Much controversy has arisen about whether or not the recordings of Robert Johnson we have been listening to for years were speed altered. Some musicologists are convinced Johnson’s released recordings are 20% faster than those he performed in two solo sessions in 1936 and 1937, and they wonder how this happened, when it happened, and why it happened.
Many blame advances in technology, some claim it to be a conscious decision made during the mastering process, and others claim that there actually is no speed alteration. If the recordings indeed were sped up by 20%, slowing them down would result in a significant change in pitch and tempo that would have a serious impact on the history of the blues and all of the music and musicians influenced by Johnson. Is it possible that we have never heard what this very influential singer-guitarist truly sounded like?
You be the judge:
“Crossroad Blues” – Fast (original):
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“Crossroad Blues” – Slow (revised):
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Steve “Red” Lasner has rubbed elbows and performed with many great and famous musicians including Buddy Miles, John Sebastian, Derek Trucks, Robben Ford and many more. In 2009 TrueFire released Red’s first instructional guitar course Blues Expose. Red continues to perform locally, nationally and internationally and continues to produce instructional material.
Stowell is, by all accounts, a calm man when you’re sitting face to face with him in an office kitchen conducting an interview. But if you bother to peer a little deeper you soon see the intensity – the l’esprit de feu that no doubt drives his playing. Playing that, for lack of a better word, can only be called jazz, but for the better part of 30 years has also been called “daringly original,” “transcending,” and “unique.”
Friends and fans of Stowell all say his playing is as original as he is. That to let his music in, you also need to let in a piece of his spirit; a slow-burning ember that will eventually grow into an inferno. And in the span of 30 years, Stowell has started a lot of fires with his music; bright beacons that lead him all over the world. He says he just tries to be inclusive.
”I want to try to, as quickly as possible, establish a flow of energy back and forth between me and whoever I’m playing for,” said Stowell. “And if we can invite them in, then we can take them on a little journey with us and in some cases ask them to listen to something that’s fairly challenging.”
In many ways, Stowell’s music is challenging. You’d expect that from a master guitarist. But listening to him play leaves the average person scratching their heads with heavy hands of awe, and respect, which unfortunately seems to leave their hands too busy to pick up his records. His music isn’t terrible, it’s hauntingly good, but Stowell challenges you to listen to music in a way that isn’t done anymore – with patience, curiosity and a sense of wonder.
And some would say that’s why John Stowell still has one hurdle: finding his next gig.
The harmonies of jazz are what attracted Stowell to the style. He got his start in Connecticut, before moving to a small town north of New York City in the 1970’s. “Every jazz musician spends some time in New York,” explains Stowell. Looking for more opportunities to perform, Stowell built a tightly knit network of musician friends and started traveling the country to play gigs. His motto and advice is that when an opportunity presents itself, see if you can go with the flow. Eventually, Stowell’s gigs were not only in different towns, but different countries. He hasn’t stopped traveling since.
“I don’t have any regrets,” said Stowell. Most musicians Stowell’s age are teaching, have homes, families and responsibilities. He admits that he knows very few guys in their late fifties who are out on the road as mush as he is. But John Stowell’s only responsibility is his music and that’s exactly the way he wants it, “I’m doing what I have to in order to keep the music out there.”
John’s dedication is slowly paying off. He’s cultivated a small international following which has allowed him to perform on over 4 continents — to audiences of sometimes no more than 50 people. But even when he’s performing in the living room of a fan’s home, Stowell often makes more money than if he had performed in a club. An interesting trend that’s starting to pick up momentum.
But after 30 years, it becomes clear that each gig is still only the beginning for him.
”My goal is to just be the best musician I can be and hopefully have some people enjoy it along the way.” Stowell says, looking out the window. It’s a gray November sky. “I’m not a money maker for anybody. It’s a little grassroots life that I still like enough to keep doing. I don’t have a family, no debt, so I can travel around as much as I want to. But I’m basically surviving on the road from the good graces of friends.” Stowell references an email he received, that basically said if you can find 1,000 fans in the world, you’re fine. I tell him he has a new fan in me. His response is humbling and gracious.
Hanging on the wall behind Stowell’s head is a framed print of Van Gogh’s At the Foot of the Mountains (seen right).
“In my case, my goals have been the same for the past 30 years. To be the best player and teacher I can, travel as much as I can, play with as many good players as I can, stay positive, stay ethical, keep going, document my work, record my CD’s and keep it growing,” Stowell said.
There is a famliar allure to Stowell’s life. He has no teather holding him back from his dreams. And perhaps that notion is the little piece of his soul you have to let inside. That is the ember that lights the path. Because to discover John Stowell‘s music, you are discovering what’s really at the end of a road less traveled.
