Bob Burt
About
Inspiration
Gallery
Shop
Production
Pricing
Distributors
Links
Contact
Coco Montoya
Josh Smith
David Torn
Allen Hinds
Jack Pearson
Tomo Fujita
Haven Hill
Arlon Prince
Roger Fortner
Tone Quest
Eminence
Ted Weber
Paul Ruby
Matchless
Fuchs Audio
The Gear Page
StudioSlips
Coco Montoya
Coco Montoya is a living legend. With a career that spans 40 years he cannot be denied his rightful place in blues history. He is currently touring the US & World sharing his gifts with all who come to see and hear. Coco utilizes a pair of my custom 2 x 12 speaker cabinets as well as a pair of 2 x 10 cabinets designed specially for him. He is a great guy and a great musician. Now, read more about him and how he got his start. Coco Montoya was born in Santa Monica, California in 1951 and raised by working class parents. Growing up, Coco immersed himself in his parents record collection. He listened to big band jazz, salsa, doo-wop and rock n roll. With an immense love of music, the youngster enjoyed picking out notes on the guitar, but he was drawn to the drums. After studying and practicing constantly, he joined a series of local rock bands. In 1969, Montoya saw Albert King opening up a Creedence Clearwater Revival/Iron Butterfly concert and was transformed. After Albert got done playing, says Montoya, my life was changed. When he played, the music went right into my soul. It grabbed me so emotionally that I had tears welling up in my eyes. Nothing had ever affected me to this level. He showed me what music and guitar playing were all about. I knew that was what I wanted to do.By the mid-1970s, Montoya was playing drums in several local rock bands, one of which played a small Culver City, California bar on weekends. One Sunday, Albert Collins was booked to play a matinee there and the club owner gave Collins permission to use Montoyas drums. Montoya continues the story: I show up to pick up my equipment and I see that someone had been playing my drums and I got a little angry with the club owner. So Albert called me up at the club and was real nice and apologetic. I went down to see his show and it really just tore my head off. The thing that I had seen and felt with Albert King came pouring back on me when I saw Albert Collins.A few months later, Collins desperately needed a drummer for a tour of the Northwest and he called Coco. When he called, recalls Coco, I figured wed rehearse for a few weeks before the tour. Instead, he told me hed pick me up in three hours. During the tour, Albert took Montoya under his wing, teaching him about blues music and life on the road. After the tour ended, Montoya remained in Collins band for five more years. It was during this time that Coco began doubling on guitar. And Collins went out of his way to teach him. Wed sit in hotel rooms for hours and play guitar, remembers Montoya. Hed play that beautiful rhythm of his and just have me play along. He was always saying, Dont think about it, just feel it. He taught me to tap into an inner strength. What a great gift he gave me. As Montoyas guitar playing improved, his relationship with Collins kept growing. He was like a father to me, says Coco, who often crashed at Collins house. When Collins declared Montoya his son, it was the highest praise and affection he could offer. In return, Montoya learned everything he could from the legendary Master of the Telecaster. As a tribute to his mentor, Montoya has cut a Collins song on every solo album hes made.As disco began to take over and gigs began to dry up, Montoya left Collins band, but the two stayed very close friends. Montoya worked as a bartender, figuring his career as a musician was over. But luck was still on his side. He kept playing guitar (I had plenty of time on my hands, Montoya recalls) and eventually others took note of his prowess. One night in the early 1980s, Montoya was jamming in a Los Angeles bar when John Mayall walked in. As a quick tribute, Montoya launched into All Your Love I Miss Loving. Impressed, Mayall left the club with a soundboard tape. When Mayall needed a guitarist for the newly reformed Bluesbreakers, he called Coco Montoya. Filling the shoes of previous Bluesbreaker guitarists Eric Clapton, Peter Green and Mick Taylor would not be easy, but Montoya knew he could not pass up the opportunity to play with another blues legend. He joined the band, determined to become an even greater guitarist. For the next 10 years he toured the world and recorded with Mayall, soaking up everything he could. Along with fellow Bluesbreaker guitarist Walter Trout, Montoya was a featured member of the band, and often opened shows with his own blistering blues. And like the great guitarists who came before him in the Bluesbreakers, Montoyas emergence as a scalding hot player with chops to burn suggested big things to come.By the early 1990s, Montoya was at another crossroads. He had been with the Bluesbreakers for 10 years and felt ready for a change. His friend Albert Collins told Coco to move on and do his own thing. Montoya talked to Mayall, who understood the time was right. Both Albert and John pushed me out of the nest nice and easy, says Coco. Although he was nervous about the move, Montoya put a band together and hit the road, proving himself night after night. His debut as a leader, 1995s Gotta Mind To Travel (originally on Silvertone Records in England and later issued in the USA on Blind Pig Records), became an instant favorite with blues fans, radio programmers and critics. The album introduced Montoya as a bandleader who immediately ranked among the best players on the contemporary blues scene. In 1996, he was nominated for four Blues Music Awards and walked away with the award for Best New Blues Artist.Montoyas follow-up, 1996s Ya Think Id Know Better (Blind Pig), showcased a powerful blues rocker with vocal skills matched only by his ferocious guitar playing. 