
Joe Satriani and Steve Vai release new music together for the first time in nearly five decades of friendship.
Teaming up with Satch and Vai on the track are Eric Caudieux on keyboards, who also served as co-producer the song, with the rhythmic backbone provided by Matt Chamberlain on drums and Matt Bissonette on bass. A music video, directed by Z.Z. Satriani, takes this concept one step further with a whimsical look imagining what the beginning of that friendship might have looked and sounded like way back in the 70’s. The video will also premiere on March 29 at 9:00am PT/12pm ET.
JOE SATRIANI & STEVE VAI ' The Sea Of Emotion, Pt.1' - Official Video
Of the inspiration behind the new song, Satriani commented, “When Steve and I decided the time had finally come for us to collaborate on an album I immediately thought of our humble beginnings, where we came from, and our teenage rock ’n’ roll hopes and dreams. To anybody else it may look like just a field, part of the sprawling Carle Place Public School complex, but for some of us, back in the early ’70’s, when the sun went down and the moon came up, it became "The Sea of Emotion”.
We would hang out there late at night and share our deepest thoughts with each other. For me and my closest friends, it was a magical place, this field right outside the back of the Rushmore gym. The memories we shared at that location so long ago became the inspiration for a musical journey in three parts. Each part of the song has little reminders of what we were so into musically back then, including a chord sequence that Steve and I would sometimes jam over during guitar lessons.
Vai echoes the sentiment about their hometown, “This song, and its additional 2 parts, are inspired by a giant field outside the High School of the town Joe and I grew up in. As young teenagers, we would sit overlooking this magnificent field and wax on generously for hours about the meaning of life and many other deep, rich discussions, so we deemed this field, “The Sea of Emotion”. 50 years later, it has been memorialized in melody and groove.
Connecting with Joe on this track, and the other music we are working on, is perhaps the most rewarding musical collaboration I’ve ever engaged in. Although we’ve toured and recorded jams together through the decades, for this music we are intimately bringing together our melodic impulses and playing techniques and creating something that is bigger than the sum of its parts.”
Fans will be able to experience this new music live when “The Satch-Vai Tour” launches on March 22 in Orlando, FL. The tour will continue on, hitting Atlanta, Boston, New York, DC, Detroit, Minneapolis and more before winding up in Santa Rosa, CA on May 12 with 38 shows in total. This tour also marks the first time that the long-time friends have joined together as a duo-bill.
Satch and Vai’s musical careers have been intertwined since their very early days. Satriani served as Vai’s guitar teacher during their teenage years on Long Island, New York. Their connection has continued to evolve over the years, even sharing record labels, starting at Relativity Records in the late 80’s, to both calling Sony/Epic Records home for a significant portion of the 90’s. Together, they have also frequently teamed up with a third guitarist on multiple occasions throughout the span of 29 years, participating in the semi-annual G3 Tours, both in the U.S. and abroad.
For more information, please visit satriani.com.
The Satch-Vai Tour itinerary
March 29 North Charleston, SC North Charleston Performing Arts Center
March 30 Durham, NC Durham Performing Arts Center
April 2 Charlotte, NC Belk Theater
April 3 Richmond, VA Dominion Energy Center
April 5 Boston, MA Orpheum Theatre Boston
April 6 New York, NY Beacon Theatre
April 7 Waterbury, CT Waterbury Palace Theater
April 8 Red Bank, NJ Count Basie Center for the Arts
April 10 Collingswood, NJ Scottish Rite Auditorium
April 11 Washington, DC Warner Theatre DC
April 13 Northfield, OH MGM Northfield Park
April 14 Rochester, NY Kodak Center Theater
April 16 Detroit, MI Fisher Theatre
April 18 Chicago, IL Chicago Theatre
April 19 Cincinnati, OH Andrew J. Brady Icon Music Center
April 20 Fort Wayne, IN Embassy Theatre
April 21 Indianapolis, IN Murat Theatre
April 23 Milwaukee, WI Riverside Theater
April 24 Minneapolis, MN State Theatre
April 25 Des Moines, IA Des Moines Civic Center
April 26 Springfield, MO Gillioz Theatre
April 28 La Vista, NE The Astro
April 29 Salina, KS The Stiefel Theatre
April 30 St. Louis, MO The Factory
May 1 Kansas City, MO Uptown Theater
May 3 Austin, TX ACL Live at The Moody Theater
May 4 Dallas, TX Music Hall at Fair Park
May 5 Houston, TX 713 Music Hall
May 7 Denver, CO Paramount Theatre (SOLD OUT)
May 8 Salt Lake City, UT Delta Hall at Eccles Theater
May 10 Valley Center, CA Harrah’s Resort Southern California – The Events Center
May 11 Wheatland, CA Hard Rock Hotel & Casino
May 12 Santa Rosa, CA Luther Burbank Center for the Arts
- Rig Rundown - Joe Satriani ›
- Joe Satriani and Steve Vai Announce Spring Duo Tour ›
- Rig Rundown: Steve Vai [2023] ›
Handcrafted in the USA, the JEL-50 features 50 watts of all-tube power, two channels, and a transparent effects loop. The JEL-212 Cab is loaded with Celestion Creamback speakers.
