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by Rick Landers. When Badfinger’s first record was released rumors ran amok that the Beatles were the artists behind the songs and that the Fab Four had playfully renamed themselves to see if the album would do well without the Beatles magic to help lift it up the charts. This wasn’t a far fetched notion. The album, Magic Christian Music, was released in 1970 on the Beatles’ Apple label and the harmonies and style captured the pop spunk of Paul McCartney’s work. In fact, McCartney penned the group’s first U.S. charted hit, “Come and Get It.” Badfinger would enjoy all the spoils of fame, but would also suffer through a litany of stereotypical rock ‘n’ roll collapses from bad management, financial entanglements, legal disputes, poor record sales and the tragic suicides of Peter Ham (vocalist, guitar, keyboards) and…

Read the full interview at: http://www.modernguitars.com/archives/004759.html

by Rick Landers. During his performance at the Inter-American Series of Concerts, Lectures and Films in Washington, D.C., in October 2008, Scottish guitarist Martin Taylor kept the show rolling with solo jazz guitar tunes that were technically complex, yet stylishly smooth and nuanced. Inspired since childhood by gypsy jazz legend Django Rheinhardt and his Quintette du Hot Club of France, jazz guitar has been the staple of Martin’s repertoire.He began playing guitar at the ripe old age of eight in his father’s jazz band and would later leave school at 15 to become a professional musician. A chance meeting with Django’s Hot Club violinist, Stephane Grappelli, eventually led to an invitation for Martin to join the group. Martin would grow as an artist under the wing of Grappelli and his guitar prowess blossomed while he gathered acclaim as one of the best jazz guitarists in the world. Taylor’s musical accomplishments have been recognized by many and have included…

Read the full interview at: http://www.modernguitars.com/archives/004767.html

by Brian D. Holland. It’s easily understood that inspiration drives the music of JJ Grey & MOFRO, as influence radiates from it in an interesting and colorful manner. Though much of it is surrounded in a raw yet contemporary swamp rock ambiance, it possesses elements of southern rock, soul, R&B, folk, gospel, blues, and especially funk. The music parallels the lyrical image flawlessly in setting, emotion and significance. JJ Grey paints a picture of the rural South, especially the Florida backwoods, where images of alligators and cypress amid swampy terrain effortlessly come to mind. He grew up in and around Jacksonville, Florida, close to the wetland areas he sings about, and close to the Orange and Lochloosa Lakes as well. The rugged wetland environment comes to life in songs like “Florida,” “Lochloosa,” and “Turpentine,” and haunting stories of poverty and misfortune (“Country Ghetto,” “Ten Thousand Islands,” and “Brighter Days”) sit contently among songs of hope and affection (“Orange Blossoms,” “A Woman,” and “The Truth”) in all four of the band’s CDs. It’s even very Southern Gothic at times, especially in the lyrical content of “The Devil You Know” and “Tragic.” Via first and secondhand experiences of their narrator, the tales depict life’s ambiguous and complex situations in a genuine and practical manner…

Read the full interview at: http://www.modernguitars.com/archives/004788.html

by Rick Landers. Although Tony McManus clearly has a reputation as a leading Celtic guitarist, the ancient roots of the music itself are somewhat nebulous. Strains can be found originating in Ireland and Scotland, as well as other unexpected places such as Portugal. Whatever the origins, the music found its way to America and infiltrated the melodic intentions of Appalachian musicians, as well as gained popularity around the world. Irish born McManus delights in the sparkling guitar tunings of the genre and his league of world-wide fans grows with each new album. He taught himself guitar at an early age and after ending his academic pursuits he could be found as a session guitarist in Glasgow and Edinburgh. In 1996, Tony released his self-titled debut album on the Greentrax Recordings label. Next up was his Pourquoi Quebec that drew international attention. His reputation began to soar when Nashville’s Compass Records issued his Ceol More CD that featured arrangements of Charles Mingus’s jazz classic “Goodbye Pork Pie Hat”…

Read the full interview at: http://www.modernguitars.com/archives/004813.html

by Rick Landers. Mali-born guitarist Vieux Farka Touré’s musical inclinations come naturally. His father, Ali Farka Touré (1939 – 2006), was an internationally acclaimed musician who weaved together the complex rhythms and traditional style of Malian music with American blues, and was listed at the 76 spot on Rolling Stone’s compilation of The 100 Greatest Guitarists of All Time. Though his father urged him to join the military, Vieux discovered that he both loved and had a talent for music. It was to become his passion. Recognizing and valuing his son’s talents, Ali asked his friend and legendary African kora player, Toumani Diabaté, to professionally mentor his son. The die was caste and Vieux Farka Touré began to make his mark in his native Mali and soon his name was on foreign tongues who were captivated by the young musician and spread the word worldwide…

