By Ron Forbes-Roberts
"Mr. Guitar" Chet Atkins known as Lenny Breau (1941-1984) "the maximum guitarist who ever walked the face of the earth." Breau begun taking part in the tool at age seven, and went directly to grasp many kinds, specially jazz. among 1968 and 1983 he made a sequence of recordings which are one of the such a lot influential guitar albums of the century. Breau's amazing virtuosity encouraged numerous performers, yet regrettably it got here on the fee of his own relationships. regardless of Breau's attention-grabbing lifestyles tale and his musical significance, no full-length biography has been released previously. Forbes-Roberts has interviewed greater than one hundred seventy five humans and heavily analyzed Breau's recordings to bare an drastically talented guy and the internal workings of his song.
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Extra resources for One Long Tune: The Life and Music of Lenny Breau
Lenny also played lead guitar in St. ” While these gigs provided Lenny with badly needed income, the three-chord songs that he and his brother-in-law played were essentially a stale reprise of the material he’d performed in his father’s shows since his early teens. Jazz was now his passion and he wanted to spend all his time unlocking its mysteries and playing with musicians who shared his musical inclinations. The possibility of fulfilling this desire must have seemed hopelessly remote to Lenny as he and 43 44 One Long Tune: The Life and Music of Lenny Breau his brother-in-law played the latest Everly Brothers hit to a lot-full of blank car windshields while the projectionist set up Revenge of the Teen-age Werewolf for the drive-in’s restless patrons.
Travis wasn’t merely being kind; as Lenny’s playing on Boy Wonder demonstrates, he had mastered the style down to its smallest nuance and developed a touch every bit as adept as Atkins and Travis. As Hawkes got to know Lenny better through his frequent visits to Event Records, he became intrigued with the paradoxical mixture of naiveté and sophistication that Lenny’s personality comprised. “He was really very innocent in general but in some ways very mature; at fifteen years old, he was more like a twenty-five-year-old guy,” Hawkes says.
3 As Lenny began to understand the chord numbering system, and how chords are linked to create progressions, he developed his own musical vocabulary to express certain recurring chord sequences, labeling them with names that often reflected his country and western background, says Erlendson: He had to learn the musical language in order to ask the question. He’d fumble around just to get it out and slowly but surely his vocabulary got there. He invented nicknames [for musical terms]. Like a chord sequence that goes “1-3-6-2-5-1” has been used in a zillion tunes, and variations of it happen all over the place.