1997s Just Let Go (Blind Pig) continued to highlight Montoyas steely guitar licks and intense vocals, earning him legions of new fans everywhere he played. In 2000, Cocos Alligator debut, Suspicion, quickly became the best-selling album of his career. Powerhouse blues, exclaimed Guitar Player, searing tone, emotional soloing, and energetic, unforced vocals stunning. With regular radio airplay on over 120 stations nationwide, Montoyas fan base exploded.2002s massively popular Cant Look Back raised the bar even higher. GuitarOne said Montoya has a master touch and a killer tone. The Memphis Commercial Appeal called the CD a party-packed set of blues guitar licks, rock hooks and soulful singing. With radio support equally strong, Montoyas touring kept his visibility high all across the country as he packed one concert after another, always leaving fans screaming for more.Montoya released "Dirty Deal" in 2007. Along with his road-tested, red-hot touring band, Coco once again uses blues as a blasting off point for his emotional, soulful music. With his icy-hot guitar playing and his passionate, unaffected vocals, he attacks each of the 11 songs with deep feeling and ferocious energy. Montoyas friends, Little Feat members Paul Barerre, Kenny Gradney, Richie Hayward and Bill Payne, add their unique talents to the mix as well. Produced by Barrere and engineer Roger Cole, every song burns from start to finish. Montoya brings all the unbridled force of his acclaimed live shows into the studio for a foot-stomping, guitar-fueled ride. Dirty Deal is Montoyas rawest, most stripped-down and impassioned recording to date. "The Essential Coco Montoya" released October 20, 2009. This compilation album is a collection of many of Coco's best songs and serves as a great album to hear what he is all about. "I Want it All Back", Coco's 7th solo album, was released March 23rd, 2010. The disc was produced by Keb' Mo' and Jeff Paris, who also play on the entire album: Keb' on rhythm guitar and Jeff on keyboards. Averaging over 150 tour dates a year, Montoya continues to pack clubs and theaters around the world. He has played major festivals, including the New Orleans Jazz & Heritage Festival, The Chicago Blues Festival, The San Francisco Blues Festival and Canadas International Jazz Festival. Its no coincidence that publications from The Philadelphia Daily News to Blues Revue to Living Blues to The Village Voice all rank Coco among the best guitarists and singers on the blues scene. Montoya is at the forefront of the contemporary blues world, declared Guitar World. He is one of the truly gifted blues artists of his generation, said Living Blues. With I Want it All Back and continued non-stop touring, Coco Montoya continues to share his gift with his legion of admirers all over the world.
Coco Montoya "Good Days" Video Las Vegas InVegasTheTalkShow
Coco Montoya Bob Burt Cabinet
Josh Smith
Josh Smith is one of the finest guitar players I have ever heard. He is a great guy and is a very active sideman in the LA music scene. His tone, taste, phrasing and technique are absolutely killer. Josh utilizes one of my vertical 2 x 12" antique pine speaker cabinets as well as a matched pair of 1 x 12" antique pine speaker cabinets.Josh Smith was born October 7, 1979 in Middletown, Connecticut. Before he was 1, his family relocated to Florida, eventually settling in Pembroke Pines, a suburb of Fort Lauderdale. At age 3, he received his first guitar and at 6, he started taking guitar lessons.Josh was exposed to the blues at an early age. He listened to a variety of artists, such as Muddy Waters, B.B. King, Albert King and T-Bone Walker. He also started going to concerts, including the Allman Brothers, Rolling Stones and Bruce Springsteen.By 12, Josh was playing at established professional blues jams in South Florida, such as Musicians Exchange Café in Fort Lauderdale and Club M in Hollywood, FL.When Josh was 13, the Rhino Cats, house band at Club M, asked him to be the lead guitarist. Musicians Exchange owner Don Cohen was so taken aback by the talent of this young musician that he offered to help manage and develop Josh’s career.The Café was renowned for bringing in the best national touring blues bands, and Josh was quick to learn how to approach these blues greats, many of whom would invite Josh to sit in with them, thinking it may be a “novelty” to have a 14-year-old kid playing the blues. The novelty quickly wore off and was replaced by musicians stopping, watching and listening as this “kid” wailed out blues licks better than many of the touring guitarists on the circuit. Josh began sitting in with such greats as Jimmy Thackery, Tinsley Ellis, Kenny Neal, Lucky Peterson, Matt “Guitar” Murphy, Johnny “Clyde” Copeland, Double Trouble, Joanna Connor and Kim Simmonds, among others. Jimmy Thackery said of the 14-year-old, “Josh is three heartbreaks away from being a true blues guitar genius.” At 14, Josh released his first CD, Born Under a Blue Sign, and at 15, he released his second CD, Woodsheddin.While performing all over South Florida, Josh Smith and the Rhino Cats quickly became one of the most in-demand blues bands in the area. In 1994, while Josh was only 15, they received the Florida Jammy Award for best blues band and were selected as XS Readers Choice Winners in 1995 for best blues band. In 1996, then a senior in high school, Josh was put on the cover of the national magazine High School Senior, which hailed him as an “Up and Coming Guitar Legend.” That same year, Washburn Guitars Int’l recognized Josh’s talent and offered him an endorsement. They flew Josh to Chicago and guitar luthier Grover Jackson built him a custom guitar.Although Josh was an honor student, after graduation from high school in June 1997, Josh followed his heart and began pursuing what he was best at. His first national