his breath and yes,  his tongue (be still my heart) to play that final run.

It confirmed what I was thinking throughout the night: Steve Vai does not merely play guitar: he makes love to it.

He caresses it to bring forth the most pleasurable sounds imaginable, and then makes it scream.  He woos it, teases it, and makes it laugh.  The guitar is connected to him in a way that is seldom seen.

It is apparent in his eyes, his smile, his laughter....its as though the music has filled him so completely he has no choice but to let it bubble over the top, out of him and into the room

He finds humor in his playing, and pulls the audience in.  Whether it is playful scat singing as we try to mimic exactly what he throws out to us (and we do, quite well I may add) or whether its showing us how he writes a song with participation from a young child in the audience.

The child "Matthew" stood bravely on stage, and only a few words came out, but somehow Vai managed to turn an "I don't know" into a drum rhythm , "South Carolina" into a bass and harp line, and "it took 45 minutes to get here" into the melody, which of course he improvised around.

The newly created song of the night was quickly discussed with the band, and we listened and watched as his band responded...Steve thanked Matthew for helping him write it, but reminded him that he "retained all publishing rights to the new song," for he was "Steve Vai".  The crowd roared their approval.

Mesmerizing, Tantalizing, Teasing, Playful, Lyrical, Masterful and more.  Steve Vai captured me from note one, and I regretted seeing him walk off the stage.  Quite honestly, I think he did too.

For there was something that happened during that performance that made me see how he respected and loved his guitars as living, breathing extensions of his own inner self.  He opened his soul to us for a while and let us see his joy.  It was a beautiful thing to behold and hear.

He has dates lined up through mid October in the States: do not miss an opportunity to see him.  You will not regret it.  GO!  NOW  : I provided a link below to help you get tix and info more quickly!

His new album is "The Story of Light".    I for one, can tell you "It Glows"

http://www.vai.com/

In Dire Need of music

John Entwistle has this unique ability to quietly demand attention on stage simply by his stance and his mastery of the bass.  No antics were required.  It was pure music.

That is the way I think of Mark Knopfler.

I was reminded of him on a recent evening walk in my neighborhood.  One of my neighbors, a huge fan of Frank Zappa (time for that another day) and many tasteful artists, was playing one of Mark's albums while he was working in his garage.  The somewhat mournful tone that Knopfler seems to emit from the depth of his playing made me turn around, run Maxx(a sweet 14-year old mixed breed) up the hill to home.

The look on Maxx's face was "whaaaaat.....?"  until he saw me open the music cabinet.  To which he responded by grunting, turning to his water bowl, grabbing a drink, then leaping on the couch to settle in to take in some serious tunes.  If you think dogs don't listen to music too, you are not paying attention.

But this is about the guitar, not the dog (they'll get blog time elsewhere)

Co-founder of Dire Straits, Mark Knopfler is so much more than the hits we recognize from the early days.  "Sultans of Swing" , "Walk of Life", "Money for Nothing".  MTV darlings because of the latter, those who bought the albums soon dug deeper into the tracks to find that unique sound that Knopfler stylized.

I sat down next to Maxx, patted his head, then rested mine against the back of the couch as the music swept over me.

Genius.   Pure Genius.

Like the oceans, the undercurrents move through my mind and capture every fiber...its exciting, sensual, moody: just out and out fabulous.

You may have seen him play with his one of his heroes: Chet Atkins.  Watch the faces.  The joy of playing together is captured in the eyes, the smiles and the body language.  Not to mention the deep underlying respect that vibrates in the air.

With Gibson or Fender in hand, he is able to create a tone that moves from his fingertips and out through the pores.  Every bit of tissue connects to his sound. Sweet yet melancholy at the same time, his creation is beautiful and personal.


"Brothers in Arms" makes me weep.  Lyrically its magnificent, but once you add that emotional pull of the heartstrings that comes from his guitar, I am lost.


Although Dire Straits is long past, the good news is there is a new album in the wings: set to be released September 3rd, 2012 : Privateering, a double album with over 20 new songs...and not too soon for me.

There is something quite special within his music.  He moves from the playful to the yearning.  A tone so distinctive that it is recognized within the first several notes.

