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Friday through Saturday afternoon, queuing spectators packed the area of Jakarta International Expo, Kemayoran, Jakarta. to watch the inaugural concert of the legendary jazz musician that. Santana one of the main star in the Java Jazz 2011, managed to entertain the masses of various ages and across generations.
In a press conference Friday afternoon (4/3/11), which was brief, Santana, who wore a distinctive white hat and floral dress that reveals her happiness may appear to greet and entertain fans-Pengemar in Indonesia.
The success and satisfaction for the Java Jazz, including Peter F. Gontha the initiators of this jazz festival concert successfully menampilakan Santana, after several delays. Thanks to Santana, the Java Jazz 2011 tickets outside the show organizers predicted, has sold more than 10 thousand pieces per concert. Java Jazz also claim to have created a new record with a total overall tickets sold over 150 thousand shares. Ticket special and separate from daily admission tickets, to see the action stage, the legendary guitarist himself as much as 20 thousand more sold out sold out.
Friday night, 21:00 pm, the inaugural appearance of guitarist born July 20, 1947 a bloody US-Mexico was opened to the accompaniment of national anthem "Indonesia Raya" just a few minutes before Carlos Santana appears above panngung. The audience can not wait to see guitarist showed his guitar a beautiful action game. Message from the applause and screams hysterically for about five thousand spectators felt from the opening until the end of the concert.
The strains of guitar and music performed, such as "Black Magic Woman," "Jingo," "Oye Como Va," "Mary, Mary" and "Smooth", successfully shake up the fans. As usual, every intro song is played, the audience became hysterical. Seen a few among the crowd of spectators who crowded to dance and sing along to music santana. Thunderous applause broke out in every song was finished playing.
After an hour and a half Santana show, the audience still wanted santana play the songs that started it famous since 1966. The audience shouts, "We want more, more, Santana, ..." echoed in the room hall D2 Axis Hall.
Santana concert on the second day, the audience Saturday night was even crazier than the first day. Carlos santana, is scheduled to appear at 22:30 pm, but was delayed for 15 minutes. Outside, the high enthusiasm of the fans seemed to not want to miss one moment to witness the appearance of the musicians adored it.
Above the stage, Santana wearing a brown patterned shirt and wearing a blue striped cowboy hat held up his hands. Greetings and a warm smile thrown in his opening itu.konser this second appearance, a special greeting from santana, a few brief opening words "I dedicate this concert to women, this is for women. Because women who make us happy, enjoy it, "he said. The audience was boisterous and happy can not wait until the Mexican man was holding his guitar and started to warm up.
No less exciting than previous appearances, on the second day Santana appear more terrible and intense. The song "Mary, Mary"became a concert opener, followed by death liukan flowing guitar melody in the middle of pounding drums, bass shreds, and the wail of trumpets, a mainstay santana, for 1.5 hours in entertaining an audience of approximately more than 5000 people packed the hall at second day.
Complacency can be seen from expression Santana audience at the end, they hope Santana will hold a special concert next year.
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Since this time, diehard BLS fans - the Berserkers - along with Wylde have created a heavy metal institution true to his vision of uncompromising, unfiltered, and unrestrained rock ‘n’ roll.
“Order of the Black”, the outfit’s eighth studio album, was released to critical acclaim in August of last year, preceded with an incredible set at the High Voltage Festival. After teasing UK fans for long enough, the Black Label Berzerkus Tour hit our shores on Valentines day, with tonight’s Colston Hall show being the last of eight dates.
Starting their rampage via a melodic intro tape from behind a huge “Sonic Brew” album artwork flag, Zakk and co launch into “The Beginning... At Last” from the aforementioned debut album. The flag drops to reveal the band clad in their ever-present BLS attire, with Zakk stood astride a mic stand consisting of chain, skulls and a crucifix. Already I’m thinking: it doesn’t get much more rock ‘n’ roll than this!
The set-list consists of tracks from across BLS’s eight album catalogue. The first half brings: “Crazy Horse”, “What’s In You”, “The Rose Petalled Garden”, “Funeral Bell”, “Overlord” and “Parade of the Dead”. Flanked by John DeServio (Bass) and Nick Catanese (Guitar), backed by Will Hunt (drums) and a vast Marshall backline, Zakk Wylde and his “brothers” prove themselves to be a brutal live act, totally appreciated by the Bristol “chapter”.
A high point of the evening is the ballad: “In This River”, Zakk's tribute to close friend and former legendary Pantera and Damageplan guitarist Dimebag Darrell, who was shot and killed onstage in 2004. Not only is this an emotional and softer moment in the set, but shows one of the best guitarists on the planet, can also play the piano like a classical veteran.
