I am currently artist-in-residence at Sustainable Bolivia, and teaching at Universidad Mayor San Simon (university music students), Ensenarte (local children of orphanges), and Pua School of Rock (community music school) in Cochabamba, Bolivia. An awesome place and awesome students and professionals who want to learn as much as possible about blues, jazz, and free improvisation.
UMSS Workshop Description: The Quantum Seventh Chord: Harmonic Strategies for Progressive Guitarists and Musicians
This workshop is a study of the dominant seventh chord and it’s use in blues, jazz, and rock contexts. It is intended for music performance and theory majors, and for intermediate and advanced players who want to take their technique and playing to the highest level. It is both historic and original in its suggestions of ways to incorporate, and simplify, advanced harmonic materials in performance. The primary vehicle for this study is the multiple and simultaneous identity (the quantum metaphor) of the the dominant seventh chord in the context of the blues tune and the manifold ways that the form can be expanded through various dominant seventh chord-related techniques. This study draws from the materials developed by the author, used by musicians themselves, and from the comprehensive study of jazz harmony and theory that has blossomed in the United States since the 1970s. Although the course was originally designed for guitarists, all instrumentalists and music theorists will find it useful for their instrumental and intellectual development.
It’s not everyday you get to play and sit inside a tango with the maestros Daniel Binelli (bandoneon), Polly Ferman (piano), and Pablo Aslan (acoustic bass). But today was that day. Outstanding experience for me. When the tango section hit it was so deep I almost drowned. Next time, I’ll have the wherewithal to take some photos. It was like listening to my dad’s records.
Using a Les Paul into the clean channel of a Fender Super Champ XD, this four gain stage sounds awesome, but in terms of standalone….. The $30 Sweet Baby sounds warm and transparent in low overdrive settings that get you into Rolling Stone rhythm territory, and if you can’t roll your volume all the way up on your 40W Fender amp, the SW is a good way to go at lower decibels. You can leave it on and forget about it. For this-type of tone coloring, I prefer the Sweet Baby over the $268 KLON!! The touch sensitivity and warmth of the SW are something else.
WHAT!!! The Klon however is an awesome tool, and sounds great in the way most guitarists use it as a transparent boost with the gain at zero or a bit above. By itself the Klon sounds a bit hard to me and loses touch sensitivity real fast when you roll up the gain. But me, I’m always seeking the most touch sensitive set-up possible.
However, stacking between the SW, the Klon, the Empress fuzz, and the eq, yields a lot of different high quality sounds–like you’re ready to be a studio guitarist–if that profession still existed.
I wouldn’t have guessed I’d chose the SW if I hadn’t bought the Klon. I just assumed that the awesome sound I was already getting with the SW could be topped for more (almost 10 times more) bucks. I was wrong. You have to trust your ear more than the gear. Lesson learned.
There’s a reason Robert Plant jams with Jack instead of the pile of other American six-stringers who seem to think the blues were invented in England. Some Son House rechanneled. ENJOY!
Overheard @ The West coffeehouse, “I get up whenever I want.” Not so much in Queens. Heading to Main Drag Music and another kind of shop TBD.