It is getting hard to keep up with all the terrific new releases. Modern guitar continues to make inroads in places as far-flung as Argentina, Switzerland, and Tasmania. The pandemic has resulted in works that are largely solo or remote collaborations, but no less successful than the in person collabs.
Shahzad Ismaily is a multi-instrumentalist perhaps best known for his bass work with Marc Ribot’s Ceramic Dog. He has also worked with Laurie Anderson and Lou Reed, Tom Waits, John Zorn, Shelley Hirsch, Nels Cline, Graham Haynes, Billy Martin (of Medeski Martin and Wood), and Burnt Sugar, among many others. Thanks to Jam Pedals we have this fascinating interview.
It is great to hear these two old friends talk. Sharp elicits a different set of answers and bon mots than the ones that appeared in the Guitar Moderne interview, from a better rested Ribot.
Joe and I go back decades. He is responsible for jump-starting my career as a music journalist. He has played guitar with PJ Harvey, Tracey Chapman, and Tom Waits, been an editor at Guitar Player Magazine and Premier Guitar, worked on guitar-based things for Apple’s Logic, and designed pedals. He just released his terrific first solo record, Falling Through Time: Music From The 1300s. A collection of ancient music played on modern instruments. We talk about everything under the sun.
A few years ago, I was contacted by Andy Summers’ publicist regarding interviewing him about his then new record, Metal Dog, a masterpiece of modern guitar mayhem. Now he has a new book of hilarious short stories, Fretted and Moaning, and a new record, Harmonics of the Night, so it seemed like a perfect time to chat again. We spoke in general terms about gear but he was kind enough to also send me a more specific list, available below.
