我来发第一个帖子！几位欧美指弹演奏家的维基百科介绍

BeatlesPaul · 发表于 2011-7-11 13:50

首先是我最爱的三哥Pierre Bensusan！

Pierre Bensusan (born 30 October 1957) is a French-Algerian guitarist. As a sephardic Jew, his family came from Spain, Spanish Morocco and French Algeria. The genre of his acoustic guitar music is often characterized as Celtic, Folk, World music, New Age, or Chamber jazz. He has also published three books of music and tablature. A wide variety of musical styles and influences can be heard in his music.
Born in 1957 in Oran, French Algeria,[1] he moved to Paris with his family when he was four years old. He took up the piano at the age of seven and, at the age of eleven, began to teach himself guitar. He signed the contract for his first album, Près de Paris, when he was just seventeen; it was released one year later, winning him the Grand Prix du Disque at the Montreux Festival. His many influences include Davey Graham, Larry Carlton, Django Reinhardt, Martin Carthy, Nic Jones, Ry Cooder, Big Bill Broonzy, Reverend Gary Davis, Mississippi John Hurt, Doc Watson, Jimi Hendrix, John McLaughlin, Bert Jansch, John Renbourn, Ralph Towner, Wes Montgomery, Pat Metheny and Paco de Lucía.
Pierre Bensusan's solo acoustic guitar work has featured use of the DADGAD tuning system and electronics such as delays, distortions and volume pedals, which have been largely abandoned on recent tours.
He includes scat-singing is in his compositions, both pre-composed and improvised. He has collaborated extensively with saxophonist Didier Malherbe, but today his tours are largely solo. He also performed the song "ELM" for the Cowboy Bebop soundtrack Cowboy Bebop No Disc for Yoko Kanno.
In 2001 Bensusan released Intuite, his first new studio recording in eight years and his first totally acoustic one. It won him critical acclaim[citation needed and was followed up with Altiplanos in 2005. He continues to write and tour, playing occasional gigs with Malherbe, as well as holding guitar workshops and writing guitar books.
Composer Michael Hedges wrote a piece for Bensusan. After Hedges' death, Bensusan wrote and recorded the song "So Long Michael" in tribute to Hedges' own playing.

Discography

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Près de Paris (1975)

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Pierre Bensusan 2 (1977)

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Musiques (1979)

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Solilaï (1981)

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Spices (1988)

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Wu Wei (1993)

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Live au New Morning/Live in Paris (with Didier Malherbe) (1997)

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Intuite (2001)

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An Evening With International Guitar Night (2004)

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Altiplanos (2005)

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Vividly (2010)

Books

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Bensusan, P: The Guitar Book, HAL Leonard Publishing Corporation, 1985 ISBN 0-88188-620-3

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Bensusan, P: DADGAD Music: Compositions from Spices and Wu Wei, John August Music / Mel Bay Publications, 1996 ISBN 0-7866-1452-8

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Bensusan, P: The Intuite Guitar Book, DADGAD Music (France), 2003

BeatlesPaul · 发表于 2011-7-11 13:53

接下来同样是我爱的Michael Hedges！

Michael Hedges

Background

Hedges attended Phillips University in Enid, Oklahoma, studying classical guitar. It was here that he studied under his compositional mentor, E. J. Ulrich. Subsequently, from 1979 til 1982, Hedges was a composition major at Peabody Conservatory in Baltimore, Maryland who applied his classically-trained musical background in combination with various unusual techniques to the steel-string acoustic guitar. He covered a wide range of musical styles and was considered an extremely dynamic performer in concert. Michael made ends meet playing and singing in pubs and restaurants in the Baltimore Metro area during his tenure at Peabody. He was discovered in February 1981 by William Ackerman who heard him performing at The Varsity Theater in Palo Alto and immediately signed him to a recording contract on the Windham Hill label. At this time Michael was still planted in Baltimore, but plans to permanently move to California were in the making.[1]

Recordings

Hedges' first two recordings for Windham Hill—Breakfast in the Field and Aerial Boundaries—were milestones for the acoustic guitar.[citation needed He wrote nearly exclusively in alternate tunings. Some of the techniques he used include slap harmonics (created by slapping the strings over a harmonic node), use of right hand hammer-ons (particularly on bass notes), use of the left hand for melodic or rhythmic hammer-ons and pull offs, percussive slapping on the guitar body, as well as unusual strummings. He also made extensive use of string damping as employed in classical guitar, and was known to insist strongly on the precise duration of sounds and silences in his pieces. He also played guitar-variants like the harp guitar (an instrument with additional bass strings), and the TransTrem Guitar. He was a multi-instrumentalist, playing piano, percussion, tin whistle, harmonica, and flute, among others on his albums. Bassist Michael Manring contributed to nearly all of Hedges' records.

