Gabor Szabo's music is an airplane ticket for someone with no money, fuel for the imagination, paint for a life that is a boring canvas...the list could go on and on. I wish I had been born earlier to see him playing live, talk to him. Such a great musician!
I never would have guessed he played on an acoustic guitar. I always pictured him playing a big body hollow body Gibson style guitar or even a thinline semi hollow.
Gabor Szabo managed to combine the two things he spoke of in this doco as his initial inspirations - a guitar like the one he saw Roy Rogers playing in a movie (presumably the Martin OM-45 Deluxe he mainly used) and jazz. It's a great sound he gets from it too, a sweet fluid tone but with some bite and grit when required (Gabor I mean, not Roy).
Wow. Thanks for posting. This is a real treasure! I heard him at The Lighthouse during college. His approach, that tone and style - so unique- sounds as vital and fresh today as it did all those years ago.
Chico was a pioneer in piano-less groups and nurtured a number of young guitarists. The work he did with Gabor, Al Stinson, Rudy Van Gelder is some of the finest these men ever produced
Thank you for the warm reception Robert. I am including a playlist link to all of Gabor's youtube links. Hope you enjoy it. ----------------------------- czcams.com/video/l5nP0soO68U/video.html -----------------------------
Thank you very much for your support and interest. Gabor's music transcend's our shared Hungarian heritage because of his openness and embrace of a more basic connection, the shared love and hope of all humans, all living beings.
Hey, John, thanks for sharing this. I’m having a massive Gabor moment. I’ve been into him for quite a while. And I’ve been looking for this movie for a while. It’s terrific. Absolute musical magic! Thanks again for sharing. Oh, and a great visual artist as well. Love it!
Thank you Sebastian, Larry Bock put all his heart and soul into this project. He was at Gabor's house and at most of his gigs for almost a year. All the credit goes to him for his perception, energy and affection.
¡SUBLIME! Muchísimas gracias, John. My brother and I are huge admirers of your brother´s music, this documentary is gold for us... I bet he was a Flamenco lover as well (like us). We are so sorry about your brother´s early demise, he was a true genius. We play all the time his records and we can feel the love he was transmitting. Love, peace and saludos desde España.
Thank you for your appreciation. This beautiful video captures Gabor's spirit and personality in a wonderful, truthful and realistic way. It was a long project for Larry Bock, more than a year, and I was at Gabor's house fairly often during that time. Without this video I would have nothing but fading memories of my brother as a living, feeling human.
@@johnszabo He was a wonderful player. I used to listen to his records as a kid with my father who was a jazz musician. Gabor had a very distinctive sound and a very expressive way of playing that still inspires many guitarists today. Thanks.
At start of video , interesting close up on his guitar strings , i believe gauge .013 - .056 with a wounded g-string on a Martin acoustic , gives off a slightly different sound than other archtop guitar jazz players . Great sixties hypnotic light jazz .
Hello John! It is very difficult for me to put into words as to how beautiful the work of your brother is, but I can only describe something of a child-like wonder when I heard his guitar for the first time. If I could ask of you a quick favor: Could you post a track list for everyone to see? Many viewers including myself want to look into the pieces in this documentary, so perhaps (if it's convenient for you) you could list out the names of these songs? Much love from Canada!
thank you so much for uploading this!! it's so difficult to find any content in english language about your great family member here on youtube..... can you recommend any other interviews or documentarys about him ? I wish I could understand hungarian. All the best and thank you again, you made my day with this video!!
This video was a work of love by Larry Bock, when he was finishing his movie degree at USC and is unique in it's scope and sensitivity. I don't know of any others that even come close. Carlos' video, where he talks about Gabor's influence on his playing is also very incisive but there is no conversation in it with Gabor. There is, as you imply, a very nice interview on the hour Hungarian tv interview but it is in Hungarian. Regina Csanyi has made a translation and it's waiting to be added as subtitles... Thank your for your enthusiastic comment...
