The guitar wizard

HE may look cool and laidback but when he lets his fingers do the talking on the acoustic guitar, the result is a succession of beautiful tone poems.

Known for his prowess and finesse on the six-stringed wooden instrument, Az Samad is always looking for new musical adventures through collaborations to express his creativity.

“In every of my musical collaborations, I feel this collective desire to search beyond what’s in our comfort zone and to try something that will challenge us,” says the soft-spoken and bespectacled musician during an interview in Bangsar, Kuala Lumpur.

Having worked on a cross-discipline collaboration with actor/spoken word artiste Davina Goh, Az explains that it took time to be fully formed but the results were more epic than initially expected.

Another memorable collaboration was with long time friend Richard Moss, a British multi-instrumentalist and singer.

“I met him in 2003 when we attended Eric Roche’s guitar workshop in Devon, Britain,” he says.

Last year, Az had the opportunity to spend several days playing music with Moss, culminating in a joint performance together for an art exhibition launch.

“This year, for my solo European tour in June-July, we’re also planning another show together,” says the 30-something Berklee-trained guitarist.

SATAY TRIO

His latest project is a collaboration with fellow Malaysians, Fung Chern Hwei, a New York-based multi-genre violinist, and Brooklyn-based vocalist Cheryl Tan.

According to Az, Fung had messaged him via Facebook and wanted to perform A Lotus On Irish Streams, a John McLaughlin song from The Mahavishnu Orchestra, together.

“We’d never met but we knew of each other through mutual friends,” he says. “Since he was in New York, we had to wait till he was back for Chinese New Year.”

He says that Fung was easy to work with and blew him away at their first rehearsal session with his amazing musicality.

“Then my manager suggested adding Cheryl since it would be interesting to have vocals in the mix,” says Az, who had worked with her on last year’s Malaysian Music Project.

He adds: “She’s like this musical encyclopaedia of song lyrics and melodies, with a great voice and quirky sense of humour, which really makes it fun to perform together.”

For tonight’s The Satay Trio concert, Az will bring his distinctive style — a mix of fingerstyle guitar, jazz, classical and folk influences — to the music.

He explains that the repertoire for the concert will be a varied selection of originals and covers with an acoustic feel and lots of improvisation. “It’s beautiful music that everyone can enjoy, even if you’re not a musician.”

Numbering around 15, the songs include Malaysian classics Getaran Jiwa and Yang Indah (music by Saidah Rastam and lyrics by Khir Rahman).

When looking for collaborators, Az lays his conditions out simply with: “Low drama, high musicality.”

“I look for people with a very strong vision, confidence and personality, just creative people with interesting ideas,” he says.

PERFORMER-COMPOSER-EDUCATOR

Having performed in the US, Europe and Asia, Az says: “As a performer, it’s the most expressive thing I do, to share the music with an audience.”

“There’s a certain kind of magic in playing and listening to music live,” says the unassuming guitarist, who has performed as a classical guitar soloist with, and as part of, the MPO in several concerts at DFP in KL. (Catch him with the MPO this weekend for the Abba Goes Symphonic concert). He was also the opening act for concerts by Tommy Emmanuel and Martin Taylor.

“Composing is a way of discovering my musical identity,” says Az who has appeared on 16 CDs (seven of which are his solo releases) and has worked with the likes of Grammy winners Flaco Jimenez and Max Baca, drummer Bernie Dresel (Brian Setzer Orchestra), singer-songwriter Tara Linda and guitarist Adam Rafferty, to name a few.

As an educator, the KL-based guitarist is happy to give back to the musical community. “I’ve been very fortunate to study with so many great musicians here and internationally and by passing on the knowledge to my students, I hope they’ll become amazing musicians who’ll enrich whatever music scene they’re a part of,” he says.

Az has been on the faculty of Berklee College of Music’s Summer Guitar Sessions and has taught workshops at Wesleyan University in Middletown, Connecticut, as well as many other venues.

He’ll be holding workshops and performing from March 9-11 at the Mosaic Music Festival in Singapore.