tour ensued with his newly formed power trio, Josh Smith and the Frost. Josh was now the band leader and vocalist, so he not only had to continue developing his guitar chops, but had to concentrate on his vocal prowess. In September 1997, Josh enlisted world-renowned producer Jim Gaines, whose credits include Santana, Stevie Ray Vaughn, Luther Allison, Steve Miller and Jimmy Thackery, to produce his third CD, Too Damn Cold.By 1998, Josh had completed four national tours with his band. In January 1998, Billboard Magazine took note of the rising young talent in a Continental Drift article. In February 1998, Josh was asked to support B.B. King on a number of theatre dates. In March 1998, the TV show Chicago Hope purchased the rights to the tune “32 degrees” from Too Damn Cold. An international CD release, The Mentos Freshmaker Tour, included the title cut, “Too Damn Cold,” in the spring of 1998.Josh toured nationally all of 1999 and in October of that year, he entered the recording studio again with Jim Gaines and produced Woman, his fourth CD. This CD was released and well received in the spring of 2000. Josh continued to tour the East Coast from New York to Florida through 2001 with his band. In June 2002, he married and he and his wife decided to move to Los Angeles. Josh was ready for something new and wanted to be around a variety of musicians. He also began being a sideman.Within a year of moving to L.A., he was retained by Virgin recording artist Ricky Fante. He played nationally and internationally with Ricky for the next two years.In May 2006, Josh recorded his fifth CD, Deep Roots. A more traditional blues CD, his music was once again well received by Blueswax and Blues Revue magazine. Josh continued to play with a variety of artists, such as actress Taryn Manning, Universal hip-hop artist Benny Cassette and Tara Ellis, to name a few. In January 2007, Josh was hired by 2006 American Idol winner Taylor Hicks to be his lead guitarist. They completed two national tours from February-September 2007 with monthly dates and charity events until June 2008 when Taylor started Grease! on Broadway. In July 2008, Josh was hired by Raphael Saadiq to help promote his forthcoming CD, The Way I See It, set to be released on September 16 with a national and international tour to follow.Josh continues to live in the Los Angeles area with his wife and two children.
Josh Smith - "OnlyYou"
Josh Smith Bob Burt Cabinets
David Torn
David Torn is Grammy award winning guitarist, texturalist, composer and producer known worldwide. His biography-history is vast and cannot be done justice in this small space.Take a moment and visit his website to have a taste of his interesting brew. Simply an amazing artist and a very nice man. David has one of my antique pine V Front cabinets loaded with Celestion Blues.David Torn (born 26 May 1953) is an American composer and guitarist. He is known for the organic blending/manipulation of electronic and acoustic instruments and performance techniques that have an atmospheric or textural quality and effect, along with a particular harmonic richness. He is particularly well known among guitarists for his use and technological influence upon the development of looping effects. Torn studied with Leonard Bernstein (within the "Music for Young Composers" series), as well as with guitarists John Abercrombie, Pat Martino, Paul Weiss and Arthur Basile.David Torn is married to a Brecht, is the son of L.J. and R. Torn, the father of both Elijah B Torn and Cody Torn, the brother of M. Torn, and he is a cousin of Rip Torn, Angelica Torn, Geraldine Page, Sissy Spacek and Ina Garten, AKA The Barefoot Contessa.Torn was born in Amityville, New York, and began his career with the Ithaca-based jam band Zobo Funn Band in the 1970s, and rose to prominence as a member of The Everyman Band and Jan Garbarek's quartet in the mid-1980s. He has recorded six albums as a leader for the ECM, Windham Hill, CMP, and 75 Ark record labels. He has also recorded a series of CD-ROMs with looping and other ambient music and "integrated noise" materials that can be used as samples by other artists. Torn has contributed to recordings by artists including David Bowie, kd lang, John Legend, Tori Amos, Bill Bruford, Tony Levin, Mick Karn, David Sylvian, Chocolate Genius, Michael Shrieve, Steve Roach, Patrick O'Hearn, Andy Rinehart, Matt Chamberlain, Meshell Ndegeocello and Don Cherry.In 1992 he was diagnosed with an acoustic neuroma; in his case, a life-threatening form of brain tumor. The surgery that followed left him deaf in the right ear, but didn't rob him of the ability to compose, record and play. Torn even mixes many widely available recordings himself, although according to him this requires sitting sideways to the studio speakers and "visualising the stereo aspects of sound" in his head rather than experimenting with them by ear. He has, in fact, produced a Grammy-winning recording for Jeff Beck, as well as many recordings for Tim Berne, Drew Gress, Dave Douglas (another Grammy nominee), Douglas September as well as many others.Torn's contributions have been featured in a number of films, including Velvet Goldmine, Adaptation, The Big Lebowski, The Departed, Fur, The Hoax, Kalifornia, Traffic, Reversal of Fortune, Tibet, Three Kings, Everything Must Go, and so on. In 2006, Torn's film-score for Believe in Me won the Best Score-award at the Jackson Hole Film Festival; in 2005, he composed an evocative score to Friday Night Lights, and in 2003, his score for the film The Order was nominated for a Grammy Award.He works out of his personal studios, known as Cell Labs; occasionally, he uses the pseudonym "splattercell".Torn's latest effort is a 2010 EP released under the name Chute. It's a five-track electronica collaboration with singer Donna Lewis. Currently, it is available exclusively on iTunes.