It is uniquely Mark Knopfler.  and yes, I will state the obvious "Oh Yeah, the boy can play..."

Living on The Edge

                                           ...U2's Dave Evans

Dave Evans, better known as The Edge, or "Edge" to U2 fans celebrated a birthday August 8th.

It was a great reminder for me to once again pick up my guitar.

Oh, I am NOT a great player.   Far from it.  
I fumble, stumble and move awkwardly at times up and down the frets.
But I love the feel in my hands, even though "I have blisters on my fingers"

OK,  no blisters, but they hurt ...in a good way.

Yup, David Evans makes me want to play.

He has a beautiful simplicity that belies the genius of what he does.

He takes a simple chord, deconstructs it and then "Wa la!"

Just like magic it becomes this mesmerizing sound that drills into my brain and makes me say "I think I can do that!"

The simplicity is the tapestry that draws me...holds me there, and never lets me go.  "With or Without You" proves that.

Listen to "Pride" distinctive and powerful. 

 That's the word "Powerful"   

Understated Power.

Strumming a chord instead of doing a searing intricate solo.

Each note has value.

There is such beauty in that simplicity.

He makes me believe that someday I may achieve the ability to carve my way through an entire song without error with the depth of my soul exposed simply by strumming a simple chord. 

He inspires me to head outside on a moonlit night, guitar in hand accompanied only by cicadas, tree frogs, and the occasional owl.  To hear those sounds resonate in the dark of night, where each note counts and each chord has beauty.  

Simple Power.  a place where two forms meet  

a/k/a  :  The Edge

Beethoven and Rock Guitar

First it was Roll Over Beethoven from Chuck Berry.
It was more an insult than a compliment, but it was just the beginning for Ludwig in Rock and Roll.

The Beatles covered this tune several years later, then ELO, (the Electric Light Orchestra) revamped, and completely vamped this classic in the 70's when they added in Beethoven's Fifth Symphony into the 8 minute version.

And then, along came Savatage.
And then the Trans Siberian Orchestra, born of Savatage.

And now, the final performances of Trans Siberian Orchestra's Beethoven's Last Night are being performed by heavy metal guitars, rock and stage trained vocalists, dancers, Electric violinists, keyboardists  & a drummer to end all drummers.  As you read this, they may well be a thing of the past, and only available from members of their Yahoo discussion Group online (I highly recommend it to fans, or those new to TSO affectionately referred to as "newbies")

Most are familiar with TSO as a Winter/Christmas tour group that has 2 bands performing a rock opera for the holidays. It became a part of my Christmas in 2003 in Charlotte NC when they performed at the Blumenthal Theatre: complete with pyro.

The well dressed blue hairs that sat in the audience at that time had a shell shock look on their faces as they were exposed to an onslaught of heavy metal, soaring vocals and a storyline that was perfect for the season.

To their credit, only a few left, but most stayed in their seats as their initial shock melted into awe.

For Beethoven's Last Night, TSO has one group touring.  It consists of one of the finest rock musicians to ever hit the stage: Al Pitrelli, along with Chris Caffery,  bass player Johnny Lee Middleton and drummer Jeff Plate, all one time Savatage members, and part of the core of the group of musicians that now make up TSO today.

Yes, there is a storyline about Beethoven, a narrative that weaves the story, a violinist that is powered by the Energizer Bunny and then some, other gifted musicians, and vocalists that will stop you dead in your tracks.  All that, plus staging and lights that make this a true rock opera.  Paul O'Neill's vision is spectacular...but this is not about Paul O'Neill

It is the guitar playing of Al Pitrelli that  draws me to the performance year after year.  He is like many of the guitarists I admire most: not a poser, but a performer, a true musician and artist.  If you want a compete discography, its on Wikipedia, but here are a few basic points:  A Berklee student, he dropped out and played with the likes of Alice Cooper, Asia, Dee Snider,Stephen Pearcy, before joining up with Savatage in the mid '90's after the loss the incredible Criss Oliva. (Criss's brother Jon is still one of the driving creative forces behind TSO.  More on him and other TSO/Savatage key players at a later date. Remember:  this is about Al) . He had a 2 year stint in Megadeth, but it was TSO, where the creative forces were really unleashed.