Jake E. Lee ranks high on the shortlist of influential gunslinger guitarists that emerged as the heroes of a new generation in the early ‘80s. Best known for the burning guitar work and innovative songwriting, Lee contributed to two of Ozzy Osbourne's most revered albums, 1983’s Bark at the Moon and 1986’s Ultimate Sin.
With Ozzy, his post-Ozzy band, Badlands and most recently, with his own group, Red Dragon Cartel, Lee’s playing embraced the athleticism of the ‘80s while remaining firmly rooted in the hard rock fundamentals of the ‘70s. Jake’s tonal choices provide the evolutionary glue between the sonics of those two great eras. Jake E Lee and Dave Friedman combined their legendary ears and talents to create the new Friedman JEL-50, a signature amplifier that offers Lee’s ultimate tones in a boutique hand-wired package.
In Lee’s own words, “this amp puts the two specific tones I use to create my sound in one head: The sweetness and warmth of a classic Plexi and the more aggressive slant of the master volume amps of the ‘80s -- all tweaked to my taste. Dave has an innate understanding of where I’m coming from as a player and we’re alike in the way we hear tones. Dave doesn’t hear things as a technician, he hears things like a musician, and that made him really easy to work with. I grew up in the ‘70s and those muscular, articulate rock tones were the tones I always sought, but I made a name for myself in the ‘80s when you needed a little more aggression and a little more scream. I’ve always tried to retain a little of that ‘70s heart and I still do, and that’s what this amp does -- though it’s got plenty more on tap if you need it!”
The JEL-50 was specifically designed to take pedals well especially boosts, ODs, phasers, flangers, tremolos, and wahs. The ultra-transparent buffered, series effects loop takes time-based effects pedals and rack units equally well. This is the exact same FX loop Friedman uses on all its amplifiers including the legendary BE-100. The head cabinet features beautiful red tolex, white piping and solid Baltic Birch construction.
SPECIFICATIONS
- 50-Watt all-tube head
- Two channels
- Handwired in the USA
- Custom USA made transformers
- 2 x EL34 power tubes
- 3 x 12AX7 preamp tubes
- JEL channel - Gain, Master, 3-way Bright switch
- JEL Channel Hi/Lo (Push pull gain switch)
- Plexi channel - Gain, Volume, 3 way Bright Switch
- EQ- Bass, Middle, Treble shared with Ch1 and CH2
- Ultra-transparent series effects loop
- Thump knob - ( Rear ) Varies lowered response of the amps power section
- Presence - ( Rear) Varies high end content of the amps power section
- Single button foot switch for channel selections
- 4, 8 and 16 ohm Impedance jacks
- Limited Lifetime Warranty
- Dimensions: 8.75″ (D) x 24″ (W) x 10″ (H)
- Weight: 33.5 lbs
2x12” Celestion Creamback Loaded Extension Cab
The Friedman JEL 2x12” is a rear ported closed-back extension cabinet which utilizes tongue and groove Baltic Birch construction to deliver the bass, mid response and great sound you would expect from a Friedman cab. The JEL 212 Cab features red tolex, white piping and black grille cloth, designed to cosmetically match the Friedman Signature Jake E Lee heads.
