What was your first Robben Ford moment and how did it affect you?

[tonefingers]

My first Robben Ford moment was in Berkeley
at a show called 'Guitar Explosion' in '71 or '72.

Roy Buchanon was the top bill.

Nine other players were on the show

Kenny Burrell, Joe Pass and Herb Ellis
and a few I can't remember.

T bone was one of the stars there that night.
He played great, no splits. But lots of elastic guitar.
After a while, he invited two young guys out to play
with him, a young Shuggie Otis
and an absolutely on fire Robben Ford.

This was something that I and most guitar buffs
had not seen. And they were all there to see Roy Buchanon

BUT IT WAS ROBBEN THAT STOLE THE SHOW THAT NIGHT.

That changed my thinking that night. Of how
jazz like Coltrane or Wes could be channeled into
electric blues.

Everyone new they had just seen a rising star
at the beginning of his journey.

It REALLY became the beginning of MY journey as well.
I became obcessed

More than Jimi or Eric, it was Robben that really put me on course in finding my voice.

SO WHAT WAS YOUR FIRST ROBBEN FORD EXPERIENCE
:BluesBros :BEER

[einstein]

I went to a jazz club in boston when my sister was in town and wanted to see some music. Robin was the unannounced special guest and had recently switched to blues from fusion. Mike Methaney was there to playing flugel horn. He is Pats brother. Robin was i guess playing modern intelectual blues with a jazz history. As opposed to a blues guy trying to play jazz. He had the fender dc gibson style guitar which sounded great but i couldnt figure out why he choose it. They didnt say who was playing untill he went on for some reason, anybody know why? Mike was amazing. Two different bands mind you. I think 82

[John Hurtt]

I saw RF at Yoshi's Jazz Club in Oakland a few years ago. He was mindblowingly good, he just had a different approach to comping and lead ideas than I was used to. :)

[pbradt]

I first heard him in the late 90s.

Never affected me at all. I like his playing but it didn't affect me at all.

[Ah Xoc Kin]

Blues festival in the 1990s.
BB King, Albert King (who died a couple of months later), Buddy Guy, Robert Cray, and Robben Ford.
Robben said that it was a privilege for him to be on the same stage as the aforementioned players. I really liked his humble attitude.
As far as the music and the show, I don’t recall anything special about him. He was very good, but Buddy Guy stole the show that night, and Albert had the most amazing tone I have ever heard.

[clothwiring]

I had to learn a Revelation when I was at GIT (my private instructor was Dave Hill). But I hadn't heard the song and it was interesting to finally hear it. Even though I hate the production of the CD, some great playing on that song.

[Sean French]

I used to go to this used CD shop in the 80's.The owner knew I liked guitar playing so,he said give a listen to this.It was Robben's Talk to Your Daughter disc.I't got to the part were the first overdriven lick came in and I said I'll take it.This was '89 I think.Then came The Blue Line etc..I saw Robben on the Blue Line tour and was floored.I'm going to see him in Austin TX on Feb 3rd.:dude

[cbpickin]

When Leo Fender died, the memorial show was at UC Irvine and I was working at the event center at the time. A lot of heavy players were there; James Burton, Albert Lee, Dick Dale, Steve Lukather, a 12 year old Joe Bomamassa, and Robben Ford. I had never seen RF or heard him before.
When he started playing, I was floored. He had phrasing like I had never heard and a beautiful tone. He really stood out from the rest. All the other performers/pros were commenting how amazing he was for the rest of the night. I was backstage most of the night, and he was very humble.

[tonefingers]

Blues festival in the 1990s.
BB King, Albert King (who died a couple of months later), Buddy Guy, Robert Cray, and Robben Ford.
Robben said that it was a privilege for him to be on the same stage as the aforementioned players. I really liked his humble attitude.
As far as the music and the show, I don’t recall anything special about him. He was very good, but Buddy Guy stole the show that night, and Albert had the most amazing tone I have ever heard.
I really feel that Robben tones down his playing when in the company of other players.

Check out Miles Davis on YOUTUBE. There is a clip of Robben and Santana
playing with Miles. Robben lets Santana do his thing and doesn't blow him out of the water. Very humble.

In the company of BB, Albert, Buddy I could see Robben tone it down. You don't want to show those guys up.

Same with SRV, there's this clip of a young Stevie playing with BB, and I think Buddy, and Albert? Anyway Stevie does not steal the show. instead he's very reserved and humble.

I love Buddy but Robben is another type of player all together.
I think that's why you don't see Robben at all these blues summits
that have BB, Buddy, Jimmy Vaughan, Doyle Bramhall II. He will either play to low key or simply blow them all away. And yes I'm talking lots of notes.
But Robben wouldn't do that.

I have heard that Robben got in trouble with George Harrison when on a world tour for 'stealing the show away from George'. Simply by being so
great of a player. Please tell what you heard on this.

Steve Kimock is the same way. He said when playing with Joe Satriani.
" Joe plays like Joe, I'll play like Neil Young".

Steve , I find you way more interesting than Joe Satriani. But I do like the way you can play Neil Young.

And Robben, your still my biggest influence. Although Frisell is pretty much at the same level with me these days. As is Kimock.

[epluribus]

Right here. Heard so much about him, I finally pulled him up on Rhapsody and within days had a wicked R&B CD. The songs I picked weren't anything from the Seventh Galaxy. Rather, they were made of tons of very familiar riffs, moving in subtle, fresh new ways, very dramatic and evocative, fluent in the lanuguage so to speak. (But maybe a shade too clean and studied for deep-down blues? Small price, that.)

But the way he plays it...another dimension altogether...immaculate. Totally different sound and approach to composition, but reminds me very much of the Tomo/John Mayer school--super precise, intonation to die for, simple-but-locomotive grooves. The gear--stellar. I've been learning several tunes from the CD ever since, working on both Robben's technique what he gets from his rig. (Start It Up is tailor-made for the old Ted Nugent Aria Flyin' V. Go figure. :))

Not that I want to copy either his rig or his playing--it's more that his music is a tour de force in getting the max out of your hands and your gear, not to mention a treasured and familiar language. If Hemingway, I.M. Pei, or Eisenstadt were guitar players, I think they'd have done stuff like this.

Okay, back to throwin' rocks at my noisy fingers...

--Ray :)

[tonefingers]

Right here. Heard so much about him, I finally pulled him up on Rhapsody and within days had a wicked R&B CD. The songs I picked weren't anything from the Seventh Galaxy. Rather, they were made of tons of very familiar riffs, moving in subtle, fresh new ways, very dramatic and evocative, fluent in the lanuguage so to speak. (But maybe a shade too clean and studied for deep-down blues? Small price, that.)

But the way he plays it...another dimension altogether...immaculate. Totally different sound and approach to composition, but reminds me very much of the Tomo/John Mayer school--super precise, intonation to die for, simple-but-locomotive grooves. The gear--stellar. I've been learning several tunes from the CD ever since, working on both Robben's technique what he gets from his rig. (Start It Up is tailor-made for the old Ted Nugent Aria Flyin' V. Go figure. :))

Not that I want to copy either his rig or his playing--it's more that his music is a tour de force in getting the max out of your hands and your gear, not to mention a treasured and familiar language. If Hemingway, I.M. Pei, or Eisenstadt were guitar players, I think they'd have done stuff like this.

Okay, back to throwin' rocks at my noisy fingers...

--Ray :)
I like what you wrote.

but,

Robben comes out the John Mayer school? Did I understand that correctly?

I HIGHLY recommend you see Robben live.

[Fuchsaudio]

A local jazz station played a Jimmy Witherspoon recording. I could not get over the guitar, and called the station to find out who the heck it was. Been a fan since. Robben was like 9 years old ? lol Bought that album on my way home from work that day, and recently bought it on a CD reissue. It still smokes. I later learned of (and followed) the LA express stuff with Robben and sometimes Larry Carlton. That band, led by Tom Scott later accompanied Joni Mitchell on her Miles of Aisles album (also a winner). Robben is an often forgotten sideman. A master of both tone, substance and putting both together in a special way.

Interesting how Charlie Christian and Robben were both horn players before becoming guitar players.
:AOK

[tonefingers]

A local jazz station played a Jimmy Witherspoon recording. I could not get over the guitar, and called the station to find out who the heck it was. Been a fan since. Robben was like 9 years old ? lol Bought that album on my way home from work that day, and recently bought it on a CD reissue. It still smokes. I later learned of (and followed) the LA express stuff with Robben and sometimes Larry Carlton. That band, led by Tom Scott later accompanied Joni Mitchell on her Miles of Aisles album (also a winner). Robben is an often forgotten sideman. A master of both tone, substance and putting both together in a special way.

Interesting how Charlie Christian and Robben were both horn players before becoming guitar players.
:AOK
I think most good players play more than one instrument.

Robben plays Sax and piano, and I don't know this for sure but I wouldn't be surprised if he could play the Harmonica or the Drums because of his bros.
Mark Ford is a world class harp player. Of course check out The Charles Ford Band to hear these three bros in action.

They would be a good study on being born with natural talent.

[yZe]

Mine was not as glorious as above; but the first time I heard the Help the Poor solo, i could see smoke coming out of the speakers

Next moment was a clinic during the Tiger walk era

Next moment was copping, note-for-note, without a half speed machine, the Rush Hour solo - totally nailed in time w/the CD

[tonefingers]

Mine was not as glorious as above; but the first time I heard the Help the Poor solo, i could see smoke coming out of the speakers

Next moment was a clinic during the Tiger walk era

Next moment was copping, note-for-note, without a half speed machine, the Rush Hour solo - totally nailed in time w/the CD
Right on dude

[epluribus]

I like what you wrote.

but,

Robben comes out the John Mayer school? Did I understand that correctly?

I HIGHLY recommend you see Robben live.

I just knew that would get a question mark from somebody. Glad you mentioned it, as always.

Specifically, IMHO they're both students of clinically impeccable technique and gear, tone monsters both, though their trademark voices and composition are indeed worlds apart. (Not to mention target markets.) And I wouldn't say one proceeded from the other; rather that they seem to be peers in a virtuoso movement, albeit with JM clearly the junior member.

