As a tribute to B.B. King, who died May 14, Joe Satriani, Steve Vai, Animals As Leaders' Tosin Abasi and Dethklok's Brendon Small performed King's "The Thrill Is Gone" Friday night at LA's Wiltern Theater.
Yesterday, June 9, 2015, was the 100th anniversary of the late, great Les Paul's birth. To celebrate the occasion, the guitar community threw one hell of a party in New York City's Times Square, not far from the Iridium, where the legendary guitarist and innovator played during the last years of his storied life.
While recording the album late last year at Skywalker Sound in Lucas Valley, California, Satriani assembled the dynamic trio of world-class musicians who had recently been part of his tour; keyboardist and guitarist Mike Keneally, drummer Marco Minnemann and bassist Bryan Beller.
“Highway Star” is but one highlight of Machine Head, Deep Purple’s greatest triumph. Ironically, it almost never came to be. In early 1972, shortly after retreating to Montreaux, Switzerland, to record, the British band was beset by a wealth of problems.
A major stepping stone in my musical development was when I was introduced to the study of modes. Learning how modes work really opened my eyes and ears and gave me a lot of insight into how melodies relate to chords.
Seated across from one another in a cavernous, chilly San Francisco photo studio, Tosin Abasi and Guthrie Govan are deep in conversation, dissecting and debating the relative merits of various guitar neck tone woods. They’re both clearly attuned to the same profound level of guitar geekery—fretboard brothers. But it’s hard to imagine two human beings more different in appearance.
Joe Satriani and Steve Vai have announced plans for a third benefit concert in support of Cliff Cultreri, a music industry veteran and their good friend. “A Benefit for Cliff III” will take place 8 p.m. June 12 at the Wiltern Theatre in Los Angeles. This event will feature performances by Satriani, Vai and Animals As Leaders.
Since the guitar's inception, there have undoubtedly been talented players that could make the instrument sing, but it wasn't until the mid '60s and the arrival of the wah pedal that one could make it cry.