2017. július 20., csütörtök

Jack Gillen, guitarist



Jack Gillen, guitarist. Should I have added jazz? Maybe. I am sure, the jazz is the best way to play the most beautiful themes about life! The jazz gives us everything what the music, what the instruments is able to do. Yes, Jack is a jazz guitarist. It is not a bar, this is the freedom of music, as I think! Jack, congratulate on your play! Jack Gillen, please, say something about yourself?

First of all thank you for the kind words! Im a professional guitarist from London. I started playing classical guitar when I was 7 or 8, and was pretty hooked on it from the beginning. Classical guitar remained my main focus until about the age of 15 when I became obsessed with Jimi Hendrix, which was a bit of a gateway for me to get deeper into the blues, which then led me to Jazz. After studying Jazz at Leeds College of Music for 3 years I moved back to London, and have been working in the music scene here ever since! Id say my playing is rooted in blues and soul, but is sort of filtered through a jazz lens as well.

As I listen Here's That Rainy Day. This song is full of soul, full of music! Great! What is the secret of your play?



I'm glad you enjoyed it! I listened to lots of different versions of Heres That Rainy Day, and payed attention to all of the different ways of interpreting the harmony and the melody - two of my favourites were the Nat King Cole version and the Paul Desmond/Jim Hall version. I also learnt the lyrics. In general when Im learning a Jazz standard I try to check out a few contrasting versions, and especially try to track down the original/ earliest version of the song I can find, which in this case is sung by Dolores Gray. Its always interesting to see how the songs have morphed since their first incarnation, and a lot of the time there are some really interesting things going on in the original versions that get lost along the way. (Check out the last 4 bars of the form in the original All Of Meby Ruth Etting - this is a good example of a beautiful moment in a song that you dont really hear in later versions!) I think doing this extra work helps to give you a bit of a deeper understanding of the song, and gives you more informed options when you come to crafting your own interpretation. 

Jack, what about jazz?

What I love about Jazz is the freedom - its a music where the individual can really express their own voice, and the only limit is their imagination. When youre listening to a great improviser there is always the feeling that anything can happen, and in terms of the original music coming out of the Jazz world, its pretty wide open stylistically at this point. Along side this personal freedom though its the interaction and connection between musicians that I love to hear - there arent many things more exciting than hearing masterful musicians having a musical conversation!

Only jazz?

I love lots of different kinds of music and I try to be open to everything. For example, Ive recently been listening to Brad Mehldau, Bon Iver, The Bad Plus, Ahmad Jamal, Beethoven, Dvořák, Solange, Childish Gambino and Blake Mills, just to name a few! If I get burnt out from listening to one type of music for too long a period of time, there will always be something different that I can check out that will excite me. Im also of the opinion that everything you listen to (if it connects with you), will stay with you, and will manifest its self somehow in your musical expression - I think its quite a cool thing that my musical output will be informed by so many different flavours, and Id say this is fairly common with musicians of my generation, as we all are used to having such easy access to huge libraries of incredibly varied music online. The only danger is that its easy to flit between lots of different things and not get deeply into any of them, so if I find an album that connects with me I try to commit my self to staying with it for a while, and really getting to know it. 

What I think or feel, I would like to show to everybody. The guitar is one of the best tools to do this. How do you see it? 

I agree, the guitar (or any instrument for that matter) should be a tool for expression - it can be easy to forget this sometimes when youre working hard on some new cool sounding chord voicing or scale, but we should always remind ourselves that these things are just tools to express something!

Jack, what is your actual project?

At the moment Im composing every day, and am planning to get my own band up and running very soon. Its going to be instrumental music that features plenty of improvisation and interaction but isnt necessarily jazz - hopefully it will combine elements of all the music that I love, and will somehow work! Im also aiming to release regular YouTube videos, which will be my own arrangements of Jazz tunes and pop tunes, as well as some improvisations, and possibly some transcriptions (Im currently working on Coltranes solo on Moments Notice, so if I ever nail that then Ill record it and post it.) I didnt post anything last month as I was so busy but Im going to try my hardest to get back into it - please subscribe to JackGillenGuitar if youd like to hear what Im doing! I also work closely with an incredible singer songwriter called Stella Angelika - shes definitely one to watch as there will be lots of great soulful music being released soon.



Jack, guitars, amps! Everything what we would know about these!

