An opening slot for Cool Jazz/Fusion monarch Miles Davis proved the gateway to a wider audience looking for adventure in their music. Liebert’s fusion of Flamenco and World Music secured him an international fan base. The rest is his story.
These days I only check my Twitter account a couple of times per week. Today I saw this tweet from Andrew Gaskins. I love Desert Island Lists! Thank you!
I posted a short video clip of me playing the guitar break for “Could You Be Loved” on Instagram a couple of days ago:
Here is a guitar break I came up with this fall, for one of the pieces we played on tour. I remember showing a few funk riffs to the late dancer Vicente Romero years ago. He told me I had to find a way to play that on the flamenco guitar. Since I don't play with a pick (plectrum) it took me a long time to figure out a way to use my index finger nail to do this. I recorded this with my iPhone.
We have opened a little online store for 2016 merchandise and a few CDs. This store will be open for a limited time only. The URL is https://squareup.com/store/spiral-subwave-records-international.
If slow music appeals to you, and I find it to be a great antidote for today’s pace, here are a few suggestions to get you started:
Start with my album “slow”, of course. Link to the album page
“Dokunmak” by Erkan Oğur – I love this album and was able to get the CD from Istanbul via a friend of a friend, but if a digital download will do – iTunes has the album: iTunes link
“Sleep” by Max Richter. Link to a post on his website
The artist performs eight hour long sleep-concerts. :-)
“Music For Airports” by Bang On a Can – the group transcribed and arranged music Brian Eno created with loops in 1978, for a live performance. iTunes Link
My new album “slow” was released in our own ListeningLounge today.
Here is a link to the album page on our website.
This is a direct link to the album in our ListeningLounge.
And this is the link to a special page about the album, with background information and a track by track guide.
We will have the CD for sale during the last leg of this year’s tour, which starts a week from today in Fort Lauderdale. Here are the dates:
Nov 11 – Fort Lauderdale, FL – Parker Playhouse
Nov 12 – Clearwater, FL – Capitol Theater
Nov 13 – Orlando, FL – Plaza Theater
Nov 14 – Atlanta, GA – Variety Playhouse
Nov 17 – Houston, TX – House of Blues
Nov 18 – Austin, TX – One World Theatre
Nov 19 – San Antonio, TX – Aztec Theater
Nov 20 – Dallas, TX – House of Blues
November 18th is the official release date of the album, and CDs should arrive in stores then. Digital distribution is seriously backlogged for all indies, so the album will be available in digital form at iTunes and Amazon, but I don’t yet know when. I’ll keep you posted.
Today Jon asked me which Diana Ross song I played guitar on in the Nineties. I couldn’t remember, but I looked up her 1995 album – which seemed like the right year and soon found it. The first 18 seconds are my intro, including tremolo and octave playing:
I Never Loved a Man Before by Diana Ross on @AppleMusic.
@RadioCleveKKG: Paradigm Shift | MUSIC • TECHNOLOGY • POLICY
I don’t know the answer. I only know that their silence speaks volumes to me. The people who claim to love music and artists, yet continue to work in a field that denies artists fair compensation, are showing us whose side they are on: their own.
The entire letter is worth reading. Find it here.
This Earthworks SR40 is the microphone I have been using on my guitar for over a year now. I haven’t used it for recording in the studio yet, but it’s handsdown the best microphone for the stage I have ever used… and I have used a lot of different ones!
We are often asked which gear or tricks we use to ensure the guitar is loud enough, especially since I refuse to use a pickup on my guitars – I haven’t used a pickup on my flamenco guitars in at least a decade and a half.
Let’s face it, classical or flamenco guitars are puny and quiet instruments when compared against electric bass guitar, drums and keyboards. With this microphone we always have enough level and we don’t have to worry about feedback.
Of course sound level isn’t everything, the quality of the sound is just as important. I feel that this mic gives me the truest guitar tone and makes hearing what I’m playing a pleasure. And that is something we guitar players cannot take for granted.