David Torn Bob Burt Cabinet
Allen Hinds
Allen Hinds is one of the finest guitar players I have ever heard. He has performed and/or recorded with jazz and R&B luminaries. He is on staff at the Musicians Institute in Los Angeles and is in high demand as a studio musician. Do your self a favor and get hip to his music. Allen has a pair of my antique pine cabinets that he uses regularly when performing live.A native of Auburn, Alabama, Allen was exposed to blues and R&B at an early age. Moving into jazz and fusion in his teens, he attended Berklee College of Music and shortly after, moved to Los Angeles to attend Musician’s Institute.Allen has a touch that most guitarists would kill for. Utilizing influences ranging from Wayne Shorter to the Beatles, his style is exciting and eclectic.He has performed and/or recorded with jazz and R&B luminaries including Patti Austin, Maya, Roberta Flack, BeBe and CeCe Winan, Randy Crawford, Amy Grant, The Crusaders, Bobby Caldwell, James Ingram, Marilyn Scott, Eric Marienthal, Boney James, Marc Antoine, Gino Vannelli and many, many others.On staff at “Musician’s Institute”, Allen offers a musical blend of jazz, blues, and rock with a “grassroots” style. Although one might hear guitar influences like Ry Cooder to Pat Metheny, Robben Ford to Alan Holdsworth, Allen has his own “twist” on it all.Being an active studio musician as well as live performer, he has written songs for Larry Carlton, Patti Austin, Jeff Kashiwa as well as the long running T.V. show on C.B.S. “JAG”. His contributions were also heard on the “EFX” network.Allen has been recently writing for several cable tv shows including, “Pawn stars” one big happy family, and “build it bigger” and has just finished his third C.D. “Falling Up” featuring Jimmy Johnson, Jeff Babko, Dave Hooper, Melvin Davis and others… He is currently working on a new CD.Using a variety of guitars and amps, his main gear is an Xotic electric (Prosoundcommunications.com) a ‘59 “historic” Gibson Les Paul , a 1961 Gibson Les Paul Jr equipped with two Tom Holmes pickups (mostly used for slide), a “67 Telecaster, a “61 Les Paul Special and an Ibanez AM-255 a 1932 Dobro. Amplifiers of preference have lately been vintage blackface Fender Deluxe Reverbs,Roy Blankenship amps , Brad Jackson and Bogner amps …….and lot’s of pedals!Allen’s endorsements include Ernie Ball, Brian Moore guitars, Line 6, Bogner, Bugera, B-Band, Xotic pedals, Xotic effects, and Curt Mangan strings
Allen Hinds at The Baked Potato 8/18/09
Allen Hines Bob Burt Cabinets
Jack Pearson
Jack Pearson is one of the best guitar players in the world and a very nice guy to boot. He has played with some of the most well known people in the business. A master of slide guitar, Jack has chops that have to be heard to be believed. Do yourself a favor and check him out if you are not familiar with his music. You will be blessed. Jack has one of my 1 x 12" antique pine cabinets.Guitarist, singer, songwriter, producer, session-musician…this only begins to describe Jack Pearson. Although he may be best known as an A-list blues/rock lead and slide guitarist, Jack is also a soulful, creative songwriter and artist in his own right.As a songwriter and solo artist, his songs are moving and honest while his grooves make it hard to sit still for very long. Jack’s lyrics often reflect hope and redemption, reminding the listener never to give up no matter how heavy their burdens. His lyrical and musical hooks have also led to cuts by other artists.Adept at many musical genres and instruments, he possesses the ability to take each to a higher level. His playing is sophisticated while full of intensity and passion, leaving audiences cheering and musicians smiling - shaking their heads in disbelief at his seemingly effortless skill and talent. Blues Revue calls him a “world-class guitarist” and Rolling Stone brags on his “light touch and fluid, jazzy style…dynamic slide playing”.Jack has been influenced by many styles of music and his knowledge of the history of each allows him to deliver a “true to the tradition” performance. During his 30+ year career he has mastered a wide range of instruments including electric, slide, acoustic and resonator guitar, mandolin, old time banjo and Hammond organ, which he incorporates into many musical styles such as blues & roots music; jazz & bebop; pop & rock; and bluegrass & country. His versatility and musicianship keep his live shows and recordings fresh and exciting. “Anyone who’s caught Pearson live knows he can flat burn,” says Music Row Magazine. “His tone and prowess are flawless…he picks with a playful inventiveness that I haven’t heard since Duane Allman...” Vibes Magazine He has worked either live or in the studio with a diverse group of artists and musicians including The Allman Brothers Band (member from 1997-1999), Gregg Allman, Vince Gill, Rodney Atkins, Delbert McClinton, Jimmy Buffett, Earl Scruggs, Chris LeDoux, Bobby “Blue” Bland, Mac McAnally, Amy Grant, Groove Holmes, Faith Hill, Lee Ann Womack, Ronnie Milsap, T. Graham Brown, Jimmy Hall, Gov’t Mule, Buddy DeFranco, Shelby Lynne, Jimmy Raney, Jim Horn, Bonnie Bramlett, Mundell Lowe, The Jordanaires, Lee Roy Parnell, Billy Montana, Kirk Whalum, Jimmy Nalls, Chuck Leavell and the list goes on and on.Jack’s story…Born in Nashville, Tennessee, Jack learned his first guitar chords from his oldest brother, Stanley, around the age of 12. After learning a few songs, Stanley gave him a chart of the fretboard and told him to memorize it. It helped Jack