But IMHO, when you expand on either one of their seemingly simple progressions, voicings, and riffs, you find a remarkable theoretical depth both in their composition and playing technique. JM, for the moment, seems to be downplaying his prowess on his pop stuff--smart move if you want to make a living early so you can do art later--but the good stuff is in there nonetheless. After all, think about where he came from. I'm stayin' tuned.

--Ray

ps...RF live. If only...

[plagtr2]

Double bill at the Cubby Bear in Chicago. With Danny Gatton 19?? I should go dig up the ticket. SO much talent in 1 night. Epic.

[Brian D]

I kept reading about Robben Ford, and specifically "Talk To Your Daughter". One day I saw "Tiger Walk" in my BMG Music ordering form so I decided to pick it up.

I loved it. I totally loved it. It actually inspired me to spend some cash and get my first decent guitar - a PRS McCarty Standard.

Since then I've picked up "Talk To Your Daughter" and it didn't impress me nearly as much as "Tiger Walk" did. I've also picked up the "Live at Yoshi's" CD which is pretty cool.

[tonefingers]

There's more Robben you can get your hands on.

Jerry Grinelli - A Song I heard ( someone) Sing - with Robben and Bill Frisell playing together, pretty darn cool.

Sunrise - early Robben when he played a Super 400. Plays sax as well.
Absolutely raw and Robben is on. Get any young Robben stuff.

My bootlegs of live shows.- the best stuff I got.

Anything with Charles Ford Band - It must be in the blood.

Dig around.

[yZe]

tonefingers, can you get or do you have the Miles stuff with Robben & George duke sharing the stage?

Also, do you have any boots of Robben soloing over Matinee Idol rather than just his normal rhythm guitar role?

To complete my response, i was affected by the first time hearing Robben by the fact that someone was mixing the blues and jazz into one seamless style BETTER THAN LARRY CARLTON !!

[cottoneyedjoe]

Robben was on the cover of Guitar Player in 89. I got into him by the suggestion of my Father. I was amazed by his tone.

A few months later, he played a festival in my hometown. I was 17 at the
time. My buddy (a drummer friend) and I went to see him play. The festival had him booked at 11:30am on Sat. morning. There was about
thirty people there.

We were the only kids in the audience. The other folks (in their 30's and 40's) kept making comments like "where are the Megadeth T shirts?"

It turns out that one of the guys there was a rep from Fender (they were working on his signature model at the time, building a new version). We struck up a conversation and he asked if I would like to meet Robben. I said "Hell YEAH!!!"

After the gig the rep took us back to meet Robben. The first thing he said was "you kids really dig my music?" I told him I was enamored with his playing and the quality of his musicianship.

Robben spent 45 minutes with me giving me the ins and outs of the blues. He was really interested in trying to get me into the real stuff (my only exposure at the time was Cream, SRV, and Robert Cray.... modern stuff).

Robben gave me a list of records to listen to and he also signed his my cd and Guitar Player cover... He showed me a few licks on his Fender signature and told me to keep playing.

It was because of that meeting that I became a TOTAL blues addict! I started from the roots and moved forward. Robben is a real steward of the blues. He was more interested in the excitement we had for it and learning it then he had in playing it (or so it seemed at that moment).

Robben made me part of the player I am today.... Even though I wished I could sound an ounce like him, I don't! But it was like he told me that day, and I still remember this:

"The blues is a feeling. You make the blues from what is in your heart. It then moves through you and comes out in your playing. You will eventually have your own sound." That was the BIGGEST lesson I have ever got in playing.... PERIOD.

[jspax7]

"The Inside Story" back in the 70's. Followed by his work with Joni Mitchell, and The Yellowjackets.

Always admired his mix of sophistication, spontaneity, and energy. One of a handful of players that greatly affected, and influenced me.

[mc5nrg]

The original Charles Ford Band LP on Arhoolie,very early 70s.

[davess23]

Hearing the Talk to Your Daughter album did it for me. Been a fan ever since, but apart from a Joni concert when she toured with the LA Express I've never caught Robben live.

He's one of the few players I've listened to who evokes Michael Bloomfield in his approach to phrasing and soloing, although Robben isn't a copy of anyone. This is less a technical statement than it is about spirit and feeling. His horn training comes through loud and clear, too.

One of the other things I dig is his love for John Mayall.

I don't think epluribus meant to imply that Robben comes from the John Mayer school of playing. I have a feeling that both John and Robben would be startled to hear that.

[57tele]

The original Charles Ford Band LP on Arhoolie,very early 70s.

Yep, me too. Kimock got a copy soon after it came out and played it for me. I was floored.

[John H]

I first became away of Robben on the Tom Scott & the L.A. Express album, "Tom Cat". At that point, I thought he was a great Larry Carlton mimic.

I saw him with George Harrison on the Dark Horse tour (two shows). Robben was amazing (as was the entire band), indeed. Did he show up George? It wouldn't have been too difficult. George, who was/is my original guitar hero, was suffering from throat problems, looked stiff and nervous, and had about zero charisma. While there was a lot of great music (especially Ravi Shankar's Indian orchestra), overall, they were two of the most disappointing concerts I've ever attended.

Of all the great guitar playing I admire and worship, Robben's is the closest to what I'd like to be able to do. Just the right mix of blues, bop, and rock.

Oh, yeah. If you haven't, already, you should check out "Minor Elegance", the album he did with Joe DiOrio.

[jdiesel77]

as a robben ford newb, can anyone suggest a cd of his to start out with?

[epluribus]

Wish I could help. I went down the list in Rhapsody cherry-picking his "simple" R&B stuff. (Be prepared for a lesson in immaculate technique.) Super-fast way to sample stuff without big $$.

--Ray

[tonefingers]

as a robben ford newb, can anyone suggest a cd of his to start out with?
SEE HIM LIVE

[tonefingers]

tonefingers, can you get or do you have the Miles stuff with Robben & George duke sharing the stage?

Also, do you have any boots of Robben soloing over Matinee Idol rather than just his normal rhythm guitar role?

To complete my response, i was affected by the first time hearing Robben by the fact that someone was mixing the blues and jazz into one seamless style BETTER THAN LARRY CARLTON !!
No, I wish I had that Miles

HELP US

[gwade]

The Yellowjackets 1st and 2nd albums were the first and still the defining Robben moments for me. I was fortunate enough to catch a Robben/Shawn Lane double bill much later (Shawn was touring the Powers of Ten record).

[chrisr777]

I saw him in Phil & Friends with Paul Barrere on the the tour with Bob Dylan. I was very impressed.

[Red Suede]

I met Lyle Workman when I first moved to the bay area and he blew my mind. I asked him where he learned to break up his playing like that and he told me about Robben, and he showed me "The Inside Story". Got me on the road off scales and into intervals and arpeggios. Thanks buddy.

[Theorywolf]

What amps does he use? I see a fender. Also a Dumble? Does he use a Zendrive? Not to be critical, I like his playing, but maybe I need to hear one of his CDs. I've only heard his videos on youtube. Maybe I need to see him live? When I saw Hendrix, and later, SRV, I felt like a changed human being. I don't get this with Ford, and several others that play in that vain. Anybody else? Just seems like another good player, same chops with a little jazz spice thrown in. I'm sure he is great, maybe just not my cup of tea.

Mike

[epluribus]

What amps does he use? I see a fender. Also a Dumble? Does he use a Zendrive? Not to be critical, I like his playing, but maybe I need to hear one of his CDs. I've only heard his videos on youtube. Maybe I need to see him live? When I saw Hendrix, and later, SRV, I felt like a changed human being. I don't get this with Ford, and several others that play in that vain. Anybody else? Just seems like another good player, same chops with a little jazz spice thrown in. I'm sure he is great, maybe just not my cup of tea.

Mike

Hey Mike.

I felt the same way about him when I first heard him, except something about his R&B stuff really appealed to me. Nothin' fancy in there, lotta slightly jazzed standard blues riffs, easy enough to learn--till you try to play 'em with the touch and precision he has. Different critter. Same with his rig voice--Dumble is the rumor. Sounds like a cookin' blues rig, only built in a lab and schooled, precise and comfortable on the ears, yet very expressive in the touch, if my tweaked DSP patches give any hint. But there's no hint in the sound that the artist himself shaped that sound with a soldering iron or gaffer's tape--too perfect to sound like it's "his."

I admire his work greatly for some of those qualities, but in learning it I also learned something about what R&B isn't, IMHO--schooled, lab-perfect. Comes from too nice a neighborhood for blues. Can't play blues if you drove a Lincoln Navigator to the gig. I miss the raw edge of unintended consequences like you get from an overdriven Deluxe Reverb, and the way the old-school blues guys work the roughness and spank into the music--sounds that only seem to come from gear the poor kids get, (me at 17, partly figurative, partly true :)) and improvising stuff the music experts (yup, even the rock and CW guys of the time) sniff at.

As I write this it strikes me that part of the theater in the music is that dramatic question: How's he gonna work that POS into the music so I want to hear it? Things like that take the player out of the studio and stick 'em in the living room when you run 'em on the stereo. But there's no suspense in the performance, or awe at the imagination of the player, if the rig obviates the question.

Besides, I can't quite buy Robben singing "Ain't got the change of a nickel" when I can just hear that Lincoln sittin' out in the parking lot, the one with the sheet music in it from all the fancy music lessons I couldn't afford. (Ditto 17. RE: Ain't Got Nothin' But The Blues, from Talk To Your Daughter.) But then he goes and lays down a great groove with a lacivious sashay like Start It Up (The Authorized Bootleg album. 'Cept I think the word oughta be "truck.") or his terrific take on the Cannonball Shuffle (Keep On Running) and maybe this guy's got somethin' that I oughta listen to a little better.

Long way of sayin' Robben sneaks up on ya. Attracts you when you first hear him, then raises all kinds of questions and doesn't seem so sure a thing, then you dig into his chops and learn just how much subtle depth is in the song--then he's got ya. Good theater, that.