Frustrated that his published work reflected only one narrow niche of his creative output, Hedges convinced Windham Hill to release Watching My Life Go By, a 1985 studio recording of Hedges' original songs produced by Elliot Mazer. With his fourth album, Live on the Double Planet, assembled from 1986–1987 recordings of 40 of his concerts—which had always been approximately 50% vocals—Hedges sought to further integrate the two facets of his then-published work. Although no commercial recordings have yet been released, Hedges toured briefly as a co-bill with Leo Kottke. These shows included solo performances by Kottke and Hedges and, as a finale, a number of duets including performances of Kottke's "Doodles" with Hedges playing a high-strung parlor guitar.

Hedges had a very broad range of influences and his output spans many genres. His musical education was largely in modern 20th century composition. He listened to Martin Carthy, John Martyn, and the Beatles, but his approach to composition owed much to Igor Stravinsky, Edgard Varèse, Anton Webern, and Steve Reich, in addition to experimental composers such as Morton Feldman. He saw himself as a composer who played guitar, rather than a guitarist who composed music. He was often categorized as a New Age musician due to his association with the Windham Hill record label. Somewhat in reaction to this, he would describe his music as "Heavy Mental", "New Edge", ""Acoustic Thrash", "Deep Tissue Gladiator Guitar" or "Savage Myth Guitar," amongst other terms.[2]

Guitars

Hedges regularly used the following instruments:[3]

·
1971 Martin D-28 guitar (nicknamed "Barbara") with a combination of a Sunrise S-1 magnetic pickup and FRAP contact pickup under the treble strings

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custom 1980s Takamine guitars with his name on the headstock

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Lowden L-250 guitars

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Martin J-65M guitars

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1920s Dyer harp guitar configured with a FRAP/autoharp pickup combo / reconfigured with Sunrise S-1 and two Barcus Berry magnetic pickups for the sub-basses (glued straight to the body)

·
Steve Klein electric harp guitar with a TransTrem bridge

·
circa 1913 black Knutsen harp guitar (often incorrectly referred to as a Dyer) with a FRAP/autoharp pickup combo—and rattlesnake tail wedged under the sub-basses at headstock

Hedges recorded Eleven Small Roaches, Baby Toes and Two Days Old, on the 1981 album Breakfast in the Field, on a six-string guitar built in 1978 by Ken DuBourg of Arbutus, Maryland. The remaining tracks were recorded using a guitar made by Ervin Somogyi.[4]

Hedges would experiment with different pick-ups, effects, and amp combinations to achieve a different and unique sound for every song. Hedges was also able to precisely equalize his instruments for the concert hall in which he was performing. He used state-of-the-art equipment such as Sunrise soundhole pickups, F.R.A.P. and later, Trance Audio soundboard transducers.

Death

In late 1997, Hedges died at the age of 43 in a car accident along State Route 128 in Mendocino County, near Boonville (about 100 miles (160 km) northwest of San Francisco). According to his manager and longtime friend Hilleary Burgess, he was driving home from San Francisco International Airport after a Thanksgiving visit to his girlfriend in Long Island, New York. His car apparently skidded off a rain-slicked S-curve and down a 120-foot (37 m) cliff. Hedges was thrown from his car and appeared to have died nearly instantly. His body was found a few days afterward.[5] After his death, his record Oracle won the 1998 Grammy Award for Best New Age Album.

Hedges' unfinished last recordings were brought to completion in the album Torched, with the help of his former manager Hilleary Burgess and friends David Crosby and Graham Nash.[6]

A fundraiser to help his children can be found at Nomad Land.

