By June Price, writing in
Jam Entertainment News,
May 14, 1993
Jam Entertainment News,
May 14, 1993
by Mike Varney, writing in Guitar Player
magazine.
magazine.
Born and raised in Chester, New York, John
began studying guitar at age 9 and developed his
style by playing rock, jazz, and country. Two
years ago he began experimenting with two necks
and developed a functional neck-tapping technique
that's inspired him to drop all other endeavors. On
his current live video he taps both fretboards at
once, playing simultaneously rhythm and solo
parts or harmony and contrapuntal lines. In a
concert setting, his vocals and use of conventional
electric guitar, acoustic guitar, and the double-neck
make for a very entertaining show. Highlights
include dual-neck interpretations of jazz and blues
standards, as well as contemporary and original
music.
began studying guitar at age 9 and developed his
style by playing rock, jazz, and country. Two
years ago he began experimenting with two necks
and developed a functional neck-tapping technique
that's inspired him to drop all other endeavors. On
his current live video he taps both fretboards at
once, playing simultaneously rhythm and solo
parts or harmony and contrapuntal lines. In a
concert setting, his vocals and use of conventional
electric guitar, acoustic guitar, and the double-neck
make for a very entertaining show. Highlights
include dual-neck interpretations of jazz and blues
standards, as well as contemporary and original
music.
John feels that the potential of dual-neck guitar playing is nearly limitless, and his
pioneering effors should endear him to fans of Stanley Jordan and other music
lovers who appreciate technical innovation. Where some dual-=neck guitarists
sound like nothing more than two mediocre players jamming in a music store,
John's playing is rich in integrity and maturity and should help him gain a faithful
audience. His goals include obtaining a recording contract and taking the dual-neck
style into new musical areas with harmony and polychordism.
pioneering effors should endear him to fans of Stanley Jordan and other music
lovers who appreciate technical innovation. Where some dual-=neck guitarists
sound like nothing more than two mediocre players jamming in a music store,
John's playing is rich in integrity and maturity and should help him gain a faithful
audience. His goals include obtaining a recording contract and taking the dual-neck
style into new musical areas with harmony and polychordism.
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