to see and understand how the notes went together. One day Stanley handed Jack a slide and said, “Here boy, put this on your finger and play.” Stanley couldn’t play slide but he knew it was important for Jack to learn.Jack has said Stanley was a good teacher with a lot of patience. He would pull out his records, which included players like Chuck Berry, Carl Perkins, Scotty Moore, Jimmy Reed, John Lee Hooker, Lightin’ Hopkins and The Ventures and have Jack learn certain songs. When Jack would hear something he liked, he would sit for hours playing it over and over trying to learn each note and which strings the notes were played on so he could duplicate the tone and feeling.Others from Jack’s eclectic list of early influences include Duane Allman, Dickey Betts, B.B. King, Wes Montgomery, Toy Caldwell, Billy Gibbons, and Roy Clark; he appreciated any player with an inspiring craft. One Christmas he was given a record that changed everything, The Allman Brothers Band’s “Live At Fillmore East”, and told to learn every note. Although he had heard the record before, he now had his own copy so he learned every guitar lick and every bass line, which came in handy when he was called to play guitar in the band years later.Jack continued to learn and practice incessantly. With fingers bleeding, he was consumed by his love of music and felt he had no choice; it was his calling. Jack has said, “I’ve always felt like the Lord must have made me to play music.” and he doesn’t take this gift for granted. Even now, he knows it’s his responsibility to practice daily and to continue to grow and improve.Early on Jack was involved with several bands at the same time (a recurring theme to this day), with family members, with school friends, and with older musicians; playing in clubs before he was old enough to drive, requiring a ride to and from rehearsals and for gigs. At 16, he had his first studio session.He had been told about a local band called Renegade, which included a slide guitar player, uncommon in the area at the time. After an early gig, he went to hear them play; he talked to them a bit and since he had his equipment in the car he was asked to sit in…he ended up playing the rest of the night. The next day that slide player, Lee Roy Parnell, asked him to join the band. In an interview with Hittin’ The Note Magazine Lee Roy said, “…I wanted him in the band real bad. Jack was just so good and so right, and I felt the vibe right away. The other guys were saying, ‘we don’t really need another guitarist’ but I simply told them ‘Let me put it to you like this - if Jack don’t go, I don’t go.’” So, in the fall of 1977, at the age of 17, Jack left with Renegade for a two-week gig in Florida, which turned into almost a year on the road. Although Renegade later disbanded, Jack and Lee Roy moved to Austin, Texas in 1979 and started The Lee Roy Parnell Band; opening for such acts as Taj Mahal, Joe Ely and Jerry Jeff Walker. While in Austin, Jack often sat in with W.C. Clark; met keyboardist Reese Wynans (with whom he still plays); and had the privilege of jamming with Stevie Ray Vaughan and Bonnie Raitt. However, it was still hard to make a living (Jack recalls that buying both a hamburger and guitar strings was a luxury) so he decided to head back to Tennessee and in 1980 he put everything he owned (guitar, amp, one suitcase & a ten-speed bike) on a Greyhound bus for the two day, sleepless trip home.After returning to Tennessee, Jack began playing more acoustic blues and singing, landing a gig as opening act for Leon Redbone at a local show. His acoustic blues style developed from influences such as Blind Willie Johnson, Rev. Gary Davis and Brownie McGhee. He also spent time living in Muscle Shoals and Miami making new friends and playing whenever/wherever he could.He returned to Tennessee again in 1983 and began to study more jazz, performing with Jimmy Raney in 1986, with Buddy DeFranco in 1987 and with Groove Holmes in 1988. Influenced by Wes Montgomery, Django Reinhardt, Charlie Christian, Joe Pass, Grant Green, Kenny Burrell – and not just guitarists but any musician that spoke with their instrument – Oscar Peterson, Johnny Griffin, Charlie Parker, Dizzy Gilliespie, Art Tatum, Wynton Kelly, Chet Baker, Clarke Terry; Jack’s unique and versatile talent shone in his jazz performances.Jack first performed with his long time friend and collaborator William Howse in 1978. William, a blues harmonica master, established a playing style in the tradition of John Lee Williamson, Big Walter and Deford Bailey and his vocals are reminiscent of Muddy Waters; he is one of the few true bluesmen around. Together they have written many inspiring songs, some recorded by other artists - Gregg Allman, Johnny Jenkins, Jimmy Hall - and have added their skills to other’s recordings and live shows. They performed both as a duo and from the late 1980’s through 2002, anchored the popular local blues band, The Nationals. The combination of their exceptional talent as individual musicians and their songwriting skills made for a captivating show every time.As The Nationals, they performed both original and cover compositions; often trading and echoing licks, creating some exciting wars between guitar and harmonica at live shows. They made one recording as a band in 1990 and opened for The Neville Brothers featuring Aaron Neville, Bo Diddley and Johnny Taylor to name a few.As a duo Jack and William perform acoustic, country blues, delta blues that recall an earlier, more rural style, merging