--Ray

...and it doesn't hurt that the reports from his workshops are that he's a terrific guy, generous with his insight and his time. I think maybe I hear that part too.

[bbarnard]

I had three wake up moments with Robben. First was when I was at NGW and he and Ronnie Earl were the guest instructors for the Blues Summit that year. They did the nightly guest artist concert and the two of them were standing there almost hip to hip trading off. Robben rips off one of his diminished licks and you could see Ronnie mouth "I can't play that". Robben encouraged him and Ronnie came up with something pretty darn close. Robben gave him a big smile. Earlier that same evening you could see Robben off to backstage left watching Kirby Kelly playing some awesome slide guitar and just grinning like everyone else.

Second was earlier in the day when he spoke to the students. He discussed playing with Joni and George and Miles, etc. Afterwards he met everyone and was signing autographs. I'd just purchased Blue Moon (which had just come out) and when I gave it to him to sign, he said, "love to see that you've got this, thanks so much for buying it".

Third, Ford Brothers Blues Band, Live at Center Stage CD, there's a passage he plays in the middle of his lead break on Nothin' To Nobody, that's a walk up type thing but its just incredible and I remember thinking how could he even think of that much less play it so fluidly.

[marinblues]

I heard him first on a 1982 GRP Various Artist Live LP called "Casino Lights".
And then on "Mirage a Trois" and "Yellowjackets". Some of those solo's (like on "Pass it On") just blew me away.

It sounded just the way I thought a solo should: jazz-bluesy, classy and with guts.

I thought: "This guys sounds like Larry (Carlton) on steroids!"

Over the years, Robben "smoothed out" a bit and Larry got a bit raunchier and I like them both.


Marin

[scottl]

You guys should hear my live Yellowjackets boot from 1980....... INSANE. Robben is on jazz crack!!! LOL Some of the best playing I have ever heard.

[Theorywolf]

First of all, I want to say that I am really appreciative of the thoughtful responses to my ignorance of Robben's work. You now have me wanting to hear more and listen a bit closer. As some of you, I grew up in the age of raw, ear-splitting lead work. I think you guys are pointing me to the subtle levels of his refined playing. I'm going to get some of his work and take SRV off the player for a while. Maybe it will make me even better at my Texas, heavy-handed blues work. thanks guys! About blues and class, I know what you are talking about. I learned to play all of my Hendrix-influenced leads on a 69 white strat that came without a case through a mail order mag. I learned to play it by ear without any amp for several years. By the time I had enough to buy an amp I was already playing the chops! I tell some of the young guitarist around here to do just that for a year, without effects from the amp and pedals covering over their too-eager playing style. Another poverty to guitar bliss story! Sold the 69 white strat for 50 bucks back in the latter part of the 70s!

Mike

[Sean French]

To add to my previous post.I guess the way his playing changed me was I really then understood how to stop overplaying.

[epluribus]

...and take SRV off the player for a while...

Hey Mike.

Hope that doesn't include Billy Gibbons. :)

About blues and class, I know what you are talking about.

That's a notion I still rassle with--I'm not sure if class is the issue so much as getting the most out of what you have, the way that dramatizes the accomplishments of the player. If ya got enough great gear, I s'pose even an average guy can sound pretty impressive in a way, but if a guy can knock your socks off with work-a-day average gear, or junk, that's an achievement. Seems to be one of the central driving forces in blues--making cool things out of humble things, finding the goods in whatever life gives you, a perseverance drama.

--Ray

BTW, ampless--majority of my early playing was that way, apartment life and all. Keeps your playing honest. Trower took a little imagination, Toy Caldwell was a guiding light.

[tonefingers]

Hey Mike.

I felt the same way about him when I first heard him, except something about his R&B stuff really appealed to me. Nothin' fancy in there, lotta slightly jazzed standard blues riffs, easy enough to learn--till you try to play 'em with the touch and precision he has. Different critter. Same with his rig voice--Dumble is the rumor. Sounds like a cookin' blues rig, only built in a lab and schooled, precise and comfortable on the ears, yet very expressive in the touch, if my tweaked DSP patches give any hint. But there's no hint in the sound that the artist himself shaped that sound with a soldering iron or gaffer's tape--too perfect to sound like it's "his."

I admire his work greatly for some of those qualities, but in learning it I also learned something about what R&B isn't, IMHO--schooled, lab-perfect. Comes from too nice a neighborhood for blues. Can't play blues if you drove a Lincoln Navigator to the gig. I miss the raw edge of unintended consequences like you get from an overdriven Deluxe Reverb, and the way the old-school blues guys work the roughness and spank into the music--sounds that only seem to come from gear the poor kids get, (me at 17, partly figurative, partly true :)) and improvising stuff the music experts (yup, even the rock and CW guys of the time) sniff at.

As I write this it strikes me that part of the theater in the music is that dramatic question: How's he gonna work that POS into the music so I want to hear it? Things like that take the player out of the studio and stick 'em in the living room when you run 'em on the stereo. But there's no suspense in the performance, or awe at the imagination of the player, if the rig obviates the question.

Besides, I can't quite buy Robben singing "Ain't got the change of a nickel" when I can just hear that Lincoln sittin' out in the parking lot, the one with the sheet music in it from all the fancy music lessons I couldn't afford. (Ditto 17. RE: Ain't Got Nothin' But The Blues, from Talk To Your Daughter.) But then he goes and lays down a great groove with a lacivious sashay like Start It Up (The Authorized Bootleg album. 'Cept I think the word oughta be "truck.") or his terrific take on the Cannonball Shuffle (Keep On Running) and maybe this guy's got somethin' that I oughta listen to a little better.

Long way of sayin' Robben sneaks up on ya. Attracts you when you first hear him, then raises all kinds of questions and doesn't seem so sure a thing, then you dig into his chops and learn just how much subtle depth is in the song--then he's got ya. Good theater, that.

--Ray

...and it doesn't hurt that the reports from his workshops are that he's a terrific guy, generous with his insight and his time. I think maybe I hear that part too.
Robben didn't sneak up on me, he bowled me over.

[tonefingers]

What amps does he use? I see a fender. Also a Dumble? Does he use a Zendrive? Not to be critical, I like his playing, but maybe I need to hear one of his CDs. I've only heard his videos on youtube. Maybe I need to see him live? When I saw Hendrix, and later, SRV, I felt like a changed human being. I don't get this with Ford, and several others that play in that vain. Anybody else? Just seems like another good player, same chops with a little jazz spice thrown in. I'm sure he is great, maybe just not my cup of tea.

Mike
Theorywolf

Robben must be seen as often as possible - LIVE

Robben really feeds off the audience.

No studio recording I've heard sounds like he
does Live, and I got the bootlegs to back that up.

Casino Lights ' The Monmouth College Fight Song', the tune 'Sunrise'
Charles Ford Reunion - All great live recordings.
But I've seen him tear it up way beyond those recordings in the many live shows I've seen.

Ok
Let's end this right know, Robben does NOT sound like Carlton. Every time
I hear the reference I roll my eyes. It's merely coincidence that they were both melodic and lyrical players playing similar gear. Maybe for a little while Robben got swept up in the LA sound and maybe Larry turned him on to the volume pedal, but it ends there.
I (had) a bootleg of Robben and Larry at Dante's back in like '82 or around then. Robben played a lot of wah,wicked wah.
Larry was much mellower with his volume pedal and sugar bends. Larry never could reach Robbens level of energy. Robben scorched
those strings with much more fire.

But, Larry gives it to Robben in many interviews anyway.

No one quite like Robben.

And on these threads not much Carlton talk, but TONS of Robben talk.

[Poppa Stoppa]

I heard the Yellowjackets album first.

That inspired me to buy 'The Inside Story' when it came out.

Then I started looking, and found the two Charlie Musselwhite albums on Arhoolie.

Through those I found the Ford Brothers Blues Band album, again on Arhoolie.

Then I heard about the live album with Jimmy Witherspoon, which I managed to find in a second-hand record store.

After that, 'Talk To Your Daughter' came out.

I liked Robben's earlier Gibson tones, and his playing was great even when he was really young.

Speaking of Larry C, I first became aware of him through the track 'Spiral' with the Crusaders. Later, his solo album with 'Room 335' was a sensation among the guitar fraternity. I have four or five of his albums but I like the early, slightly earthier stuff better.

As for how Robben (& Larry) affected me, well, I spent many hours transcribing their playing, but it was beyond my grasp at the time. If I'd been professional, or younger with more time, maybe I could have put in the uber-hours of 'shedding required to really progress in that direction. Nowadays I have more time again but my playing aspirations are different direction.

[epluribus]

As for how Robben (& Larry) affected me, well, I spent many hours transcribing their playing, but it was beyond my grasp at the time. If I'd been professional, or younger with more time, maybe I could have put in the uber-hours of 'shedding required to really progress in that direction. Nowadays I have more time again but my playing aspirations are different direction.

Betcha that's what he had in mind. Help a guy sail his own boat...

:BEER

[gregory49]

well i've only been into him for about 6 months now... but its changed the way i do everything i really love SRV and Jimi and clapton as well just for what they do. When i first heard RF it was the tone that hooked me, it was something different the overdrive sound seemed like it was high gain but it wasn't, sounded fresh to my ear, but what i loved about his playing was how stupid it made me feel because up to 6 months ago musicly and theory wise i had no idea what-so-ever ... it changed my way of playing and thinking to want to be more educated.

[tonefingers]

well i've only been into him for about 6 months now... but its changed the way i do everything i really love SRV and Jimi and clapton as well just for what they do. When i first heard RF it was the tone that hooked me, it was something different the overdrive sound seemed like it was high gain but it wasn't, sounded fresh to my ear, but what i loved about his playing was how stupid it made me feel because up to 6 months ago musicly and theory wise i had no idea what-so-ever ... it changed my way of playing and thinking to want to be more educated.
good thing

[tonefingers]

Robben has been called 'the thinking mans blues'.

I think he's all heart.

I've seen him out of his element before, for example,

With Jerry Granelli where he plays with Bill Frisell
maybe that heavy ECM out stuff isn't his thing
It was like Bill and the band were this big wave
and Robben was just the surfer riding on top
never melting together like Bill does so effortlessly.