At the heart of the cab is a Celestion G12M-65 Creamback 16 Ohm speaker. The G12M Creamback is perhaps the definitive vintage Celestion ceramic magnet guitar speaker. Developed in the mid-sixties, it was quickly adopted by players like Hendrix, Beck and Page, who typified the louder and more aggressive blues-rock playing styles that came to characterize that era. The higher power handling G12M-65 Creamback used in the JEL 1x12 produces that familiar woody tone, making it ideally suited when both vintage and modern tones are desired. The increased power handling brings with-it low-end grunt complementing the warm and vocal mid-range, crunchy upper mids and sweet, refined highs.
As with all Friedman cabinets, oversized 12-gauge speaker wire is soldered between the speaker and terminal, assuring you capture every ounce of valuable tone. This compact monster not only excels in the studio, but the perfect compliment to your stage rig. The Friedman JEL-212 Cab is handcrafted with pride in the U.S.A. and designed to withstand the rigors of the road.
SPECIFICATIONS
- Hand crafted in USA
- Cosmetics to match the Jake E Lee Signature Heads
- 2 x Celestion G12M-65 12" Creamback Speakers
- Nominal impedance - 8 Ohms
- Closed back -rear ported cabinet design
- Limited lifetime warranty
- Dimensions: 12" (D) x 30" (W) x 20.75" (H)
- Weight: 58 lbs.
The Friedman JEL-50 Head carries a street price of $2999.99 and the JEL-212 Cabinet carries a street price of $999.99.
For more information, please visit friedmanamplification.com
Friedman Amplification - All new Jake E Lee 50-Watt Head featuring Jordan Ziff - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Friedman JEL-50 Jake E Lee Signature 50-watt Tube Head and 2x12" Cabinet
Jake E Lee 50W Tube Head 212 StkThe Boss GX-10 Multi-FX Processor offers 23 guitar amps, nine bass amps, and 170 effects for versatile sound creation.
Boss announces the GX-10, a powerful new amp and effects processor for guitar and bass. Equipped with the core sound engine and color touch display from the acclaimed GX-100 released in 2022, the GX-10 offers players the same inspiring experience in an even more portable footprint. Adding in multi-mode footswitches, an integrated expression pedal, and USB audio connectivity, the GX-10 seamlessly transitions from nightly stage performing to desktop recording, song creation, and daily practice sessions.
The GX-10 delivers a universe of ultra-responsive tones in a travel-ready size. There are 23 guitar amps and nine bass amps to choose from, including high-gain X-Ultra, X-Optima, and X-Titan types crafted with the latest BOSS modeling technologies. Players can color sounds with 170 different effects, including overdrives and distortions, mod effects, delays, and reverbs, plus dedicated bass effects and BOSS classics like Slow Gear, Octave, Slicer, and more.
The GX-10 enables fast sound creation with an inviting color touch display and four dynamic parameter knobs. Up to two amps and 15 effects are supported in each memory, and it’s easy to change effect order and create series or parallel routings by dragging blocks with a finger on the screen. Send/return jacks are available to integrate favorite pedals or an amp’s effects loop into the GX-10 signal flow.
The GX-10's clever control options provide versatile real-time sound adjustment possibilities while performing. Multiple control modes and user-assignable settings offer maximum flexibility with just three footswitches. By default, the expression pedal toggles between volume and wah and activates the tuner when the pedal is pulled back. But it can be customized to control nearly anything using the GX-10’s assign matrix.
Boss Tone Studio allows users to edit sounds and load their own speaker cab IRs from a Mac or Windows computer. The GX-10 also supports the optional Bluetooth® Audio MIDI Dual Adaptor, which unlocks on-the-gig wireless editing via the mobile version of the app.
Boss Tone Studio includes additional tools to organize GX-10 sounds for different gigs and playing situations. It also provides direct access to Boss Tone Exchange, an online platform for downloading professionally created sounds and sharing GX-10 Livesets with the global BOSS community. GX-100 Livesets are fully compatible with the GX-10 as well. In addition, there’s a built-in USB-C audio interface for capturing high-quality guitar tones in music production apps on computers and mobile devices.
The new Boss GX-10 Guitar Effects Processor will be available for purchase at authorized U.S. Boss retailers in October for $399.99.
For more information, please visit boss.info.
BOSS GX-10 Guitar Effects Processor | Colorful Tones, Portable Design - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.At Robert’s Western World, Chris Casello can play through his beloved Vibrolux without repercussions.
