The Nick Gladdish Band are finally releasing the second single from our upcoming album, Last One Get The Lights, after a little over two months of recording, overdubbing, mixing and mastering!
The song is called Freeze, and will be available via all the usual online streaming outlets such as Spotify, Amazon, iTunes, Deezer, etc…
This record has been delayed because of COVID19. The first lead single for this album was released last year! But somehow, in the middle of a pandemic (and adhering to social distancing rules), we managed to get the other ten tracks compeleted. I can’t wait to start sharing them with you!
In fact, after you’ve searched for Nick Gladdish and found the song, why not save him / follow him? We’ll have a new single coming out on the last Friday of the month for the first part of 2021, until the album Last One Get The Lights is released in April or May!
Greetings guitar folk. We are back with a little bit of guitar gear news which seems to have dropped this morning…
Most guitar players have probably heard of Harley Benton before. The brand (owned by the European online music superstore Thomann) are well known for bringing surprisingly good guitars into the beginner/lower priced end of the market which have significantly better quality control than their rivals (their 335 copy is in high demand). They also offer a range of instruments and accessories that are useful for working musicians to have in their arsenal. To that end, they have introduced the GPA-100, a power amp that fits in your pedal board.
The GPA-100 features master volume, plus 3 band EQ (treble, middle, bass). It’s main purpose might be to save the day, should your main amp/floor unit fail. And £70 is a small price to pay for that piece of mind.
If I have the chance to test one out, I will drop a review on here. If you buy one, please let me know what you think! Bye for now!
Not many classical guitar players are household names, either worldwide or here in the UK. Andres Segovia might be one, as a pioneer for performance of the instrument in it’s modern form. However, I’d suggest more people have heard of two of his more famous successors on the international performance stage. One is the very well-known Australian guitarist John Williams; the other, Julian Alexander Bream, who we learn has passed away at his Wiltshire home in the early hours of this morning, at the age of 87.
Born in London in 1933, Bream initially learned jazz , influenced by his father’s playing and Django Reinhardt. He was also offered a place at the Royal College of Music, aged just 12 years old, based on his piano playing. He later switched to the lute, and became a great champion for the instrument throughout his life, even as his focus shifted more and more towards classical guitar.
As well as his numerous transcriptions of lute pieces (such as those by Bach or Dowland) for guitar, Bream also performed many of the transcriptions left behind by Segovia, as well as the seminal guitar pieces composed by Francisco Tarrega. Known for his eye for detail, Bream’s virtuosity included an element of flexibility; a key example of this was that he did not maintain a consistent rigid right hand when playing (i.e., held at right angles to the stings), but made use of a more relaxed position, in order to achieve a greater variety in tone. This is something I do as well, because I, like Bream, am multi-genre guitarist. However, having been regularly admonished by my guitar tutor in my youth for holding an ‘improper’ right hand position, it was a relief to learn the one of the instrument’s masters did the same!
As Bream’s reputation increased, he was gifted pieces by composers as varied as “Britten, Walton, Tippett and Hans Werner Henze” (classical-music.com) and performed around the world. He also recorded TV specials, such as a series of four master classes on BBC television in the nineteen seventies, as well as segments for Channel 4 in the nineteen eighties. This no doubt helped him to become a household name for many, but he certainly never rested on his laurels. Even as an ‘elder stateman’ of the guitar, he apparently strove to improve himself. According to an interview given to The Guardian newspaper, Bream believed he was a better guitarist at the age of 70 than ever before!
Essential listening: A great place to start would be his two albums with John Williams, Together (1971) and Together Again (1974). Also, seek out his version of Joaquin Rodrigo’s Concierto de Aranjuez (with it’s famously emotive second movement).
Guitar students would do well to look at his crossovers into other styles, as well as his early lute work too, to get a more rounded picture of a hugely talented player, whose passing leaves a large hole in the classical guitar community.