Laurence Juber

Такой новости в архиве точно ещё не было. У бывшего музыканта Wings вышел новый диск (ещё в 2006 году). Есть в СОЮЗе.
Ссылка:
http://www.soyuz.ru/-/a/more/z/cat/music/id/e200915/city/125/part/review/wt/srch

Джубер изумительно сыграл на акустике Strawberry Fields


Laurence Juber plays "Strawberry Fields" at Nazareth Boro Park, Nazareth, PA, on Sunday, August 6th, 2006...Laurence Juber Acoustic Guitar

Действительно, с душой сыграно. Джубер вообще был в Wings в период моего любимого их состава :) Back to the Egg - альбом с потрясающим драйвом.

И насколько помню, Джубер чуть ли не единственный из музыкантов, вспоминавший о работе с Маккартни с благодарностью. Все остальные не то, чтобы не признавали ее, но как правило уходили от ответа на вопрос "А чем для вас стала работа с Полом Маккартни?"...

Beatle Fest Las Vegas 2007 laurence Juber AMAZED BERRY RAIN


Laurence Juber "Live And Let Die"


Laurence Juber plays Martha My Dear


laurence Juber ANOTHER DAY


Laurence Juber- In My Life


Laurence Juber- Old Siam Sir


Laurence Juber "Little Wing"

"Although best known as lead guitarist of late-era Wings with Paul McCartney, Laurence Juber has quietly become one of the outstanding finger-picking acoustic guitarists on the planet with a series of recordings he has made over the past 10 years or so. His latest brilliant outing is a study of the works of composer Harold Arlen -- everything from "Over the Rainbow" to "Come Rain or Come Shine" -- who, for some reason, Juber considers underappreciated. He gloriously articulates the melodies and never succumbs to show-off playing. But the notes spin out of the songs with such finesse and musical agility, it's hard to believe he has only 10 fingers and six strings. Juber has made a rare acoustic guitar record with bark and bite. His playing is just short of sleight of hand and, like all magicians, he makes it seem effortless." - San Francisco Chronicle

"At the heart of LJ's sound and style breathes a near-flawless technique where a fiercely emotional underbelly, alternate tunings, and keen sense of melody and rhythm coalesce into something uniquely his own..you don't have to be a solo-happy guitar worshipper to appreciate his talents."- Inland Empire Weekly

"Laurence Juber’s latest solo fingerstyle release is an ambitious tribute to composer Harold Arlen. Even if you don’t recognize the name, you’ll certainly recognize the Arlen tunes Juber has chosen, from Wizard of Oz favorites like “Over the Rainbow” and “If I Only Had a Brain,” to classics like “Stormy Weather” and “It’s Only a Paper Moon.” Juber updates these tunes with his distinctive touch and signature sound while at the same time respecting and maintaining the integrity of the original melodies. Some tunes are upbeat and snappy—“Between the Devil and the Deep Blue Sea” features a funky tapped-octaves bass line in the same vein as Juber’s own “Rules of the Road”—while others, like “Anyplace I Hang My Hat Is Home” and “Stormy Weather,” are slow and bluesy. Juber again demonstrates his mastery of D A D G A D tuning, which he uses for more than half the tracks, as he navigates through complex harmonies with sophisticated jazz-chord voicings. A book of transcriptions is reportedly in the works, but for now, guitarists can learn a lot simply by listening to how a master arranger interprets this collection of classic tunes." - Acoustic Guitar Magazine

As a young working musician in London, England in the 1970s, Laurence Juber got an extraordinary, life-changing break when Paul McCartney hand-picked him to become Wings lead guitarist. After Wings disbanded in 1981, Juber embarked on a career as a solo artist, composer and arranger, and soon developed a reputation as a world-class guitar virtuoso, being voted 1 by Fingerstyle Guitar magazine. He has released over a dozen solo CDs, including "LJ Plays the Beatles","Guitarist" and "One Wing". These albums, including the latest "PCH" have been produced by his wife and closest collaborator Hope. Laurence is also a respected composer and arranger. Together, Hope and Laurence Juber have developed a unique comedic songwriting style for the stage, and have 3 musicals being readied for production:

Based on the long-running TV series, ’A Very Brady Musical’ opens in June ’08 at Theatre West, Los Angeles.

