Jazz guitar philosopher Julian Lage talks about his relationship to amps, how he builds his sound, and why he doesn’t like transcribing.
Rhett and Zach are joined on this episode of Dipped In Tone by soft-spoken jazz guitar master Julian Lage. After Zach shares some last-minute production headaches with Mythos’ new Herculean Deluxe, Lage sits in for fascinating, spirited dive into how he thinks about tone, composition, and his new record, Speak To Me.
Rhett and Zach are joined on this episode of Dipped In Tone by soft-spoken jazz guitar master Julian Lage. After Zach shares some last-minute production headaches with Mythos’ new Herculean Deluxe, Lage sits in for fascinating, spirited dive into how he thinks about tone, composition, and his new record, Speak To Me.
Did you know that Lage gets to know his guitars by doing direct into his DAW, and that effects pedals kinda terrify him? He doesn’t like transcribing, either—he’s got a unique take on studying Robben Ford solos. Listen in to find out why, and hear about the best guitar lesson his father ever taught him.
The American guitar virtuoso chats about the beauty of vintage guitars and what it’s like to tour with what may be the most valuable guitar amp out there.
In celebration of his new album A Day in Nashville, guitar virtuoso Robben Ford returned to the scene for two shows at Music City’s 3rd and Lindsley club. On March 5, ace luthier Joe Glaser filled in as the Premier Guitar Rig Rundown host, meeting Ford and his tech/co-producer Rick Wheeler before the second show to talk about the beauty of vintage guitars and what it’s like to tour with what may be the most valuable guitar amp out there.
Guitars
Amps
Effects
This album is a prime example of the human element of music—real people, in a room, playing together.
Album
Robben FordA Day in Nashville
Mascot Records
The ingredients for a Robben Ford album have largely remained the same: sophisticated guitar licks, honest songwriting with a bluesy bent, and a robust, meaty tone. However, it’s that little extra bit of, well, Robben, which makes it work time and time again. His latest release, A Day in Nashville, proves yet again why guitar geeks flock to his shows and hang on his every note. Those notes might not be as plentiful as on his earlier records, but they hold more weight. His solo break on “Midnight Comes Too Soon” is as visceral and rootsy as anything he’s played in decades. At this point in his career, Ford could churn out another album full of the uptown blues that his fans will gladly eat up, but instead he chose to challenge himself and experiment with different textures while pushing both his songwriting and singing.
The sonic experimentation is most noticeable when trombonist Barry Green steps in. The big, round tone of the trombone seems to give the sextet a lift, while rhythm guitarist Audley Freed propels the group with his spot-on sense of groove and space. Ford’s tone doesn’t venture into much uncharted territory, but it covers a few subtle bases. On the funky “Top Down Blues,” Ford cops some Cropper-meets-Dupree riffs while the melody captures some of the essence of classic soul jazz.
One of the few downsides of the album is that Freed (who is currently in Sheryl Crow’s band) doesn’t get a chance to shine and push Ford. The two-guitar format isn’t something that Ford is found in too often (with the exception of some albums with Larry Carlton) and with a player like Freed onboard, this may have been a missed opportunity. The whole vibe of the album captures the live feel and urgency of an old-school session since, true to the album’s name; it was mostly recorded in one day in Nashville. This album is a prime example of the human element of music—real people, in a room, playing together.
Must-hear track: “Green Grass, Rainwater”