My two main electric guitars are a Fender Stratocaster and a Gibson 335. The Stratocaster is an American Deluxe that Ive had since I was 15 or 16 - I cant remember exactly what year it was made but around 2007 or earlier. Ive messed about with different pickup combinations quite a bit since then - the original noiseless pickups didnt have enough of the classic chimefor me so theyre all vintage style single coils now, with a slightly hotter bridge pickup. I also tried a P90 in the bridge at one point, which was pretty cool but just a bit too different from the other pickups.
The 335 is a custom shop 58 reissue - its got a very fat neck which took some getting used to but I love it now. I got this guitar around the time I was getting into Jazz as I thought I needed a jazzierguitar, and Im also a huge B.B. King fan so that was another factor. I tried out about 7 or 8 custom shop Gibson 335s in the shop, and this one was by far the best - its probably my nicest guitar, but I still have a huge soft spot for the Stratocaster, so I go back and forth between the two guitars.
My main amp is a Headstrong LilKing-S, which I believe is basically a more powerful Fender Princeton. Its hand made by an American company and is a beautiful sounding amplifier, but its actually in need of a repair at the moment. While its out of action Ive been using the BluGuitar AMP1 which is also a great sounding amp, and is really great for gigging with as its so easily transportable! Im putting it through a 1x12 Two Rock speaker. I also play a mahogany Atkin acoustic steel string, which is a beautiful guitar hand made in England.

Finally. Plans! 

My plans at the moment are to compose lots of music, and to get my own band up and running! Apart from this Im just going to work hard on the projects Ive already got going on, keep practicing, and keep on creating and sharing music with people.

Jack, thank you very very much for your interwiev!

Thank you.

2017. július 9., vasárnap

Michael Friese, guitarist



Michael Friese, guitarist. Playing jazz? This is the best way to show us how deep and various is the soul of human. We are able to feel the how deep and various is the soul of human. We are able to feel the different of moment. I very like feeling first and understanding the music.
Michael, thank you very much to expend time on our interwiev. Michael, please, say something about yourself?

Many thanks for this invitation. I'm German, born 1955. I growend up in a home where my father often played jazzy music. We've had a lot of instruments around, so I got some opportunities. As a young person I wanted to become, actually, a musician. However, something others happened. I became a journalist. By the way, I never wrote one single line about music in my whole working life. But as a private individual I always remained loyal to the music, practiced hours and hours and played a lot.



When did you see that the jazz is your direction? When were you sure this is the best way for you?

I've got the understanding for the enlarged chords very early, provided by my father. He pointed me out what a diminished chord is or how a Major's 7 chord sounds and what it means. At the age of twelve or 13 I heared beside the rock musicians the first jazz musicians playing their guitars and special lines. For example, Joe Pass. Wow, this was so difficult and impressive. I also wanted – no, I must - be able to do this also. And thus I tried to learn the international language of jazz.

Do you accomodate what I mentioned before? Feeling and understanding?


Absolutely. Let me add another to three words: expressiveness, freedom and at the same time discipline. Jazz is an art form which requires open ears. A person who has never dealt with it before, therefore, it will be heavier for him. And with increasing complexity he'll decline the jazz. Who keeps open himself, nevertheless is recompensed with big musical moments. This is valid for the listener just as for the player.

Michael, what is the most important inspiration when you pick up your guitar? Trice? Something happend or what else?

First it's simply the desire to play the guitar. I feel physically how my fingers want to touch the strings. An addiction. Then there is the reason that I have a melody in my brain the whole day long and I like to allow to asound now in the evening. That often leads to a whole composition. I wrote nearly 100 compositions, distilled on my YouTube channel. Shure not every is good, but I wanted to play and record them anyway. Sometimes I'm inspired to such songs by a private, tiny event.

Jazz exclusively? Do you have time or energy to play or run on other style of guitar music?

Oh yes. I love bluegrass music. I like the virtuosity from flat picking in the teamwork with violin, banjo, mandolin and bass. Moreover, I am a big friend in the baroque music, especially from Johann Sebastian Bach. This or that I sometimes play on the guitar. But I also hear Gustav Mahler. László Halmos and Igor Stravinski belongs to my favourits, not to mention Béla Bartók.



Michael, I would like to know something – no, everything – about your sound! Guitars, amps everything else!