But put Robben in his element, like modern blues
and he is unique.Unequaled in what he does.

Even Scott Henderson owes much of his blues thinking
to the listening of SRV and Hendrix and Clapton, and and the rest
yes he can take the blues way beyond what they all did.
But his stamp on it isn't as simply organic as Robbens.
And I LOVE Scotts playing, totally.
But Robben just always sounded like himself.
His Clapton influence doesn't really sound like Clapton
it just sounds like Robben.

But Robben, at first he was known as a Carlton clone
that alone slowed down many a career and made the Carlton
'sound' sound generic.

Robben just rose above all that, retained his melodic sences
showed the world that he sounds like him and no one else.
and today is in a small handful of the worlds most beloved players.
Regardless of metal, jazz, blues or whatever.

But is Robbens thing that little ratty Peavey blues tone that is owned
by the guy with the car missing a muffler that goes to the blues jam
every Week. I guess not. But he never tried to sound like that.

I guess it just comes down to personal taste.

Some people think blues should be just rotgut

But I like it just fine as a fine wine.

[bbarnard]

And no, he does not use a Zendrive
but Zendrive owes much to Robben.
I bet he doesn't see any of that scratch.

Don't know about the scratch part but you may want to back off the not using the Zendrive claim as the manufacturer has pics of him at the Tampa Bay blues festival last year using one.

http://www.hermidaaudio.com/TampaBluesFest050606.htm

[Fuchsaudio]

I saw him live with a Zendrive clearly on the stage and plugged-in.

[johnyfavorit]

i saw him in raleigh, nc late 2005 and he was using a les paul, fender amp, and a zendrive

[azgolfer]

First thing I heard was "North Carolina" which was in the "10" book that Guitar Player put out. A teacher gave me a copy with the transcription. After that I got the Arhoolie Record and started catching him live, usually "At My Place" in Santa Monica. Great shows with Vinnie, and Russell. I'd love to find some good boots from that era, as there was something to the bigger band that you don't get from his later 3 piece stuff. I had that Witherspoon Record with "Nothing's Changed", then I got the "Reunion Live" and the "Hot Licks" tape. By then "Talk to Your Daughter" came out (they had been playing it for about 3 years in the clubs). Right now, my favorite is a boot from North Sea Jazz Festival in '90. Incredible versions of "Ain't Got Nothin' But The Blues", "Bad Luck Blues", "Live The Life I Love", and "10th Avenue Tango".

[tonefingers]

Don't know about the scratch part but you may want to back off the not using the Zendrive claim as the manufacturer has pics of him at the Tampa Bay blues festival last year using one.

http://www.hermidaaudio.com/TampaBluesFest050606.htm
Your right,

I was thinking of his earlier days before Zendrive. He still got that tone.
From a TS.

But I did see him at Yoshi's in Oakland and yes he did have the ZD.
Does he need it? NNNNOOOOO...... It's really in his fingers.
Trust me, most people that own the ZD don't sound at all like Robben.
They still sound like themselves

Sorry, my bad.

You think he gets $$$ from Hermida Audio, I really know nothing nor do
I really care, it's just trivia.

[tonefingers]

i saw him in raleigh, nc late 2005 and he was using a les paul, fender amp, and a zendrive
Sorry, my bad

my mouth runneth over.

[rob2001]

I know i'm setting myself up here but I've never heard him.:confused: Who does he play with or for? Sombody tell me what I should get to experience this guy for the first time. Scary thing, I'm 43 and been playing guitar since 1968! Heard his name, never the playing.

[tonefingers]

I saw him live with a Zendrive clearly on the stage and plugged-in.
Sorry,

What have I started?

[tonefingers]

I know i'm setting myself up here but I've never heard him.:confused: Who does he play with or for? Sombody tell me what I should get to experience this guy for the first time. Scary thing, I'm 43 and been playing guitar since 1968! Heard his name, never the playing.
Dude

see him live

A good place to start hearing him I would

say is his early stuff, the stuff with his bro's

The Charles Ford Band.

But anything would work.

[beavis]

Sorry, my bad

my mouth runneth over.

Yes...and why do people always have to say one guy is "better" than another or the other sublte things you keep trying to hint at regarding Carlton and Scott H?

You obviously love RF...super, rawk on dude....you don't have to start criticizing other players that you don't enjoy as much or lecturing about who is more "organic"....geez...:NUTS

Resume RF lovefest....

[LR1400]

Your right,

I was thinking of his earlier days before Zendrive. He still got that tone.
From a TS.

But I did see him at Yoshi's in Oakland and yes he did have the ZD.
Does he need it? NNNNOOOOO...... It's really in his fingers.
Trust me, most people that own the ZD don't sound at all like Robben.
They still sound like themselves

Sorry, my bad.

You think he gets $$$ from Hermida Audio, I really know nothing nor do
I really care, it's just trivia.

Except your not wrong. A few gentlemen on here saw him in the last couple weeks and he was NOT using the Zendrive, instead a TS808 through a blackface Super Reverb. Nothing personally against the Zendrive but he wasn't using it where these guys were. I believe it was Austin, TX.

There was a youtube clip where he was using a TS and a red knob Twin and his tone was as good as and not that different from when he uses the dumble imo. But of course he has the tone in his mind and translates it well through his fingers.

[pullagnm]

The first time I heard Robben was about 3 or so years ago. At first it was just ok, and nothing more. But as I listened to the songs over and over I became intriged by his tone. The more cd's I bought of him the more I have become to like his style. And now he's at the top of my list of great guitarist. I was able to see him about a year ago and he was just amazing. I like the fact that he didn't play the songs note for note, but rather improvised. He played his Tele and a Les Paul through a volume pedal, wah, and the Zendrive into a delay pedal set on top of a BF Twin. He's tone was right on. After the show my friend and I went around back and saw Rosco and asked him if he could get Robben. so we could met. A few moments latter and Robben came to the back door with a big body guard. He was humble and nice. He signed my Zendrive and we spoke for a little while.

[tonefingers]

I don't think I was being negative of them at all.

I love Carlton and Henderson

When I said Robben seemed more 'organic' I simply meant
he doesn't play 'in the style' of anyone. I never hear him sound like this guy or that.

Henderson and Carlton do and do often.

But that's not a bad thing like your making it.

before you accuse me, take a look at yourself

[JackD]

Great question.

I first heard Robben in around 1981-82 with the first Yellowjackets CD. I was immediately blown away with his playing--particulary his feel, phrasing, melody. He became at that time and has always been my favorite player.

At the time, I was considering going to GIT. When I learned Robben was a special instructor there, it clinched my decision to go. I went there in 1983-84. During that year, Robben was a special instructor for about 5 out of the 12 months. I got to hang out and study with him every Friday. I got to play with him many, many times--it was totally cool.

Robben (and also Larry Carlton) really turned me on the magic place where Jazz and Blues overlap. This has totoally influenced my approach to the guitar. I clearly would not play the way I play if I had never heard Robben.

In recent years I've been able to reconnect with Robben and have played with him again at some clinics. This included having him play 5 songs with me and my band at a clinic I sponsored with in in 2004. It was a blast and one of my more memorable musical experiences!

[gregory49]

i agree with what was said about the zendrive and the tubescreamer .. dumble whatever... . however.. i personally prefer his tone with the zendrive.. theres a youtube vid at the mean fiddler .. thats all zendrive.. completely different tone.. even compaired to that divx video with robben and larry .. i prefer the mean fiddler sound that he had on you tube..

(sorry for the poor grammer and writing im a little drunk)

[gregory49]

hands down my fav guitarist ever and the most versatile!!!!! sorry for the double post!

[buddastrat]

I bought my first Robben Ford cd a few years back. It was awful. Most of it had singing and he shouldn't sing. I hated it, my wife was laughing at me asking why I bought that.

I've heard some other stuff I liked like Talk to your Daughter and liked the playing (not vocals). It's pretty mellow playing.

[tonefingers]

Gregory49

Say it as often as you like

[tonefingers]

I bought my first Robben Ford cd a few years back. It was awful. Most of it had singing and he shouldn't sing. I hated it, my wife was laughing at me asking why I bought that.

I've heard some other stuff I liked like Talk to your Daughter and liked the playing (not vocals). It's pretty mellow playing.
To each their own buddastrat

Robben does love to sing. If this tread was about his singing
well, the thread wouldn't exist.

Sings better than me though, I must say. And his singing
might impede his success in some folks eyes.

But in my opinion Robben plays with more fire than most.

At the same time he can play what some might call mellow

I think that comes from from his use of 6ths and 9ths and
his 'jazz' influence.

Most Rock players don't use these tones to create that

mellow mood.

Maybe you just like hard edged blues.

But don't write him off because he has mellow moments

He's got all the fire and then some.

He can be as aggressive as the Ice Man.

I've seen it. Many times.

Singing? well you might have a point.

But his singing is a good sign I feel because it says -

Robben is one of those few that can call their own shots

with record producers.

[azgolfer]

Yeah, but did you ever see Albert Collins, many times? I've seen both....I dunno if I'd agree with that, not even close. When AC was "on" he could peel paint off the walls.

No diss on Robin, he does what he does very well, but....his is a pretty gentrified take on the "blues", no?

I think Robben is a very aggressive player. His singing fits better with a relaxed approach, cause he can't really belt it out, but check out "Goin' Down Slow" from "Live at Notodden".

[heretic]

I woke up to Robben Ford when listening to a tune on a YellowJackets album, and for the life of me, I can't remember the title...help me out guys!

The LP is "Mirage a Trois" and this tune is a ballad , the last track on Side 1. Robben takes a solo that just cries...anybody know what I'm talking 'bout?

Of course, since then, Robben has always been a fave...anybody have the ricky peterson CD "Souvenir" - on the second track, a 6/8 gospel groove, Robben Ford has this tone...unbelievable. Good schtuff.

[marinblues]

I woke up to Robben Ford when listening to a tune on a YellowJackets album, and for the life of me, I can't remember the title...help me out guys!

