{"id":1526,"date":"2014-01-19T19:09:23","date_gmt":"2014-01-20T00:09:23","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/?p=1526"},"modified":"2019-09-12T16:03:00","modified_gmt":"2019-09-12T20:03:00","slug":"a-weekend-alt-guitar-fest-photos","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2014\/01\/a-weekend-alt-guitar-fest-photos.html","title":{"rendered":"A weekend alt-guitar fest (photos)"},"content":{"rendered":"
\"\"<\/a>

Joel Harrison, guitarist\/composer\/New York Guitar Festival producer<\/p><\/div>\n

The New York Guitar Festival this past weekend (Jan 17-19) featured master classes and three nights of “alternative guitar summits” curated by composer-guitarist Joel Harrison at the performance space Subculture.<\/p>\n

Photos by S\u00c3\u00a1nta Istv\u00c3\u00a1n Csaba<\/strong> from Friday night’s 30-minute sets by four trios, show the young men (all men) in the throes of plectralism and drumming — and the audience digging it.<\/p>\n

\"GuitarNight04\"<\/a>

Will Bernard and the Pleasure Drones<\/p><\/div>\n

Introducing Will Bernard and the Pleasure Drones, playing rockin’ surf jazz — familiar bluesy chords sequenced for suspense and dramatic resolution. Coulda danced to this.<\/p>\n

\"GuitarNight01\"<\/a>

from left: Miles Okazaki, Sergio Krakowski, Dan Weiss, James Hurt<\/p><\/div>\n

\"GuitarNight03\"<\/a>

Okazaki and Krakowski<\/p><\/div>\n

Miles Okazaki said it was all about rhythm<\/p>\n

so he worked with three percussionists,\u00c2\u00a0plucking lines and impressive counterpoint\u00c2\u00a0mostly in his instrument’s lower register, reminiscent of gimbri (lute) music played by the Gnawan musicians of Morocco.<\/p>\n

\"GuitarNight08\"<\/a>

David Gilmore and Gene Lake<\/p><\/div>\n

Guitarist David Gilmore, paced by drummer Gene Lake and upright bassist Brad Jones . . .<\/p>\n

\"GuitarNight09\"<\/a>

from left: Gene Lake, David Gilmore, Brad Jones<\/p><\/div>\n

\"GuitarNight07\"<\/a>

Liberty Ellman with drummer Gerald Cleaver and bassist Matt Brewer<\/p><\/div>\n

Liberty Ellman may have had the most typically “jazz” tone, the most irregular phrasing and farthest venturing harmonies.<\/p>\n

\"GuitarNight05\"<\/a>

Crowd at Subculture, Jan 17 2014<\/p><\/div>\n

The listeners expressed themselves, too.<\/p>\n

howardmandel.com<\/a>
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The New York Guitar Festival this past weekend (Jan 17-19) featured master classes and three nights of “alternative guitar summits” curated by composer-guitarist Joel Harrison at the performance space Subculture. Photos by S\u00c3\u00a1nta Istv\u00c3\u00a1n Csaba from Friday night’s 30-minute sets by four trios, show the young men (all men) in the throes of plectralism and […]<\/p>\n","protected":false},"author":2,"featured_media":1535,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[3],"tags":[],"class_list":["post-1526","post","type-post","status-publish","format-standard","has-post-thumbnail","category-main","entry"],"jetpack_shortlink":"https:\/\/wp.me\/p1i3CL-oC","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/01\/GuitarNight04.jpg","_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/1526","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/comments?post=1526"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/1526\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media\/1535"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media?parent=1526"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/categories?post=1526"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/tags?post=1526"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}