Allow me to start with the backing tracks. I generate them by myself using the wellknown program "Band In A Box“. It permits the application of real instruments. My guitar goes via a Behringer-Mixer directly into the sound card. I play clean, just add a little bit of reverb. I do the mastering with a special Magix-program. Here I put some more bass to the middle and lower sound section und light up the higher region. Very close to that sound is an amp I use on live performances: Vintage Polytone Minibrute III. My favorite guitar is a Gibson ES 175 from 1990. She is so ergonomic and fits in her size to my 1.80 meters. Moreover, Gibson full resonance guitars have this silky sound I prefer. This is also valid for my Gibson Super V CES from 1979. A very rare instrument on which I'm a little proud of. If I play accoustic I take my Martin guitar. I still own a 12 strings Gibson Hummingbird which I play, however, seldom. For classical music I take a Spanish classic guitar. Shure I know, that these instruments are expensive and it took me some dekades to collect them. In fact more cheeper instruments will spend the same fun and even nearly the same sound results. My early teacher told me, the right hand makes the music on a guitar. So I often play with my index nail which generates this very creamy jazz tone.

Last, please say something about your plan!

Well, in fact I don't have a real plan as a musician. In three years I will retire my job, hoping to find more time for live appearances. Hopefully.

Michael, thank you very much and best wishes in the name of the hungarian fans!

Thank you very much.

2017. június 30., péntek

Roy Marchbank, guitarist and composer


Roy Marchbank, guitarist and composer. You are welcome on Gitarvilagok.com. Thank you very much for accepting our invitation. As I hear your music, there is a great balance between the composition and the way you play. You have a way of putting something beautiful into your music. I must say, your musical world has astonished me and the Hungarian fans. Please say something about yourself, who is Roy Marchbank?

Thank you it’s my pleasure. Ok so a brief background. I am a 48 year old Scottish guitarist and composer. I am originally self taught, learning to play by ear. However, from 1988-90 I spent 2 years at Perth music college Scotland where i advanced my music theory, reading , live band performance, recording, production and sound engineering. I started  work as a professional guitarist when I moved to Dublin, Eire. I served my time in theatre pit bands for  the shows Godspell, The Rocky Horror Picture Show and Jesus Christ Superstar  plus many more. I also performed  live for  many different bands and solo artists in the studio, on TV and radio . A more recent highlight was being asked to play with Dweezil Zappa when he performed at The Royal Festival hall London and working with Atma Anur and Tony Franklin on my latest e.p. Well of Heads and before that on my e.p. The Grand Design. I have toured extensively through Germany, France, Italy, Finland, Ireland, UK and Spain, Kazakhstan, Uzbekistan, Turkmenistan, Kyrgyzstan, Tajikistan and some of the USA. Maybe I should come to Hungary next? I am also  interested in performing in India and further east. After the first 25 years spent playing many genres and touring I decided to spend the next 20 years focusing on my own music and development as an artist.



How does the classical music influence you?

In a word “discipline”. Classical music is extremely demanding. It is more than just learning the music of other composers or Classical techniques. Classical form demands the very best of your focus. I first transcribed some of Paganini’s Caprices for guitar when I was 19, later Sarasates Hungarian Gypsy Airs. I have always loved to study world culture through music, it is a great way to understand and connect with people where otherwise there may be a language barrier. With all I had learnt there came a point I needed to express myself, to write and play what is in my head. The process of self-actualization and enlightenment was the real start of my learning, everything that came before was simply preparation but absolutely necessary.

As I hear your playing, the change of intonation, tone and the speed are combined wonderfully! Can this be learnt or is it exclusively down to feeling?

You must give yourself to it 100% to make the magic happen. Some people have a burning passion for music others just go through the learning process, there is a massive difference and you can feel it. That is something that I believe can’t be taught, you either need it like the air you breathe or you don’t.

Could you advise me what makes a good shredder? What is the secret to overcoming your own barriers?

I can only speak for myself here, but all of the playing and life experience I have related to you has been important.  Self-actualization   is without doubt the way to feeling freedom in music and life generally but the groundwork must be in place also. Some music doesn’t require that discipline. We see in the music industry where 3 chords and some lyrics are often all that is required, it just happens my vision and choice of how I create and play is far  more complex.

Roy, you can  play really fast! Even though you play so fast I can  hear and understand every note of your music! What does playing fast mean for you?

Velocity is not everything, it is only useful if it is used in the right context where it can be both descriptive and exciting. Again it is about balance. Speed is just another tool in the box, great to have to express yourself and have fun with. It is rarely, if ever, asked for in a session situation, yet curiously it gives me an audience that thankfully appreciate what I do.

Your sound very, very great. I really like your clean one. Tell us how you get your sound and something about  your instruments!


