Highlights from the 2009 James Burton International Guitar Festival
The weekend of August 21-22, I had the pleasure of attending the James Burton International Guitar Festival this year down in Shreveport LA. If you're unfamiliar, Burton is a living legend who played guitar for Rick Nelson, John Denver, Emmy Lou Harris and a kid from Mississippi named Elvis. Every year, James puts on a guitar festival to raise money for the James Burton Foundation, which buys guitars for and provides music lessons to underprivileged kids, veterans, and children’s hospitals.
This year’s festival featured an Elvis theme to commemorate the 40th anniversary of James’ work with the King. It was also a celebration of his 70th birthday. Highlights included the presentation of an orange Gretsch Brian Setzer Model 6120 from Artist Relations representative James Pennebaker to Burton and a world-record attempt for most simultaneous guitar players playing “That’s Alright Momma” and “Hound Dog.” The attempt fell short, but it was a great experience for the 900+ participants.
James always finishes out the day with the James Burton and Friends concert at the Memorial Auditorium. This theater is where it all began for James, Elvis, Conway Twitty and many, many others. This year’s lineup was amazing. Only James Burton could gather up such a diverse lineup of guitar players and have them mesh so well under one roof. The group consisted of: Nokie Edwards, Doyle Dykes, Junior Brown, Al Di Meola, David Grissom, Albert Lee, Kenny Wayne Shepherd, Jennifer Batten, and Steve Lukather.
I had the pleasure of hanging out backstage with this amazing lineup of players. Surprisingly, I learned that everyone came down at their own expense, eager to help this cause and support James Burton. The mood backstage was very light—you could see Steve Lukather, Albert Lee, and Junior Brown just hanging out, joking and teasing one another. There were no egos and all the performers hung out offstage to watch each other’s performances.
An earlier version of this article incorrectly identified James Pennebaker as the President of Fender. The President of Fender is Bill Mendello. We apologize for the error, and thank James for bringing it to our attention.
Click next for highlights from the show...
Of course, there were many standout performances. Jennifer Batten did a rocked-out version of Michael Jackson’s “Beat It” with Steve Lukather looking on—big smile on his face—as she changed up the riffs he originally recorded.
James also introduced new up-and-coming talent in a energetic guitar player by the name of Kristen Capolino. This girl can shred with the best of them and do it all while stomping around the stage like Angus Young and shooting you the biggest smile you have ever seen. Kristen was followed up by an amazing singer named Mike Farris whose performance got the crowd on their feet stomping and waving their hands in the air like we were at a church revival. Andy Chrisman, who’s an amazing Christian artist, picked up right where Mike left off and delivered a heartfelt performance that left everyone smiling.
Al Di Meola’s set was, as you could expect, out-of-this-world good. He played a rendition of “Over the Rainbow” that had everyone on their feet. His new rainbow-finished PRS signature guitar is amazing to see up close, and its tone is like no PRS I have ever heard.
Albert Lee delivered all of his chicken-pickin’ goodness and Junior Brown laid down some rocking blues, followed up by Kenny Wayne Shepherd giving us a slice of the blues that only a real blues man from Shreveport can cook up: hot, spicy and good.
James Burton came out and did a couple of numbers with his son Jeff Burton, his granddaughter Taylor, and grandson Skylar, all of them playing guitar and trading licks.
During the course of the day, Steve Lukather kept saying, “How do you go and play after these great performers?” He was scheduled to perform last and close the show before the All-Star Jam. All day he was stressed that his set would not live up to the performances he saw earlier—this from a guy who has won five Grammys, has been nominated 11 times, and has recorded on over 1200 albums!
But when Steve hit the stage, there was no doubt that he had fans waiting just to see him. Every performer who played that day stood and watched his set. Al DiMeola sat on the edge of his seat watched Steve like he was a kid watching his favorite program. Steve is one of the best guitarists I have ever seen live. He plays with so much emotion and you feel every note he plays, yet is still one of the most down to earth, easygoing guys you’ll ever meet.
During his third song, he stopped in the middle of his solo and stated to the crowd that he wanted to bring James out and jam with him. You could tell that James did not expect this invitation, but he went out and the two of them traded licks. It was the perfect climax to a show that was already full of great performances.
The night concluded with the All-Star Jam. All of the performers let each other take their solos, and you could tell that none of them wanted the show to end. There were too many standing ovations to count, and the people in attendance walked away knowing they just saw something special that would never be recreated again.
I have known James and his family for a while, and when you’re around them they make you feel like a member of their family, they have so much love and positive energy to share. Everything they do, they do with heart. When you attend the James Burton International Guitar Fest, you get more out of it than just a good show and the satisfaction that you’re helping out a worthy cause. You get to be a Burton—if only for a day.
James Burton International Guitar Festival
Day 12 of Stompboxtober means a chance to win today’s pedal from LR Baggs! Enter now and check back tomorrow for more!
LR Baggs Session DI Acoustic Guitar Preamp / DI
Inspired by the LR Baggs Handcrafted Video Sessions and our experience in some of Nashville’s great studios, the Session Acoustic DI brings our signature studio sound to your live rig. The Session DI enhances your acoustic pickup and imparts the rich sonic character that you’d expect from an experienced audio engineer using some of the world’s finest studio gear. We’ve captured this studio magic and put it into a compact, easy-to-use DI that will transform your live sound.
Mastodon's lead guitarist teams up with the Does It Doom creator Steve Reis to make a dream V come true with a sleek silverburst finish and alnico-V PAF humbuckers.