“Fire It Up” is followed by a 10 minute, jaw-droppingly intense, guitar solo. Perhaps not the most melodic arrangement of his career, but certainly displaying the fretboard mastery and dexterity of the man that has won nearly every guitar award imaginable, and is a major influence to a new battalion of rock guitarists currently popular today.
There is absolutely nothing wrong with a loud band. However, there is such a thing as “too loud” and this was the only disappointment of the night. Towards the end of the show I had moved to the back of the auditorium in the hope of a clearer sound. During “Godspeed Hellbound” and “The Blessed Hellride”, the guitar was still thick and swamped, the kick drum was still too high in the mix and the overall volume was now becoming painful on the ears.
“Suicide Messiah”, “Concrete Jungle” and “Stillborn” completed what was probably the loudest gig I have ever experienced. Those expecting an encore may have been disappointed, but in all honesty, enough was enough. However, this was a great show of rock ‘n’ roll supremacy, a fact I shall reflect on, whilst awaiting the return of my hearing.
Despite harrowing, arctic winds that tore through the city streets, fans came out in droves to see the legendary ‘Satch.’ The guitarist is touring behind his newest album, Black Swans and Wormhole Wizards, and last night’s show demonstrated beyond question that the virtuoso, responsible for instructing players as reknown as Steve Vai and Metallica’s Kirk Hammett, is as on top of his game as ever.
From the second Joe hit the stage, the underground Best Buy Theater was turned into a world of screaming guitars and otherworldly effects. Satriani is a master of not only rapid-fire playing, but riding a seemingly endless tone up and down the fretboard, diving with the whammy bar only to soar back up in ear-bursting squeals. Fans closest to the stage stared open-mouthed, simply in awe as they watched his fingers fly almost faster than the eye could follow. Virtually every song was instrumental, but unlike most of his rock contemporaries, Satriani fills every second of music with such original, exciting moments and emotion that there simply isn’t room for vocals even if he wanted.
The musician had great stage presence, never removing his green-tinted sunglasses as he strode about and bobbed his head back and forth, leaning back into the crunch of his backing band’s rhythm. The band, consisting of a drummer, keyboardist, bassist and rhythm guitarist, was tightly locked in with their frontman, blasting through tight beats and stopping on a dime, giving Satriani more than enough audio elbowroom to run wild all over their foundation, sounding as well as looking otherworldy as his guitar effects and arpeggio-filled tapping created a rich sonic tapestry.
The show went on for an impressive two straight hours, including a half dozen tracks from the new record which were received just as well as the classic material. Watch my video of new, ultra-catchy song Premonition on the left side of the page. While guitar noodling can get old after a while, Satriani never faltered, keeping things interesting by demonstrating his absolute mastery of the instrument. He broke out acoustic guitars, a harmonica, and engaged in a duel with his keyboardist, battling back and forth on riffs until the keyboardist was finally unable to match a particularly epic high note bent into an impossibly long, overdriven squeal. Later, Joe played the same game with the crowd, fans doing their best to imitate the guitar licks with their voices, but if one thing was proven last night, it’s that no one or instrument can truly match what Satriani does best.
Charmingly polite in his short stage banter between songs, Joe finally took the microphone to sing on the bluesy Big Bad Moon, letting loose with a smooth singing voice that really deserves to be heard more often. Fans, who were sitting for most of the show, finally rose to their feet, and crowded right up to the stage, hands outstretched as Satriani effortlessly blazed his way across every inch of fretboard. He then encored with fan favorites Crowd Chant and Summer Song, his lightening guitar magic as impressive as it was in the beginning of the concert.
Joe Satriani might not have radio hits or rabid fanclubs like other hard rock artists, but make no mistake: This is one of rock’s greatest players, and one of rock’s greatest writers as well. Words can’t truly relate the magic of witnessing Mr. Satriani in person, and fortunately he seems set to continue writing and touring for a long time to come, both solo as well as his roles in supergroup Chickenfoot and the vaunted G3 tours. But in the meantime, fans can check out plenty of video on Youtube, buy his latest record, and be sure that next time Joe comes to town, they are in the crowd and ready to surf with the alien.
Silverchair’s entry to rock stardom came early when they were 14 years old and headlined as the Innocent Criminals at local shows. Johns, Gillies and Joannou proved worthy when they won an Australian record demo competition with “Tomorrow” that helped land them a three-album record deal with Sony Music. The song sat at the top of the Australian singles charts for six weeks. The group re-recorded the track for U.S. consumption and it became one of the most played songs on U.S. rock stations during the ’90s.
The name Silverchair is a tribute that conjoins bits from the titles of songs by their two major musical influences, Nirvana and Australian alternative rock group You am I. They twisted Nirvana’s track “Sliver” to Silver and grabbed “chair” from You am I’s track “Berlin Chair.”