Here is what Earthworks writes about this microphone:
You’ll love what the Earthworks SR40 high-definition cardioid mic does for your recordings and live performances. Its 30Hz-40kHz frequency response means you’re capturing a far wider range than most mics can touch. The result? Better depth and a truer sound that includes more high-frequency overtone content. You’ll also appreciate how well the SR40’s true cardioid pickup pattern rejects outside sources, and how it gives you impressive gain before feedback.
Last Friday we returned from a brief tour of California – with a new quartet that added accordion and keyboards to the trio of guitar, bass and percussion. We played several pieces from the new album “Waiting n Swan” and also performed a new band arrangement of “This Spring release 10,000 Butterflies”.
Rather than trying to remember the new arrangements I made a few notes and taped them onto my guitar.
On “Heart Still/Beating” Chris played the famous Reggae “One Drop” beat for the most part, except for the second verse. Here the cajon plays the Tangos rhythm. In addition one of the rhythm guitars plays Tangos rhythm throughout both of the verses. “Heart Still/Beating” and “Them Belly Full” contain trumpet-only horn sections that were written and performed by JQ Whitcomb.
The horn section on “Is This Love” and “Lively Up Yourself” consists of trumpets and an electric bass guitar. The bass guitar replaces the saxophone that would be used in a traditional horn section. I thought this would brighten the sound of the horn section and sit better with the Flamenco guitars.
On “Could You Be Loved” the guitar chorus melody is doubled by two accordions panned far right and far left. This is one of the things I always loved about Bob Marley’s albums – they were mixed so well. One finds keyboards or percussion elements hard-panned and out of the way. Marley albums weren’t a wall of sound. They were a large landscape, a wide-screen movie, with exciting stuff happening on the edges instead of everything being bunched up in the middle.
“No Woman No Cry” starts with the chorus played in Tangos Flamenco rhythm, with cajon and upright bass. The first verse uses a variation of the Reggae One Drop beat, together with electric bass guitar and pick bass. Pick bass is usually done on a guitar that plays in unison with the bass. Here, and elsewhere on this album, Jon performed the pick bass on a second bass guitar. On the third chorus the drumkit plays the Tangos beat (The kick drum sits between beats 2 and 3 and then on 4.)
On “Jamming” Robby plays silverware on the Choruses. The silverware stems from my great grandparents and is over a hundred years old. Robby “auditioned” a whole bunch of forks and knives until he found the right sound.
“Three Little Birds” – a cajon plays the Tangos rhythm throughout. Jon plays upright bass – there is no electric instrument on this song. The guitar solo wasn’t meant to stay. It was my first exploratory take and was supposed to be replaced, by something more “impressive and interesting”, but then a friend of mine heard the song and said “nice jam” and I realized that it was that kind of song. Guys making music around a camp fire, jamming, and not trying to impress anyone.
I have wanted to record a Reggae version of “Barcelona Nights” since the mid Nineties! Again, one of the rhythm guitars plays Tangos during the verses.
After the intro to “Them Belly Full” the cajon once again plays the Tangos rhythm, followed by the drumkit playing variations of the Tangos beat. In the chorus, a cajon plays Tangos and a drum machine plays a half-time Reggae beat. Char takes over the melody in the next section. Jon switches to upright bass and plays a Salsa figure (Salsa, like Reggae and Tangos, also avoids beat one) and the cajon is playing Tangos.
The original recording of “I Shot the Sheriff” was really a Reggae murder-ballad. I recorded fewer verses than are in the original. The third verse switches from Reggae drumkit to Tangos cajon. The drumkit plays “One Drop”, but with a snare added between beat four and beat one.
The guitar riff at the end of “Lively Up Yourself” is one of my experiments that combines Flamenco rasguado techniques with Funk.
On “Waiting In Vain” the drumkit plays the Reggae “One Drop” beat. A cajon, playing the Tangos rhythm, is added for the second verse and during the guitar solo.
I hope you will agree that Tangos and Reggae are siblings who, although separated for centuries, are completely comfortable together.