Recognition

·
"I feel I can always hear his heart when he plays. He respected my playing too, and that simply thrills me." – Pete Townshend[7]

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"Michael was unique. His music transcends genre and trend. It's truly musical, fun and enlightening.” – Steve Vai[7]

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"His playing has a feel and timbre all its own – technically brilliant, but always organic and true." – Joe Satriani[7]

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"One of the most brilliant musicians in America." – David Crosby[7]

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"I considered him to be a genius and when he died I lost a great friend." – Graham Nash[7]

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"There was simply no one like him." – Bonnie Raitt[7]

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"He was a real musician who remained humble even through stardom. A rare breed indeed." – Alvin Lee[7]

Discography

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Breakfast in the Field (1981)

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Aerial Boundaries (1984)

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Watching My Life Go By (1985)

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Live on the Double Planet (1987)

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Up Close Volume 6 Michael Hedges Windham Hill Sampler (1990)

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Taproot (1990, 2011 Valley Entertainment reissue[8])

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Strings of Steel, a compilation (1993)

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The Road to Return (1994)

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Oracle (1996, 2009 Valley Entertainment reissue[9])

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Torched (1999 – posthumous)

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Best of Michael Hedges (2000 – posthumous)

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Beyond Boundaries: Guitar Solos (2001 – posthumous)

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Platinum & Gold Collection: Michael Hedges (2003 – posthumous)

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Pure (2006 – posthumous)

Trivia

One of Hedges' songs, 'Ritual Dance' performed by Kaki King, is featured in the movie August Rush.[10]

Musician Keller Williams recorded a song in tribute to Hedges entitled "Not Of This Earth" and is featured on the CD "Breathe."

Hedges was left-handed but played right-handed guitars.

看了这个我才知道原来Michael是左撇子，不过弹琴还是用的右手！

BeatlesPaul · 发表于 2011-7-11 13:59

Preston Reed

Preston Reed (born April 13, 1955, Armonk, New York) is an American fingerstyle and tapping guitarist.
BiographyPreston Reed learned guitar as a child on his father's guitar and, for a short time, classical guitar with a too-severe teacher. When he was 16 his interest was rekindled by Jorma Kaukonen's acoustic guitar-playing in Hot Tuna. He took the guitar again and began to compose his own songs in the style of Leo Kottke and John Fahey. His first public performance was at Smithsonian Institution in Washington D.C., in a concert with Allen Ginsberg. He continued recording and performing and signed his first major label record deal with MCA Records with the help of his friend Lyle Lovett.[1]
Reed has played with various other musicians, spanning the spectrum between Linda Ronstadt and rock band NRBQ. He was featured on American radio and TV broadcasts. Between 1979 and 2007, he recorded 15 albums on several labels - mostly solo acoustic guitar -, guest-starred on other musicians productions, founded his own Outer Bridge label and featured on two solo videos. He has been commissioned for film soundtracks and a suite of original music for the Minneapolis Guitar Quartet.
Reed moved to Scotland in 2000.[2]
Technique and musical influencesReed plays with his fingers, thumbs, fists and hands at once, suggesting a whole band at work: drummer, keyboard player, bass guitarist and several guitarists at once. Some of his tunes invoke impressions of rock bands and duelling guitars, but he is also a player of blues or ballads reminiscent of Bill Evans, one of his musical idols.[citation needed
As a teenager, Reed was influenced by Leo Kottke and John Fahey and in the beginning of his career was a fingerpicker with notable technical prowess. In the late 1980s, though, he developed his own, highly individual and percussive style, a short time after Michael Hedges published his first records using technically similar techniques, but creating very different music.[3] He drew not only from fingerstyle, but from rock 'n' roll too, developing a very rhythmic drive in some of his compositions. Other pieces are very melodic and dreamy ballads.
His guitar style is characterised by the use of percussive effects he generates with both hands on various parts of the guitar body. He names them, appropriately, rim shots and bongo hits.[4] He uses slap and tap techniques like slap harmonics or the generation of notes or whole chords with his left hand (hammer-on, pull-off). He uses both hands for tapping (two-hand tapping) and frets chords with his right hand (right-hand fretting). He often plays with both hands from above the guitar's neck. In many of his compositions, Reed uses altered tunings characterized by very low bass string tunings, for example BGDGAD or CGDGGD, though he also uses standard tuning on his latest CD, Spirit.
Guitars and technical equipmentOn his first recording Reed used a Martin D28 12 String and a Martin D28 6 String. He later used guitars made by the American luthier Michael Jacobson-Hardy.[5] Later he played Washburn guitars with Seymour Duncan pickups[4] and in the second half of the 1990s a custom Adamas Long Neck Ovation.
Around 2000 he began using several different guitars, not only steel-string acoustic, but also solid body electric guitars, semi-acoustic guitars, electrical baritone guitars, 12-string and classical guitars.[2]
Reed recorded his 2007 album Spirit with a semi-acoustic Yamaha AE-2000 guitar.
Discography
Studio recordings