The LP is "Mirage a Trois" and this tune is a ballad , the last track on Side 1. Robben takes a solo that just cries...anybody know what I'm talking 'bout?




I think that you are thinking of "Pass it On".

M.

[tonefingers]

Boy Robben does sound good with that Zendrive.

I ordered the Zendrive II, but it's been over a year now.
I'm wondering if I'l ever see it. Alf says I'm on the list.

Anyone know what's up with that pedal?

[buddastrat]

To each their own buddastrat

Robben does love to sing. If this tread was about his singing
well, the thread wouldn't exist.

Sings better than me though, I must say. And his singing
might impede his success in some folks eyes.

But in my opinion Robben plays with more fire than most.

At the same time he can play what some might call mellow

I think that comes from from his use of 6ths and 9ths and
his 'jazz' influence.

Most Rock players don't use these tones to create that

mellow mood.

Maybe you just like hard edged blues.

But don't write him off because he has mellow moments

He's got all the fire and then some.

He can be as aggressive as the Ice Man.

I've seen it. Many times.

Singing? well you might have a point.

But his singing is a good sign I feel because it says -

Robben is one of those few that can call their own shots

with record producers.


I see what you're saying. I agree. But what's he play that's aggressive? I have his instructional series and he plays a few things with a band and it's all real mellow. He plays the changes nicely of course and defnitely know what he's doing, but I haven't heard the fire. I think his singing matches his playing as it's very polite. I think I just like harder blues like you say. Something like Joe Bonamasso or Derek Trucks gets me going and wanting to practice. They know how to lay into the guitar.

[marinblues]

Dunno, but this sound quite hot to me (especially for an instructional video):

http://www.youtube.com/watch?v=3V7mZtHZZuo


I really like D.Trucks, but I wouldn't call him better or more agressive, just different.

M.

[Jim Salman]

Some guys only like to drink beer. Other guys only like to drink wine. I like to drink both. Robben Ford appeals to guys who like both beer and wine.

Also... listening to Robben Ford play is a great study in learning to solo over changes such that every note you play fits perfectly into the context of the current harmony (chord). Even when Robben plays a basic 12-bar blues (I-IV-V chords), he plays different licks and ideas depending upon what chord is being played. It's not just the same set of minor pentatonic licks going on all the time.

Finally, the guy has an amazing ear and quick musical wits about him. No matter how complicated the rhythm or harmony gets.], he nearly always lands right on his feet.

Everyone who I've spoken with that has met Robben Ford says he's an incredibly nice guy and a true gentleman.

[Deja's Blues]

I saw this cat burnin' it up on the the North Stage @ The Empire State Plaza, Albany, NY at a summer outdoor concert in '99 or 2k... It was the first time I saw him live... He was playing with a Bass player, his drummer, and KEYS, and his sound and Tone were just so FULL and RICH!!

He was on that Blonde or Cream colored '50s Tele ALL night, and just on FIRE!

My jaw hit the floor with this guy- he plays as Natural as most people breath, and brings Blues to another level with his Jazz-Fusion razor-sharp edge. Nobody sounds like him, man, he's the real-deal.... Absolutely, NO Doubt! I'd love to see him and Scotty Henderson on the same stage some night!! I'm going to check-out some of his info. DVD's...

[tonefingers]

Robben and Scott

my brain just sizzles thinking about that one.

I saw Robben the first Friday after the first Iraq war started.
The war was all that the people were talking about, there was a protest
mentality in crowd. In fact protests all day long in Santa Rosa.

Robben said "we are here to have a good time"
And it became one of the best shows I've seen and that number is somewhere
around 50, 60 times. Maybe he also was creeped out by the war I don't know
but he channeled something extra that night and pumped it into the crowd.
Think Robben - on steriods.
That was on the radio that night, live.
Does anyone have a copy?

Robben was all they were talking about when they left. No war.

[BigViolin]

GREAT Robben story tonefingers!!!:dude

Heck, that's just a great MUSIC story.

[scottl]

Did I hear someone request Robben and Scott H playing together? How about some Red Clay??

http://www.scottlernermusic.com/shawn/Track1.mp3

[RichardB]

Thanks for that Scott - I have heard both guys sound better before...but Robben owns Scott H on that. as you know, there are very few gtr players in ANY style that have the time that Robben has.His time on this owns Henderson....And why Robben owns Diorio and Frisell on their respective duo records...It's the secret of his appeal, and the key to why he sounds so good and why he makes just about any other player sound weak/ordinary in comparison. OTOH tho, it's a measure of Benson, that on that Ford/Benson boot GB owns Robben...but then GB does play the best time of any gtr player ever...so what can one expect....

RB

[KRosser]

...And why Robben owns Diorio and Frisell on their respective duo records

Robben and Frisell never made a duo record. They were both sidemen on a couple of Jerry Granelli sessions.

But, man, I have all those records you mention and I couldn't possibly disagree with you more, but there you go - to each his own.

[LR1400]

Thanks for that Scott - I have heard both guys sound better before...but Robben owns Scott H on that. as you know, there are very few gtr players in ANY style that have the time that Robben has.His time on this owns Henderson....And why Robben owns Diorio and Frisell on their respective duo records...It's the secret of his appeal, and the key to why he sounds so good and why he makes just about any other player sound weak/ordinary in comparison. OTOH tho, it's a measure of Benson, that on that Ford/Benson boot GB owns Robben...but then GB does play the best time of any gtr player ever...so what can one expect....

RB


Where is this GB and Ford boot? Like to hear it.

Yeah to each his own, and I think Ford is a great player and all, but no one owns Scott Henderson, his time is fantastic listen to his phrasing and timing on Dat's Da Way It Goes - track 8 from Well to the Bone. And I haven't heard Diorio or Frisell much but I would most definitely not think Ford would own them. Personally think Benson, Scott H., and Landau all have timing equal to if not better than Ford.

[spjoker]

I was taking a music course at FSU and i went in to check out some records/cd's, they had a bunch that as a student you could check out of various artists. Well i checked out one of his old albums...and honestly you could tell he was not a flashy player as such but a intellectual player. Very thought out phrasing... and i have to say i learned to have a great respect for his ability.

[cigpow]

GB and Robben Ford??? Where is this?!?!


Ian

[rongtr]

1981 (I think) I got a copy of the Yellowjackets album and was completely blown away. He was the first electric player I heard that could combine playing jazz horn lines with bending strings and vibrato similar to Clapton or B.B.King.

[scottl]

The GB/Ford is a video!! They do On Broadway and it ain't pretty..... Robben is clearly uncomfortable with his sound and never really gets going. He finishes and GB just RIPS. Like a great white and a baby seal.... Insanity from GB.

[tonefingers]

Thanks for that Scott - I have heard both guys sound better before...but Robben owns Scott H on that. as you know, there are very few gtr players in ANY style that have the time that Robben has.His time on this owns Henderson....And why Robben owns Diorio and Frisell on their respective duo records...It's the secret of his appeal, and the key to why he sounds so good and why he makes just about any other player sound weak/ordinary in comparison. OTOH tho, it's a measure of Benson, that on that Ford/Benson boot GB owns Robben...but then GB does play the best time of any gtr player ever...so what can one expect....

RB
Robben and Scott H. Sounds like a clinic. They are both reserved, mostly Scott.

Robben and Diorio, Minor Elegance. I've wondered if they were even together in the same
room on that recording. They were. kinda clinical. Robbens solo on Am/Pm was great,
I transcribed it the old way, off the turntable.

Jerry Granelli with Frisell and Robben is a cool album. But for this band with the horns and
Acoustic Bass and out there material I have to give it to
Friz. This was Friz's stomping grounds more than Robbens, but there were
tunes like Billies Bounce where the two played off each other, a chance to hear Bill play a
little faster and he keeps up with Robben no sweat.
Damn that Friz never ceases to amaze me, Robben plays his ass off and is so
so, so... what's the word??? The one tune Robben chooses "I put a spell on you"
seemed a little out of place on an otherwise otherworldly project.
It's a great tune but not with the feel of the other material.

Now Robben and George B. and Robben has probs or something, I haven't seen that,
I hear George smokes but this sounds painful.
It has to be better for Robben than what I've heard. Eh?

I watched Robben and Larry and I thought Larry seemed tired. Robben held back as
not to steal the Thunder, it was Larrys show.

The best band I've ever seen Robben with Has to be with his brothers.
I would see them as often as I could back in the 70s before Robben
did Tom Scott. Mark and Robben are the best together. It's the blood.

[KRosser]

Robben and Diorio, Minor Elegance. I've wondered if they were even together in the same
room on that recording. They were. kinda clinical.


That record always sounded to me like someone put together an ensemble for Joe that would appeal more to 'younger' players, at the time - Robben, Erskine & Gary Willis. I don't think it's a band Diorio would have picked if left completely to his own desires - Joe tends to like guys that give him lots of room, and they don't leave him much. He kinda sounds crowded out on his own record. Musically, and personally, Joe is not someone who will fight for space to be heard. You have to extend it to him.


Jerry Granelli with Frisell and Robben is a cool album. But for this band with the horns and
Acoustic Bass and out there material I have to give it to
Friz. This was Friz's stomping grounds more than Robbens, but there were
tunes like Billies Bounce where the two played off each other, a chance to hear Bill play a
little faster and he keeps up with Robben no sweat.


I haven't listened to that record in a long time; my recollection is that Robben sounded a little awkward and at odds with both the band and the material at times, like he's playing as if he hopes the kind of 'tight pocket' that he likes will develop but of course it never does; I'll have to listen again. It's funny - once Robben told me he was heavily influenced by Archie Shepp, Charlie Haden, Ornette and Dolphy. I don't doubt him, but that's a musical aesthetic I never hear in his playing.

[cigpow]

Its a video? is it youtube or something? Sounds like it would be fun to watch!