tradition with personal experience that reaches the listener and touches the soul. They were part of the bill at The Ryman Auditorium with The Fairfield Four and The Nashville Bluegrass Band and have opened for Doc Watson, Honey Boy Edwards, Yank Rachell and Johnny Shines. William gave a special performance at the dedication ceremony of the Tennessee Historical Marker commemorating harmonica great Deford Bailey. As a duo they performed at the dedication ceremony of the Tennessee Historical Marker commemorating blues harmonica legend, John Lee “Sonny Boy” Williamson. Give them two chairs, a resonator guitar and a belt of harmonicas and the result is an authentic acoustic delta blues duo. The proof is in their recording simply titled “William Howse & Jack Pearson”, which is a collection of their original compositions.In 1989 Jack began working with Delbert McClinton and in 1990 he started performing with Jimmy Hall, from Wet Willie fame. In addition to his guitar licks, Jack contributed several co-written songs to Jimmy’s 1996 recording “Rendezvous With The Blues”, a must have for your collection.In 1993 Jack received a phone call from friend Warren Haynes, a member of The Allman Brothers Band (ABB), who asked Jack to sub for Dickey Betts during a tour. ABB was Jack’s favorite band when he was young and now it would pay off that he had learned both Duane’s and Dickey’s parts from all of their recordings because there was no time to rehearse. Jack flew to Dallas, Texas where he and Warren met in a hotel room to work out the harmonies and the next night he hit the stage with The Allman Brothers Band before a crowd of 20,000.After his stint on the tour, Gregg Allman asked Jack to join his solo band so he became part of the Gregg Allman & Friends tours. When his time filling in for Dickey came to an end, Jack thought, “I wish I could play with Dickey someday.” and that came true - sitting in and jamming at various times with ABB. Then in 1997 after Warren Haynes left the band, Jack received a call from Gregg asking if he wanted to become a member of The Allman Brothers Band. He said “yes”. Jack traveled to Dickey’s home to do a little pickin’ and get to know each other better. After playing a few songs Dickey got up and left the room. When he returned, he presented Jack with one of Duane’s slides; a special honor. Jack was asked to later play Duane’s dobro (used by Duane on “Little Martha”) and the performance prompted Dickey to play a little hambone. In an interview for Guitar World Gregg Allman said, “After he played with [Jack], Dickey said, ‘Either we hire him or I ask him for lessons.’”Jack remained a member of ABB from 1997-1999 at which time he made the difficult decision to leave the band because of severe tinnitus (ringing in the ears). He had tried many custom ear plugs but nothing helped at that stage volume. Derek Trucks joined the band replacing Jack and later Dickey departed but eventually Warren Haynes rejoined the group. However, Jack has still received the call to sub when needed including filling in for both Warren and Derek on multiple tours; giving Jack the unique status of playing in the band with Warren, Dickey and Derek. He still visits his friends and sits in when ABB play in a nearby city.Jack feels truly blessed by the many special experiences that have come through music including - sitting in Chet Atkins’ kitchen, picking and being shown a chord voicing by the legendary CGP (certified guitar player); becoming a member of his favorite band from his youth; meeting many other influences such as Joe Pass, B.B. King and Albert King; playing with many great musicians, many of whom will never receive the recognition they deserve; performing on The Grand Ole Opry; at Farm Aid and legendary venues such as The Ryman Auditorium, Red Rocks, Madison Square Garden and The Beacon Theatre; and recording and touring with a host of talented artists.Mixed in with these highlights are also lowlights that every musician experiences and Jack has had plenty of those including - earning $1.73 per person from the bar’s cover charge; sleeping seven people in one hotel room; sitting on the side of the road with your equipment because the band’s transportation failed…again; playing to empty rooms or almost empty about which Jack would jokingly comment, “Boy, we really had him going tonight!”Whether playing nearly empty rooms or sold out arenas, Jack puts the same intensity and passion into his performances. He doesn’t hold back. He plays his heart out every time, causing drummers to sweat and leaving his own legs weak after solos. Jack has said, “When it comes to low points, it’s important to keep things in perspective. They call hard times paying dues. Going through hard times is tough, but my faith leads me on. I have so much to be thankful for. It’s such a blessing to be able to play music to begin with.”When writing songs he weaves that thread of hope and faith into the message, even into instrumentals. Often writing of meeting life’s challenges, not giving up and coming out strong on the other end; it’s a testament of his own life, in which his faith strengthens him. He desires to help lift a burden and leave the listener encouraged. As a songwriter Jack has collaborated with a number of accomplished and talented writers including, Gregg Allman, William Howse, Leslie Satcher, Bernie Nelson, Dan Penn, Donny Lowery, Lee Roy Parnell, Warren Haynes, Allen Woody, A.J. McMahon, Johnny Few, and Pete McClaran.While Jack’s guitar skills cover a wide spectrum