He feels the music, and the classical notes written hundreds of years ago are given a new life.  Whether he plays electric or 12 string acoustic, the nuances and subtle tones are there, as well as the strength.

As an observer, I find Al an enigma...much like John Entwistle, there is a quiet power in his on stage presence.  Something is about to be released, and once he opens up, the electricity has nothing to do with the actual plug in variety.  Its aura and energy.
Its as though he were channeling Beethoven himself: challenging the master to create songs that would allow only an electric guitar to sear the soul.  Or steal the soul. The reality is soon evident:  once Beethoven is heard through a Marshall Amp, the world is forever changed.

Alvin Youngblood Hart: where have I been all of your life?

In June I had the remarkable privilege to sit in awe at the Double Door Inn, a cool, vibe-filled old building in Charlotte NC where the hallowed walls echo with the music of all who had played there...the walls themselves are littered with (or more appropriately: papered with), the signed promo shots (mostly in black and white ) from artists who had graced the stage throughout the years.

On this particular night, I was totally stoked for a musical adventure that I knew would be of monumental importance.
Earlier in the day a friend ,blues guitarist, songwriter Tony Rogers had posted a video of one ALVIN YOUNGBLOOD HART.
It was sent to him by an avid AVH Fan & Junkie, and another friend, Mike Dew, known in the Carolinas for his love of  blues & host of WNCW(the last truly great independant radio station left on Terra) "Saturday Night House Party".

I was rivoted.  Throughout the day I tackled projects that were on my desk, and the music haunted me.  Somewhere deep inside, I knew I could not allow this opportunity to pass by.  Sometimes, you just have to go with your gut.  This was one of those times.

 I had a long day behind me, and a longer one ahead, but the music I heard could not be denied, and I was poised for a night that I would neither forget nor regret.
Two quick additonal cups of coffee, a shower to shake off the cobwebs, and I was out the door.

Tony & Mike were already there, and Dew was grinning from ear to ear: fully aware that I was about to experience a master of the craft.

He could not be more correct.

My musical soul took flight from note one.  Not only was this man someone who pulled magic from the strings effortlessly, but his vocal tone was unmatched.  He moved effortlessly from one style to another, the passion never wavering, and the sound distinctly his own.  It was powerful, soulful, bluesy, sensual and playful, intertwined and woven anew from moment to moment. 

Just when I thought that I could not hear anything new, I discovered I was wrong...again.

How could I have lived on this earth without having heard or seen him before?  What rock was I under?  oh, that's right, terrestrial radio(which I had once been a part of) had long ago abandoned the notion that music should be played on the air just because it was great and deserved to be heard.  Consultants had invaded the airspace like cockroaches and left their toxic stench all over planet Radio.   (Then rare exception was WNCW out of Spindale, NC)

The Internet has become the new bastion of unsigned, undiscovered talent, and YouTube is a way for us to "discover" music again.
It was that YouTube video that put me front and center in downtown Charlotte that night, with the help of a couple of friends.

Finding it an impossibiity to sit down when my body said "boogie", I finally stood, and jammed on the sidelines, digging every note, and thrilled to be in the same room as this Magic Man.

I cornered him between sets.  A quiet,\ soft spoken man, with this light of creativity in his gaze, he had a humble attitude that made me just want to ask him "Do you have any idea how you just shook me, and this whole room to the core?"  I asked where he played in New Orleans (having lived there briefly myself in the past), he gave me a few moments of undivided attention, and I asked what music he had with him that I could buy...In what I have since learned is an unusual situation, he had CD's with Muscle Theory, a live recording from the Jazz Fest in New Orleans.  Score!

I don't recall driving home that night, because the music continued to swirl around me.  and then I went online and began to surf.

Now, I could paraphrase what I read there, but it would just be someone else's words rearranged.  Instead, do yourself a favor and check out his site yourself:  http://www.alvinyoungbloodhart.net/

Go there....read about him.  Gawk at those that have sat in with him...and then go to the tour page, and highlight on your calendar ANY date that is nearby...and GO!!