Read the full interview at: http://www.modernguitars.com/archives/004822.html

by Michael Shea. Chuck Loeb grew up in Nyack, NY, a suburb of New York City and at the age of 11, decided music was what he wanted to do with his life. After teaching himself guitar and playing in local bands for several years, his talent was so evident that, before he graduated from high school, he was studying with jazz guitar legend Jim Hall. After high school, he attended Berklee College of Music for two years before heading to New York City to work as a sideman for a number of jazz artists. In 1979, when he was 23 years old, Chuck joined the Stan Getz band, where he was able to hone his skills as a musician, performer, composer, and musical director. During this period, Chuck met and married Carmen Cuesta, a singer-songwriter from Madrid, Spain…Chuck currently records for Heads Up International. Modern Guitars talked to Chuck just before the March 24, 2009, release of his latest recording, Between 2 Worlds…

Read the full interview at: http://www.modernguitars.com/archives/004847.html

by Rick Landers. When we saw that famed guitarist Jorma Kaukonen and bassist Jack Casady of Hot Tuna were headed to the Birchmere, Alexandria, Virginia, we knew it wasn’t an opportunity to miss. Rarely does Modern Guitars get a chance to catch up with musicians who have performed together and stoked a full steam of friendship for 50 years. Since the early ‘60s, Jorma and Jack have shared their love of music and experienced the spirited upheaval of rock stardom as members of Jefferson Airplane, the group that featured vocalist Grace Slick who belted out the rock classic, “Somebody to Love,” and melodically droned the phantasmagorical reverence of “White Rabbit.” It was the age of psychedelia and as much as drugs pierced the veil of the status quo, the music itself was mind altering with Jefferson Airplane searing hot in the klieg lights of the moment…

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by Rick Landers. On May 3, 2009, fingerstyle guitarist Pete Huttlinger and the lovely LeAnn Rimes shared the stage at the John F. Kennedy Center for the Performing Arts, Washington, D.C., as part of the 2009 Kennedy Center Spring Gala presentation, A Celebration of Women in the Arts. Pete and LeAnn have performed together before with Pete’s guitar work a perfect complement to the singers vocals, much like Pete’s work during the ’90s with the late John Denver and with many more of the world’s finest troubadours. But, one thing that sets Pete apart from the crowd is his strong work ethic and precise professional focus. Although born in Washington, D.C., early on after his father passed away his mother moved the family to California. Soon enough, Pete would discover the world of guitars and practice, study and perform his way to a solid music career. After high school, he moved to Boston to study at the Berklee College of Music where he graduated cum laude in 1984. He and a friend would plant themselves on Beantown street corners to make some loot and gain some streetwise insights into…

Read the full interview at: http://www.modernguitars.com/archives/004885.html

by Brian D. Holland. Though some rock fans might still be in the dark about this, and they’ve certainly got to be an isolated and diminutive bunch, The Answer is the hard-rocking foursome out of County Down, Ireland. The group has been touring the globe over the past year opening for AC/DC on the Black Ice Tour. By definition alone, one might think that a label as bold as The Answer is a reference to something that’s the real deal, or the actual solution to something. If you’re wondering if that’s the case in this situation, many rock fans seem to think so. The truth is, and it’s not exactly a news flash, authentic hard-rock bands aren’t what they used to be in numbers. Sure, there are a few around, the paradigm being the above mentioned tour headliner. But, not many young bands possess the invigorating power and surging force that Led Zeppelin, Thin Lizzy, Humble Pie, and others exerted back in the ’70s. It’s unfortunate, because a prevailing thirst still exists for that particular style. AC/DC and their mega sold out tour is evidence of it…

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by Rick Landers. During the 1970s, Martin Barre’s gritty guitar work helped propel Jethro Tull up the charts with now classic tracks such as “Aqualung,” “Bungle in the Jungle,” “Cross-Eyed Mary,” and “Locomotive Breath.” While his riffs on “Aqualung” echoed vocalist Ian Anderson’s broken-luck lyrics, they also convulsively shoved the song into the dark cavities of our minds. Anderson’s dramatic on-stage antics and huffing flute work would have overshadowed most guitarists, but with uncanny precision, Barre always knew when to weave in and out and when to pounce. Guitar Player readers voted Barre’s playing on “Aqualung” as one of the top guitar solos of all time. Later, a Guitar World reader poll would rank it as the 25th Greatest Guitar Solo. But, to better appreciate Barre’s musical senses and guitar talents it’s valuable to listen to several albums, including Martin’s fine solo work. No one trick pony, Martin Barre knows how to musically frame and drive a lyric by loading up with a heavy hitting lead or a more delicately nuanced riff…

Read the full interview at: http://www.modernguitars.com/archives/004941.html