A Fingerstyle AND Slide Guitar Workshop with Fingerstyle Wizard PETER LANG
"Nothing pretentious, streamlined, or new-agey here. Simply genius at work...." - Sing Out! Share
Thursday , October 19, 2006
- 8:00 pm
Location: Elderly Instruments
"Lang is still firmly rooted in the 60s/70s John Fahey/Leo Kottke blues/folk/Americana styling that he helped pioneer, and it's certainly refreshing to hear it being played this well by one of the old masters...." - Dirty Linen, May 2002
Speaking of Fahey, Kottke and Lang, Blues Review (Fall 2002) explains, "Lang was just a kid out of Venice, Cal. whom Fahey discovered and championed him on a couple of releases, including one featuring the two of them as well as Kottke, which became Takoma's [Fahey's record label] best selling record." In this vein, the St. Paul Pioneer Press referred to Peter Lang as "a guitarist's guitar player who rivals Leo Kottke and Peter Ostroushko."
Peter Lang has also performed or recorded with Jerry Garcia, Chet Atkins, John Hartford, Ry Cooder, The Nitty Gritty Dirt Band, Emmylou Harris, Norman Blake, John Renbourn, Maria Muldaur, Jimmy Buffett, The Paul Butterfield Blues Band, Freddie King, Robben Ford...and numerous other big talents.
"Lang falls into the American Primitive category," explains Good Times Magazine (June 2002), "with its traditional folk and blues roots. His instrumental fingerpicking style will enrapture music aficianados nostalgic for talent." A legendary pioneer of fingerstyle guitar music, Peter helped lay the foundations for a new genre of solo instrumental music, sometimes called American Primitive Guitar.
What, one might ask, is "American Primitive Guitar"? Peter explains it thus: "...The New Age people call it Folk; the Folk people call it New Age, but it is really neither. It's transitional. The style is derived from the country blues and string band music of the 20's and 30's, however much of the music is contemporary. Fahey referred to it as 'American Primitive' after the 'French Primitive' painters, meaning untutored."
Untutored music. But Peter's playing isn't untutored. "Maybe the biggest thing [John Fahey] put into me was the idea that a major part of music exists in the space between notes and chords." Nor is his teaching approach untutored.
His multi-faceted workshop includes insights into both right- and left-hand technique. Students will learn methods for muting and clarifying lead lines and will be taught a variety of right-hand picking styles. The class will explore ways in which open tunings can provide added dimension and coloring to arrangements. Composition issues, the use of dynamics, and practical applications for slide and other open tuning techniques will be investigated.
The slide component of the workshop will look into lap vs. classical, glass vs. metal, and the ways in which various tunings flavor the sound that the slide produces. Tablature will be provided for lessons in both DADF#AD and CGCGCE tunings, among others.
Peter's credits include: seven successful albums; a 1976 Grammy nomination; winner of Guitar Player Magazine's "Best New Guitarist" Readers' Poll in 1974; Minnesota Music Awards' "Best Guitarist" 1981, '82, and '88. After a lengthy hiatus as a film and broadcast animation/special effects producer, he's back in full force, better than ever.
Here's an excerpt from R. J. Pales' recent article "The Power of Expression" in Dirty Linen (#123, April/May 2006): "Lang's gift lies in expression. He projects an emotional force in his playing more similar to Beethoven or Tchiakovsky than to anything mainstream today. When he talks, it is with a wisdom about his craft that can only be attained through living and learning."
Peter Lang is also performing in a double-bill with Dakota Dave Hull at The Ten Pound Fiddle Coffeehouse on Friday, October 20.
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