Wayne Krantz first visited The Miraverse February 15th, 2015 after receiving the All Clear from Jimmy Herring and others. That night we recorded Wayne playing with long-time collaborator Keith Carlock on drums and Grammy-winning legend Anthony Jackson on bass. And we have the video to prove it:
It was an incredible evening, listening to a mix of older songs as well as several new selections from his just-released album Good Piranha / Bad Piranha. These new songs were an exploration of what might happen if Wayne used some well-known hooks as the kindling for his virtuoso pyrotechnics. Songs like MC Hammer’s “U Can’t Touch This” and Ice Cube’s “Check Yo Self” never sounded so progressive!
So here’s the exciting news about Wayne’s return to The Miraverse on October 19, 2016:
Guitar virtuoso and teacher Wayne Krantz and his trio are coming to the Miraverse February 15, 2015, and we are so excited! I first learned about Wayne from the AbstractLogix catalog. My love of the music created by John McLaughlin, Jeff Beck, Jimmy Herring, and others of that sort predicted I would like Wayne’s music. Not because he imitates them–he most certainly doesn’t! But because he is as boldly original as they are, bringing together an exciting mix of classic and alien, funky and beautiful, harmonic and angular. I bought the self-titled album Krantz Carlock Lefebvre and it spent weeks in the player as I listened to it over and over and over again.
When Wayne released a book (An Improviser’s OS), I found myself falling down a rabbit hole of nearly infinite complexity. And infinitely beautiful. And that’s how I learned that in addition to being a creative composer and master player, he is also a teacher.
So it is fitting, then, for him to come to the Miraverse both to play, and to teach…and you can attend his lessons and/or performances by clicking here.
Still reading? Then here’s some more motivation to come…
AbstractLogix has released NOW, the new album recorded by Alex Machacek and Gary Husband at Manifold Recording. It is an album you may well want to check out NOW!
It is always exciting to think about what might happen when two of your favorite artists decide to team up and produce a new collaboration. But it can also be a disappointment when the result sounds a bit like a tug-of-war between two visions, or a competition between the two artists. NOW not only avoids the these pitfalls, but it soars above them with rare and wonderful transcendence. Indeed, it may do for Piano and Electric Guitar what Crystal Silence did for Piano and Vibraphone.
Alex Machacek and Gary Husband spent several days with us recording a new album for their label, AbstractLogix. Gary has just finished touring the East Coast with John McLaughlin, and Alex flew in from Los Angeles. Both had been writing, practicing, and sharing notes about the music they would be recording, but this was the first time they had a chance to play it together. It was exciting to witness the music literally being realized through the process of recording!
Our recording setup anticipated Alex playing both electric and acoustic guitar. In the photo you see him practicing with Gary, so the amp is not isolated, and neither is Alex. For the recording, Alex played through a Carr Rambler amplifier isolated in Booth B, but he’s practicing with Gary through a Carr Mercury amplifier. He really enjoyed playing through both. During the recording session, Alex moved into the hexagonal room we made from gobos. When he was getting set up, I asked him “what’s your favorite color?” and when he told me “something warm, maybe orange”, I illuminated it with a really orange light. He liked the effect, and that’s how we kept it during the remainder of the session. (See below for some color out-takes.)
For the acoustic guitar, Alex auditioned two of our studio guitars: a Breedlove and an Alvarez Yari. Alex picked the Yari because its tone and action fit were a perfect fit for the tone he envisioned and for the way he plays.
Gary played our Yamaha CF-9. We set up three pairs of microphones to capture several perspectives of the piano’s sound. Over the hammers we had a pair of Schoeps CMC6 mics. Over the harp we had our DPA 3521 compact cardiod pair. Slightly higher and slightly farther away we had a pair of Coles 4038 ribbon microphones which you can see on the large boom stand. Ian then set about to get the piano to play Gary’s favorite colors, which tended to be a bit darker than our piano plays naturally. However, after some back-and-forth, we found that we could get the desired color with a touch of EQ. With that, we were ready to record.