Check out these two beautiful performances by John during his last trip to TrueFire:
“Useless Landscape”
“How Deep Is The Ocean”
Learn from John Stowell with his latest jazz guitar lessons in “Modern Jazz Improvisation” – now available for instant download
After you’ve recorded one of the most memorable guitar solos on record, where the hell do you go from there?
Always in search of the lost chord – the simplest and most effective melodic statement – the exquisite pleasure of finding ‘the part (and sound) that best fits’ – it’s a lifelong quest!
What is your typical creative approach to writing; how do you get from idea to finished recording?
In the words of Sammy Cahn – “it starts with the phone call”. I don’t do that much writing (for personal pleasure) these days; there are too many other things on my priority list. But when someone needs a piece custom-written for a particular project, I’m game. In terms of writing ‘technique’ – with the tools that we now have at our disposal, it’s pretty easy to hit the ‘record’ button as soon as the light bulb goes off – and one can do this in the most sophisticated manner. It can just as easily start with music or lyrics.
What’s your take on the session-player’s scene today?
With the exception of Nashville, all the other music recording capitals have become a shadow of their former selves. Recording ‘piecemeal’ continues to grow at an unbelievable rate. I am constantly being sent material via the Internet to overdub onto, and then port my tracks onto my ftp server for pickup – this is the most common recording session these days. It’s cheaper for the long-distance client in most cases. Of course, you don’t get the spontaneity that you would achieve with a bunch of live bodies in a room playing interactively – but c’est la vie. Having said that, all the records that I produce use the old school “everyone in a room at once” method.
What’s the recipe for a great guitar solo?
Playing to the meaning and the feeling of the song; understanding the lyrics. It’s all about servicing the material and its concept. I think that most people would say ‘tone’ – but that is so subjective.
Did Jimmy Page really say “Reelin’” was his favorite solo of all time? What’s your reaction to that? Do you think you can hear your influence in his post-1972 playing?
I think it would be fair to say that Jimmy & I have a mutual admiration society. Needless to say I am most flattered by his remark – but it gives me a high bar to maintain. This is a good thing! As regards influencing each other, this is a natural occurrence with most artists. I believe a good word for this would be “inspiration”.
Four bands every guitarist should know and why?
The Band. Procol Harum. The Beach Boys. The Beatles. The common ‘why’ is that they were all leaders, each having a distinct sound, and so much imagination! Of course, there are many other bands just as valid and important – but these were the first four that sprang to mind.
There are so many legends and oddball stories about working with Fagen and Becker. Are there misconceptions or things overstated, that you would want to clear up? Any favorite memories of your own?
Donald and Walter and I have a history together that well pre-dates Steely Dan. I’ve watched them struggle to get a record deal, then to slowly build the musical dynamo that they have today – and so many phases in between. There will always be stories about influential artistes …and I’m sure that lots of anecdotal tales about these two are still floating about – but to me they’re just childhood chums – with whom I love making music. We always laugh a lot when we’re in the studio together. What a cool way to make music.
What is on the horizon for you?
Same ol’ stuff – recording, producing, finishing up a stint on HAIR (The Musical) on The West End – and a fab time that’s been too! Also doing a lot of work in education areas – I really enjoy ‘passing it on’ to the next generation of music-makers, so I lecture, give Master Classes & workshops – the fun (some might call it work) never ends!
Best advice you’ve ever gotten?
Start by playing slowly. Go for accuracy; speed will develop naturally over time.
Smile – your audience likes to see that.
Become business-savvy.
Elliot Randall has been a session musician for popular artists since the 70′s, having played with Steely Dan, The Doobie Brothers and Carly Simon among many others. Aside from making a living making music, Randall teaches guitar in the United States and the U.K., visit his site for the whole story. – Charlie Doom
For the beginning guitarist, it’s all too easy to run into pitfalls and stumbling blocks — especially when you’re trying to learn guitar on your own with online video guitar lessons. Obstacles of all sorts can cause you to form bad playing habits or prevent you from progressing to a higher playing level. Wost of all, they can cause you to get so discouraged that you give up trying.
To help fight the frustration, we asked teacher Corey Palmer to offer some tips for first-timers.
1. Not practicing correctly.
When you pick up your guitar to practice, do you just play what you already know — or do you work on new riffs and techniques? Often the best way to progress it to find a balance between playing what you already know and working on something new. Divide up your practice time between mastering the techniques you already know and challenging yourself with new learning material.