Love Gabor! This is a great documentary! Huge influence on me. He's totally unique and in one or two notes you know who it is. Getting to hear him live was magical. I saw him on numerous occasions and was fortunate to meet him at the university I was attending as he played there in the mid 70's. He was so nice. One of the highlights of my life.
Thank you so much for your warm, kind words! I am Gabors younger (by 9 years) brother and I was at his house ofen as this video was being made. Here's a little video with one of his songs, Lady in the Moon. barbionics.com/smiles/apzz.htm?gaborlady,ga
Thanks John, your answer really moved me ... you have no idea how much. Thank you very much, I'm glad you responded and I'm very happy to know about you now. Hope and wish to stay in contact (:
@@johnszabo I am speechless...He was such a wonderful musician! By chance I learned about his work some days ago, reading a comment on Breezin' being recorded by Gabor in 1970. Way before Benson. I started listening everything available on CZcams. Read about his life and his early death. I became an admirer of his work. My best regards to you!
@@johnszabo oh, of course that's who that is! i'll give him another shot as that's definitely a pearl. your brother's music was such a standout. i was born in '70 and dad was a totally bananas Psychologist Jazz Nut. Discounted AR3a Improved speakers he drove down to the States for on Almost All The Time. Yusef, Keith, Miles, Herbie, Nina, Oscar, Les (McCann), Ramsey, The AE of C, etc....and Gabor delivered some of the best all 'round records that should be remembered with the best of those. a time of incredible musical...Fusion! (my new word;-). peace and happiness and thanks from brian in nova scotia.
@@beeftheheat Your comment about "fusion" is a right on. Including Gabo in the group of Jazz giants you list could not have taken place without the start of that fusion. It was a blending from all sides, the Beatles, rock, R&B, soul, Indian music, folk and everything else started to blend. The 60-s may have been the era when music was, and may for ever be, in it's most prominent place in society.
John thank you so much for this great find! Gabor was my biggest influence to study guitar. Is it possible to buy an original or copy of one of Gabor's paintings? cliff in tokyo
Azon veszem észre magam, hogy napról-napra egyre jobban kezd érdekelni Szabo Gábor élete és zenei életműve. Ha előbb fedeztem volna fel, biztos hatással lett volna a zenei világom kialakításában. Emberként is végtelenül rokonszenves.
Koszonom a megjegyzésedt de mivel most jó szemben (es fülben) tartod a zenéjét az azt jelenti hogy hatássa van rajtad most és, remélhetőleg, a jovőben is...
Wow, I have not seen this film before. I really enjoy listening to Gabor’s music, especially the live stuff. I really appreciate the practice with the bassist and then the switch to live version of the tune. So many of my favorites like Carlos Santana and John McLaughlin think highly of him. Thanks for the upload. P.S. I wish I knew who some of the people are like the musician around 12:30 minutes. That watercolor @ 18:00 is intense. I can see the pain.
Jimmy Stewart On The Guitars Of Gabor Szabo Gabor Szabo's sound was extremely unusual. That, coupled with his Hungarian field, made him one of the premier guitarists during the mid 60s and early 70s. Part of that sound came from his hands The other part of the sound came from the type of instruments that he used. One of his favorite instruments was the Martin D-45. This guitar was made by Martin for Gene Autry, the famous country singer in 1933. That model continued. It was basically called the Martin Dreadnought. Another guitar Gabor liked to play was a Martin D-285. These two guitars were big round-holed guitars and were usually associated with the troubadour singers of the thirties. But the sound itself, whether it was amplified or not, was very, very distinct and very, very full. To capture this sound electronically, a company called Rowe came out with these series of pickups called the DeArmond series. Gabor Szabo used a pickup made by DeArmond, placing it in the center of the round hole and adjusting it so he could have an excellent balance between the bass strings and the treble strings. While I was working with him, I would see him continually adjusting that pickup so it was offset just enough to balance the bass strings and the treble strings. Later on the pickups used a screw adjustment so you could tune in the volume for each string itself. The DeArmond pickup he used was model #210 and it was primarily made for flattop guitars. Also, they made a 12-string model used for the 12-string guitar. The other DeArmond pickup was used for the f-holed guitars. So the