Larry Carlton International Tour Starts This Week!

Sunday, July 1 – The Stables, Milton Keynes, UK (SOLO) Tickets >> RSVP >>
Tuesday, July 3 – Leicester Square Theatre, London, UK Tickets >> RSVP >>
Wednesday, July 4 – Gexto Jazz Festival, Gexto, Spain Tickets >> RSVP >>
Friday, July 6 – Jazz A Vienne, France Tickets >> RSVP >>
Saturday, July 7 – Liburnia Jazz Festival, Opatija, Croatia Tickets >> RSVP >>
Tuesday, July 10 – Jazz Open Stuttgart, Germany Tickets >> RSVP >>
Thursday, July 12 – Sommerbühne, Blaubeuren, Germany Tickets >> RSVP >>
Saturday, July 21 – Obihiro Otofuke Center, Japan Tickets >> RSVP >>
Monday, July 23 – Sapporo City Jazz, Japan Tickets >> RSVP >>
Tuesday, July 24 – Sapporo City Jazz, Japan Tickets >> RSVP >>
Wednesday, July 25 – Iwate Kenmin Hall, Japan Tickets >> RSVP >>
Friday, July 27 – Sendai Hall, Japan Tickets >> RSVP >>
Saturday, July 28 – Blue Note Tokyo, Japan Tickets >> RSVP >>
Sunday, July 29 – Blue Note Tokyo, Japan Tickets >> RSVP >>
Monday, July 30 – Blue Note Tokyo, Japan Tickets >> RSVP >>
Tuesday, July 31 – Blue Note Tokyo, Japan Tickets >> RSVP >>
Thursday, August 2 – Blue Note Nagoya, Japan Tickets >> RSVP >>
Friday, August 3 – Fukui Heartopia Hall, Japan Tickets >> RSVP >>
Saturday, August 4 – Toyama Shinkawa Buka Hall, Japan Tickets >> RSVP >>
Monday, August 6 – Osaka Club Quattro, Japan Tickets >> RSVP >>
Monday, September 3 – Malaysian Philharmonic, Malaysia Tickets >> RSVP >>
Wednesday, September 5 – Paragon, Bangkok, Thailand Tickets >> RSVP >>
Saturday, September 8 – BlueSquare, Seoul, South Korea Tickets >> RSVP >>
Friday, September 21 – The Hamilton, Washington, D.C. Tickets >> RSVP >>
Saturday, September 22 – Blairstown Theatre, NJ Tickets >> RSVP >>

Review of Larry Carlton’s Latest Live Show

Larry Carlton just announced a new international tour starting in July. Check out this review for an idea of what you might get out of the experience of attending one of those shows!

Source: “Larry Carlton reaffirms his spot among guitar legends” – Dallas Morning News

One thing that sets apart superb musicians like Larry Carlton from the merely good ones: Even on an off night, they’re still on.

The jazz-rock guitar legend warned fans at the Granada Theater on Friday night not too expect too much. For starters, he hadn’t touched a guitar in three weeks, and he fretted over what might happen to his fingers. “Anyone have a Band-Aid?” he joked.

He was also playing for the first time with Tim Lefebvre, who was filling in for Travis Carlton, the guitarist’s son and usual bassist. But neither the new player nor the tender digits detracted from a show that reaffirmed Carlton’s status as one the best guitarists most people never heard of — even though they’ve probably heard his work.

Like Lee Ritenour — another Fourplay alum who performed in the area recently — Carlton started out as an L.A. studio cat playing on scores of records in ’70s and ’80s, including Michael Jackson’s Off the Wall and the theme from Hill Street Blues. But he’s most revered for his work with Steely Dan: His tasty wailing on “Kid Charlemagne” inspired Rolling Stone to rank it as one of the “100 Greatest Guitar Songs of All Time.”

Sadly, Carlton skipped “Charlemagne” Friday, but he did play two other Steely Dan tunes: A superfast overhaul of “Peg,” and “Josie,” which he inexplicably introduced as “a song I hate to play.” Maybe so. But he performed it with supple gusto, bending notes and holding them until he’d arranged the perfect marriage of bebop and blues.

Carlton began the show alone, showing off a feathery touch on “Goodbye,” a ballad he dedicated to Les Paul. Staying in a mellow mood with a cover of “If You Don’t Know Me By Now,” he poured enough sweet soul into the tune you barely missed Teddy Pendergrass’ voice.

His quartet then joined him, and Carlton picked up the pace, slashing his way through jump blues and fiery fusion. Like Jeff Beck, he’s the rare guitarist who rocks hard without resorting to the clichés of hard rock.

He got subtle backing from keyboardist Dennis Hamm and drummer Gene Coye. And bass ace Lefebvre did an admirable job for his first night with the band, although he had trouble with the ’50s classic “Sleep Walk” after a fan shouted a request for it.

But the backing band was almost an afterthought in a show that was basically an extended 90-minute guitar solo. That might sound unappetizing to anyone but guitar fanatics. But in Carlton’s nimble hands, it was one really long guitar solo well worth hearing.

Larry Carlton Interview with Rockschool

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.”

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Video Interview with

The Paris Concert Live DVD Sample


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