The all original, ’mockumentary’ musical, ’It’s The Housewives’ follows the meteoric rise of an unlikely girl group. It debuts in September ’08 at Sherman Oaks’ Whitefire Theatre.

In addition, their ever popular "Gilligan’s Island, The Musical" launches a national tour in January.

Супер гитарист!

«Under An Indigo Sky» April 23, 2013
«Catch LJ Live!» CD/DVD February 5, 2013
Продолжает радовать нас своим трудолюбием!

Вот уж действительно профессионал экстра-класса! Слушая аудиозаписи концертов Пола 1979 года, да и концерт для Кампучии, поражаюсь, с какой лёгкостью и точностью он играл. Скажем, игра Генри Маккалока (при всём к нему уважении) этим особо не отличалась. Сужу исключительно по многочисленным аудио- и скудным видеоматериалам их концертов 1972-73 гг. Уж много было откровенных "ляпов" и неточностей в игре (да взять хоть ту же хрестоматийную "Maybe I'm Amazed" или "My Love" - "живое" соло имеет мало общего с великолепным студийным). Хотя признаю, что с уходом Генри (более чем уверен, что у Пола были претензии к его игре; где-то даже об этом написано) группа навсегда утратила интересные блюзовые интонации.
Но возвращаясь к Лоуренсу, отмечу, что многим музыкантам, с которыми играл Пол, он составит достойную конкуренцию (и очень часто не в их пользу). Тем более удивительно, что сотрудничество было довольно непродолжительным и без попыток возобновления.

Да уже того, что он играл на шедевральном "Back To The Egg" достаточно для того, чтобы считать его великолепным музыкантом.

2Супрун:

>Тем более удивительно, что сотрудничество было
>довольно непродолжительным и без попыток возобновления.

Тоже всегда этому удивлялся.

2Johnny_1983:

>2Супрун:
>>Тем более удивительно, что сотрудничество было
>>довольно непродолжительным и без попыток возобновления.
>Тоже всегда этому удивлялся.

И правильно было замечено, что один из немногих, кто положительно вспоминает период работы с Маккартни. Те же Маккалок и Спинозза весьма иронично вспоминали период работы с ним, что, мне кажется, не делает им чести. Кстати, кто ещё всегда в очень положительном и доброжелательном тоне вспоминает о Поле, так это Денни Сайвелл - тоже, кстати, отличный профессионал.

2Супрун:

>2Johnny_1983:
>>2Супрун:
>>>Тем более удивительно, что сотрудничество было
>>>довольно непродолжительным и без попыток возобновления.
>>Тоже всегда этому удивлялся.
>И правильно было замечено, что один из немногих,
>кто положительно вспоминает период работы с Маккартни.
>Те же Маккалок и Спинозза весьма иронично вспоминали
>период работы с ним, что, мне кажется, не делает
>им чести. Кстати, кто ещё всегда в очень положительном
>и доброжелательном тоне вспоминает о Поле, так
>это Денни Сайвелл - тоже, кстати, отличный профессионал.


Ну не "один из немногих, кто положительно вспоминает период работы с Маккартни" ))) Ещё Стив Холли, Дэйв Эдмундс, Карлос Аломар, Хэмиш Стюарт, Макинтош и многие другие )))
И, несмотря на все журналистские сплетни, Дэнни Лэйн - http://www.wingspan.ru/bookseng/giuliano/16.html ))

2Eric:

Ну да, наверное, я немного погорячился))

Ex-Wings guitarist, Laurence Juber, talks about having Paul McCartney as a boss

Exclusive Daytrippin’ interview: Guitarist Laurence Juber talks about how he became a member of Paul McCartney’s other band, Wings, and his new instrumental tribute to The Beatles
by Marshall Terrill

http://daytrippin.com/2010/08/09/exclusive-ex-wings-guitarist-laurence-juber-talks-abou...