round pickup in the center of the round hole on the Martin D-45 was the real basic sound for Gabor Szabo. During the period of time I knew Gabor, he had also played some other guitars. One was a Gibson 1965 round-hole, a J160E. This guitar has a single-coil unit that sits at the end of the fretboard. He didn't use that guitar much, very seldom in person. It did appear on one recording LP of his. At one time I had heard him play a Fender Stratocaster without the tremolo bar, using the front-position pickup (or the jazz pickup). It was amazing to me that he seemed to get his sound out of that instrument too, by adjusting the volume controls and tone controls. But that Fender Stratocaster looked awfully funny on Gabor. He was also using a Fender amp. He refused to use the tremolo bar, which I thought was a smart thing for him. What would he do with that? Another guitar that he liked and I had it in my possession for a while was a Howard Roberts Epiphone. Although that guitar did have a small round hole, it did have a pickup that was placed up close to the fingerboard. I don't really think it gave Gabor the sound that he wanted. The was a period of time when things did change for Gabor, as far as the guitar. But the sound remained the same. I remember this event happening in San Francisco. We were at the Trident and a man came in. His name was Charlie Kaman. He was a gentleman who was an engineer who running a helicopter operation in Connecticut, but a lover of the guitar and a rhythm guitarist himself in big bands; quite a smart man. He and his engineers had designed a guitar out of space age materials. That was the first time I had seen an Ovation Custom Legend acoustic guitar. Charlie Kaman had come in and heard the performance and gave Gabor the guitar. At that time, that guitar was strictly acoustic. But because of the DeArmond Model 210, Gabor was able to quickly transfer that pickup to the Ovation guitar. And he really, really took to the Ovation guitar. One of the many nice things about the Ovation Custom Legend is the fact that it could travel well. With the Martin, with all the different changes in weather and being a beautiful piece of wood, there would be some problems. Sometimes the guitar wouldn't be alive in a room as we would want it to sound. Gabor had always basically worked from the premise of an acoustic sound first and amplifying it that through the amplifier. There was something a little unusual about the technique Gabor used for his picks and something different about the way he used the pick. He liked to use a medium-gauge Gibson, what was then called the Star Pick. I'm not sure whether it was developed with input from Les Paul, but it was called the Star Pick and I don't see those out on the market now. Gabor played with the round side of the pick, instead of the point. On the bandstand, he would have probably five, six to maybe ten picks sitting on top of his amplifier. Periodically, through the performance, he would change picks, so it had just the right feel. He always carried these picks in a hard-shell pick case. This material the Gibson Star Pick was made of was celluloid. I used the same pick myself. Prior to playing with Gabor, I had found that I could take that point off of the pick by rubbing it on a carpet and it would heat up the material and would round off the edges. I showed this technique to Gabor to reshape his picks and he started to use it. It was a lot of fun to see the two of us looking for a rug in the hotel room or the dressing room so we could reshape out pick! For some reason, that type of pick -- the celluloid medium Gibson Star Pick -- created a rich tone. That's one of the reasons why we used it. Many players use many different styles of picks. But Gabor really liked that pick and he really felt at a disadvantage having to play any other gauge of pick other than the medium. That just seemed to weld into that power package in his right hand.
I wonder how hard (or costly) it can be to digitally correct the musical parts, I mean due to the outdated technology everything sounds so out of tune which is a shame.
Gabor Szabo's music is an airplane ticket for someone with no money, fuel for the imagination, paint for a life that is a boring canvas...the list could go on and on. I wish I had been born earlier to see him playing live, talk to him. Such a great musician!
Wonderful description Mario... it makes clear your understanding and love of this music... thank you...
Very nicely put! He’s a legend ❤️
This is all very, very special...very, very rare...no more words...
One of my favorite guitarist of all time. Thank you so much for this
He died so young...it saddens me.
Around 1970 I saw him at 30 Pier Ave. Hermosa Beach..The LIGHTHOUSE..