Ian

[RichardB]

What i have noticed is that the guys who kinda dismiss RF
( i dont mean they diss him, they just dismiss...) are mostly folks who probably feel like they have developed a vocab that goes beyond the "blues" language, and so they find him boring. IMO this is missing the gift that RF has beyond just about any gtr player around. Namely the time and organic feel. "Hip" note choice/"advanced" harmonies/concepts are never a substitute for pocket and groove and soul, and no amount of "advanced" stuff makes up for it. Altho there is obviously more to music than just "feeling good", I believe evry human originally comes to music for that very reason, and therefore to later scorn that thing, even indirectly, is weird... Plus there is the reality that you can play all the most "advanced" stuff, but that type of approach can really sound incredibly corny and contrived, especially when it is followed by an approach that values time/groove/blues/soul...Of course the best players manage to integrate the soul with other concepts, like RF...

[marinblues]

What i have noticed is that the guys who kinda dismiss RF
( i dont mean they diss him, they just dismiss...) are mostly folks who probably feel like they have developed a vocab that goes beyond the "blues" language, and so they find him boring. IMO this is missing the gift that RF has beyond just about any gtr player around. Namely the time and organic feel. "Hip" note choice/"advanced" harmonies/concepts are never a substitute for pocket and groove and soul, and no amount of "advanced" stuff makes up for it. Altho there is obviously more to music than just "feeling good", I believe evry human originally comes to music for that very reason, and therefore to later scorn that thing, even indirectly, is weird... Plus there is the reality that you can play all the most "advanced" stuff, but that type of approach can really sound incredibly corny and contrived, especially when it is followed by an approach that values time/groove/blues/soul...Of course the best players manage to integrate the soul with other concepts, like RF...

Nicely put.

M.

[yebdox]

Hi, all, new to TGP, but I hang around at Henderson's discussion board on Robben... first heard him with the original Yellowjackets on tour in Portland, OR in 1979 ... amazing chops, taste and tone, 335 through a Mesa Mark I. I'd read a "new faces" article about him in GP about 1976 or so, but there were no easily available LPs to listen to, so filed it away and forgot it (the picture showed him with his english driving cap on, playing a Super 400!).

When I moved to LA after grad school in '84, I had the great pleasure of hearing him 4 to 8 times per year at clubs like At My Place and Hop Singh's. Now I live in Spokane, WA - he's been here 3 times in the 20 years since, so I usually have to catch him at Jazz Alley in Seattle - always a great venue!

It's been interesting to see how Robben's playing has affected different listeners. I think it's important to honor everyone's experience and taste and comparisons are interesting, but not always fair. However, I would like to point out that an earlier comment about John Mayer possibly contributing to Robben's development, (or some form of parallel development?) left me wondering if the writer is familiar with Robben's history. John Mayer is like, 25 years old, I think, and while a tasty player in his own right, from what I've read, he attributes a fairly heavy influence on his playing directly to Robben, who is about 30 years his senior! I don't know if Mayer would have the world think that he somehow influenced RF's playing, rather than the reverse. I think it's good that one can hear how they are both reaching for similar ideas and share a common sensibility, though.

There I go, comparing. I do think that much of what appeals to me about Robben's playing is his extreme musicality, whether it's toned down but tasty (like Bad Luck Blues) or uptempo, with complex changes (Yellowjackets' Monmouth Fight Song, or Tee Time for Eric) - he always pulls something interesting out of the hat, and builds excitement within the framework of a given tune, often with easily approachable harmonic concepts. Kind of like, I'm always appreciative of someone who is truly funny without resorting to being crude. A great artist makes great art, even with a limited palette. The more you pick apart what Robben is actually doing with his playing, soloing AND comping, the more you appreciate how deep he really is!

I think it's great that he has such a positive effect on fans - RF fans really are dedicated!

[tonefingers]

What i have noticed is that the guys who kinda dismiss RF
( i dont mean they diss him, they just dismiss...) are mostly folks who probably feel like they have developed a vocab that goes beyond the "blues" language, and so they find him boring. IMO this is missing the gift that RF has beyond just about any gtr player around. Namely the time and organic feel. "Hip" note choice/"advanced" harmonies/concepts are never a substitute for pocket and groove and soul, and no amount of "advanced" stuff makes up for it. Altho there is obviously more to music than just "feeling good", I believe evry human originally comes to music for that very reason, and therefore to later scorn that thing, even indirectly, is weird... Plus there is the reality that you can play all the most "advanced" stuff, but that type of approach can really sound incredibly corny and contrived, especially when it is followed by an approach that values time/groove/blues/soul...Of course the best players manage to integrate the soul with other concepts, like RF...
There are plenty of players on this planet that play at Robbens level.

The thing that Robben has is his voice, his way of thinking. It just happens to hit most of us a certain way that no one else does. And that says Robben.

This isn't learned in a book It's not a scale, or a concept.

We witness Robben simply Being. He has always been able to
do that. It's an ability that he was born with. He shares that with his bros.

So, put down those books, pick up that guitar and simply channel the music in your heart. Cause that has alway been Robbens approach.

[FJTurner]

Great Thread! First saw Robben in 1972 in Fresno CA(my hometown) backing up Eric Burdon(from the Animals) and Jimmy Witherspoon. Before the singers came out, Robben played a song with the band which only had the lyrics;"Have y'all got the blues?" He played killer and even smoked on wah back then. After the show, he came out the front door of the club and my friend and I asked him,"who the hell are you?" He said,"Robben Ford" and we walked with him to his car telling him how much we enjoyed his playing.He was super nice and appreciated our compliments. I think he was 19 at the time.

[Clifford-D]

Great Thread! First saw Robben in 1972 in Fresno CA(my hometown) backing up Eric Burdon(from the Animals) and Jimmy Witherspoon. Before the singers came out, Robben played a song with the band which only had the lyrics;"Have y'all got the blues?" He played killer and even smoked on wah back then. After the show, he came out the front door of the club and my friend and I asked him,"who the hell are you?" He said,"Robben Ford" and we walked with him to his car telling him how much we enjoyed his playing.He was super nice and appreciated our compliments. I think he was 19 at the time.
Great story

[Clifford-D]

One of my best stories has to do with Robbens Brother Pat.

I was at Fantasy Studios with my college class recording .
We were walking through the lobby when I saw Pat sitting there.
I walked over to say hi along with half the class.

Six weeks later The Charles Ford Band was playing in town.
I just happened to have a table close to Pats party of people.
During the break I went over there and said hi again.
He remembered my name.
That was awesome.

[robelinda2]

My first Robben moment was hearing Rhumba Blues, from his Blues and beyond book, i was amazed! Aint no SRV licks in that!

[diego]

I saw him on a TV show in Cleveland, Black Omnibus, playing with Jimmy Witherspoon... I believe it was "Spoonful" on a Gibson Super 400. I was galvanized.

I might've been in sixth or seventh grade, but I remembered him until I saw a picture and could put a name to the experience.

[ChickenLover]

My first RF moment was actually a local band (Austin Pettit Band) that played Revelation.I used to go see them play a lot and never knew it was a RF song...just that it was my favorite song they did. Later a friend played the Talk to Your Daughter CD for me and that was it...instant fan.

[MarcJ]

I first learned about Robben in Guitar Player Mag back in '72 or '73. I thought he looked cool in the picture and was interested in his playing. A few years later a friend and I were in record store and they were playing the LA Express TomCat album that had just out. My buddy bought it, and I bought Larry Coryell The Restful Mind, but when we got it home that TomCat album just did it to me. I grabbed the sleeve to see who that cool guitar player was and I was plesantly suprised, it's that cat I read about in Guitar Player awhile back! So then, a few years later The Inside Story comes out. Well I listen to alot of Robben and I study his style and music these days, though I've never had a chance to see him. Robben is my biggest influence along with Duane Allman.

[Mike T]

Summer of '74 I was at Berklee and a kid from Denver took me to Paul's Mall to see RF play with Tom Scott....very inspring on a 335.

[Fuchsaudio]

Krosser make a good point. IMHO I personally LIKE Robben's approach to blues, chord forms and soloing. It's a refreshing difference from the countless blues hacks that keep rehashing blues without adding anything new to it. SRV was great, but he took Albert King and applied steroids to it in tone and force. Hendrix took the blues to a higher level in much the same way. Robben's approach always seems (to my ear at-least) just refreshing. Carlton strikes me the same way. All due respect to Ken Rosser. Different folks "float their boats" differently.

[Lucidology]

I always dig his playing, but usually enjoy Robbin's playing even more in contexts where he's not the band leader...

The Tom Scott & especially the Yellowjacket days are prototype vehicles for the study of Jazz Fusion guitar ...

Have an older Vince Mendoza cassette where Robin plays just beautifully..
& just adore his playing on the two Larry Steen CD's ...

[theRocco]

I own most of Robben Ford's albums, a couple of DVDs, seen him live once last year at Safari Sam's--all great stuff, but for me my "Robben moment" was a dream I had a couple of nights ago:

in the dream I was working on a big abstract oil painting and the paint was not paint but musical notes coming off the brush. The music was Robben Ford's, but the colors and designs appearing on the canvas were mine, very similiar to my other art work.

In the dream, at that moment, I felt that I really understood Robben's music. His phrasing was like painting a picture for me, the act of making a painting. You begin with a gesture, then another, all choices, actions, re-actions. It was beautiful!

I don't think my description of the dream and the feeling really translates to the written page, but in the dream the sensation was very clear, like no doubts, just perfect action, a philosophy of making music that simply grows outward from you without barriers.

[Mike T]

[quote=Lucidology;2786315]

Me too. I feel the same way about Pat Metheny for the most part, though I love Bright Size Life

Bright Size Life was an eye opener for me, to say the least. I think it was '75 and buddy of mine, the same one who came up with GS in all keys through the cycle, played it for me... It was a very strange experience the first time I heard it. It was really friggin "Bright", I don't know how else to describe it. Except that I percieved there was a lot more there than was immediatly obvious. It took a lot of listening over the years. And still does. There really was a sensation of "Brightness" as I listened to it the first time. Funny how you remember such things.

I hold Metheny in high regard as a bandleader, myself. His compositions are unique and he seems to freely use more textural - ambience type techniques on his own compositionsm, especially with Lyle Mays.

