![]() ![]() The programme explained that ”Toward the Dawn charts a course from twilight to sunrise, echoing both the rhythms of church liturgy and the medieval experience of night, seductive and unsettling in equal measure. Sadly Thomas Tallis has not worked with Paul Simon. He is very prolific and has worked with Sufjan Stevens, The National, Teitur, James Blake and Paul Simon. It is very savvy of them to collaborate with him. The only modern composition was Gentle Sleep by the American composer Nico Muhly, a setting of words by Shakespeare, written especially for Stile Antico. On Sunday Stile Antico sang Toward the Dawn: a programme of compositions by Renaissance composers such as Talllis, Taverner, Allegri, Monteverdi, Byrd and Allegri. The moshpit is slightly less energetic than Roskilde but the music is stupendous. He also has converted me to a regular attender at the Stockholm Early Music which takes place every May. I’m sure it was my pal DuCool who first mentioned Stile Antico to me. Completely a capella: their performances are a testament to the beauty of the human voice.Ĭredit where credit is due. Twelve classical singers in mufti, looking very relaxed in their everyday clothes rather than the more sombre togs they wear for concerts, gathered around Bob Boilen’s desk, creating music that transfixes and transports this listener to another dimension. That Tiny Desk session was such a revelation: an unexpected sight and sound. NPR’s Tiny Desk sessions have opened to my ears to all manner of excellent artists and not least of these is Stile Antico, the magnificent, London-based, Early Music ensemble who played their first ever concert in Sweden here in Stockholm on Sunday afternoon. Tambourine Man’ and ‘Turn! Turn! Turn!’, both of which saw McGuinn explore new territories with his 12-string Rickenbacker.You can’t wait too long for something good. ![]() The results would be instantly iconic, spread across hits like ‘Mr. “By combining a flat pick with metal finger picks on my middle and ring fingers, I discovered I could instantly switch from fast single-note runs to banjo rolls and get the best of both worlds.” “I also translated some of my banjo-picking techniques to the 12-string,” McGuinn concluded. A potent amount of bluegrass also helped define The Byrds’ sound. ![]() There was more than just jazz and blues involved in McGuinn’s style. ![]() But the Rick’s slim neck and low action let me explore jazz and blues scales up and down the fretboard and incorporate more hammer-ons and pull-offs into my solos. In those days, acoustic 12s had wide necks and thick strings that were spaced pretty far apart, so they were hard to play. “I practised eight hours a day on that ‘Ric,'” McGuinn adds. Without compression, I couldn’t have sustained the riff’s first note.”īesides utilising technology, there was another secret to McGuinn’s mastery of the instrument: seemingly endless practice. Later, this led me to emulate John Coltrane’s saxophone on ‘Eight Miles High’. With compression, I found I could hold a note for three or four seconds and sound more like a wind instrument. It’s really squashed down, but it jumps out from the radio. That’s how I got my ‘jingle-jangle’ tone. “He compressed the heck out of my 12-string, and it sounded so great we decided to use two tube compressors (likely Teletronix LA-2As) in series and then go directly into the board. “The engineer, Ray Gerhardt, would run compressors on everything to protect his precious equipment from loud rock and roll,” McGuinn said. “But if you add a compressor, you get that long sustain. But with some studio trickery, McGuinn stumbled onto his signature sound. But McGuinn had some difficulty getting the guitar to sound good, at least at first. ![]()
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