I never would have guessed he played on an acoustic guitar. I always pictured him playing a big body hollow body Gibson style guitar or even a thinline semi hollow.
It's what he learned on and it had the kind of sound that he liked to hear.
Gabor Szabo managed to combine the two things he spoke of in this doco as his initial inspirations - a guitar like the one he saw Roy Rogers playing in a movie (presumably the Martin OM-45 Deluxe he mainly used) and jazz.
It's a great sound he gets from it too, a sweet fluid tone but with some bite and grit when required (Gabor I mean, not Roy).
A great great musician, great spirit & soul
one of a kind ... gabor szabo ....big bravo
Very NICE film - Thanx from Hungary
The consumate artist, an ever lasting inspiration, he changed my life. I thank you for this.
Wow. Thanks for posting. This is a real treasure! I heard him at The Lighthouse during college. His approach, that tone and style - so unique- sounds as vital and fresh today as it did all those years ago.
Chico was a pioneer in piano-less groups and nurtured a number of young guitarists. The work he did with Gabor, Al Stinson, Rudy Van Gelder is some of the finest these men ever produced
Don't forget Jim Hall...
you got it Jimmi!!
briliiant insight to the superb Gabor...
What a well produced and beautiful film, about an astoudingly talanted and expressive artist! Thank you so much for posting this! 😀
so magical
Köszönöm!!!!
Bellissimo! immenso Gabor Szabo!
Fantastic. thanks for posting this.
I need to hear more of Gabors music. To hear him explain music as in a spiritual sense is inspiring.
Thank you for the warm reception Robert. I am including a playlist link to all of Gabor's youtube links. Hope you enjoy it.
-----------------------------
czcams.com/video/l5nP0soO68U/video.html
-----------------------------
wonderful film -- thank you for sharing
Admiración absoluta.
Gabor Szabo is my guitar love for Life: I got all his recordings, only Dilemma missing..!
The introductory theme is absolutely beautiful
A lányom a hetekben írt róla egy dolgozatot az egyetemen (Rollins College, Florida). Azóta én is nagy felfedező úton járok!
Thank you very much for your support and interest. Gabor's music transcend's our shared Hungarian heritage because of his openness and embrace of a more basic connection, the shared love and hope of all humans, all living beings.
Wow!
Thanks for taking your time.
muchos saludos para John Szabo, es un honor...
Hey, John, thanks for sharing this. I’m having a massive Gabor moment. I’ve been into him for quite a while. And I’ve been looking for this movie for a while. It’s terrific. Absolute musical magic! Thanks again for sharing.
Oh, and a great visual artist as well. Love it!
Thank you Sebastian, Larry Bock put all his heart and soul into this project. He was at Gabor's house and at most of his gigs for almost a year. All the credit goes to him for his perception, energy and affection.
Guitar royalty.
Wow! Thanks!
This is a masterpiece. Thanks a lot!
Thank you. We too are forever grateful that we can see and hear Gabor talking and smiling so many years after he's left us.
¡SUBLIME! Muchísimas gracias, John. My brother and I are huge admirers of your brother´s music, this documentary is gold for us... I bet he was a Flamenco lover as well (like us). We are so sorry about your brother´s early demise, he was a true genius. We play all the time his records and we can feel the love he was transmitting. Love, peace and saludos desde España.
Muchas gracias, Enrique! czcams.com/video/JDQFpj-foLo/video.html
This is fantastic.
Thank you for your appreciation. This beautiful video captures Gabor's spirit and personality in a wonderful, truthful and realistic way. It was a long project for Larry Bock, more than a year, and I was at Gabor's house fairly often during that time. Without this video I would have nothing but fading memories of my brother as a living, feeling human.
@@johnszabo He was a wonderful player. I used to listen to his records as a kid with my father who was a jazz musician. Gabor had a very distinctive sound and a very expressive way of playing that still inspires many guitarists today. Thanks.
Love
Bliss to find this. Thank you.
wowww!!!!spectacular footage! thank you so very much for sharing!!!! long live gabor!!!!!
