Q: You have a very nuanced style; you seem to use every available technique to give your solos their expressive quality. How much of that is down to your jazz background?
“I think a lot of that comes from the jazz guys I listened to in my younger years. I think most of us, whether guitar players or other musicians, we try to emulate what has touched us emotionally as we’ve listened to other players. And the things that you’re hearing, that you’ve described as nuances in my playing, obviously I heard those some place and responded emotionally to them. So you try to emulate that and pretty soon, as your technique gets better and you gain more experience, you’re able to show your own emotion because you’ve heard those kinds of nuances [in other musicians’ playing]“.
Q: How old were you when you started studying jazz?
“I was around 14 when I became interested in jazz. I never took jazz guitar lessons. I learned the jazz stuff by listening to records and copying – and analysing. That’s the bit I like to focus on when I’m talking to students at clinics. I didn’t just learn a passage by Joe Pass. I learned it, but then I analysed it: ‘Why did he play those notes right there against that chord?’ That’s where the knowledge comes in. You can cop a lick or cop a solo, but to understand how or why it could work against those changes… that opens it up for you to play over changes yourself because you have a knowledge of it.”
Q: You have said that you think like a composer and arranger even when you are improvising. Can you describe how you came up with the solos on our tracks?
“I think it’s my basic approach. Normally I start with some kind of a motif and it’s usually simple. So then I have the opportunity to develop that motif and not just play a bunch of notes. I’m aware of the first [musical] statement, I usually emulate that first statement again and that leads me down the path of making a composition out of something rather than just playing a bunch of notes on the guitar. That’s a compositional technique that the classical composers used years ago. They always started with a motif then a reiteration of the motif, and they would play the motif backwards sometimes after they’d developed it a little further and it became a composition rather than just some piano notes.”
Q: Did you use your original ’69 Gibson ES-335 or your signature LC model on our tracks, ‘Striped Shirt’ and ‘Mind The Gaps’?
“I used my original. That’s the one I had in the studio on the days I was working on those. I take it with me on the road still. I was given a gift by a fan, maybe five years ago now. A fan contacted me at my office and said that he had a 1968 ES-335 that had been sitting in a closet at his grandmother’s or his aunt’s house. 17 years untouched. In his note he said, ‘You’re my favourite guitarist and I would like to give you this guitar as your backup if you like it.’ It was basically a virgin 1968 and it sounded and played wonderfully – so I accepted his gift! Sometimes over the last three years I’ve taken that out on the road just for a change of feel.”
Q: Can you confirm, is your original 335 a ’68 or a ’69? There seems to be some disagreement online.
“I believe it’s a ’69. Although I always thought it was a ’68, but I think I’ve learned from my [guitar] tech over the years… I don’t pay much attention to that stuff! [Laughs]”
Q: Which amp did you use to record?
“I used my Bludotone. I stopped using Dumble about three years or so ago. My Dumbles were getting very tired and Mr Dumble has some health issues. It was getting harder and harder to communicate with him as far as getting my amps to him and having him keep them up to date. So I met [Bludotone’s] Brandon Montgomery, a small, custom amp maker who knows exactly how to copy a Dumble. I gave him my Dumbles and he matched the tone, all the components… I’m very happy with my Bludotone, so that’s what I used on those tracks.”
Q: We’ve worked hard to make our exam pieces as credible as possible. Can you give us your impression of them in terms of composition and production?
“I immediately noticed how each composition encompasses many techniques as opposed to just a song with certain techniques. You have to be able to play 16th notes, you have to be able to slide, you have to be able to bend, you have to be able to change time signatures – ‘Mind The Gaps’ was straight eighth notes until the solo then it was a shuffle. All of those things will be great tools for students to work on and I think these compositions will really challenge them and open doors for them because they have to play those different kinds of styles.”
I don’t usually review CDs that are more than a few weeks old. Often they are in my hand as an advance copy, well before release date. But I am making a rare exception with this one. Larry Carlton’s interpretation of some classic Philly soul tunes.
It is one that forsome unknown reason passed me by when it came out last year, and until the PR man for the record label told me about it and sent it with Larry’s (great) new album, (also reviewed here) I knew not of its existence. I am so glad I do now. It is gorgeous.