Thank you, it was important to me that I achieve the sound in my head. Many guitarists prefer overdrive, distortion or both, I have tried many amps and simply haven’t found one yet that I liked for that purpose. Although I like rock and metal music and have played in bands performing in these genres, I have always found that tone too abrasive for my own compositions.
I strive to make the dynamics and tone of my playing as natural as possible. The clean sound I favour allows that to happen in a similar way to how it sounds using an acoustic guitar.
I play both acoustic and electric, all my guitars do very different jobs, they all add a specific timbre. Currently I enjoy the Byrd Avianti and the gypsy jazz guitars I own. At the moment I use DiMarzio pickups and I am experimenting with the Eventide reverb as part of my effect pedal chain.  I am finding some amazing sounds for my new tracks which will complete the Well of Heads e.p later this year.



I would like to talk about when the guitar is missing from your hand. What do you spend your time doing?

After decades of practicing up to 20 hours a day, I like to spend time away from the guitar quite frequently now. I am getting married in July and I enjoy spending time with family and friends. My Fiancée and I have 4 children between us and they keep us busy! Simply living well is far more important to me than any status attached to music. After all, what kind of depth are you going to write with if you have never really lived? I am grateful for the life I have had, both the good and bad experiences. Now when I spend time alone without the guitar I can concentrate on evoking my feelings and thoughts on to manuscript. Perfect relative pitch is an absolute necessity for this. To be able to hear intervals clearly and dictate to paper is of paramount importance to me now. If I have a guitar in my hands and I am composing it will always be tuned to an open or alternate tuning I don’t know or have not used often, so I avoid playing what has been learnt already. It makes me think outside the box and find my way around a new musical landscape. I suppose it is a way of keeping things always challenging and interesting. I am glad to say my listeners enjoy it too! 







Roy, finally, how about your plans for the future?


To keep doing what I do for as long as I can. I must work other jobs to subsidize what i love to do, a situation most self funded musicians find themselves in. Realistically the kind of music i play will never be popular on a massive scale. How do you define it? Jazz fusion, Prog Rock, World Music? It generally refuses to be categorised. Whatever it is, it is not main stream. To date I have worked as a Mechanic, Archaeologist, Builder, Tiler, Electrician and Carer, often alongside being a session guitarist, although I prefer not being someone else’s musical mule! i do on occasion teach advanced guitarists or do the odd session, however its rare i really enjoy such gigs unless i am able to contribute in some meaningful musical way. The Well of Heads video is to be released next month and features some great photography from Scottish photographer Les Johnston. We are developing ideas for a collaboration using his images and my music, perhaps through a tour.  I am working on my Truefire series which will introduce the use of my “Phat Bhoy” pick along with instruction on angle picking and other insights into my technique. I am enjoying life, I have never had anything to prove to anyone other than myself, I just concentrate on creating my music and hopefully that is evident in what you hear in the finished product. For me that is being successful in music, that is the real reward. Music is a spiritual journey for me, to compromise myself or dilute it for the masses is out of the question. The music industry faces many challenges, some of which it has imposed upon itself. It is good that there is still a strong demand for well crafted, original music.

Roy, thank you for talking, and best wishes for you in the future,

Thank you very much. 


2017. június 19., hétfő

Josef Mr.Joe Horváth, énekes




Josef Mr.Joe Horváth. Léteznek a világban olyan hangok, melyek magukba foglalják es kifejezik, mit is jelent a hard rock zene. Ha jó kezekbe kerül, talán a legnagyobb kifejező erővel bíró műfaj. A tolmács a hang, az énekes. Mr. Joe a hard rock műfaj egyik kiemelkedő őrzője... ott van benne, a szívében, lelkében. Nagy tisztelettel köszöntelek a Gitarvilagok.com -on. Amikor felismerted, hogy megvan az Isten adta tehetség, a hang, hogyan alakította ez az életed?
Elég könnyű volt az éneklés, mert az egész család zenész és ráadásul az általános iskolában is zenei tagozatra jártam. A ház tele volt tulajdonképpen hangszerekkel, és úgy mindig gyakorolhattam, mert tele volt zenével és zenészekkel. Aztán volt egy egyszerű kis rock zenekar, én lehettem 10 éves maximum. 12 és elvittek egyszer egy koncertre, fellépésre, és soha nem felejtem el, hogy volt egy zongoránk, amin én játszhattam. Alig látszottam ki a zongora mögül, amin játszottam, de nagyon tetszett. De viszont az iskolában nem szerettem énekkarra járni. Ezért az énektanárom nagyon haragudott rám, mert tudta, hogy jól tudok énekelni. Lassan elindult a football pályafutásom, és így elhanyagoltam a zenét. Otthagytam a zeneiskolát ahova zongorázni jártam. És én egyszerűen megmondtam, hogy nem szeretnék zenész lenni, már csak azért sem, mert láttam az édesapámat, hogy ő szinte soha sincs együtt velünk a családdal a szakmája miatt. De édesapám elég rafinált volt ahhoz, hogy visszahozzon a zenei életbe.
Szóval azért a jó énekes mellé nem árt egy jó zenekar. Szóval zenekarok?
1980. Május elsején édesapám berakott engem a zenekarába, mint tanuló zenész, és hát, mint egy 16 éves fiút, hát rájött arra, hogy tud pénzt szerezni és csajozni. Úgyhogy így indult el a pályafutásom. Aztán amikor elkezdtem énekelni, észrevettem, nagyon sokaknak tetszik a hangom, mellette megtanultam a basszusgitározni is. 1984 végén kikerültem Svédországba szüleim után és ott letelepedtem, aztán bekerültem egy görög éjszakai bárba zenélni, több stílusban játszottunk. Elég sokat tanultam ott, és amikor bekerültem elég sok stílust kellett játszani, és amikor elkezdtem énekelni világslágereket, aktuális dalokat, észrevettem, hogy nagyon tetszik a hangom, megtanultam írni, olvasni angolul, egész jól éreztem magam. Mindig kérdezték, miért nem csinálok ezt vagy azt, de az igazság az, hogy ott maradtam a vendéglátásban. Már csak azért is, mert sok helyet bejártam, sok helyen megfordultam.