2. Trying to play beyond one’s ability.
You cannot expect to be able to shred out Steve Vai licks if you haven’t mastered Mary Had A Little Lamb yet (the nursery version, not the Stevie Ray Vaughan song). Trying to play far outside of your current ability will only bring frustration. You have the entire rest of your life to build your guitar playing up to a level of mastery — take your time and find your own path.
3. Choosing the wrong gear.
When you’re first starting out, it is easy to get caught up in what a guitar looks like or how much it costs. These days, well-made instruments are available at virtually every price point. The best thing to do when going shopping for that first guitar is to bring someone who knows the ins and outs of guitar shopping. Let them help you choose the best guitar for your budget and the playing style you’d like to learn.
4. Playing an out of tune instrument.
Learning to tune is your first job as a budding guitarist, and you should tune your instrument every time you pick it up. If you are always playing a guitar that is out of tune, your ear never really gets to learn what each of the notes and chords should sound like. Plus, an out-of-tune instrument will always sound bad no matter how well you’re playing.
5. Learning in a vacuum.
These days there’s an abundance of online guitar lessons, videos, guitar books, DVD’s and other materials that allow you to learn at your own leisure. Given all the available tools, you could gain a ton of chops and know-how. But someone who spends all his time learning in isolation can be at a total loss when it comes to performing or to playing with other people. Once you get a little comfortable with the instrument, seize every opportunity to interact with other musicians and with teachers. You’re sure to benefit from any constructive feedback, and there’s no better way to learn the dynamics of making music in a group.
6. Not warming up before playing.
Ever wondered why there are times when you pick up your guitar and cannot play something that you have played with ease before? The main cause is not warming up first. Try going through various finger exercises, running through scales, or just riffing on some licks that you’re familiar with. You’ll be surprised what a five-minute warm up session before beginning your practice will do for your playing.
7. Memorizing, but not applying.
Sure, you can memorize a ton of various riffs from other guitarists and play them all flawlessly. But are you actually thinking about how to apply what you learn to your own playing? The next time you learn a lick or phrase created by another player, try twisting and turning it until it becomes something of your own. It can make the difference between regurgitating someone else’s music by rote and becoming an actual musician.
Corey Palmer is a guitarist and teacher in Woodstock, New Brunswick, Canada. Now that you’re a smarter beginner, get started with some of Corey’s easy guitar songs to learn– and stay away from those seven points!
Want to make it big? We asked some of the biggest guitarists on the planet for their best career advice.
Know Your Instrument “You have to know all the notes on the guitar, you’ve got to know all the scales, you have to know all the ‘chords’ and make sure you do that stuff as much as possible.” – Joe Satriani
Lose Your Ego
“Put your ego away! When you go into a recording session – be a servant. You’re there to help someone make their music. The session isn’t really about what you think, although you want to give all you can as far as your ideas are concerned, but it’s up to the producer and the artist to decide how they want their song to be presented to the world. So be humble and be a servant.” – Larry Carlton
Don’t Give Up
“Just keep playing. Don’t give up — no matter what happens. It’s a joy to play music and there are challenges. No one can ever take that from you but yourself. So, keep playing and play from the heart.” – Mike Stern
Never Compromise
“Don’t compromise on anything and don’t listen to anybody who tells you how to do things or how to get successful because all that’s bullshit. There is no equation to how it works.” – Brian Aubert
Take the Money
“The only deals with companies I’ve ever made that really worked in my favor were the ones that offered significant advances. It is the only tangible commitment they can make to you in the beginning. Most of the time if someone is talking big that’s all they’re doing – talking. If someone says, ‘Well, we want you to be involved, but we have a limited budget…’ start looking for the door.” – Richie Kotzen Be a Consummate Musician
“If you’re going to pursue guitar, then do it with everything you have. You must become a servant to the music — a slave to your passion. Music has to become your life.” – Brian Bell
Take the Road Less Traveled “It can be scary to leave your life behind you — your friends and family, everything that comforts and encourages you. But it’s a choice you’ve got to make at some point. Do you stay where you’re at or do you take the road less traveled? I say, take the road less traveled and never look back.” – Wayne Coyne
Make Sure You’re Always Learning
“Listen to other instruments, learn chords and songs and learn to play some blues for god’sake.” – Robben Ford
Embrace the Power of Quitting “Don’t quit your day job.” – George Lynch
“Find a good drummer and don’t be afraid to quit at any moment!” – GWAR
Much controversy has arisen about whether or not the recordings of Robert Johnson we have been listening to for years were speed altered. Some musicologists are convinced Johnson’s released recordings are 20% faster than those he performed in two solo sessions in 1936 and 1937, and they wonder how this happened, when it happened, and why it happened. 