Times, tastes, and technology change, but if you’ve got a good thing going, maybe you don’t have to. And PS: Don’t touch Chris’s Vibrolux!
I’ve been playing guitar for 50 years—in Nashville and on the road—and generally feel like I’ve seen it all from the stage: the drunks, the crazies, the rowdies, and the regulars. But recently, I’ve been a little disturbed by something I haven’t seen: amps on the stages of many Lower Broadway clubs.
Recently, this happened to me.
It’s 10 a.m., and I show up for the first of my two daytime gigs. The sound engineer at the club tells me:
“Rule number one: No amps onstage.”
Me: “Can we just try it?”
Engineer: “No. And in-ear monitors only.”
Since I’m just here as a sub, I don’t argue. I don’t want to cause the bandleader grief or be a pain. I’m told “everybody does it this way now,” and since a professional needs to be adaptable, I adapt.
My next question: “Hey, can you turn off the TV by the stage?”
Engineer: “No, and take your amp off the stage.”
Me: “It’s unplugged.”
Engineer: “I don’t care. I don’t want anybody seeing an amp. I had a guy take a swing at me when I told him he couldn’t use his amp, so I can’t take chances.”
I have to admit, taking a swing at the soundman had crossed my mind, but he’s a biker-type with 75 pounds on me, and a generation younger. That doesn’t seem like a choice a professional should make. So, I take down my 1966 Fender Vibrolux Reverb and settle in for four hours of winging it through an iPad-controlled PA system and borrowed in-ear monitors, followed by another four-hour, no-break gig two blocks further down Broadway.
Really, I’m grateful, despite this embargo on amps. I’m working a lot. I get to play my Telecaster and crack jokes onstage. And I know this is a fickle town for musicians. One day you have nothing, and the next you’re playing the Opry, or in the studio, or flying to Europe.
When I got to Nashville in the early 2000s, Lower Broadway was no longer a red light district, but everybody wanted you to sound like Brent Mason. I didn’t. I played country guitar, but loved rockabilly and wore a pompadour. I also love and play blues, and Scotty Moore, James Burton, Merle Travis, and Chet Atkins are huge with me. Plus, I love Chuck Berry, T-Bone Walker, and Charlie Christian. So, initially it seemed like I didn’t fit into any of the niches bandleaders were looking for. Ultimately, I just wanted to sound like Les Paul and Link Wray. Is there anything wrong with that?
“I have to admit, taking a swing at the soundman had crossed my mind, but he’s a biker-type with 75 pounds on me, and a generation younger.”
Even though it was tough getting hired at first, I stuck to my guns. Eventually the phone started ringing, the work came in, and the phone is still ringing—or at least chiming text alerts. I’m having a good run and have played everywhere from the Opry to Lincoln Center. Plus, I love it here. When I arrived, it was already a pickers’ wonderland—humbling, terrifying, and inspiring. Legendary players would work at little clubs— and still do, although now the mass insanity of intoxicated tourists, bachelorette parties, pedal taverns, etc., is completely out of control. That said, there’s only a couple cities left in America—really, maybe just this one—where you have opportunities to work this frequently.
Ultimately, this “being myself” thing has paid off. Besides the gig I’ve had at Robert’s Western World for 20 years, I’ve backed up legends like Bo Diddley, Martha Reeves, Wanda Jackson (who also cut one of my tunes), and Jack Scott, to name a few. I’ve done sessions, plus lots of gigs with ’90s country stars. I’ve given thousands of lessons, made many European tours with my own bands and others, and I am the longtime guitarist for Carlene Carter (the daughter of June Carter Cash and June’s first husband, Carl Smith). I’m also the demo guy for my friend TV Jones. Say hi at his NAMM booth!
At Robert’s, there are no TVs—only music, beer, shots, and fried bologna sandwiches. Robert’s let me bring my love of surf guitar to the home of country music, anduse my own vintage gear. I can play a hollowbody with P-90s or a Gretsch, Telecaster, or Strat through my Vibrolux or Super Reverb and nobody complains. In fact, everybody loves it. And I get to sound like myself. Which is important, because eventually every musician comes to terms with the fact that they are only competing with themselves and not the world—and being allowed to find and use your own voice is crucial. So, you won’t get a profiler or iPad-controlled guitar app at a Chris Casello Trio show. We are always going to move air and, with it, some hearts, too.Blackberry Smoke will embark on their Rattle, Ramble and Roll Tour in 2025, featuring stops at Worcester’s Palladium, Burlington’s The Flynn, New Orleans’ The Fillmore, Austin’s ACL Live at the Moody Theater, among many others.
