AEG Bigband - Heartland (Pat Metheny) (live)

Опубликовано08.11.2018 в 19:02АвторDoutaur

"(Cross The) Heartland" Pat Metheny Group ギタータブ譜/Guitar tabs

When were you first drawn to the guitar. I come from the middle of the generation that viewed the guitar almost as an icon of some sort of youthful revolution. It was most personified through the Beatles and I was about 7 or 8 when the Beatles began to have hit songs. Even though I come from a very musical family, the guitar was considered kind of a secondary instrument. I started playing trumpet when I was about 7 under the teaching of my brother Mike, who is five years older.

Our family was very serious about music and it was all centered around classical and concert band music. Around town there were guitars everywhere. So, my first exposure to the guitar was a combination of the Beatles — the rock and roll thing, and the country thing. But, before I ever owned a guitar, I was so captivated by the instrument that I would draw pictures of them. My first contact with the guitar was through my neighbor friend whose dad owned a Gretsch Country Gentleman, of which we were forbidden to even go near it.

To my young mind, this electric guitar was just coolest thing on earth. Bill Monroe was the player these guys all looked up to. My friends began getting guitars for Christmas and birthdays and, of course, I wanted a guitar too.

Finally, I convinced them that if I earned the money, their Christmas gift to me could be just the permission to use that money to buy a guitar. I had a paper route, I saved my money and got my first guitar. How old were you? Within a couple of weeks I learned the theme to Peter Gunn and the Batman theme.

I did take a couple of lessons at the local music store. But about that same time, something important happened.

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My brother brought home a new record by Miles Davis. When I heard that record, I immediately gravitated toward it. Do you recall which album it was? You know, you hear people say that jazz is this style of music that people need to acquire a taste for and that it takes time to develop a love for, but for me it was immediate. For this eleven year old kid, it was like the light switch came on.

It was the most exciting, fascinating, intriguing, interesting thing that I had ever heard. Of course, I had no idea what they were doing. What was it about the sound of that album that was so appealing to you? In some ways the Tony Williams factor was a huge thing. It sounded so modern. But that Miles record, I had never really heard anything like that. My parents played some Glenn Miller and swing music around the house, but to hear music at that level changed me.

In fact, to this minute in time, it remains the central thing to me. It began there and it never stopped. I began the process of learning what jazz is all about it continues to this day. How did you process this to jazz guitar, were you on your own or did you get some help from a teacher?

From that Miles record, the world of jazz opened up for me. Even though I was developing on the guitar, I continued to play trumpet all through high school. Because my brother Mike was five years older and a fine trumpet player, I was always in his shadow. He became my model, my favorite, my hero, and still is.

You were learning things off of Wes Montgomery records? Yes, learning off his records. I mean, I played with my thumb, I played in octaves, I did everything I could to sound like Wes in those first couple years I played jazz guitar.

American Garage is the second album by the Pat Metheny Group, released in on ECM

I liked other guys too. Kenny and Wes were my two real early heroes. I got his autograph. When I was about 15 or so, I had been playing a few years and my parents were a bit concerned about me and the guitar because I was so fanatical about it. My grades in school were just awful. I was the classic case of a kid any parent would be concerned with.

You were just teaching yourself with guitar records and books? Yeah, I just immersed myself in jazz. Freddie Hubbard was and continues to be a huge favorite and influence upon me.

Trumpet players in general have really affected me. You know, after all these years, I still think in terms of trumpet most of the time. I think in terms of how one would tongue a phrase in the back of my mind all the time. Back then as well as today, many jazz guitar players often sound stiff and wrong in terms of articulation to me.

I have worked very hard trying to simulate that kind of articulation that, to me, rings true as a horn player. By the time I was 15 I was beginning to get opportunities to play around the Kansas City area which was about 35 miles from us.

Had there been a teacher there for me, he would have certainly gotten all the gigs instead of me. A man named Don Winsell was the main jazz guitarist and one of the greatest jazz musicians to ever come out of that area — but he was unfortunately killed in a tragic accident around the time I started playing. There was a great scene around K.

In fact, the jazz scene was so active that I was needed as a player. So from the time I was 14 until I was 17 and left town, I was able to do a lot of playing.

I was often playing five or six nights a week in mostly organ trio based settings, which was a very popular sound at that time around the midwest especially.

One of the things that probably sets me apart from other players is that my education took place on the bandstand. I never studied in a university or school program early on. That was my reality.

My reality was also that there was this trumpet player that I played with for a good part of that period, who is still a major jazz artist in Kansas City, named Gary Sivils. Gary could play a ballad so beautifully, so melodic, so soulful, that it would just rip your heart out — and then right next to that I would start to solo playing licks and stuff; and it just sounded horrible in comparison.

Also, the audiences in Kansas City were very sophisticated. During those teen years what guitar were you using? What was that guitar, from the paper route? It was a Gibson ES A three quarters size They are very rare. I wish I still had it. It got smashed on an airlines when my family took a vacation soon after buying it. A father in a town near my home had a son who had a blond ES I was really lucky to get it.

It is a really great guitar. So, I was using my and a Standel amp on those gigs. I still have the amp too. Those two thing are where my sound has developed from. When you graduated from high school, you went to Miami? From the time I was 16 I could basically play and hold my own with these older guys, like I mentioned, and I started to become known as kind of a youn teenaged jazz sensation or something.

So, several of the jazz schools were coming to town and offering me scholarships. This one night I was playing a gig and this guy came and sat in who was very good. He asked me to come to University of Miami with a full scholarship. I should add that at that time I was also in the process of flunking out of high school.

Your parents were tolerating this? There were a lot of conflicts between my parents and me then. Looking back on it now, and as a father myself now, I have to give my parents a lot of credit. There was only one other kid in school, a bass player, who even knew who Miles Davis was.

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My parents were worried. But, they would come to gigs and see that I was hanging with these older guys. I think the thing that did it for my Dad was that I was making some money. At least the kid has got an income!

And then when the universities came calling There was this guy, Dan Haerle, a piano player whom I had worked with and he was going to teach aT the University of Miami and that settled my decision to go there. It turned out that going to the University of Miami was a really great decision.

When were you first drawn to the guitar.

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{REPLACEMENT-(Зайцев.нет)-(}In a genre with a long history of creative guitarists, Metheny stands out for his open-hearted melodic sensibility, and his desire to explore the widest range of musical and technical possibilities. Metheny hails from Kansas City, Missouri, at the edge of the great plains, and many of his best-loved pieces evoke the softly rolling spaces of the American heartland.

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Comments: 1

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