Laurence Juber has no need to rely on his past, therefore, he isn’t afraid to revisit it every now and then.

Often considered most famous for playing lead guitar in Wings from 1978 to 1981, he has since had a distinguished career as a solo fingerstyle guitarist.

The two-time Grammy award-winning artist has developed a reputation as a world-class guitar virtuoso solo artist, composer and arranger, and released 15 critically acclaimed solo albums since Wings folded. His latest, LJ Plays The Beatles Vol. 2 (Solid Air, 2010), released on August 10 is a solo acoustic guitar arrangement of 15 songs by John Lennon and Paul McCartney. It is also the long-awaited sequel to LJ Plays the Beatles (Solid Air, 2000), which was voted one of Acoustic Guitar magazine’s top 10 all-time acoustic albums.

In this candid and definitive two-part interview, Juber discusses the influence of the Beatles on his life, his career as a studio musician in London, the making of Back to the Egg and how he earned his musical degree from ‘McCartney University.’

Daytrippin’: I heard a curious story about you that almost seemed too good to be true, and so I have to ask – the first week that “I Want to Hold Your Hand” was released in Britain, it was also the same week you first picked up a guitar…true or false?

Juber: That’s essentially true. I had been wanting to pick up a guitar for some time, but there was a period in the summer of 1963 where Beatlemania came into full force in the UK. As a result, you really couldn’t get away from the fact that everything was all about pop music, especially at such an impressionable age. I really wanted to play the guitar, not specifically because of the Beatles, but because of The Shadows, who were Cliff Richard’s backing group and they performed all of these instrumental hits – that was just wonderful stuff. Then at the same time it was the start of the James Bond films, which had great twangy guitar sounds, which also influenced me.

In England music lessons started in junior high, so that was right around the start of my musical journey. My dad had wanted me to play the saxophone and at the time, I didn’t want to play the sax, so I compromised and said I’d play the clarinet. It turned out there weren’t enough clarinets to go around, so I got a guitar for my 11th birthday, which was in November of 1963. “I Want to Hold Your Hand” came out about a week later. So it wasn’t specifically the Beatles as much as it was the entire pop scene and all the energy that was going around at the time.

The Beatles were a significant part of the whole thing happening in music. It was like jumping into a river and being carried along by the current because it was all going in that direction. I went into my teen years being swept along in this amazing Renaissance that was happening in pop music in England at the time.

Daytrippin’: And so who are the other musical influences you had as a youth?

Juber: It’s an extremely long list, too long to detail here because I was listening to everything. I was not only into rock ‘n’ roll but jazz and folk too. By the time I had turned 13, people were paying me to play. It was then I realized that this was something that I wanted to do for a living, but I also recognized that I had a certain kind of versatility. I was interested in a lot of different styles of music. I learned to how finger-pick Bob Dylan tunes, learned to play the Bossa Nova, taking jazz records and slowing them down from 33 1/3 to 16 so I could figure out what the guitar was doing. There were also a lot of West Coast jazz and studio players like Barney Kessell and Howard Roberts, as well as the Belgian gypsy jazz guitarist Django Reinhardt, who was very popular in England. There was also the English folk scene with people like Bert Jansch and Martin Carthy, who are still great folk singers, and finger-pickers.

I also had a band with a group of friends, and we’d play every Saturday night. We were always buying the latest Beatles records, the Stones, the Who and we’d learn it, rehearse it, play it and that was our Saturday night thing. Then I got into Clapton, Beck, Page — the English blues-driven players. There was also Radio Luxembourg, which played all the Top 40 tunes before the BBC got hip. I guess they had to because of all the pirate radio stations. They played all the big American hits as well as Motown, which of course, was great. I’d listen at night, focus in on what the bass player was doing, what the drummer was doing, and really deconstruct the music. I also started listening to orchestral music and became very analytical about how I listened to that too. So, a lot of influences, way more than I could repeat.

