Word: guitars
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...interview with Frank Beacham, Paul joked that a lot of people didn't know he played a guitar. "They think I am one," he said. He was something more: a genius of a tinkerer, with machines and music - the Edison...
...Waiting for the Sunrise He was born Lester Polsfuss (the family soon simplified the name to Polfus) in Waukesha, Wis., 18 miles west of Milwaukee. Encouraged by his mother, he learned piano, guitar and harmonica. His curiosity led him to all sorts of precocious experiments, like poking new holes in player-piano music to make new melodies, or, at 13, disconnecting a console-radio speaker and attaching a phonograph pickup. He bought his first Gibson guitar, an L-5 acoustic, which he promptly electrified. In local performances, he wired his guitar to radios stage right and left - voilà, stereo...
...Billing himself as Rhubarb Red, Paul soon had a country-music act out of Chicago. He played harmonica and guitar and, between numbers, peddled rube humor. By the early '30s he was making $1,000 a week at the country stuff, but in the bustling Chicago music scene, there was so much more to hear and play. In the morning he was hillbilly, and at night he was playing jazz with Roy Eldridge, Coleman Hawkins, Nat Cole and Art Tatum. He cut his first records in 1936, backing blues singer-pianist Georgia White as she belted out Andy Razaf...
...some flashy gigs - like a Jazz at the Philharmonic session with Nat Cole on piano and Illinois Jacquet on sax - but spent more time on electronic experimentation. He built a new guitar out of Epiphone parts and called it the Log. He used it in his recordings for the next decade. After assembling a recording studio in his garage (total cost: $415), he produced such performers as Gene Austin, the Andrews Sisters and his pal and patron Bing Crosby. His work with White, Crosby and the Andrews Sisters, as well as some Les Paul Trio sides, can be found...
...tape recorders. It helped stoke in Paul the familiar dream of a trailblazing artist: to put on wax the music in his head. What emerged, in 1948, with the two-sided hit "Lover" and "Brazil," was something he called the New Sound. It comprised several tracks of brisk, intricate guitar work meticulously laid on top of one another; if he made a mistake with the final track, he had to start over again. The New Sound, which he refined in a later home studio in Mahwah, N.J., amounted to a one-man musical revolution...