At the ripe old age of 15 the trio recorded their debut album, Frogstomp, catapaulting the lads’ CD to a number one hit in both Australia and New Zealand. With record sales reaching 2.5 million copies worldwide, Silverchair claimed a hefty fan base and a top ten hit in the U.S. Their reputation won them spots on tours with the Red Hot Chili Peppers and Blink-182. A second album, Freak Show was released in ’97 with three tracks, “Abuse Me,” “Cemetery,” and “Freak” jettisoning up to the top ten charts in Australia. The album went gold in the States.
Daniels vocals cut deep with lyrics that are sometimes uncomfortably personal. Wading through the trauma of anorexia he helped exorcise those demons by writing more songs for Silverchair’s third album, Neon Ballroom. Listen to the highly regarded “Ana’s Song (Open Fire)” and you hear him achingly, painfully yearning to climb out of the wreckage.
And you’re my obsession
I love you to the bones
And Ana wrecks your life
Like an anorexia life
Later, Johns would suffer from the effects of reactive arthritis that was debilitating and proved to be another serious challenge for not only his musical career, but his life.
Released as a video in 1999, “Ana’s Song (Open Fire)” was awarded the best video award by the Australian Recording Industry Association.
Daniel moved into producing when recording the group’s fourth album, Diorama. He worked with producer David Bottrill and the legendary Van Dyke Parks who added orchestral arrangements to a couple tracks. Upon release the album hit the Australian charts at the number one slot before going triple platinum.
Setting out briefly with Australian electronica musician Paul Mac, Johns and Mac put out an internet release, I Can’t Believe It’s Not Rock EP and later collaborated with his wife, pop artist, Natalie Umbruglia on her album Counting Down the Days.
Silverchair disbanded for a short while so members could pursue their individual interests, then re-formed in 2004 to raise funds in support of the victims of the Boxing Day Tsunami that killed 230,000 people. After the show, the three were reinvigorated and decided to regroup as Silverchair.
In October 2007, Silverchair made Australian music history by adding several new ARIA awards to their band’s accomplishments, giving them a career total of nineteen awards, more than any other Australian artist in history, including AC/DC, Midnight Oil and others. The Newcastle trio’s 2007 awards included Album of the Year for Young Modern, Best Group, Best Rock Album (Young Modern), Single of the Year and Highest Selling Single for “Straight Lines.”
He says the key is diversity. “You have to be able to multitask and be multi-faceted,” he says. “If you’re just going to be a guitar player that plays in a band, your options are going to be very limited. If you’re going to play in a band, you should also be able to teach what you know. If you record yourself, then record other people as well and get into the studio thing. If you’re taking care of a lot of the business for your band, maybe start doing it for other bands as well and get into that side of things.”
Thal advises being actively aware of the many different ways you can apply your various skills, and the ways they feed into each other. “You need to have as many avenues as you can at once, because while one thing is going slow, another thing is going better, and you put it all together and you can pay your bills,” he says. “Everything you do lends some assistance or makes you better at everything else.”
One of Thal's earliest music-related jobs was as a teacher, and it’s a career path he highly recommends. “I took lessons when I was a kid for a good eight steady years of just weekly lessons, very academic,” he says. “From there I started teaching out of the basement. Then I started teaching at a music store, and then in my early 20s I set up the music department at a private school. I was teaching music for children there, I set up a jazz band, a choir, music history… a whole music program for this private school. Right before that I was teaching at a music institute that a chain of guitar stores in New York had. At some point I worked my way up to teaching music production and guitar at an actual legitimate college in New York State.”
Thal believes that teaching others also can be an invaluable resource for your own playing, vastly increasing your repertoire and forcing you to think about the motives and outcomes of particular musical choices. “What happens is that everything you’re teaching, you’re also learning,” he says. “You’re learning songs that you can teach, so now suddenly you have a great repertoire if you want to join a cover band. Everything helps everything else.”
In fact, Thal says some of his solo tracks would not exist if not for their origins in giving guitar lessons. “Someone wanted to get into Latin chord progressions and I got into the whole I-II-V in harmonic minor thing in certain rhythms, and next thing you know it’s like, ‘Wow, this is a cool thing,’ and I ended up making a song out of it.”
When it comes time to work on a solo project, Thal pulls together all these skills, and as the owner of a professional studio, he’s uniquely placed to take advantage of the many luxuries this brings. “Having my own studio, I can afford studio time, obviously, because it’s my studio, and I can pay the bills of owning the studio by recording other people,” he says. “So by being an engineer, that allows you to record your own albums and gets you into production, and next thing you know, you’re a producer and you’re collaborating with other people that come in. Everything becomes this big web where everything is connected in some way, and the more things you do, the more depth it lends to every other aspect of what you do.”