“All these different aspects combine to make my music experience richer,” says Az of his role as performer-composer and educator.

LOCAL INDIE SCENE

“I’ve been a part of the local indie scene since 2003 and there are many more open mic events now and much more variety in terms of acts,” says Az, who has been hosting his own open mic sessions at the Venue in Pavilion since September last year.

He credits the YouTube generation who have grown up by uploading videos online.

“The good thing is that they’re all constantly recording their music now and reaching out to a bigger audience.”

He also notes that the more established acts like Reza Salleh and Liyana Fizi are reaching out further with performances and tours overseas.

“The singer-songwriter scene is getting braver collectively and this is a good thing — we’re aiming bigger and achieving bigger things.”

GUITAR LOVE

Az confesses that the guitar has always intrigued him.

“It’s got a shorter history compared to the piano or violin but it has influenced so many styles of music,” he says.

The son of National Laureate A. Samad Said, Az got into guitar playing after discovering US grunge rock band Nirvana’s Unplugged In New York album.

Upon his dad’s suggestion, he took up classical guitar and later jazz learning under various teachers.

Quoting virtuoso Spanish classical guitarist Andres Segovia who said that the guitar is a small orchestra, Az is happy that there are so many facets to the instrument.

On the one thing most people don’t know about Az Samad, he quickly replies: “I play the electric guitar too!”

The versatile guitarist has been dividing his time between acoustic and electric since his student days in the US, from 2005 onwards.

“My latest work, The Amsterdam Recordings, is a solo electric guitar album and I’ve also just recorded a new all solo electric release, that’s coming up soon.” (visit www.azsamad.com for details).

Az, the cool and laidback guitar hero

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Andy Griggs Releases Naked Acoustic Album

Andy Griggs’ 2013 album, Naked. Photo courtesy of Webster & Associates.

Andy Griggs has released his latest album, NAKED. The album is entirely acoustic, just Andy and his guitar, and includes original songs as well as covers from artists who have influenced him such as Waylon Jennings’ “Old Timer” and Willie Nelson’s“Angel Flying  Too Close To the Ground.” iTunes has named the album ‘New and Noteworthy’ on their country page.

“I’m addicted to pure and raw feelings that’s as still and quiet as the wind,” Andy said. “Throwing your heart out whether it’s healthy or broken. Exposing a hurting soul! Bearing and giving it all with that ol’ piece of wood and 6 strings! It’s underwear on the couch, singing until daylight. It’s vulnerability to yourself. It’s vulnerability to your friends. It’s vulnerability to a crowd of strangers. In short, it’s all about bein’ NAKED!”

“Witnessing this recording session solidified all of my beliefs about Andy’s undeniable talent and the sheer, transcendent power of music and fulfilled all my expectations,” Andy’s manager Cathy Nakos said. “One track, one singer/musician, raw, no frills, totally vulnerable, one engineer, no punching…it was magical and incredible to behold. How could one person/artist put himself out there for all to see, totally exposed, mistakes and all, but totally willing to sacrifice for the authenticity and soul-baring honesty and pure emotion of the songs. How could we title this album anything but NAKED?”

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Acoustic guitarist Kottke will play Park City this weekend

Acoustic guitarist Leo Kottke, who will perform at the Egyptian Theatre this weekend, has been nominated for two Grammy awards and has a Doctorate in Music Performance by the Peck School of Music at the University of Wisconsin, Milwaukee.

He's also a Navy veteran and has been performing his music for nearly 50 years.

Kottke's schedule was a little tight these past couple of weeks, but he was able to answer some questions from The Park Record though email.

Park Record: What was it about the guitar that steered you away from the other musical instruments you tried when you were a child?

Leo Kottke: That would be an E chord. Changed my life, gave me a life. I think I played that chord for about two weeks. When I got to the A I knew I was in trouble.

I continued for a while with the trombone but its days were numbered. I still have the horn, it's sitting across from me. About once a year I'll pick it up and play a scale. My embouchure has not improved.