·
1979 Acoustic Guitar (Sky Records)

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1982 Pointing Up (Flying Fish)

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1982 Don't Be A Stranger (FolkStudio Records)

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1984 Playing By Ear (Flying Fish)

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1987 The Road Less Travelled (Flying Fish)

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1989 Instrument Landing (MCA/Universal)

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1990 Blue Vertigo (Capitol Nashville Master)

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1990 Preston Reed (Flying Fish)

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1991 Halfway Home (Liberty/Capitol Nashville)

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1992 Border Towns (Liberty)

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1995 Metal (Dusty Closet Records, re-released 2002 Outer Bridge)

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1997 Ladies Night (Dusty Closet Records, re-released 2004 Outer Bridge)

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2000 Handwritten Notes (Outer Bridge)

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2005 History of Now (Outer Bridge)

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2007 Spirit (Outer Bridge)

Collaborations

·
1997 Groovemasters, with Laurence Juber (Solid Air Records)

Compilations

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1989 Universal Master Series (MCA)

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1990 Master Series Sampler '89 (Capital Nashville)

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1990 Master Series I (Capital Nashville)

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1995 Acoustic Guitar Highlights (Acoustic Music Records)

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1996 Acoustic Guitar Highlights II (Acoustic Music Records)

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1997 Masters of Acoustic Guitar (Narada)

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1997 Acoustic Guitar Highlights III (Acoustic Music Records)

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2000 WGN Radio Live: Steve and Johnnie Live After Dark (Nation)