of musical styles, his talent goes beyond the guitar. He taught himself to play other instruments including Hammond organ, mandolin, bass, drums and old time banjo. He has played these on his own recordings and in sessions for others and has become quite proficient at each.He began playing mandolin in December 2001, again, spending hours every day practicing; studying the styles of Jethro Burns, Mike Compton, Yank Rachell, and Bill Monroe. Having played mandolin on many recording sessions, Jack was honored to be included on a project by the legendary Earl Scruggs. He incorporates mandolin into many of his live shows on both traditional and original compositions. He has said, “This instrument has given me another voice and added something that had been missing from my music.”Whatever the instrument, Jack’s playing style is unselfish; he feeds off of what is going on at that moment. He listens very closely to what everyone else is playing and contributes based on what he hears, “whatever a song needs, I’m going to play – or not play”. In Hittin’ The Note Magazine Gregg Allman said, “He’s one of the finest I’ve ever seen. He really listens, he plays great, tasteful solos, he comps great and he knows how to play with you instead of behind you.”Jack’s insightful understanding of various musical styles and the ability to properly perform each makes him a first class instructor. He has taught at countless guitar clinics and workshops over the years and is expanding as host of his own clinics. He sees the need for others to learn techniques and touches that appear to be dying; either they are no longer passed down or, in some cases, are not correctly understood so are passed down incorrectly. His future plans for online instruction will allow him to reach players around the world who can study at their own pace.Over the years Jack has also honed his skills behind the board and has earned ample credits for producing, engineering, mixing and mastering projects for others in addition to his own. It’s no surprise that Jack is an extraordinary producer and the proof can be heard on any of his solo recordings, possessing the ability to take a good song and record it in very different styles – not a common skill these days. Jack has said, “I’ve always believed that you can play a good song in any groove or tempo. A truly good song has a life of its own and then it’s just a matter of interpretation and production.” He wants to expand this role and produce more for other artists; drawing from his deep well of talented friends would make for a first rate production for anyone.Jack Pearson has released four CDs all of which have received praise from critics, colleagues and fans and he’s always working on new music - writing and recording. He plans to release part of his stockpile of recordings as downloads through his own website.Guitarist, singer, songwriter, producer, session-musician…many people in Nashville and beyond can claim those descriptors, but Jack Pearson is a truly gifted performer and an American musical treasure. “If you can only check out one player, make that player Jack Pearson!” Vintage Guitar Magazine
Jack Pearson Do What's right
Jack Pearson Bob Burt Cabinet
Tomo Fujita
Tomo Fujita & Blue Funk - Just Funky
Tomo is a great player who blends Jazz-Funk-Fusion and Blues to come up with his own brand of great music. Take time to check his site out, he is a master in the truest sense of the word. Tomo has many different configurations of my antique pine cabinets.Tomo Fujita possesses all the elements of great musicianship: astounding technical ability, flawless rhythm skills, and a total command of his instrument. But if asked, Tomo would tell you that music is not just about playing. It’s about feeling. He has a remarkable ability to inject emotion into every phrase he plays, whether the style is blues, jazz, funk or rock.Tomo earned a degree at Berklee College of Music and has been a faculty member at Berklee since 1993. Perhaps the most famous of his former Berklee students are Soulive guitarist Eric Krasno (Kraz) and John Mayer. Tomo is also affiliated with the major music schools in his native Japan. His articles have been published in the Japanese magazines Jazz Life and Jazz Guitar, and he is a regular contributor to the Japanese edition of Guitar magazine. His instructional materials are especially popular in Japan, where guitar players have bought more than 100,000 copies of his videos and books.Tomo has performed with some of the best, including Phil Collins, John Mayer, James Genus (Saturday Night Live), Will Lee (Late Show with David Letterman), Kenwood Dennard (Jaco Pastorious, Dizzy Gillespie, Jimmy Smith), Darryl Jones (Miles Davis, Sting, Rolling Stones), Paul Jackson (Herbie Hancock, Headhunters), Ronnie Earl, Steve Gadd, Bernard Purdie, Steve Jordan and Susan Tedeschi. Tomo also enjoyed a guitar-playing gig in a Boston production of the musical Rent.Influences: B.B. King, Jimi Hendrix, Joe Pass, Larry Carlton, Ray Charles, James Brown, Jeff Beck, Stevie Ray Vaughan, and many others.Gear: Fender Guitars and Amplifiers, Eminence Speakers, Fuchs Amplifiers, Xotic Effects, Bob Burt Custom Cabinets, Hao Rumble Mod Pedals, D'Addario Strings and signature series Pickboy picks.USA Instructional Materials: Accelerate Your Guitar Playing (DVD with Booklet, Berklee Press/Hal Leonard); Instant Guitar (Book and CD, Berklee Press/Hal Leonard).CD’s: Put On Your Funk Face (1996); Tomo Fujita (2001); Right Place, Right Time (2007); Pure (2010).
