What I find interesting is that he incorporates two-handed tapping into his technique, but doesn’t use it exclusively, sings over it, and the song has the possibility to be commercial. I don’t find the case with normal stunt guitar players - I call then stunt guitarists because it feels like that’s all they do. The technique gets boring to listen to, they typically don’t sing (I know Kaki King has tried a few), and the songs don’t sound like they could do well.
Ed Sheeran innovated a ton with looping as a technique. But he has proven that he is not defined exclusively by it. He is a songwriter, singer and producer who happens to have looping in his toolkit. I don’t think this guy has that level of ambition, but I think his technique and songwriting are both really interesting.
ETA: argh. I posted it then immediately realized “two handed crossover” sounds like I am saying his hands cross over as part of his technique. Nope - instead, I meant to consider whether his technique could be part of crossover success, like Ed Sheeran has used looping as part of achieving crossover success in pop.
Lol I got very excited to check it out as over the past few years I’ve switched pretty much exclusively to playing Chapman Stick, which is a two handed tapping crossover instrument. (As I’m sure you are aware, Wordman)
Mostly jazz, Latin and funk groove based stuff, although on my 10 string I’ve recently been working in a mirrored fourths tuning which allows for more classical guitar and piano oriented parts as well.
I’ve been studying with Steve Adelson mostly but also working on some intermittent sessions with Bob Culbertson as well when I’m able to get over to the bay area.
But hijack notwithstanding, I like the contest winner. Nice technique and not overly done…very little Yngwie factor.
Ed Sheeran and looping is a good comparison. Both he and Andrew Bird make great use of loopers without getting gimmicky about it. Looping done well can really extend a solo or small group performance, but it can easily become a crutch or the centerpiece of the show. It’s a part of a performance toolbox but not the only one. (Looking at you, early Keller Williams)
Yes, that was my point about the contest winner. Tasteful and not overdone.
Man those two Stick clips are amazing. The Culbertson clip is amazing, but the Adelson clip is both technically amazing AND deeply swinging musically. That guy is great.
The other monster player to check out is Greg Howard. He is based in Charlottesville, VA and has worked a lot with the guys from Dave Matthews Band family, esp. LeRoi Butler and Tim Reynolds.
I plan on doing some lessons with him as well but he works in a baritone melody tuning which I am just starting to explore.
I’m VERY jealous of you guys/gals. I picked up a banjo a few years ago and started with that. My Wife then bought me a nice Martin 6 string guitar. I’ve never played anything but first triangle in 2st grade
The reach on the banjo was giving my shoulder grief. (Probably gave my Wife a bit of grief as well, she’s not a fan)
Felt that at about 50 years old it was try to teach this old dog some new tricks. Chords are giving me grief. But otherwise I have LaBamba down and am working on Scarborough Fair.
Workin on it. Every day when I can. Once I start, I can’t stop.
Interesting stringing on Adelson’s stick…bass strings at the center, rising toward the edges. I’d never seen one before. Too much of a guitarhead, I guess.
Stick has multiple tunings but most of them are some combination of fourths in the melody and fifths in the bass. Lower notes for each are towards the center of the touchboard. The hands generally cross over so the left hand is fingering the bass side and the right on the melody side.
This tuning and arrangement looks complicated but it’s actually very poweful and liberating once you start to build independence and grok the nature of it.
It’s a pretty fascinating history and technique. Stick Enterprises has lots of information on the different tunings and the history of the Stick and Emmett Chapman’s journey to invent and refine the concept.
All Sticks are still made by hand and there is a lot of camaraderie amongst stickists. What’s really neat is just now open ended the concept is. Lots of styles and genres…from prog and math rock to classical, jazz, funk, blues. Some folk come to it from guitar, others from bass, piano or drums. Which adds to the variety of styles and approaches to playing it.
I play a 12 string Grand Stick in Matched Reciprocal tuning and a 10 string Railboard that is usually in mirrored fourths or baritone melody. Awesome instrument and super fun to play.
Oh, cool! I ran into Culbertson a couple of years ago at a Mountain View CA street fair where he was demoing Stick and selling CDs. Super nice guy, loved talking about the instrument and answering my plethora a noob questions about Sticks. He was actually playing pieces on a stick + 2 didgeridoos as passersby (+ me) gawked. Very cool.
Yeah, Bob is really nice and super talented. If you ever get to SFO, on Saturdays when the weather is nice you can often find him doing that same street gig at Pier 39 out front of the shops. Its the one with the sea lions so tons of foot traffic. Bob plays for hours with multiple sticks and the didgeridoo. Really cool.
Observation: The Tiny Desk musician is apparently mostly a street musician, now hopefully getting a break. This Stick master is a street musician - I bet he does pretty well at such a great location.
Man, what goes around comes around: musicians are journeyman, traveling bards. Same as it ever was.
My 7-year-old son heard me playing that Tinydesk clip from the next room, and he said, “That sounds like Radiohead!” He’s right! The guitar, vocals, drums, overall feel…
