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10-20-2023 08:59 AM
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The concert is not recorded well unfortunately. Maybe it's the room. It sounds like the notes are bouncing all over the place or the mic is not close enough.
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If you're recording in a concert hall, and you're not within 10-15 feet of an acoustic guitar, you're going to be getting the PA, but not before it's hit every corner of the concert hall. The human brain is an incredible filter because it makes you hear what you're listening to.
Originally Posted by Tal_175
Oh well, now I know what it's like to be in a men's room toilet stall with Julian Lage in the wheel chair stall at the other end of the room. Shhhhh! No flushing during the performance please!
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Watched this several weeks ago, it was posted on the Julian Lage thread.
It's fantastic and I didn't think it wasn't recorded well? Super inspiring stuff though. I put some of it on my ever-growing 'to be transcribed' pile.
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Saw him last month in Cincinnati. Blew me away.
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This was a fantastic show! I've never been to that theatre before, but it really fit the vibe! Looks like you were sitting very close to where I was as well! Originally Posted by Alder Statesman
Saw him last month in Cincinnati. Blew me away.
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He is so amazing to watch. He just LOVES playing guitar and music and it's so inspiring. I play a pretty half-a$$ version of Day and Age (starts around 18:30), one of my favorite solo acoustic pieces of his.
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I just don’t get the appeal of this at all. Monster player tho.
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Well, I think the appeal is exactly that Julian is a monster player, as well as a very engaging personality. He is very open musically and seems very open personally as well. That being said, since roughly Arclight, there is a certain amount of samey-samey to his playing resulting in there not being a whole lot of differentiation from one song to the next. Of course, if I could remotely play like that, I would play like that all the time! I have the same feeling about Pasquale Grasso.
I saw Julian once, around the time he had switched to playing the Telecaster and a little 5W Champ; he was playing with Jorge Roeder and Kenny Wollesen and was, amazingly, the opening act on a show at the Dakota in Minneapolis. It was an amazing- even riveting- concert. His ability to draw the audience in is really quite rare.
After the set I was privileged to have had a long chat with Jorge, who is himself a very deep and smart thinker about music and the role of the bass player. A really interesting guy who seemed to know exactly what he was doing and exactly why at all times. I know almost nothing about playing bass, so it was quite illuminating to have that conversation.
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One of the reasons I like Julian is that he likes Ornette. He actually has a very broad range when he feels like using it. Maybe he's picking up what he's getting back from his audience. The Americana thing, flat-top and all.
I have to agree that the sound quality gets in the way.
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that’s kinda what I was getting at…I really dug the tele-era stuff because there were a lot of musical things I could grasp onto as a listener. This i struggled with…there were incredible flashes of technique, some good grooves established and nice themes touched on, but as a whole I found it hard to find a cohesive whole. Originally Posted by Cunamara
But I greatly admire him as a guitarist and musician. One show that I personally couldn’t get my head around what he was going for won’t diminish that.
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Lovely performance, thank you!
Julian is so nice and authentic and has such skills and taste and musicality that I feel embaassed to say something critical...
and stili it seems for years already that with every new record of his I think: now it is going to happen...
And it does not.
With such a huge variety of technique and musical idioms he still stays in the frame somehow... how does it happen?
I always feel as if he is himself a bit listening and watching himself from outside too (actually his joyous reactions and respond while playing - I think it is also about it...). Technically to me it almost always sounds as if he constantly chooses out of a vast library he has in his mind and hands... but it is always kinf of prepared (not litterally). And also it breaks the form a little to me because it seems he conciously switches to different tools often like changing texture, range etc.
It seem he knows and can do so much that it is impossible for him to take a real risk somehow. He know more than he needs probably..
He is the master of a huge country with lots of wonders but it feels like a Truman's show world a bit... I can see its borders. Inside it is so cool and fun and versatile, but I know there are borders.
when I put on almost any record of Scofield or Frisell with their very limited vocabulary and quite restricted technique (and Sco can be even out of tune))) they are almost always out there... they are like on the edge all the time staring at the unknown
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I remember when I first listened to this concert that I was reminded of Tony Rice playing Summertime: long, almost Stylus Fantasticus intro that leaves you wondering when and on what theme he's going to land, and then a spirited interpretation of that theme.
Here you have a whole concert with multiple pieces played like that and there were a few times I wondered "didn't he just play that already?". Probably not the kind of thing to listen to all the time, too.
Still, so much more interesting than the carpets woven by the (percussive) fingerstyle kiddos!
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