It helps that I love most of the Philadelphia International catalogue. Part of the soundtrack to my younger years. What better way to mark their 40th anniversary than put this CD on loud in the car, with top down in the spring or summer sunshine and head to the coast, or the nearest pub garden! But I make the exception to review an album that has been out a good while, for two reasons: Larry and Carlton. OK, that’s one reason!
Larry has had 19 Grammy nominations and four wins. He has 30 albums of his own and features on over 100 Gold and Platinum records by such megastars as Steely Dan, Michael Jackson, Bobby “Blue” Bland, Quincy Jones, The Crusaders and Fourplay. He can do little wrong in the eyes of most guitarists around the globe, and music fans of jazz, blues and many other genres.
If it has his name on it, then it is rather like a company’s products being granted the right to say “By appointment to the Queen.” A guarantee of top quality. This album is pure quality. He does not mess with the original arrangements and melody too much, which is the right decision on such iconic songs, and agrees with the adage: Why fix what ain’t bust? He allows the songs to be the Guvnor, and adds magic and huge value, with his magnificent guitar licks on all 11 tracks.
Larry tackles The Spinners’ “Could It Be I’m Falling In Love” as the opener, and their hits “I’ll Be Around” and “Mighty Love.” He gives us some classics, such as The O’Jays’ “Backstabbers”, a joy here. We get Harold Melvin & The Blue Notes’ “If You Don’t Know Me By Now”, Jerry Butler’s “Bad Luck,” “Only The Strong Survive” and “Never Give You Up.” The Stylistics’ “You Make Me Feel Brand New.” Perhaps a surprise choice is, “Mama Can’t Buy You Love,” which was a US top ten hit in 1979 for Elton John from the Thom Bell Sessions EP, which featured backing vocals by The Spinners.
For me, the best track on the CD; Joe Simon’s “Drownin’ In The Sea of Love”. A cracking song anyway, but here Larry is on fire. He bends those strings and gets the same tone the late great legendary Albert King did. A truly mighty performance.
Mainly an instrumental CD, but we do have background vocalists adding to some choruses and the smoky voice of hit songwriter Bill Labounty takes the lead on “Drowning in the Sea of Love” and “Only the Strong Survive.” Mega songwriter, but a hot voice too – perfect fit here. There’s a six strong horn section and a classy five-piece rhythm section that includes, Late Show with David Letterman MD, Paul Shaffer, on organ. The charts are spot on, it is all terrific material and so the concrete foundations are all there to allow Larry to shine. Shine brightly he does.
Around 40 minutes long; apart from wishing it was a double CD, there’s nothing I can say to fault this smashing little shiny piece of plastic. How could I when it has those two magic words of warranty on it? Larry Carlton. Let’s see him visit the Stax and Atlantic back catalogues next, pretty please…
Here’s a live recording of Larry Carlton Trio playing “Sunrise” at Spirit of 66, Verviers, Belgium on July 4th, 2011 featuring Travis Carlton on bass and Gene Coye on drums. Photographs are copyright of Theo Solberg — photos taken at several live shows and a Larry Carlton master class.
Guitarists often bang on about tone. About the right amp and the right guitar. Some obsessed with tone and gear. Neither of which makes the slightest bit of difference, if you do not play with heart, with soul, with passion and with great skill. I firmly believe it’s not what you use, it is how you use it that counts. The way you spank that plank.
Well, there are guitarists and there are guitarists. In the dictionary under “unique,” it should read “See Larry Carlton.” Or maybe that should be, HEAR Larry Carlton. He really is a total one off. You don’t get 19 Grammy nominations and win four of them, for nothing.
Or get 30 albums with your name on them, and feature on over 100 Gold and Platinum records by such megastars as Steely Dan, Michael Jackson, Bobby “Blue” Bland, Quincy Jones, The Crusaders and Fourplay.
On his new CD, he is quite simply, ‘bloody marvellous.’ Some earth -shattering solos to register 10 on the Richter scale, and genius brush strokes throughout this stunning 11-track instrumental album.