Daytrippin’: I assume your parents must have been quite encouraging?

Juber: There was some encouragement up to a certain point. Both of my parents grew up in London in World War II during the blitz and the evacuations so they never had much of an education. My dad left school at 14 and my mom at 15. They were encouraging to the point where they thought it was great I kept myself occupied with a hobby but they wanted to make sure that I had something to fall back on. They had visions of me being a doctor or at the very least a pharmacist or accountant or something like that. I told them at a very young age I intended to make my living as a guitar player, so they were supportive to a point. I also didn’t grow up in a very musical household, so that level of nurture really came from inside. I was very self-directed.

Daytrippin’: After you graduated from London University with a Bachelor of Music in 1975, how did you start getting booked as a studio musician and where were some sessions/albums you played on pre-Wings?

Juber: My ambition in life was to become a studio musician, so after high school I took a year off, which is what they now call the “gap” year. I was a pioneer of the gap year (laughs). What I did was work professionally for that one year, and I was playing jazz and folk clubs and demo sessions, generally making myself available as a musician and paying dues in London. I also joined the National Youth Jazz Orchestra, which was something of a training ground for studio musicians. I then attended London University but I was still gigging, playing clubs and being the substitute guitarist for the West End production of Jesus Christ Superstar. I was supporting myself with music and learning as much as I could, but more importantly, making those connections to be able to transition full-time into a studio musician when I graduated. My reputation got around and I eventually was introduced to various record producers and arrangers.

One of the albums I played on was Alan Parson’s Tales of Mystery and Imagination. I had no idea at the time what the session was for. I found out from a magazine interview that Alan did 30 years later. I played on the score for The Spy Who Love Me, which was a James Bond film. I played on a cool record that Rosemary Clooney did in London. I also worked with Shirley Bassey, John Williams and Jimmy Rafferty. One of the first album sessions I did was for Cleo Laine, who is a great English jazz singer and the producer was George Martin. Sessions for European artists too: Charles Aznavour from France, Lucio Battiste from Italy. A lot of stuff that didn’t necessarily make an impression on the US market. I played on a lot of records for a French artist named Cerrone, who was the ‘other’ Euro disco king, sort of like Georgio Moroder. Again, I had no idea how successful the releases were until many years later. I was very busy in that period.

Daytrippin’: Tell us how you got the gig for Wings?

Juber: I was working in the house band for “The David Essex Show” and Denny Laine was as guest on the show. Denny played “Go Now” and liked how I played the solo. We bonded musically and that was it. About six months later I got a call from Paul’s office MPL – ironically I was playing a session at Abbey Road Studios 2. They said, “Denny wants to know if you can come jam on Monday, and, oh by the way Paul and Linda will be there…”

In the period between when I first met Denny and the audition, I actually ran into all of them at Air Studios. I was early for a session and they were in there mixing the soundtrack for “Oriental Nightfish,” Linda’s tune for an animated film. They were running late and invited me in to see what was going on, so I got to meet everybody and hang out. Jimmy McCullough was already out of the band at that point, but it really wasn’t on my radar that they were looking for a guitar player. I do remember that around that time I was working on a TV show in Manchester, which was a weekly pop show and it was the first time that I had seen the video for “With a Little Luck.” It was the first thing where Steve Holly was visible and I remember someone saying, “That’s the new Wings drummer and I hear they’re looking for a guitarist.” Then I got this call from out of the blue.

Daytrippin’: From what I understand, the audition process was very informal, jamming and playing a bunch of rock (“Johnny B. Goode”) and reggae songs, and hanging out.

Juber: Very much so. I really didn’t know much of the Wings’ repertoire and I had to borrow a bunch of albums from my brother the previous weekend. I tend to do well at cold auditions and I was lucky. Really, I was quite busy with my session work and I had a big choice to make: do I continue along with my career, that I had been working on since I was a teenager or do I join Wings? I thought about it for a nanosecond. It seemed like one of those gigs that you shouldn’t turn down and I’m glad I didn’t, because I learned so much from that experience.