You can write me long loving thank you letters later...

Levon Helm: this one's for You

Yes, I am fully aware Levon was a drummer

But because he was exceptional in his contribution, this is my way of paying him homage.

The curtain now had fallen

The spotlight had gone dim

I saw an orb come floating down

I wondered if it’s him.

It hovered over a microphone

Where a drum kit once had rest

I closed my eyes ,I heard that voice

he quietly whispered “Test”

Then he launched into Ophelia

The Weight, the songs swirled round

the Circle that had broken

Its’ pieces on the ground.

Then silence filled the venue.

The orb rose slowly up.

It dipped as though it bowed its head

Then I heard the room erupt

cheering, whistles, laughter

the welcome had begun

For Levon Helm was in the realm

His time on earth was done

MLS 4/19/12

Ritchie : so much More meets the (Black) eye

Today is Ritchie Blackmore's birthday.

as a treat, enjoy this gem: a live sensational acoustic improv.

as sensual as it gets....


http://www.youtube.com/watch?v=kHlTGVi4lgY&feature=related


I've watched Ritchie through the different phases of Deep Purple and then into his Rainbow days, back into DP and beyond.

The signature chords now played by every band in every high school and college across the land were Blackmore's opening lead on Smoke on the Water.  It is instantly recognized, and I can hear the
"da da da, da da dada, da da da ,da da" in my head.  Cover bands at school dances were required to know that song...or they weren't allowed to play.  At least that's the way I remember it. 

Other than "Louie Louie" its probaby the most familiar, and most likely the one thing every aspiring guitar player wants to learn to play.

If you don't know the tune, you have lived under a rock for a very long time, or are deaf.  Those are the only excuse.  heck, even my mother knows the tune (although I can honestly say  I think she believes its the melody to a high school cheer)

It is a part of the American landscape.  Ritchie Blackmore created something that morphed.  I find some comforting humor in that. 

And then there is this Ritchie Blackmore.

The clip above is Ritchie digging deep and drawing on all of his classical, jazz and spanish influences to create something beautiful and timeless and: acoustic.

It is romantic and moving.  The trills are especially lovely, and the quiet between the notes are just as emotional as the quick vibrato. I strain to listen for every note.  None are thrown away.  There is  movement, like an ocean wave where it finally crashes and releases.

like I said, as sensual as it gets,,,

Steve Morse: Keep Dreg-ing my Heart Around

So, it was a Sunday night, DirecTV has HDNet, which features music and other things, and the info says "Deep Purple, They All Come Down to Montreux" 2009

Now Deep Purple is part of the triumvirate of hard rock bands, joining Zeppelin, and Black Sabbath.
DP has gone through many lineup changes, vocally and with lead guitar.  Those stories later...

It was Ritchie Blackmore who created the distinctive and most recognized riff of all time :Smoke on the Water on Machine Head...(which he said he stole from Beethoven's Fifth-who is the original heavy metal writer by the way, more on that another day)

The love/hate relationship with Blackmore and DP was on again, off again, and by the early '90's, it was permanently over, and that meant only one thing: STEVE MORSE would be in my living room.

"Click"   The surround sound is adjusted to rock concert & I have front row seats.

Ian Gillan's vocals and the heartbeat of Roger Glover & Ian Paice were there, (for a real treat check out Gillan/Glover's album "Accidentally on Purpose" 1988)

Be still my heart. Steve still remains one of the most versatile of all guitarists.  Rock, funk, jazz, fusion, classical, a hint of country: its all there.  From the days of the Dixie Dregs (now playing in the background FYI) Steve was an enigma.  The Dregs were jazz/fusion and purely Morse.

He is a virtuoso.  Clearly, there is no better word for it.

It was demonstrated once again as I watched him move to the center of the stage and play with pure abandon.  I think what makes my heart sing with him, is watching him smile throughout...its as though the music is effervescent: it fizzes up inside and he sparkles... there is this joy that connects man and instrument and he begins a medley of instrumentals from the Page/Hendrix/Howe/Blackmore notebooks.  Clearly Steve is now a step above even these (apologies to the aforementioned, but it is what it is) They opened the doors, Morse waltzed through and created something completely his own: and more.

