| | Howard Alden Seven & Seven CD Howard Alden Discography of CDs
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This is the third of four studio dates featuring guitarists George Van Eps and Howard Alden together, except that they are both on seven-string instruments and without a rhythm section this time around. Alden's step up to the more versatile instrument enables him to use a bassline when needed while also enabling him to achieve chord voicings that weren't possible on a six-string instrument. Like their earlier collaborations, this CD concentrates on well-hewn standards that have great melodies which provide inspiration for lyrical improvisations, ranging from a relatively easygoing "Ja-Da" to a shimmering "Skylark." Van Eps goes it alone on his newly written "Salute to Basie" and a very soft "Last Night When We Were Young." Fans of jazz guitar should snap up this gem, along with all other dates by George Van Eps and Howard Alden (whether they're together or featured individually). ~ Ken Dryden
Personnel: Howard Alden (guitar), George Van Eps (7-string guitar).
Howard Alden Seven & Seven Songs Seven & Seven Review
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Purchase Seven & Seven CD To buy, Click on price to add to cart | Howard Alden Hand-Crafted Swing CD (1992)
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The master of the seven-string guitar, George Van Eps, joins the rising young jazz guitarist Howard Alden, which works perfectly in spite of a 45-year difference in age and different approaches to the guitar. Van Eps' chordal style meshes perfectly with Alden's single note lines in part because of the younger man's study of the senior's recordings and Alden's quick ear and gift for harmony. In any case, it was an obvious thrill for Alden to play with the experienced Van Eps, who literally invented the seven-string guitar (also played by Bucky Pizzarelli) and would soon be added to Alden's musical arsenal. The second of four CDs that they would make together prior to Van Eps' death in 1998, they play a mix of popular standards and show tunes from the 1930s, '40s and '50s. Highlights include a lyrical "What's New." a deliberate "I Could ...
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Recording information: Bogman's Bedroom Studio.
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It doesn’t take much convincing to see that today’s pop music has become bland and devoid of life in an age when genuine art has been sacrificed on the altar of commercialism and transformed into a disposable product for the consumption of fickle consumers. And with the recent trend of reducing music to a televised contest spectacle one is reminded of the bumper sticker stating, “If you’re not outraged you’re not paying attention.” Fortunately there are still songwriters and musicians who transcend musical fads with genuine artistry. Enter Oregon native roots music singer/songwriter Jake Payne.“My music is an expression of my heart and soul, of who I am and what I’m going through.”And in that simplicity Jake’s sincerity shines through, no BS, no posturing, no posing.“There are so many strings attached to today’s music,” Payne says. “When I turn on the radio and hear what passes for ‘country music’ it pisses me off. I have no time for it.”Although Payne’s music is not explicitly country his concerns and opinions about that genre stem from the fact that he spent 2003-2005 playing professionally in the musical mecca of Austin, Texas. While playing bass with traditional country songstress Pauline Reese, Payne shared the stage with or opened for the likes of over a dozen country and Texas music luminaries including Tommy Alverson, Kevin Fowler, Merle Haggard, Johnny Lee, The Belamy Brothers, Chris LeDeux, Pat Green, Mike Blakely, Freddy Powers, Rusty Wier and The Derailers.“Playing music in Texas allowed me to cultivate music and business relationships as well as sharpening my musical skills. It pretty much reinforced the priority that music plays in my life,” Jake says. But in the end he returned to Oregon.“In life you weigh the pros and cons of your decisions and make choices. I returned to Oregon bandless and broke. I doubted myself all the way back,” he recalled about his journey home.Ultimately the decision only strengthened Payne's resolve to start from scratch upon returning to Oregon. He invested time and money into developing his own studio thus allowing him the opportunity to pursue his compositions with absolute clarity. Payne set his bass guitars aside, picked up an acoustic six-string and began writing page after page of lyrics and chord structures. He began realizing the freedom to write and record at his discretion giving his works a feeling ...
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