Tickets for the newly added dates will be available for pre-sale starting tomorrow, Tuesday, October 29 at 10am local time, with the general on-sale following this Friday, November 1 at 10:00am local time. Full details and ticket information can be found at blackberrysmoke.com.
Throughout their career, Blackberry Smoke has released eight studio albums including their latest, Be Right Here. Produced by Grammy Award-winning producer Dave Cobb (Chris Stapleton, Jason Isbell), the record was released to widespread critical acclaim earlier this year and debuted at #1 on the Current Country Albums chart, Americana/Folk Albums chart and Current Rock Albums chart.
Since forming in 2001, Blackberry Smoke has continued to tour relentlessly, building a strong and loyal community of fans. In addition to their work as musicians, the band is deeply committed to charitable work and formed the Brit Turner Family Fund, a non-profit supporting several national foundations committed to curing children’s cancer. With these efforts, the band has raised over $1,000,000 to date benefitting children’s cancer research. Most recently, Blackberry Smoke raised over $26,000 with their hometown show at Atlanta’s Cadence Bank Amphitheatre at Chastain Park earlier this summer, which celebrated the life and legacy of the band’s late drummer, Brit Turner.
BLACKBERRY SMOKE CONFIRMED TOUR DATES
October 30—Bakersfield, CA—Fox Theater~
October 31—San Diego, CA—Humphreys Concerts by the Bay~
November 1—Las Vegas, NV—The Pearl Concert Theater~
November 2—Riverside, CA—Fox Performing Arts Center~
November 7—St. Augustine, FL—St. Augustine Amphitheatre^
November 8—Clearwater, FL—Ruth Eckerd Hall^
November 9—Fort Myers, FL—Barbara B. Mann Performing Arts Hall^
November 10—Pompano Beach, FL—Pompano Beach Amphitheater^
November 14—Royal Oak, MI—Royal Oak Music Theatre%
November 15—Marietta, OH—Peoples Bank Theatre%
November 16—Shipshewana, IN—Blue Gate Performing Arts Center%
November 21—Carterville, IL—Event Center at Walker’s Bluff Casino Resort
November 22—Tulsa, OK—Cain’s Ballroom**
November 23—Shawnee, OK—FireLake Arena**
December 5—Mobile, AL—Saenger Theatre††
December 6—Augusta, GA—Bell Auditorium##
December 7— Fayetteville, NC—Crown Theatre##
December 8—Savannah, GA—Johnny Mercer Theatre##
December 31—Macon, GA—Macon City Auditorium^^
January 30—Morristown, NJ—Mayo Performing Arts Center
January 31—Bensalem, PA—XCite Center at Parx Casino
February 1—Worcester, MA—The Palladium
February 2—Patchogue, NY—Patchogue Theatre for the Performing Arts
February 5—Portland, ME—State Theatre
February 6—Burlington, VT—The Flynn
February 7—Providence, RI—The Strand Ballroom & Theatre
February 8—Williamsport, PA—Penn College Community Arts Center
February 13-17—Rock Legends Cruise XII
March 6—Rockford, IL—Coronado Theatre
March 7—Peoria, IL—Peoria Civic Center Theater
March 8—Evansville, IN—Aiken Theatre
March 27—New Orleans, LA—The Fillmore
March 28—Houston, TX—713 Music Hall
March 29—Helotes, TX—John T. Floore’s Country Store
April 25—Miramar Beach, FL—Moon Crush “Pink Moon”
May 8—Austin, TX—ACL Live at the Moody Theater
May 9—Dallas, TX—Majestic Theatre
May 15—Maryville, TN—The Shed
May 16—Maryville, TN—The Shed
May 17—Maryville, TN—The Shed
~with special guest Kelsey Waldon
^with special guest Southall
%with special guest Sam Morrow
**with special guest Taylor Hunnicutt
††with special guest Georgia Thunderbolts
##with special guest Tishamingo
^^with special guest Robert Jon and the Wreck