At start of video , interesting close up on his guitar strings , i believe gauge .013 - .056 with a wounded g-string on a Martin acoustic , gives off a slightly different sound than other archtop guitar jazz players . Great sixties hypnotic light jazz .
Thank you so much for posting this clip.
I have only heard the maestro on vinyl until recently. Blessings to you.
great thank you
27:30 amazing tune
did U get the title?)
@@thatmate6732it’s called Time. Off of Macho
czcams.com/video/xxzVzz_645Q/video.html
Hello John! It is very difficult for me to put into words as to how beautiful the work of your brother is, but I can only describe something of a child-like wonder when I heard his guitar for the first time.
If I could ask of you a quick favor: Could you post a track list for everyone to see? Many viewers including myself want to look into the pieces in this documentary, so perhaps (if it's convenient for you) you could list out the names of these songs?
Much love from Canada!
so what's the tune on 27:47? pls share if you've found out)
Jaj de nagyon fáj hogy mincs velünk!!!!!!!!!!! :(((((. Micsoda alázat van ebben az emberben a zene iránt!!!!.. Eszméletlen!
thank you so much for uploading this!! it's so difficult to find any content in english language about your great family member here on youtube..... can you recommend any other interviews or documentarys about him ? I wish I could understand hungarian. All the best and thank you again, you made my day with this video!!
This video was a work of love by Larry Bock, when he was finishing his movie degree at USC and is unique in it's scope and sensitivity. I don't know of any others that even come close. Carlos' video, where he talks about Gabor's influence on his playing is also very incisive but there is no conversation in it with Gabor.
There is, as you imply, a very nice interview on the hour Hungarian tv interview but it is in Hungarian. Regina Csanyi has made a translation and it's waiting to be added as subtitles...
Thank your for your enthusiastic comment...
Thanks for this
Happy you took the time to watch...
LONG time admirer.. sometimes I feel all alone.. but I know I'm not!
Very good
This was awesome! Thanks!
Love Gabor! This is a great documentary! Huge influence on me. He's totally unique and in one or two notes you know who it is. Getting to hear him live was magical. I saw him on numerous occasions and was fortunate to meet him at the university I was attending as he played there in the mid 70's. He was so nice. One of the highlights of my life.
What an artist, there is so much to tell about this talented & huge spirit musician.
Thank you so much for your warm, kind words! I am Gabors younger (by 9 years) brother and I was at his house ofen as this video was being made. Here's a little video with one of his songs, Lady in the Moon.
barbionics.com/smiles/apzz.htm?gaborlady,ga
Thanks John, your answer really moved me ... you have no idea how much.
Thank you very much, I'm glad you responded and I'm very happy to know about you now. Hope and wish to stay in contact (:
@@ronenizem I don't speak, read or write Hebrew so I don't know how to address
Gabor Szabo was amazing. Thanks for posting John. Have you ever thought about making a new documentary on him? Great video!!!
i wish i could Henrique! That talent is maybe outside my capabilities, thank you for asking...
@@johnszabo Wonderful film. Are you related to him?
@@Ninasim123 Gabor was my brother. Nine years older than me.
@@johnszabo I am speechless...He was such a wonderful musician!
By chance I learned about his work some days ago, reading a comment on Breezin' being recorded by Gabor in 1970. Way before Benson. I started listening everything available on CZcams. Read about his life and his early death.
I became an admirer of his work.
My best regards to you!
"The little droplet at the end of the wave of people."
You quoted my favorite metaphor to describe my brother. Richard Thompson picked a wonderful way to describe Gabor's unique and beautiful talents .
@@johnszabo oh, of course that's who that is! i'll give him another shot as that's definitely a pearl. your brother's music was such a standout. i was born in '70 and dad was a totally bananas Psychologist Jazz Nut. Discounted AR3a Improved speakers he drove down to the States for on Almost All The Time. Yusef, Keith, Miles, Herbie, Nina, Oscar, Les (McCann), Ramsey, The AE of C, etc....and Gabor delivered some of the best all 'round records that should be remembered with the best of those. a time of incredible musical...Fusion! (my new word;-).
peace and happiness and thanks from brian in nova scotia.