Woodrite Guitars, alongside with Dirty B himself, proudly presents the 'Dirty B' Signature Vagabond, a high-performance guitar that delivers on both craftsmanship and tone. The instrument's mahogany body and bound mahogany neck a repaired with a sleek Macassar ebony fingerboard, featuring distinctive custom "Mastogyph" inlays. Its silverburst finish adds to the guitar’s striking appearance, while stainless steel frets, Tonepros hardware, and Grover tuners provide the durability and precision expected in a professional-grade instrument.
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Specs
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With its ability to dial in custom reverb, delay, and chorus settings without needing any extra equipment and intuitive looper and Bluetooth audio functions, the TAG3 C is designed to make it easier than ever to write, practice, and perform.
Building on its brand legacy of innovation and creating many of the world’s finest guitars, the TAG3C TransAcoustic guitar from Yamaha offers an unmatched experience in sound, versatility, and playability to spark creative expression – making it the ideal instrument for the modern guitarist. The guitar features a solid Sitka spruce top and solid mahogany back and sides, available in natural(TAG3 C NT) or sand burst finish (TAG3 C SDB), and includes a convenient magnetic charging port to enhance its functionality and ease of use.
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TAG3 C Highlights At-a-Glance
- Built-in effects: chorus, delay and reverb
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TAG3 C | Yamaha TransAcoustic Guitars - YouTube
Ever watch a video of yourself playing guitar and wonder why you do “that thing” with your face?
When I was 16, my parents came to see me play in a bar. (Montana in the ’80s was pretty cavalier about the drinking age.) On a break, I sat with my parents, and my father said, “Boy, you really move your mouth a lot when you play. Why do you do that?”
“Do what?” I replied.
“Move your mouth when you play guitar.”
“I don’t.”
“You definitely are. It’s like you are trying to pronounce every note. Sometimes it looked like you were grinding your teeth.”
“Really? Tonight? Here?”
“Yes, you were literally just doing it pretty much on every solo. It’s a bit off-putting.”
My recent obsession with Corey Feldman guitar-solo videos reminded me of that conversation. I now feel a kinship with Corey. When the “Comeback King” and I play guitar, we both share that vacuous, dead-eyed stare into the distance, mouth chomping, teeth gnashing wildly. I bet, like me, Corey had no idea he was doing it until he watched a video of himself playing. Say what you will about Feldman, but when you watch his mouth, you know he is genuinely trying his best. He is in it, lost in the process of trying to make music.
Maybe you, dear reader, also suffer from guitar face. Most of our heroes do/did. Gary Moore, SRV, Hendrix, B.B. King, Joe Walsh, Steve Vai, Santana, Paul Gilbert—watch any of them play, and you will see some less-than-flattering involuntary facial expressions.
There are many types of guitar face:
Stank Face. Watch SRV cranking in “Cold Shot”—his face looks like he just walked into a porta potty on the third day of an Insane Clown Posse Festival. That’s stanky.
The Motor-Mouth. Corey Feldman and I are prime examples of motor-mouthing, but nearly everybody is guilty of it when working a wah pedal.
Angry Face.Joe Bonamassa is a philanthropist, great guy, and kind person, but when he’s playing, he hits those strings like they owe him money—the man looks pissed.
Surprised Face. Just imagine B.B. King with his eyes wide open, eyebrows raised in a lofting arch, and sometimes his mouth open in a perfect O.
I’m in Pain Face. Think John Mayer. The higher he sings, or the higher he plays, the more the notes hurt.Sometimes the grimaces are accompanied by loud groans, luckily usually drowned out by a loud band, but audible in acoustic settings. I saw famed classical guitarist Christopher Parkening in concert, and his guitar mic caught every loud groan and “aahh.” It was distracting. (Same with pianist Keith Jarrett. Listen to his Köln Concert and try not to be disturbed. Though that’s probably more a symptom of piano face, a related phenomenon.)I don’t think guitar face is one thing. Guitar face is probably at least partially an expression of emotions and the connection to the music. It’s also a reflection of the physical demands of playing guitar, like athletes grimacing as they sprint. It’s also one of those tics of concentration, like sticking your tongue out when you draw or paint.“Think John Mayer. The higher he sings, or the higher he plays, the more the notes hurt.”
I read a Quanta Magazinecolumn by R. Douglas Fields where he maintains that “hand and mouth movements are tightly coordinated. In fact, that interplay often improves performance. Martial artists scream short explosive utterances, called kiai in karate, as they execute thrusting movements; tennis players often shout as they smack the ball. And research shows that coupling hand movements with specific mouth movements, often with vocalization, shortens the reaction time needed to do both.”
To this day, I’m embarrassed when I see videos of my mouth moving. I’ve tried to control it, but have come to the conclusion that I can either try to connect with music or try to control my face. I cannot do both. I have found that smiling does mask it or make it less distracting. As an added bonus, smiling releases that happy hormone, dopamine. The smile trick works great on “Lay Down Sally,” but I wouldn’t try it on, say, “Tears in Heaven.”
I’ve been making an effort to be aware of where I’m holding tension when I play and making a conscious effort to relax my arms, shoulders, and butt, so maybe I can work my face into that.
I’ve made peace with this embarrassing quirk. Every now and then, I’ll see a video where it’s particularly bad, and I’ll feel that barb of shame nick me. But if it sounds okay, I’m okay with this degrading side effect.
Ultimately, connecting to an instrument is like mainlining deep emotions. Deep emotions get ugly, painful, pitiful, and ecstatic. In an age where half of America stares blankly at a screen, how lucky musicians are to dive deeply into something that puts them so firmly in the now that they lose control of their faces. Besides, if you play something genuinely moving, nobody will care how you look.