BeatlesPaul · 发表于 2011-7-11 14:00

Leo Kottke

Leo Kottke (born 11 September 1945, Athens, Georgia, U.S.) is an acoustic guitarist. He is widely known for his innovative fingerpicking style, which draws on influences from blues, jazz, and folk music, and his syncopated, polyphonic melodies. Kottke has overcome a series of personal obstacles including partial loss of hearing and a nearly career-ending bout with tendon damage in his right hand to emerge as a widely-recognized master of his instrument.
Focusing primarily on instrumental composition and playing, Kottke also sings sporadically, in an unconventional yet expressive baritone famously self-described as sounding like "geese farts on a muggy day".[1] In concert, Kottke intersperses humorous and often bizarre monologues with vocal and instrumental selections from throughout his career, played solo on his signature 6- and 12-string guitars.
BiographyEarly life and careerBorn in Athens, Georgia, Kottke moved with his parents so frequently that he was raised in twelve different states.[2] As a youth living in Muskogee, Oklahoma, Kottke was influenced by folk and delta blues music, notably that of Mississippi John Hurt.[2] Kottke learned to play trombone and violin before trying the guitar and developing his own unconventional picking style. A mishap with a firecracker permanently damaged the hearing in his left ear,[2] a condition that would be exacerbated due to exposure to loud noise during firing practice while serving in the United States Navy Reserve, when his other ear also was damaged.[3]
After being discharged from the Naval Reserve due to his partial loss of hearing, Kottke attended St. Cloud State University in central Minnesota but left before completing his studies, choosing instead to hitchhike around the country, busking for a living, before finally settling in the Twin Cities, Minnesota. He arrived at the Scholar Coffeehouse in the Cedar-Riverside, Minneapolis area in the autumn of 1966 and soon was a regular performer. There, he recorded his debut album, 12-String Blues, which was released on the independent Oblivion record label in 1969. He recorded 6- and 12-String Guitar (also known as the "Armadillo album" after the animal pictured on its cover) for John Fahey's Takoma Records later the same year. It remains one of the works most associated with Kottke and has been re-released many times on various record labels.
Fahey's agent Denny Bruce signed Kottke to Capitol Records and in 1971, Capitol released Kottke's first major label record, Mudlark.[2]
Pressured in the early 1970s to be a folk singer-songwriter rather than an instrumentalist, he recorded with vocals and backing musicians on albums from this period. In 1972 he released Greenhouse, and in 1973, the live My Feet Are Smiling and Ice Water. These albums showed Kottke moving toward an eclectic mixture of musical genres, including folk, rock, jazz and bluegrass.
Kottke closed out his contract with Capitol with his seventh album, Chewing Pine, in 1975. By then he had also gained an international cult following thanks to his performances at folk festivals. With his 1976 eponymous release, he moved to Chrysalis Records.
Injury and new playing styleIn the early 1980s, Kottke began to suffer from painful tendonitis and related nerve damage caused by his vigorous and aggressive picking style (particularly on the 12-string guitar).[3][4] As a result, he changed his picking style to a classical style, using the flesh of his fingertips and increasingly small amounts of fingernail rather than fingerpicks, and changing the positioning of the right hand to place less stress on the tendons. He also studied more classical and jazz-oriented compositional and playing techniques. He took a long break from recording and performing and simultaneously moved from his relationship with major labels to the smaller Private Music label. Private Music was considered a New Age music label in the Windham Hill style, and Kottke often found his music categorized as such during this period. After 1986's reflective A Shout Toward Noon, he took a brief break from recording before returning with Regards from Chuck Pink in 1988.
Later careerKottke released an album annually from 1989 to 1991, following My Father's Face with That's What and finally Great Big Boy, which featured a guest appearance from Lyle Lovett. Two years later, Kottke returned with Peculiaroso, which featured production by Rickie Lee Jones. The solo album One Guitar, No Vocals followed in 1999.
In 2002, Kottke and Mike Gordon (the bassist from the band Phish, which was on an extended hiatus) collaborated on Clone, an album featuring instrumental work and vocals from both musicians. A second album from the pair, Sixty Six Steps, followed in 2005. The duo has toured in support of both albums.[5] In between these two duet albums, Kottke released a solo album, 2004's Try and Stop Me.
Leo Kottke received an honorary Doctorate in Music Performance from the University of Wisconsin–Milwaukee on May 18, 2008, where he gave the commencement address.[6]
TuningsKottke's guitars are often tuned unconventionally; early in his career he heavily used open tuning, while in recent years he has used more traditional settings but often tunes his guitars as many as two full steps below standard tuning.
Orchestral works, re-recordings and other collaborationsIn 1976, Kottke collaborated with arranger Jack Nitzsche on the release Leo Kottke which featured Kottke backed by a small orchestral section on a number of the tracks.
In the later part of his career Kottke has begun reworking and re-recording tunes he wrote and recorded in the early 1970s.[3] For example, 1999's One Guitar No Vocals offered a new instrumental version of 1974's "Morning Is The Long Way Home", with the countermelody opened up from behind the vocal line, stripped of its original trippy lyrics.[7] Kottke has also combined previously-recorded tunes into new compositions, notably the mini-suite "Bigger Situation", also released on One Guitar No Vocals.
In 1990 Kottke and composer Stephen Paulus created Ice Fields, a work for amplified acoustic guitar and orchestra in a concerto format. Ice Fields featured five movements, each based on an existing Kottke composition, with orchestral backing and interlude sections.[8] It was premiered by Paulus' Atlanta Symphony Orchestra and has been performed occasionally since but has not been released on record, partly due to the high cost of producing a recording with a full orchestra.[9]
Kottke has also collaborated on his records with his mentor John Fahey, as well as with Chet Atkins, Lyle Lovett, Margo Timmins, Mike Gordon, and Rickie Lee Jones. He has recorded tunes by Tom T. Hall, Johnny Cash, Carla Bley, Fleetwood Mac, The Byrds, Jorma Kaukonen, Kris Kristofferson, Randall Hylton, and many others.
He has toured with other guitarists playing both solo and ensemble pieces; notably he toured as part of the "Guitar Summit" with jazz guitarist Joe Pass, flamenco guitarist Paco Peña, and classical guitarist Pepe Romero. He is also a frequent guest on the radio variety program A Prairie Home Companion.

BeatlesPaul · 发表于 2011-7-11 14:01

还有一个Andy Mckee的介绍不知哪里不对，发帖的时候总是说含有不良信息- -

欢迎大家补充

回忆里的童年 · 发表于 2011-7-11 15:46

英语不好的人表示鸭梨很大啊............

BeatlesPaul · 发表于 2011-7-11 16:12

回复回忆里的童年的帖子

其实我也看不懂= =

回忆里的童年 · 发表于 2011-7-11 17:40

- -! 被你打败了！

後青春期的詩 · 发表于 2011-7-14 10:33

强大。。果然强大。。

tanyuli · 发表于 2011-7-15 05:03

不错不错不很不错！！

Jc調 · 发表于 2011-8-8 14:41

看来..........
进欧美这个区要恶补英语先.....................

13628487157 · 发表于 2013-6-13 23:44

额。。。。考虑过没过四级的人的感受么。。。

lelevn · 发表于 2013-6-14 08:18

全当学习英语了！

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我来发第一个帖子！几位欧美指弹演奏家的维基百科介绍

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