@@beeftheheat Your comment about "fusion" is a right on. Including Gabo in the group of Jazz giants you list could not have taken place without the start of that fusion. It was a blending from all sides, the Beatles, rock, R&B, soul, Indian music, folk and everything else started to blend. The 60-s may have been the era when music was, and may for ever be, in it's most prominent place in society.
♥
Outstanding and informative historical pierce! Is there any songbook available with tabs/sheet music? it would be so cool to learn on!
John thank you so much for this great find! Gabor was my biggest influence to study guitar. Is it possible to buy an original or copy of one of Gabor's paintings? cliff in tokyo
Cliff - the few paintings that I know of are all in our family. We are looking for more, Thank you for your inquiry...
Thanks much for posting this. He was an inspiring and innovative musician.
Azon veszem észre magam, hogy napról-napra egyre jobban kezd érdekelni Szabo Gábor élete és zenei életműve. Ha előbb fedeztem volna fel, biztos hatással lett volna a zenei világom kialakításában. Emberként is végtelenül rokonszenves.
Koszonom a megjegyzésedt de mivel most jó szemben (es fülben) tartod a zenéjét az azt jelenti hogy hatássa van rajtad most és, remélhetőleg, a jovőben is...
Is that Ralph Towner playing in that acoustic trio?
Wow, I have not seen this film before. I really enjoy listening to Gabor’s music, especially the live stuff. I really appreciate the practice with the bassist and then the switch to live version of the tune. So many of my favorites like Carlos Santana and John McLaughlin think highly of him. Thanks for the upload. P.S. I wish I knew who some of the people are like the musician around 12:30 minutes. That watercolor @ 18:00 is intense. I can see the pain.
Did you notice the bassist isnt there?
I am wondering about the track played from 8:36 to 9:46, so nice...
Hard to say... it's a very characteristic melodic sound for him... must be a snip from a club date...
Sounds to me like Song For My Father, written by Horace Silver
Did Gabor play in standard tuning ?
I passed on your question to those who may know...
Jimmy Stewart On The Guitars Of Gabor Szabo
Gabor Szabo's sound was extremely unusual. That, coupled with his Hungarian field, made him one of the premier guitarists during the mid 60s and early 70s. Part of that sound came from his hands The other part of the sound came from the type of instruments that he used.
One of his favorite instruments was the Martin D-45. This guitar was made by Martin for Gene Autry, the famous country singer in 1933. That model continued. It was basically called the Martin Dreadnought. Another guitar Gabor liked to play was a Martin D-285. These two guitars were big round-holed guitars and were usually associated with the troubadour singers of the thirties. But the sound itself, whether it was amplified or not, was very, very distinct and very, very full.
To capture this sound electronically, a company called Rowe came out with these series of pickups called the DeArmond series. Gabor Szabo used a pickup made by DeArmond, placing it in the center of the round hole and adjusting it so he could have an excellent balance between the bass strings and the treble strings.
While I was working with him, I would see him continually adjusting that pickup so it was offset just enough to balance the bass strings and the treble strings. Later on the pickups used a screw adjustment so you could tune in the volume for each string itself. The DeArmond pickup he used was model #210 and it was primarily made for flattop guitars. Also, they made a 12-string model used for the 12-string guitar. The other DeArmond pickup was used for the f-holed guitars.
So the round pickup in the center of the round hole on the Martin D-45 was the real basic sound for Gabor Szabo.
During the period of time I knew Gabor, he had also played some other guitars. One was a Gibson 1965 round-hole, a J160E. This guitar has a single-coil unit that sits at the end of the fretboard. He didn't use that guitar much, very seldom in person. It did appear on one recording LP of his.
At one time I had heard him play a Fender Stratocaster without the tremolo bar, using the front-position pickup (or the jazz pickup). It was amazing to me that he seemed to get his sound out of that instrument too, by adjusting the volume controls and tone controls. But that Fender Stratocaster looked awfully funny on Gabor. He was also using a Fender amp. He refused to use the tremolo bar, which I thought was a smart thing for him. What would he do with that?