The skills of deconstruction and adaptation that one develops as a teacher can also blend with studio nous in interesting and unexpected ways, including TV work. Thal explains: “There will be people for some TV show who don’t want to license the real song for something, and they’ll come to me and be like, ‘Can you make me a song that sounds like Mötley Crüe?’ and in five minutes I’ll bust something out in the studio and give it to them, and it’s an original song that's capturing the vibe of some other artist, and that right there, that’s another way that the studio and everything we’re talking about comes into play. And now you also have an income stream from the performance royalties of that piece of music. I did it for a sports team, I did it for some shows that have been on MTV once in a while.”
Thal says session work today is much different to the glory days of the ’70s and ’80s. “I could be wrong but I think reading music is less important now and it’s more about the ears,” he says, adding that producers are more likely to simply e-mail an artist an mp3 and ask them to come up with their own part, rather than provide sheet music or a chord chart. “If it’s a jazz thing they will give you a chart, but if it’s a rock thing they’ll just show you on the spot: ‘Alright, just go E to A and back to E.’ And as far as session playing, you have to be able to lock into a groove and have great timing. You have to have a good memory and be able to recall arrangements, or jot down your own little chart of weird hieroglyphics that only you understand, or you have to be able to read other peoples’ hieroglyphics.”
Across his entire career as a professional guitarist/teacher/songwriter/engineer/producer/composer, Thal has observed a simple set of rules for making yourself employable. “Number one, which will be funny coming from a guitarist in Guns N’ Roses, is don't be late! That was always my cardinal rule for everything,” he says. “In order to be on time you need to be early, then wait in your car for 15 minutes and walk in two minutes before whatever time you’re supposed to be there.
“Two: be someone that people want to work with, want to be in a room with and spend 10 hours with. Be relaxed, be calm, don’t cause the stressful vibe, just be cool and keep your intensity knob down a bit and just roll with things.
“Three: be overly prepared. If you just need to know the guitar part, make sure you know the other guitar part, too, and the vocals, and the bass, and the drum rhythm and where the accents are. Really know the song inside and out. Know more than you need to know, and be so prepared that you can bring more than is asked of you, if asked. Those three things matter the most: be on time, be cool, and be prepared. And that’s for anything.”
But for true connoisseurs of six-string ferocity, the knife fight of the year will take place this autumn when Black Label Society's Zakk Wylde and Children of Bodom's Alexi Laiho face off on the Berzerkus tour package. While Wylde is something of a national treasure, Laiho is still a bit of a cult figure.
Born Markku Uula Aleksi Laiho, the guitarist recorded his first album with Children of Bodom in 1997 in Finland. Since then, he and his Nordic band have released six studio efforts, two live albums and an assortment of EPs and DVDs. Beginning as a death metal unit, Bodom rapidly discovered their own unique voice by mixing and matching elements of Scandinavian black metal, European progressive rock, American thrash and Eighties hair metal into a compelling blend of flat-out aggression, catchy choruses and instrumental virtuosity. Are You Dead Yet?, Blooddrunk and last year's album of cover songs Skeletons in the Closet established them as rising stars in America, and tours with the likes of Megadeth and Lamb of God sealed the deal.
Not surprisingly, Laiho, Bodom's vocalist and guitarist, has been singled out for attention. Looking like a trendy, young vampire, and shredding like a 21st century Randy Rhoads, Alexi mixes bluesy hard rock ferocity with dashes of Western classical harmony that rarely sounds fussy in the way that European metal often can. For example, on "If You Want Peace...Prepare for War" from 2005's Are You Dead Yet?, he takes most of what's good about the past 20 years of hard rock lead playing and condenses it into concise, violent blasts of sonic rock salt.
But as Laiho reveals when we sit down with him to discuss the upcoming Berzerkus tour, he's still growing as a guitarist. "I'm still hungry to play and improve," he says. "I still practice every day. I would never think, Okay, now I'm finally good enough."
Does that mean Laiho is pumped and primed to, er, "Finnish off" Zakk Wylde in the upcoming guitar slugfest?
"Zakk is one of the best, for sure," he says. "Everyone who was involved with Ozzy Osbourne were the guys I looked up to when I was learning to play. Randy Rhoads, Jake E. Lee and Zakk were some of my biggest influences. Zakk's playing is just so over-the-top crazy, and he's a great singer, too."
Click here to read the full interview on GuitarWorld.com!
"It's great to see that the U.K. still has a strong rock star tradition," Allianz's Claims Manager Robin Stagg told the press.
Two more U.K. natives, Jimmy Page and Jeff Beck, also made it into the top 5. The top 5 guitarists in the poll were Eric Clapton, Jimi Hendrix, Jimmy Page, Jeff Beck and Chuck Berry.
Clapton will have the opportunity to prove that he still deserves the title when he goes on tour in the U.K. next year. Slowhand will play shows in Dublin, Belfast, Glasgow and Cardiff before participating in a six-night residency at the Royal Albert Hall in London.
