Tag Archives: jazz

picasso2 300x238 Manzer Pikasso Pat Methany

Okay, breathe deeply; when we’ve modified our guitars to the hilt will it then be time to modify our bodies?

“I’ve gotta gig this weekend, can I install a couple of extra sets of hands please Doc?” This Manzer custom build for Pat Methany features 42 strings…and yes Pat is still only using two normal hands of five digits only.

This remarkable guitar is known as the Pikasso guitar, after its likeness to the cubist paintings of twentieth century artist-genius-pioneer Pablo Picasso.

The Pikasso guitar was built for him by luthier Linda Manzer in 1984 and can be heard on his song “Into the Dream” and on the albums Quartet, Imaginary Day, Jim Hall & Pat Metheny, Trio Live, and Metheny Mehldau Quartet his 2007 second collaboration with pianist Brad Mehldau. The guitar can also be seen on the Speaking of Now Live and Imaginary Day DVDs. Pat Metheny has also used the guitar in various guest appearances on other artists’ albums and on the Legends of Jazz TV show, where he referred to it simply as a 42- string guitar.

The body is tapered so that the side closest to the player is thinner than the side that rests on the players knee, thus leaning the top back towards the player for a more aerial view. This is also more comfortable under the player’s arm.

The instrument is outfitted with a complete state of the art piezo pickup system including a hexaphonic pickup on the 6 string section that allowed Metheny to access his Syclavier computer system thus triggering any sound including sampled sounds.There are even two mounting holes on the treble side so that the guitar can be mounted on internal brass insets attaching to a stand, leaving hands free for playing or viewing.

There is some frequency of the guitars appearance in the early cubist works of one of the twentieth century’s greatest minds and artists Pablo Picasso.

Picasso first began to explore the instrument in the South East of France in Ceret, near Perpignan. The steady rhythm of the sardana Catalan dance served as the model for Picasso’s choice of geometric shapes and provide the defining characteristic of and backbone for his Cubist paintings. Cubism was invented around 1907 in Paris by Pablo Picasso and Georges Braque. There is a certain movement and expressive musicality in the omniscient cubist perspective.

Cubism had two distinct phases. The early phase which lasted until about 1912 was called Analytical Cubism. Here the artist analysed the subject from many different viewpoints and reconstructed it within a geometric framework, the overall effect of which was to create an image that evoked a sense of the subject. These fragmented images were unified by the use of a subdued and limited palette of colours.

With this structure in place, the Céret music’s freedom and energy gave Picasso a goal to achieve with his own art, and we witnessed Picasso’s progression as he incorporated these elements into his guitar paintings.

Cubism was born in France but emigrated across Europe and integrated with the artistic consciousness of several countries. It emerged as Futurism in Italy, Vorticism in England, Suprematism and Constructivism in Russia, and Expressionism in Germany. It also influenced several of the major design and architectural styles of the 20th century and prevails to this day as mode of expression in the language of art.

Well, That`s all folks,
Cheers…

Jake Edwards

In a recent post featuring Adrian Legg`s keith tuner fingerpicking genius I slyly and quietly suggested that Bill Frisell was definitely another idiosyncratic guitarist to look for in your listening research.

Bill has always been an exponent of an healthy array of effects – most notably delay, reverb, chorus and more rarely pitch shifters to create unique tones and sounds; a uniquity exaggerated by his jazz leanings combined with clean sustain and an emotionally oblique sense of  melody.

He does however ensure that his use of processing, or effects, don`t colour his sound in a way that might obscure the emotional intent or message and seems incapable of descending into gratuitous, meaningless affectation. Bill often sounds as if his notes are shards of ice slowly melting as they descend through warmer water and the overall impression is of a glacial and ambivalently jazz-blues fusion. It`s a novel approach to sound, feel and melody that conjures up a sense of constant ideation….like your distortion – sometimes it only counts when you turn it off. Use it in your own playing. If you`d like to achieve similar sounds consider adding a good old Fender twin reverb (or similar) to your set up, a delay pedal for broad stereo ambience, a touch of lexicon reverb and a little chorus effect.

Cheers,

Jake Edwards.

So what happens after the roaring twenties for the guitar in Jazz? Twenties Torchbearers Lonnie Johnson the single string solo pioneer and Eddie Lang paved the way for an explosion of guitar innovation fresh from Paris France in the form of Django Reinhardt, violinist Stéphane Grappelli plus Reinhardt’s brother Joseph and Roger Chaput on guitar. These cats used the first ever cutaway guitar – The Selmer. Meanwhile across the Atlantic Charlie Christian pioneer of guitar amplification was also getting down to business…


What is unusual about Reinhardt is that his right leg was paralyzed and the third and fourth fingers of his left hand were badly burnt in a house fire. Doctors believed that he would never play guitar again and intended to amputate one of his legs. Django however had other plans and continued to pioneer a guitar style that is as accomplished as it is unusual the damage to his hands forcing him to adopt a predominantly two fingered guitar style.

In Paris on March 14, 1933 Reinhardt recorded 2 takes each of “Parce que je vous aime” and “Si, j’aime Suzy”, vocal numbers with lots of guitar fills and great guitar support, using 3 guitarists along with an accordion lead, violin, and bass. Fresh!

Here`s New Zealand`s very own Leigh Jackson playing “Swing Gitan” in gypsy swing jazz style!

Cheers!

Jake Edwards.

chet Chet Atkins

About twenty years ago I went out to buy a Chet Atkins record and what I came back with contained the impressive instrumental Kicky. Atkins makes this sound about as easy as taking candy from a baby…

aaa Chet Atkins

Stories have been told about the very young Chet who, when a friend or relative would come to visit, and if that person played a guitar, would crowd in and put his ear so very close to the instrument that it became difficult for that person to play.[2] This was an early demonstration of his affinity for the instrument that would later become his life, and that he would take around the world, playing packed concert halls from Nashville to the Boston Pops.

Atkins became an accomplished guitarist while he was in high school. He would use the restroom in the school to practice, because it gave better acoustics.[3][4] His first guitar had a nail for a nut and was so bowed that only the first few frets could be used. He later purchased a semi-acoustic electric guitar and amp, but he had to travel many miles to find an electrical outlet since his home had no electricity.

Atkins did not have a strong style of his own until 1939 when he heard Merle Travis picking over WLW radio.This early influence dramatically shaped his unique playing style. Whereas Travis’s right hand utilized his index finger for the melody and thumb for bass notes, Atkins expanded his right hand style to include picking with his first three fingers, with the thumb on bass. The result was a clarity and complexity that became his unmistakable sound.

Gretsch make a fine looking Chet Atkins country gent guitar for those of you who want to develop the twang!