[bek]

My "Robben Ford moment" was a few years ago when he appeared on the bill with Robert Cray. I really looked forward to seeing this guy after all I'd heard about him (I did not purchase any of his music beforehand, so it was all new to me). He swapped off between a Tele and an LP all night, and I wasn't close enough to see anything else, nor would I have cared much. He played two Cream songs, one that just lay there dead, the other was pretty good (I think Polititian was poor but Crossroads was much better). Other songs were variously good, he was obviously highly technically competent but doesn't have much of a voice to front a band. BUT -- at one point around the middle of the set he played Nothing to No One and it was just stunning. As the song grew, it was one of those deals where the world got lost around me. When it was over, my wife and I looked at each other, and one of us said, "Well, we might as well leave now." We didn't, but we knew we had seen the highlight of the evening. A couple years ago, B.B. King did that to me on one song. Several years back, George Winston (don't make me talk about it) did that, too, much to my surprise. It seems like I hadn't seen that since Cream in 1969 (although with them it was the whole set, but that was Cream in their prime).

[diego]

What kills me is that he doesn't seem to change anything on the amp settings when he swaps the Les Paul for the Tele. What a touch.

[Clifford-D]

My latest Robben Ford experience was last night in Sacramento.

With Larry Carlton.

I think it was Carlton with Ford.

No keys, just two killer Dumbles and tone tone tone tone tone.

I was surprized it was such an "older" crowd.

Few 25 yr olds.

Do I even need to tell you how it sounded?? No

One word.

It's about time.

Ok, that's three words.

Got the Live in Tokyo CD also.

Time to start some more transcribing.

[dspblues]

Still looking to have my first. :)

[Clifford-D]

Still looking to have my first. :)
Don't need to look far :)

[Mike T]

Don't need to look far :)

Touche~ (sp) :AOK

[dspblues]

suggest some classics and I'll try to find them.

[Clifford-D]

See him LIVE ASAP

then see him 30x more times.

I'm serious. LIVE is THE WAY to SEE ROBBEN

Recording wise, get early stuff like "Sunrise" or the first Ford Bros album when they were kids. incredible times
Then work your way to his newer stuff.

Or just jump in anywhere, it's all good.

But live is where it's at

[jspax7]

My latest Robben Ford experience was last night in Sacramento.

With Larry Carlton.

I think it was Carlton with Ford.

You too? :BEER

My first time seeing Robben live. I've listened to him since The Inside Story.

Carlton used to be #1 to me, but since he went in the smooth jazz direction, I've been listening to Robben quite a bit more.

I felt like Larry played with more fire because of Robben, and that's what I'd hoped for. Both of those guys can go real deep. I walked away feeling very inspired. Just what the Doctor ordered.

Great show.

[Mondoslug]

I dunno, I was aware of his playing with Joni Mitchell but became a serious fan when "Inside Story" came out. How it affected me? I still make it a point to buy whatever he puts outs...can't say that with too many others since then - or any really.

[fig]

First time I heard of Robben was "The Inside Story" back in . . .'79? I saw the album cover at Tower Records, thought it "looked like it might be good," and bought it and loved it.

Since I got out of music for a few years in 1980, I hadn't heard anything from him until I got back into music in December of 2000. I bought Blue Moon. And I've been a die-hard fan since.

First time I saw him live was at the Crest Theater here in Sacramento with Larry Carlton. :AOK
I haven't been a big fan of Carlton in recent years, but that night Carlton was excellent! Didn't care much for his tone, though. I sat in the second row balcony, so I heard it mixed through the sound system (rather than being in the front row, where Loren sat).

Robben's tone was very smooth, more mid-rangey than it has been. In fact, at times it didn't cut through the mix very well. And he seemed a little distant at times. But overall, mighty fine playing!

[Clifford-D]

You too? :BEER

My first time seeing Robben live. I've listened to him since The Inside Story.

Carlton used to be #1 to me, but since he went in the smooth jazz direction, I've been listening to Robben quite a bit more.

I felt like Larry played with more fire because of Robben, and that's what I'd hoped for. Both of those guys can go real deep. I walked away feeling very inspired. Just what the Doctor ordered.

Great show.
That's three of us that saw the Sacramento show. Cool

It was a great show, I think your right in that Robben lights a fire
under Larry. He was having lots of fun. Blazing.

And not meaning this in a bad way at all, but Robben plays down with Larry.
That was evident when Larry left the stage, Robbens fire came out.
With Larry on stage, Robben played with his fingers more and used lots of space.
- Only to serve the music.

The two together, wow. They really do not sound the same.
But they were very complimentary to each other.
No keyboard was cool.
Made them responsible for the chords.

Great amps and guitars.

The whole thing was sick

[bluesman]

My first RF moment was shortly after the release of Talk to Your Daughter. A guitar player friend of mine, my first inspiration in fact, asked me if I'd heard of a guy named Robben Ford. I hadn't, so I went out looking for one of his albums and found Daughter. I had never been into the blues, so it was all pretty new to me. But something about it hooked me and drew me in. The more I listend to that album, the more I couldn't stop listening. Then I saw he'd be at the Coach House in San Juan Capistrano, not too far from my house.

It was a jaw dropping experience. I remember thinking, "My God, the man is flawless. Not one clam - it was perfection in every way." After the show my friend and I were hanging at the bar and Robben strolled out asked my buddy if he could bum a cancer stick. He obliged and we just shot the shit for a few minutes.

Since then I've seen Robben perform more times than I could possibly remember. I've been fortunate to even attend a clinic in the living room of his home. There has been no bigger musical influence on me than Robben. And he made me love the blues and want to really learn and feel music.

[Clifford-D]

That's a great story bluesman.

I too share a similar experience ever since seeing him just absolutely kill
on stage with Tbone Walker back in like '72.
Roy Buchanon was the headliner that night but it was
Robben Ford than stole the show.


...

[CrazyFingers]

High school, 1979--just after "The Inside Story" was released. Had never heard of Robben Ford.

Turned on WLIR radio (Long Island) for their weekly live broadcast from "My Father's Place" in Roslyn.

The first song--Magic Sam, I believe--caught my ear. After that, I hit "record" on my reel-to-reel. I still listen to that live show regularly. He played--and I mean TORE-UP--almost everything from The Inside Story plus a few blues standards.

Robben Ford
Curtis Robertson
Russel Ferrante
John Trainer

Amazing!

[bluesman]

The first song--Magic Sam, I believe--caught my ear. After that, I hit "record" on my reel-to-reel. I still listen to that live show regularly. He played--and I mean TORE-UP--almost everything from The Inside Story plus a few blues standards.

Wow, I'd sure love to find somebody with a copy of that broadcast... (Hint, hint...)

[Mike T]

suggest some classics and I'll try to find them.

I haven't heard it all but I've heard a lot and I've seen him live and I don't think you can go wrong with anything he's done. Early on is wall to wall blues licks. With Tom Scott and Joni Mitchell, Yellowjackets, Miles Davis-I had a video of that but I think my ex got it, or The Blue Line is all great guitar work. He consistantly has put out top shelf stuff. Just take a taste, man, you may like it. At least you've got to apprecaite it. Personally, I love his playing. And he's got that Dumble tone......:cool:

[abeanyman]

Weird to come across this thread. I used to run My Fathers Place nightclub in Roslyn NY. Would sure like to come across anyone with old tapes from the WLIR shows.

[Clifford-D]

I haven't heard it all but I've heard a lot and I've seen him live and I don't think you can go wrong with anything he's done. Early on is wall to wall blues licks. With Tom Scott and Joni Mitchell, Yellowjackets, Miles Davis-I had a video of that but I think my ex got it, or The Blue Line is all great guitar work. He consistantly has put out top shelf stuff. Just take a taste, man, you may like it. At least you've got to apprecaite it. Personally, I love his playing. And he's got that Dumble tone......:cool:
Robben has that Robben tone.

It come from his fingers.

I've seen him play with Fender Twins.

I never missed the Dumble.

Amp makers should get in the business

of cloning Robbens fingers. :D

[Ryguy]

I don't know when my first RF moment was, but I do think he swings as much as anybody. No disrespect intended for KRosser at all, but calling his playing "gentrified" just sounds strange (sorry, I know Mr. Rosser that you put the word in quotes too, not trying to skewer you here). Using the term gentrification in the context of music and art is really sticky though, isn't it? Somebody like RF, who clearly has his own voice, and who has put in years of hard work to polish his gift and help his inspiration flow, should get the benefit of doubt when it comes to his intentions and impact. I am no fanboy, but I do love his playing, and having seen him live, feel that he has a great deal of integrity, and his own clear sense of direction. I also dig Albert Collins, and saw him live 4 or 5 times. To me, on a deep, personal level, I didn't perceive much difference between the channeling either was doing. I could imagine Charlie Christian, for example, just getting off on RF's playing.

Just to push it a little further, do you think Cannonball's playing was gentrified? That may sound like a strange comparison, but both came from "the blues" as a general starting point, and neither had(s) much in common with John Lee Hooker. I dunno, swinging is swinging to me I guess.

On another note, does anybody (please!) know where I can find the Ford, Clarke, Jackson, Wesley boot? I have a few songs from that, and find that to be some of RF hardest hitting playing. I would love to hear the rest.

[pcovers]

When I saw George Harrison in 1974, I loved the Ford guy playing guitar with him in the tour band. After the concert I went out and bought Tom Cat and have been hooked since then.

[Ryguy]

"There's quite a bit of John lee Hooker I like but my favorite blues guy is probably Hubert Sumlin because his phrasing, sound and note choice was so downright weird most of the time."

No doubt, HS probably had a lot of influence on Marc Ribot, no?

[KRosser]

No doubt, HS probably had a lot of influence on Marc Ribot, no?

The influence was pretty direct, I know Ribot hung out and played a lot with Sumlin at one point.

[KRosser]

I really hear you on that one, but for me, Cannonball's overwhelming sense of melody wins me over!
I feel the same way about Wynton Kelly (and admittidly I haven't heard just a tremendous amount of his playing) - smiley, but again, totally dig his stuff.

On some of Wynton Kelly's later stuff he gets into some harmony where you can easily hear the seeds that sprouted Herbie Hancock and Keith Jarrett though I think Jarrett's dominant influence was Paul Bley.

