A
one man orchestra of acoustic guitar wonderment, David Pritchard is
certainly no newcomer to the world of experimental guitar music. Back
when he was a teenager, in 1969 he played with jazz master Gary Burton.
Later he recorded with Inner City Records in New York. Based in California,
Pritchard has remained active in the music world all these years,
releasing several classic instrumental albums, including his acclaimed
2004 CD Velocity. Following Velocity, Pritchard released
his most adventurous CD in 2008. Entitled Vertical Eden, the
album follows Pritchards inclination for mixing all forms of
acoustic guitar musicfrom avant jazz to modern classical and
beyond. Accompanying Pritchards acoustic steel string and classical
guitars and synth work are several players including fellow guitarists
Kevin Tiernan and Ken Rosser (both on steel string acoustic)
along with Harry Scorzo (strings), Erik Kertes (electric/acoustic
bass) and Christopher Garcia (percussion). A mesmerizing foray
into the realm of what more can be done with the acoustic guitar,
Vertical Eden, sounds like Pritchard is channeling a mix of
Philip Glass and Leo Kottke. Its just that good. Much like the
attractive painting gracing the CD cover artwork, Vertical Eden
is an acoustic guitar opus that reveals more sonic details with
each successive spin. Play it once and youll want to hear it
again. www.MorphicResonanceMusic.com
MUSIC
WEB EXPRESS 3000
presents DAVID PRITCHARD
Guitars Center Stage
Guitarists making waves in the music world,
their new recordings and gear!
Musical Background
Im
basically self-taught with the exception of a couple of years of music
and composition studies at UCSB (Univ. of Calif. Santa Barbara). Also
I had some private instruction on classical guitar. I actually started
playing on a classical guitar as a kid but switched over to electric
as a teenager inspired by rock n roll, naturally. By the time
I was a senior in high school, though, I had become a pretty diehard
jazz fanatic with my tastes leaning towards what was considered avant-garde
at that time, players like Coltrane, Ornette Coleman, and Cecil Taylor
and also to the early experimenters attempting to bridge the jazz
and rock worlds, such as Miles Davis and John McLaughlin. I also enjoyed
composing which I was doing even before I learned to notate music
correctly. After twenty years or so as a jazz player and doing two
LPs as a leader for Inner City Records, I began to head in a different
direction, more classically influenced, and playing primarily on an
acoustic guitar.
New
CD
My latest
recording, Vertical Eden had more players on board than any
of my other recordings. In addition to two other guitarists who also
play in my acoustic guitar group, Ken Rosser and Kevin Tiernan, the
CD features violinist Harry Scorzo, bassist Erik Kertes, and percussionist
Christopher Garcia, As with my previous acoustic recordings, almost
all the music is poly rhythmic or at least has sections that are.
The second track, Garden of Time was the trickiest to
complete because Harry had two contrapuntal violin parts with a quarter
note pulse, but the two guitar parts are subdividing the beat into
groups of five 16th notes. Believe me, careful counting on the part
of the players was required! I recorded the album at Scott Frasers
studio in Los Angeles. Scotts an incredible engineer and musician
who also works with the Kronos Quartet. I was also very pleased to
be able to mix with Rich Breen, one of LAs top mixers. As with
some of my previous acoustic recordings, some of the tracks are just
me, either solo or overdubbed.
Favorite
Guitars
Since
Im mainly playing acoustic guitar these days, both steel-string
and nylon, these types of instruments are what Im taking the
most interest in. I just recently acquired a handmade steel string
from Northern California luthier Ken Franklin. Its one of the
finest steel strings Ive ever played and it features a beautiful
French polished Italian spruce top. I also play an old Larrivee cutaway.
I have two Spanish classicals, a spruce top Angel Benito Aguado that
I ordered from him a few years ago when I was in Madrid and also a
cedar top Joaquin Garcia. As far as electric's go, I still occasionally
play my old early seventies Les Paul Custom.
Musical
Influences
As
mentioned previously, I discovered jazz while in high school and although
I loved a traditionalist like Wes Montgomery who I had the pleasure
of seeing perform live several times, I was mainly drawn to those
who were pushing the envelope at that time, particularly those that
were breaking down those barriers between jazz and rock; obviously
Miles Davis would be at the top of the list. I also loved Gary Burtons
Quartet and had the pleasure of being a member of that group in 1969.
Other influences from that period are Larry Coryell, Gabor Szabo,
John McLaughlin, Tony Williams, Chick Corea and Weather Report. In
the eighties, I started moving in a different direction, more classically
influenced, and was a big fan of the pioneers of minimalism such as
Steve Reich, Philip Glass, and Terry Riley as well as listening to
other major twentieth century icons, particularly Stravinsky and Messiaen.
At the moment I really love some of the work of Dutch composer Louis
Andriessen. At the other end of the time spectrum, I think my writing
also reflects the influence of Baroque and Renaissance music. Some
influential albums that come to mind: Bitches Brew (Miles Davis),
Duster (Gary Burton), Now He Sings, Now He Sobs (Chick
Corea), Devotion (John McLaughlin), Twentieth Century Guitar
(Julian Bream), Drumming and Music For 18 Musicians (Steve
Reich) and De Staat (Louis Andriessen).
Web Site
www.MorphicResonanceMusic.com