Another guitar that he liked and I had it in my possession for a while was a Howard Roberts Epiphone. Although that guitar did have a small round hole, it did have a pickup that was placed up close to the fingerboard. I don't really think it gave Gabor the sound that he wanted.
The was a period of time when things did change for Gabor, as far as the guitar. But the sound remained the same. I remember this event happening in San Francisco. We were at the Trident and a man came in. His name was Charlie Kaman. He was a gentleman who was an engineer who running a helicopter operation in Connecticut, but a lover of the guitar and a rhythm guitarist himself in big bands; quite a smart man. He and his engineers had designed a guitar out of space age materials. That was the first time I had seen an Ovation Custom Legend acoustic guitar. Charlie Kaman had come in and heard the performance and gave Gabor the guitar. At that time, that guitar was strictly acoustic. But because of the DeArmond Model 210, Gabor was able to quickly transfer that pickup to the Ovation guitar. And he really, really took to the Ovation guitar.
One of the many nice things about the Ovation Custom Legend is the fact that it could travel well. With the Martin, with all the different changes in weather and being a beautiful piece of wood, there would be some problems. Sometimes the guitar wouldn't be alive in a room as we would want it to sound. Gabor had always basically worked from the premise of an acoustic sound first and amplifying it that through the amplifier.
There was something a little unusual about the technique Gabor used for his picks and something different about the way he used the pick. He liked to use a medium-gauge Gibson, what was then called the Star Pick. I'm not sure whether it was developed with input from Les Paul, but it was called the Star Pick and I don't see those out on the market now.
Gabor played with the round side of the pick, instead of the point. On the bandstand, he would have probably five, six to maybe ten picks sitting on top of his amplifier. Periodically, through the performance, he would change picks, so it had just the right feel. He always carried these picks in a hard-shell pick case.
This material the Gibson Star Pick was made of was celluloid. I used the same pick myself. Prior to playing with Gabor, I had found that I could take that point off of the pick by rubbing it on a carpet and it would heat up the material and would round off the edges. I showed this technique to Gabor to reshape his picks and he started to use it. It was a lot of fun to see the two of us looking for a rug in the hotel room or the dressing room so we could reshape out pick!
For some reason, that type of pick -- the celluloid medium Gibson Star Pick -- created a rich tone. That's one of the reasons why we used it. Many players use many different styles of picks. But Gabor really liked that pick and he really felt at a disadvantage having to play any other gauge of pick other than the medium. That just seemed to weld into that power package in his right hand.
Yep, standard E.
What is the song at 5:40 please?
Thank you!
Roger G somewhere i belong
czcams.com/video/QIOPBzmxCaY/video.html
wonder who the bassist was who psyched Gabor out?
Does sombody know the name of the track played from 15:36 to 16:15? Pleaaassseee!
Patastrophe Rambler i think
Kasa Andras Thanks a lot Andras! I was desperate not to find it in my life time! Thanks from France!
+Patastrophe
czcams.com/video/VmKOz0aw4W4/video.html
+john szabo Thanks a lot John, that's very good too.
"Comin' back" - the end-of-set song, played in a thousand variations at the end of every set, before the break...
amaizing artist! what is the name of the first track? :D
Mizrab
What is the song at 25:00 ?
czcams.com/video/DrCs8kOwdEQ/video.html
rambler
Thank you sir!
15:47?
"Comin' Back", it's the tune Gabor would play at the end of every set.
Actually it starts at 15:37
hola amigo Cliff, how are you doing..?!
alive and well write to me here cliffatcliffworks.net
Zseni volt,ma is többször hallom zenéjét másoktól,kicsit átdolgozva.Korán elment.
Are you Gabor's son?
I'm his brother, his son, Blaise, lives in Massachusetts.
I wonder how hard (or costly) it can be to digitally correct the musical parts, I mean due to the outdated technology everything sounds so out of tune which is a shame.
a shame the camera did not focus on his hands more, too many shots of facial expressions