Capturing his trio’s live concert in Paris at the famed New Morning, during April 2008. Crystal clear recording quality, so often not the case on live offerings. Blistering performances from Larry and his cohorts; son Travis Carlton on bass and Toss Panos on drums. Absolutely nowhere to hide for any of them as a trio. No overdubs and keyboards/strings puff and fluff required to hide mistakes or distract from when the set may go off the boil. No way.
The opener, “Friday Night Shuffle” is a blues tune, where LC is simply sensational on that big ole Gibson. But I doubt the man even broke into a sweat; treating it as a good warm up. Then we get the curiously titled “F””nnnnnnn (I had to count the seven n’s!) with a Wes Montgomery vibe on guitar, and a one and a half minute intro from just bass and guitar.
“Sunrise” is a beautifully gentle breeze of a song, a lovely melody and some sweet jazz licks. “Cold Gold” I have heard before, on his superb album with Robben Ford. A memorable riff and classic Carlton. Travis follows that riff admirably on bass, and we hear the trio at their best. The blues guitar solo is superbly restrained. A lesson in how not to overplay, and to allow the song to breath. He takes the volume down to practice amp level, and you could have heard a French pin drop in that hall. Cranking it up at 4.37 for some simply awesome blues.
I do love this album partly because he is far bluesier than on much of his stuff. I have not yet seen the man live but will do so ASAP. I was ill on his last trip over here. His manager and co-owner (with Larry) of the label this CD is on, is a good friend of mine in Nashville, and a much respected music business VIP there. A lovely guy too, and I hope to be tapping on his door in the near future to line up a chat with Mr C, for this very magazine.
One thought; if I do get to go to one of his UK concerts and meet him, I’d probably have a seizure hearing the first song even in his sound-check, if his abilities on this album are anything to go by.
It seems to me that Larry Carlton is unlikely to ever turn in a poor performance on stage or on record. I’d guess he is either damn good or %”*&*&$ brilliant. Never anything less. I hope to report back soon and confirm that.
Track six, “The Prince,” is groove-laden and uses tricky time signatures, twists and turns, and proves there was no nepotism when he chose his bass player. Travis Carlton and Toss Panos are jaw-droppingly talented, but never more so than on this one. In the pocket is not the half of it. I believe this track and a lot of this album, would have been spoiled and perhaps too busy, with more than the three of them playing on it. Toss’ fills, Travis’ funk and Larry making that geetar talk on this song – one of the best things I have heard in many moons. A seven and a half minute master class.
There’s a dirty groove on the penultimate track, “Burnable,” which I think I recall from that Carlton/Ford album I mentioned earlier. A great hook and a fine showcase for bass and drums again.
Next time I get asked to check out “the best guitarist I have ever heard,” I shall refer that person to this CD, and ask them to listen to it all the way through, THEN tell me if they still maintain they have found a great new guitarist! Somehow I doubt it.
There used to be a beer advert on TV in the UK a few years ago, with the tag line, “Reaches the parts, other beers cannot reach.” Change the word “beers” for “guitarist,” then have a good guess about whom I’d be talking about?
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335 Records is proud to announce that Larry Carlton will be touring throughout Norway January 27th through February 4rd. The guitar extraordinaire will perform many of his classics in a quartet with Travis Carlton on bass, Gene Coye on drums and Dennis Hamm on keys, along with several Master Class clinics and a special guest appearance with the Tromso Big Band.
Friday, January 27, 10:00pm - Bodo Jazz Open, Bodo
Sunday, January 29, 8:30pm – Nordlysfestivalen, Tromso
Tuesday, January 31, 9:30pm – Rockefeller Music Hall, Oslo
Wednesday, February 1, 9:00pm – Dokkhuset, Trondheim
Thursday, February 2, 8:30pm – Folken Olavskleiv, Stavanger
Friday, February 3, 10:00pm – Sardinen, Bergen
Saturday, February 4 – Trollblues, Rauma Kulturhus, Andalsnes
Friday, January 27, 1:00 PM, Hålogalandsgata 25, 8003 Bodø
Monday, January 30, University of Tromso, Tromso
Wednesday, February 1, 1:00pm – 4 Sound Trondheim, Trondheim
Wednesday, February 1, 4:00pm – Trondertun Folk High School
Friday, February 3. 5:30 PM – 4 Sound Bergen