Haven Hill
Haven Hill is a new band with an old soul. Born in the mind of front man Michael Collins, a veteran of the stage and studio, and having played countless shows in front of thousands of people, Collins embarked on a new project with renewed enthusiasm. Collins spent a long summer locked in a room putting pen to paper coming up with timeless rock songs that defy labels. With a guitar in hand Collins set out to find the band that would bring Haven Hill to life.Having played hundreds of shows together with the rock band Further Down, Haven Hill front man Michael Collins called on former drummer and collaborator Evan Wilons to help bring this vision to light. Upon hearing the effortless melodies and deeply personal lyrics, Evan joined forces with Michael and the duo headed to Ardent Studios in Memphis with acclaimed rock producer Pete Matthews (Evanescence, Dust For Life) and an arsenal of great songs penned and ready to record.With a void at the bass player position, the duo called on veteran Memphis bass player Landon Moore. The chemistry and vibe the three shared from the first note was undeniable. All that was needed to round out the group was another guitarist and backup vocalist, and with Chris Johnson falling into place, Haven Hill is set to release their first full length album. With hooks and stories through out, Haven Hill paints a sonic landscape rich with the dynamic contrast of their rock forefathers. The songs deal with intense subjects packed with raw emotion all with an ease of motion set up by powerful groves. Read the lyrics. Listen to the music. Head on over to Haven Hill.
Arlon Prince
Arlon Prince has been producing his beautiful swirl art for many years. His work on pedal boxes has been used by many well known builders such as John Landgraff, Robert Keeley and Analogman. I am proud to say he has been doing all of my pedal enclosures for the last few years and I could not be happier.The Art of Arlon PrinceAnyone familiar with Landgraff and Bob Burt guitar effects pedals has seen an Arlon Prince design. Arlon has been producing "one-of-a-kind" original pedal box art since 1998. Not only are the unique abstract colors and patterns rich and eye-catching, but every individually hand-painted design is created using a patented process that ensures the colors stay bright and the finish protected from normal road wear for years to come. All designs are sealed in multiple layers of clear.
Roger Fortner
SINGING NEWS & ROGER FORTNER
Roger Fortner was born and grew up in Bryson City, North Carolina. Roger began playing lead guitar with The Inspirations while still a student at SCHS Swain County High School. After leaving the group, he found that he just couldn't stay off the road. (Hmmm, that sound like a familiar Inspirations theme).Roger is married to Connie Bean (also of the McKameys), and they are the proud parents of one of the finest young men we've ever known, Elijah Ruben Fortner. Roger is a highly sought after studio musician, and has played on many of the Inspirations' recordings. He was also a featured musician on the Gospel Singing Jubilee television program.
Tone Quest
Click to expand to flip pages
ABOUT
Bob Burt Featured in Tone Quest July-Aug 2009
Eminence
Ted Weber
Paul Ruby
ABOUT
Paul Ruby AmplifiersI'm an amp hobbiest, weekend warrior. About 10 builds per year is as much as I make time for. By day, I'm an electrical engineer. My hobbies have always included guitars, wood working and electronics, which all come together in making top quality tube amps.
Matchless
Matchless Amplifiers was founded in 1989 with a simple philosophy: Build the best, most versatile amplifier possible. Built and designed by professional musicians for professional musicians, Matchless amplifiers live up to their name. Our mission is and has always been to build the best sounding, most durable amp on the market. Matchless amplifiers and extension cabinets are all point-to-point hand wired by our staff in the United States using the best materials available.
Fuchs Audio
ABOUT
The Gear Page
StudioSlips
The History of Studio SlipsI first got involved in the music industry back in the beginning of 1980 when I became Traffic Manager for Mesa Boogie. This was just before they moved from the legendary garage in Lagunitas into their warehouse in Petaluma, California.3 years later, I left Mesa Boogie to marry Mesa Boogie's Chief Technician, Michael Bendinelli and start our family. We now have 3 teenaged boys: Cole, Thomas and Dillon.I began my little cottage industry making protective covers in my home. My first covers were made for Mesa Boogie amps, of course, but word quickly got around, and I soon found myself making covers and bags for all types of equipment. We now have over 2000 patterns for amps, speakers, mixers and other musical gear, as well as hospital equipment and even automotive equipment. If you can measure it, we can cover or bag it.By the year 2000, the business had grown so much that I could no longer manage it all from home, so I moved the entire Studio Slips operation into a warehouse with several thousand square feet of additional space.In order to keep up with demand and maintain the quality of our product, and provide the old fashioned customer service our customers expect, I had to take another giant step forward. So, in 2004, we retooled our production facility to incorporate Computer Aided Manufacturing. We still sew everything the old fashioned way, but the rest of the process, from pattern making to fabric cutting is now handled by state of the art technology.We have come a long way since 1992, but our commitment to detail and guarantee of customer satisfaction still remain our top priority.Thanks for checking out Studio SlipsSusan Bendinelli, Owner
Bob Burt
About
Inspiration
Gallery
Shop
Production
Pricing
Distributors
Contact