PR: What was your first guitar, and do you still have it?

LK: It was a toy, a gift from my mother. I'd been sick for a long time and it was something I could play on my back. Trombone didn't cut it. The "guitar" fell apart about two weeks in. It had no sound, no sense, and no self-respect, but it gave me a way out and a way in. Thanks Mom.

As Dick Rosmini told me years later, after I'd been complaining about a guitar I had, "If you really know how to play, it doesn't matter what guitar you're playing."

He was right.

But, obviously, it also doesn't matter what guitar you're playing if you know nothing at all. That's what got me out of bed and saved my life.

PR: What was your initial goal for your music and has that changed throughout your 50-year career?

LK: No goal. Goals are the enemy. All I wanted was to play the thing. I'm still trying to do that. I'm glad for the chance.

PR: How have you been able to maintain (your career), especially though the many changes in the music climate over the years?

LK: The music climate probably doesn't exist. Some kind of marketing stuff exists and that's whatever that is, but it isn't music.

First there was the mob, then there was the union, after that I lose track.

I could put in a nod to Capitol Records. That was an extraordinary company. Or (Takoma Records') John Fahey. Or (record producers) John Hammond, senior and

junior. These are cultural motions and they are self-generating. Marketing is milking.

Music happens for someone alone in a room for a long time with some kind of instrument. The big event is when they walk out the door. After that a lot of us turn around and go back in the room. That's music. It's like food. You can't walk away from, or maintain, food.

PR: Many people consider you a master musician and you have not only been nominated for two Grammys, but also have a doctorate in music performance from the Peck School of Music. With that said, do you still try to discover new ways to play and perform your music?

LK: The guitar is running everything. I have no choice. It's a form of suicide anyhow to decide ahead of time what you're going to do on an instrument. If it isn't suicide it's at least stupid.

The instrument will wise you up, though, and you'll start to learn a few things; but sometimes, as Woody Herman did, you'll just turn it into a lamp.

Meanwhile, it's a form of vanity to remain self-taught. Sooner or later you have to do your homework. There's always more to find, always people you can stand next to — from beginners to virtuosi.

PR: Do you have any special plans regarding your three concerts at the Egyptian Theatre here in Park City?

LK: I don't, really. The most important part of performance is risk. If you eliminate that you've eliminated performance. You've also nearly guaranteed that you won't have a good time. It's a privilege to play but it's rude, especially if you're a soloist, to "map it out." It shows. Better to make a fool of yourself than never to show your face.

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Freelove Freeway: Gervais's David Brent Picks Up The Acoustic Guitar , Again

Ten years after David Brent left The Office's Christmas party, the excruciating former boss of Wernham Hogg is back and doing what he does best, sort of. That's rep-ping and playing the acoustic guitar. Ricky Gervais is back as his most famous creation for a one-off special entitled 'The Office Revisited' for Comic Relief.

A short trailer for the new episode hit the web this week, showing Brent embarking on a side job career as a would-be music mogul while still milking his "cash cow" job as a sales rep to pay the bills. Brent sells cleaning products door-to-door though puts most of his efforts into a rapper called Dom Johnson. He's even written a "political reggae" song titled 'Equality Street' for his new signing.

After 'The Office' - widely considered one of the finest British comedies of all time - Gervais tempted A-list celebrities to appear as themselves in Extras, another comedy series that was generally well received by critics. His edgy turn as host of the Golden Globes on three occasions did little to harm his reputation, though his next television projects 'Life's Too Short' and 'Derek' came in for heavy criticism. 

With '...Revisited,' Gervais returns to safer ground on March 15, 2013, though reception to his latest few projects will be of concern. Though initially praised for cutting The Office short, perhaps the comedian should consider bringing back Brent for good. Steve Coogan's Alan Partridge web-series 'Mid-Morning Matters' was considered among the finest material of his career and a feature length movie is currently shooting in Norwich. Brent could learn a thing or two from North Norfolk's favourite son.

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