Mennyire engedted magad befolyásolni, és mennyire inspiráltak akár hazai, akár a külföldi énekesek, zenészek?
A zene az mindig utat mutatott nekem, kiskoromban nagyon sokat hallgattam Deep Purple-t, Nazarteh-et, az épp 70-es, 80-as évek jó zenéit, amit el lehetett érni. A magyarok közül szerettem Omegát, LGT-t, és P. Mobilt… abban az időben. De valahogyan egyik se fogott meg. Talán más volt az ízlésem. Szerettem a Dinamit és Korál nevezetű zenekarokat. De mivel nagyon sokat zenéltem, valahogy kialakult bennem egy stílus, egy kis „lopás”, de ezt mindenki csinálja, létrejött a Mr. Joe stílus. Mindenki tudja, hogy szerepeltem egy tehetségkutató műsorban. Nem szeretném mondani a nevét, reklámot csinálni neki. Ezáltal megismertek Magyarországon is. Próbálgattak hívni zenekarokba, mint például Slamovits István (Slamo), az Edda volt gitárosa, sokat gyakoroltunk, de valahogy nem sikerült összehozni, egy jó ütős zenekart. Aztán meghívott a zenekarába Felkai Miklós nagyszerű gitáros, akivel csináltunk is egy CD-t közösen, ami szerintem egész jól sikerült. Aztán közben felkért egy ukrán metál zenekar, hogy énekeljek be nekik egy CD anyagot, megtettem és az is nagyon jó anyag lett, amivel mehettünk volna turnézni Európába, Ausztráliába is. De én betegség miatt nem tudtam elvállalni, úgy éreztem nem lenne elég erőm, nem tehettem volna meg, hogy legyen vége mihamarabb a koncertnek. És ha valamibe belekezdek, akkor 100%-osan magamat szeretném adni.
Joe, beszélhetünk a mindennapjaidról? Az aktuális helyzet?
2015. Január 20.-án elhagytam Magyarországot, visszajöttem Svédországba betegségem miatt, és tulajdonképpen itt vagyok kint, 2016. November óta dialízisre járok. Sajnos túl gyenge vagyok ahhoz, hogy zenével foglalkozhassak, és ráadásul a családi életem is megromlott. Nem érzem jól magam itt kint Svédországban.
Végezetül, a tervekről!
A jövőt úgy szeretném létrehozni, hogy új életet kezdek. Ezt az új életet nem tudom máshol elképzelni, mint a szülővárosomban, Keszthelyen, vagyis Magyarországon. Ez ad nekem egy kis lelki erőt, hogy újra ott lehetek, ahol engem szeretnek. Ha minden igaz, szeptembertől a keszthelyi dialízis osztályra fogok járni. Meg szeretnék gyógyulni, felerősödni, újra zenélni, énekelni, hogy adhassak szeretetet, és kaphassak szeretetet. Ha valakit, vagy valamit kihagytam volna ebből az interjúból, akkor elnézését kérem. Ölelek és üdvözlök minden kedves olvasót és rajongót.
Joe, nagyon köszönöm a beszélgetést, jobbulást és minden jót kívánok neked!
Köszönöm, sziasztok.