The harmonics send shock waves down the spine and make the toes curl.

He is a man without pretense, and should rightfully be one of the most egotistical of them all...but he is not.
Having met him years ago, that was the one thing that stood out most in my mind as we talked.  (hey, I was in radio and I was fortunate enough to interview an array of artists in those days. I know now I was the luckiest woman on earth)

We talked about him as a musician, but he seemed to take great pleasure in talking about flying, being a pilot...and I remember thinking that that same ability to glide above the earth, through the expanse of space and clouds was where his music and his playing were born, and when I hear him, I soar along beside.

Steve Morse: gives music wings.

Jimi Hendrix: we owe you Everything

Jimi Hendrix's Red House live in Stockholm 1969.

I found it on YouTube last week while searching for some Jimi to listen to while I worked.
I was too lazy to walk downstairs and go through my vinyl or CD collections, and decided it was easier to just "Beam it up Scotty" from cyberspace.
I've heard Red House many times, It was always a favorite of mine.
I know you've probably run across as many covers of this as I have, only the greats would attempt it.
But only Jimi had this quiet power. and the "Live in Stockholm" version had me hypnotized.
What was going to be background to my work, became a lesson in greatness.

Perhaps it was because the bass and the drums were so simply understated, or maybe its because Jimi just extended his arm, and he the guitar became one.

His playing was effortless, no theatrics, no pyro just a stack of amps and headamps and some feedback as needed.
Playing lefthanded was not  a distraction or of consequence.
He had magic in his soul and it extended into his fingers.
They danced up and down the neck of the guitar and moved as quickly as the wings of a hummingbird: and the beauty was just as startling.

As I listened to him, there were so many moments when I was forced to say "How does he DO that?!"

The question echoes across the room and is held there : unanswered.

The date of the video was 1969.

I never saw him live. His life ended much too soon.

I wish I could have spoken with him about where the magic came from, how he found that sweet something that we all immediately recognize and are drawn to. The pure energy. Like the drawstring on a bow, you know the release is something that makes you catch your breath.

I would like to just hold his hand, to feel the power that you know must reside within.  Perhaps that connection would give me some of the magic to create a little of my own.....

but alas, that shall never come to pass.

Jimi: we owe you such a debt of gratitude.

There is not a guitarist alive; young or old, that does not wish they had a morsel of the secret ingredient that has made you immortal in our minds and hearts.

The greats all pay homage to you as we hear them on  Red House, VooDoo Child, every electric version of the Star Spangled Banner ever played.

But the simple, or maybe NOT so simple joy in watching and listening to you has always been knowing that you are the Picasso, the Rembrandt, the Michelangelo of the rock world.

You took the guitar and you painted our world with color and visions.  Your legacy is not  a Purple Haze, but a clearly defined rainbow that dances in the sun.

To Love the Guitar

OK, the first thing you need to know: I do not talk about the technical aspects of how a guitar is built.
I talk about the sound, the way it makes me feel and how it has a magic that is totally, uniquely its own.
To Love the Guitar is simply to learn to listen to it.
In the hands of a master it is orgasmic
In the hands of a beginner, it is frightening with potential

The power of the universe is vibrated through the strings


The men and women that play well are my heroes.
There is nothing sexier than a man with a guitar. 
It is a relationship that we mere mortals are permitted to be a part of in an aural voyeuristic moment.

I fall a little bit in love with each of them as they manage to bring to life something made of wood and metal. 
On many occasions, the sound makes me weep. 

David Gilmour comes quickly to mind as I type that.

I will talk about musicians, they way they play and move me.
Whether I see them live, or listen to their music from vinyl or digital (preferably vinyl) I will be sharing with you my thoughts as my eyes close and my heart soars along the frets with their fingers.

I love it all: Electric, acoustic, Slide, Dobro, 6 string, 12 string and beyond
If it moves me, I will write about it.



I hope you find something here that makes your heart beat faster, your breath come a little more quickly, and make you feel just a little more alive than before your visit.

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