Daytrippin’: What was your first official gig for Wings?

Juber: The first official gig was when we recorded a song at RAK Studios in London called “Same Time Next Year” and I believe that was in May 1978. (Editor’s note: Curiously, the song was released on the final credits of the 1985 Ann-Margret film, Twice in a Lifetime) I had another gig playing on a variety show, so I couldn’t be at the session for the string overdubs. Then we went up to Scotland (at McCartney’s farm) getting to know each other. During that period is when we filmed the video for “I’ve Had Enough” (the second single from London Town).

Daytrippin’: I always thought it was strange that you had to mimic a guitar part that Jimmy McCullough recorded. Did it seem strange to you?

Juber: It wasn’t strange at all. That’s kind of par for the course as a musician because you often find yourself playing someone else’s part, especially if it’s a famous song. To be honest, I knew I was stepping into Jimmy McCullough’s shoes and it was a perfectly reasonable transition. I really didn’t give it much thought, but what was interesting was the filming of the video. We shot it all night and it was a one-camera shoot with film that was transferred to video. I had never done a video before because I had only done live TV shows up to that point.

Here’s a funny story: years later I played a guitar part for Eric Carmen on a song called “Make Me Lose Control”, which became a hit. As the record was about to come out, I got a call from a company who wanted me to be in the video. Well, they had no idea I had played on the record and thought I would be mimicking someone else’s performance. So I got to mimic my own.

Daytrippin’: Back to the Egg was a big concept, had a big sound and certainly was an ambitious undertaking (i.e. Rockestra, videos, touring, promotion). Do you think that was tied to the fact that McCartney had just signed a new multi-million dollar contract for Columbia or that he had felt it was time to do something bigger with Wings?

Juber: There was no perception in the doing of it that it was ‘bigger’ than normal. I think what happened with that album, and the title was reflective of the fact, was that Paul had been heading in a softer direction and this was a change. After Wings Over America, he recorded “Mull of Kintyre” and “With A Little Luck” and the London Town sessions. There wasn’t really as much of a rock component to those sessions. “I’ve Had Enough” was about as heavy as things got at that point. Steve Holly was a heavier and more rocking drummer than Joe English, which is not a jab at Joe, it was just a matter of styles. Steve had more of a British backbeat.

Producer Chris Thomas (Pink Floyd, Elton John, Roxy Music, INXS) had already been brought on board to co-produce the record. If you look at Chris’ timeline, he did Back to the Egg between the Sex Pistols and The Pretenders. He tends to raise the concept level of his projects and is a Beatle insider going back to the White Album. Phil McDonald engineered, who was one of the Abbey Road-era people too. We knew from the get-go that it was going to be a more basic vibe. There’s certainly a significant rock element to that album especially in the “Rockestra” bits, and there’s also, which was typical in the 1970s English rock scene, a folk element. I mean, you saw that a lot with Led Zeppelin and Jethro Tull, but of course, Paul articulates it in his own way. So yes, it was going to be a rock-flavored album, but it was still just an eclectic bunch of songs.

There was a richness to the Columbia record deal that had given Paul a substantial publishing catalog and the label certainly had ambitions at the time. It was overseen by Walter Yentikoff, Bruce Lundvall, Don Devito, Paul Atkinson and other people who were quite legendary figures in the record business. Certainly there was an expectation that putting Paul McCartney on your record label would have a certain kind of size to it, but by the time it was released in June 1979 the economy was not doing that great and the record business hit the wall. All of the labels had gotten it into their heads that somehow every album that was released should do better than Fleetwood Mac’s Rumors or Saturday Night Fever. That was a phase and sales went back to normal, relatively speaking. Just the ebb and flow of things. Nevertheless, Back to the Egg did quite well and could have done even better had he put “Goodnight Tonight” on the album.