Which cole clark jack johnson
Trevor Green. Blue Shaddy. Nathan Kaye. Daniel Maher. Bill Barber. Julian James. Nobutaka Okubo. Tracey Barnett. Marton Bisits. Anne Cline. Pat Tierney. Mitch Herrick. Jordan McRobbie. Tomi Swick. Antonello Fiamma. Rory Phillips. Felicity Kircher. Blake Noble. Jay Howie. Tommy Stewart. Sarah Leete. Hannah Matysek. Alister Turrill. Jamie Pye. Brooke Lambert. Jessica Emily Odgers. Niamh Watson. Luke Watt. The April Maze. Ben Kelly. Allegra Neve. Laura Hill.
Among the tens of thousands of people hanging in Central Park and populating nearby sidewalks, precisely three recognize Johnson. Would it be okay if someone took my picture with you? The other two are a couple who pass us walking in the opposite direction, stop, look back at us, embrace, and then approach with substantial trepidation. I again do the honors. It makes me want to keep on doing it. It also sports a new sound in the Johnson musical lexicon: the nylon-string guitar.
Almost from the first note to the last, the nylon strings are front and center. The guitar, which Johnson, leaning back against an ancient stone bridge abutment, has now pulled out of its case and is tuning, is a gorgeous koa and cedar creation built by Pepe Romero Jr. The pull of the classical guitar world proved too strong for Pepe Jr. Johnson was home after a tour and, as is his custom, spending more time surfing than playing music.
When I get home from touring, I put the thing away. I just want to surf. He breaks out a guitar only when musician friends drop in. This guitar provided the inspiration. Johnson has granted the guitar special status. I take this as my opportunity to quiz him on the latest CD and his guitar playing. We talk a bit about the Hawaiian slack-key players and their influence on his playing.
Not the wild guitar solos, but the chords and chord progressions. Those Hendrixian sharp 7 sharp 9 chords fit both songs perfectly. But maybe they should. And maybe Hendrix fans should give Jack Johnson a listen. No extra notes, no big bar chords. We have continuously collaborated and toured since that first day jamming at the Topanga Canyon Ranch Motel and the more I watch Jack onstage, rehearse, write and jam with him, the more I see his genius.
As a singer and a guitar player Jack's biggest asset is melody. I've really come to recognize him as a genius of melody. Effortless melody. He doesn't push, he doesn't strain. At times it seems like he isn't even trying but in fact he always is and his command of guitar and his voice is profound. Most of his chords are basic bar chords. It's very simple stuff at the heart of it, but it's the way he puts it all together. Jack has a very unique approach to chordal movements and he sprinkles the movement with tasty melodic licks.
The man knows how to make hits. Every song is full of musical and vocal hooks. Jack's lyrics, as well, are so thoughtful. He is one of those artists who can write a song that makes you think about your life. You feel he may have even written it about you! I've always been impressed with Jack's unique approach to getting his acoustic guitars to sound so good on recordings and on stage.
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