[CharAznable]

I love Robben Ford, but I don't think I've ever had a Robben Ford moment.

[KRosser]

I don't know when my first RF moment was, but I do think he swings as much as anybody. No disrespect intended for KRosser at all, but calling his playing "gentrified" just sounds strange (sorry, I know Mr. Rosser that you put the word in quotes too, not trying to skewer you here). Using the term gentrification in the context of music and art is really sticky though, isn't it? Somebody like RF, who clearly has his own voice, and who has put in years of hard work to polish his gift and help his inspiration flow, should get the benefit of doubt when it comes to his intentions and impact. I am no fanboy, but I do love his playing, and having seen him live, feel that he has a great deal of integrity, and his own clear sense of direction. I also dig Albert Collins, and saw him live 4 or 5 times. To me, on a deep, personal level, I didn't perceive much difference between the channeling either was doing. I could imagine Charlie Christian, for example, just getting off on RF's playing.

Just to push it a little further, do you think Cannonball's playing was gentrified? That may sound like a strange comparison, but both came from "the blues" as a general starting point, and neither had(s) much in common with John Lee Hooker. I dunno, swinging is swinging to me I guess.

On another note, does anybody (please!) know where I can find the Ford, Clarke, Jackson, Wesley boot? I have a few songs from that, and find that to be some of RF hardest hitting playing. I would love to hear the rest.

FWIW: I deleted my response to this as well as my original post. On reflection it just felt like my explaining was getting weird and in retrospect, totally inappropriate to the nature of this thread, which is basically about props to a good guy

[Clifford-D]

...when I actually started listening to him (not just reading about him on TGP)...

...he's got a great sound and feel...I don't buy this no soul/too uptown crap...

...Robben's like all sophisticated and shit....:NUTS
:RoCkIn
I do think Robben has an uptown thing in his playing, I think he has a positive quality in his blues. I don't hear pain or heartache in his playing like Albert or Stevie, he has the attack of Albert Collins without the "pain". Even in his most emotive moments where it's bleeding heart time he will find an uplifting thing to play. Robben has never been into cries and moans like the Texas players. He just teases you with it.

Yet I find myself breathing with his phrasing and I hear the wonderful raw emotion, just no cry.
He's just not a crybaby blues player. (not very often that is)

[Ladhilbluesband]

His album tiger walk was my bible when i first heard it. I had been playing for three years, needed a kick in the pants, and that record was surely it.

Brandon

[seiko]

The influence was pretty direct, I know Ribot hung out and played a lot with Sumlin at one point.

Yep, although I did attended a clinic Ribot gave and he said that talking to Robert Quine gave initially turned him on to the some of the more wild blues players.

I still don't think Sumlin really gets his due. I mean he has that great, wierd out-of-phasey type guitar sound on all his lead cuts and you'd swear it was some kind of strat but then it turns out it could be anything from a goldtop to a harmony rocket to an Italian piece of junk. Pretty amazing.

[cedjazz]

1979. me & 2 buddies drove to LA to meet a guy who was gonna try & hook us up in the music scene there. after that fell through, we went to a small club called Dante's when we found out Robben was playing that night. John Guerin on drums and Chuck Damonico on bass were there too. They played stuff like A Love Supreme & Freedom Jazz Dance. Best show I've seen in a small club, ever! He was playing a Yamaha double cutaway solidbody(about the size of a LP) through a small Yamaha amp. I also did a wedding gig several years ago where Robben was a friend of the groom. While everyone danced and partied, he pretty much stayed in his seat & just listened to the band. afterwards, the groom came up and said Robben dug us.

[Clifford-D]

When I first saw Robben in '73, he came out with T Bone Walker and I never heard anything like it. On fire amazing,
Roy Buchanan was the headliner that night, I wonder what he was thinking because he was touted as this "worlds best player" thing on the bill, I mean, that's why I was there, to see the best, and he most definately got showed up that night by Robben, the kid.
I walked in this big Buchanan fan and left only being able to think about the unknown kid.



Just wondering how RB might have felt that night. Did he know he wasn't going to match that?

[cdaloia]

The Inside Story

"Tee Time For Eric" when he plays that descending sig thing and into the min 3rd bend.....that got my attention.
That Album in general for me was it (still is)

Chuck

[heavypick]

Don't know about the scratch part but you may want to back off the not using the Zendrive claim as the manufacturer has pics of him at the Tampa Bay blues festival last year using one.

http://www.hermidaaudio.com/TampaBluesFest050606.htm

Used a Zen when I saw him in NYC last year as well.

[ToneGurus]

The Inside Story

"Tee Time For Eric" when he plays that descending sig thing and into the min 3rd bend.....that got my attention.
That Album in general for me was it (still is)

ChuckMagic Sam came right out and grabbed you. My favorite from that album is For The One I Love. What a solo....

Mike

[Alligator > jam]

I picked up Discovering the Blues in the mixed "Blues" bin at Newbury Comics in 1999 for like $3.99. I'd never heard of him. I was exploring a lot then, picking through stuff I hadn't heard, buying cheap discs, and the spelling of his name and the cover image grabbed me ... the track listing was appealing to boot, so it was an easy pick.

On listening, his jazz stylings of blues classics were fresh and intriguing, but more it was the simple, fluid passion of his playing that grabbed me. He burned with a very clean and even tone; the variable was him. That's what came through clearer than anything. I love that kind of discovery. As I read the liner notes and realized this was just a small-club recording from the early 70s, I was hooked in.

Later that week I picked up Sunrise in the same bin, same price. Both were used; great deals.

[tonyhay]

I guess Revelation was my 'RF moment'. I still can't play it like he does. As others here have said, he plays though the changes like few others can get near to. When you combine that with the tone, it all sounds incredible.

[takakat]

My first Robben Ford moment was in mid 70's I was playing in a cover band with a alto sax player and he brought in a Tom Scott and LA Express's cassette tape and he wanted me to learn the guitar part to a song called "Rock Island Rocket" and just to please this guy I learned the solo note by note and I can still remember that solo note by note today:) But after that I never listened to any of his music. I joined disco funk group in late 70's and until I came to this forum last year I did not know Robben Ford became such a big star or I never even heard Dumble amp or Zendrive pedal. I only played Fender amps all my life and I never had any interest in any other amps and also I have been making living playing guitar for so long I just stoped listening to music period except when I play so I am very much out of touch with music scene but this forum is making me think more about music and new gears. I even started to listen to music via You Tube now and a guy like Jack Zucker in this forum is really great. Maybe I will listen to Robben Ford's music also.

[ToneGurus]

he wanted me to learn the guitar part to a song called "Rock Island Rocket" and just to please this guy I learned the solo note by note and I can still remember that solo note by note today:)Funny, that may be the first solo I ever transcribed!

Mike

[bek]

Saw him a couple years ago at an outdoor venue, most perfect weather and concert experience I can remember (on the bill with Robert Cray). Robben played a good set, an odd disappointment on Politician, rather flat, though he powdered the second Cream tune; I don't remember what it was. Then in the middle he played Nothing to No One (I think that's the name of it), and it was one of those incredible, rare moments in life. I think I stopped breathing. My wife and I looked at each other when it was done, and I said, "We might as well leave now." She agreed, though we stayed and saw the rest and Cray, too. It was too beautiful a night, but nothing could have topped that. Unbelievable.

[takakat]

Funny, that may be the first solo I ever transcribed!

Mike

Hey Mike it was a great solo wasn't it. I can use part of that solo line in many tunes. I play a guitar solo to a tune "Route 66" (Natalie Cole version) and I slip in some passage off that solo and it works well:)

[Clifford-D]

Hello all

I'm glad this has been such a positive thread and long lasting. When I started it my name was "Tonefingers". That well over a year ago, maybe 1 1/2 yrs. Thanks all, keep it going :)



Robben changed my life.
He affected me that much. I was 19 in '73 when I saw him first. I had never seen jazz played in a blues context with the ton of Clapton tone. That's what I thought, he sounded like, Clapton on jazz steroids.
I had listened to Creams tune "Sweet Wine" a million times, even on acid. I had every note in my head, it was supreme blues rock jamming, nothing like it, even from Jimi.
But that all changed the first time I saw Robben. The game had changed.
I owe my passion for jazz/blues/rock to Robben more than any other artist. After Jimi died, rock guitar bored me and I went towards jazz, it was Robben that kept the rock and old school blues going for me at a time when I could have given it up or distanced myself. For me Robben rewrote blues and rock and kept me interested in those genres. I sometimes wonder how I would have evolved musically without Robbens grounding influence. Just another balding jazz snob?
Truth is, I can't shake the blues, it's who I am, blues is at the heart.

[Woodyworld]

Yellow jackets for me. Playing is outrageous.

Later when the Blue line cuts came out, well he pretty much became my top favourite and of course those tones have now become legendary for many of the fans.

The times I've transcribed some of my favourite passages only to finish up scratching my head saying "is that all it is?" why the hell does it sound so beautiful And that for me is why I guess I'm hooked. Everything he plays just sounds so damn tasty and 'right'. His rhythm playing dosn't always get mentioned as much, but for me there's a master class in that alone.

I hope guys who hear Robben at this point, take the time to visit the Yellow jackets/Inside story etc cuts he made in the early days.........there be pure gold in them tracks

[Two-Octave]

First Robben Ford moment?----- Now,in this thread.

How did it affect me?------- Not at all.

Thanks for axing.

[Clifford-D]

First Robben Ford moment?----- Now,in this thread.

How did it affect me?------- Not at all.

Thanks for axing.
Not true, it affected you enough to post :)

[Clifford-D]

I just saw Robben the other night at "The Independant" in San Francisco for two nights in a "live recording" session.
This show will be an album.
And let me tell you, if the slice of Robben I witnessed makes it on the album it will be the baddest (best) playing he's recorded that I know of, and I've heard it all. He was on fire. Lots of fast playing and incredible ideas. Top of his game.
And the tone, between the Dumble and a Super Reverb, wonderful,
no Zendrive.

Anyone else go to this show?