Archive for the ‘Photographs’ Category

Friday, July 3rd, 2015

Thanks to Carol S. of New York, for sharing this photo she took of Willie in Deansboro, NY, on 6/16/07.

Willie Nelson, the Gorge (July 4, 2007)

Thursday, July 2nd, 2015

photo:  Lana Nelson

Willie Nelson, on guitar

Thursday, July 2nd, 2015

These pictures are from the companion book to the 3-cd boxed set produced by the by Bear Family Records, “It’s Been Rough and Rocky Travelin’” by Rich Kienzle.

Willie Nelson, Alison Krauss at Marymoor Park in Seattle (6/27/15)

Monday, June 29th, 2015

marymoorphoto:  Gary Miller

Willie Nelson, Alison Krauss Enchant Seattle Stage

Two very different bands form an enjoyably mismatched partnership on summer tour

www.Rollingstone.com
by:  Mike Seely

While their frequent bluegrass jams leave plenty of room for musical imagination, Alison Krauss and Union Station are the portrait of technical precision live. Krauss is a virtuosic fiddle player who boasts a voice that flutters high above her band’s well-choreographed ballet of strings, with Jerry Douglas’ Dobro piercing through the pine.

Saturday night at tree-lined Marymoor Park in suburban Seattle, Krauss, dressed like a classical musician in a black dress shirt and slacks, relayed a remark that an anonymous observer made about Douglas’ connection to his lap guitar. “I always forget it’s an instrument,” said the onlooker. “I always think it’s his voice.”

As for Krauss’ voice, dry air had rendered it nearly inoperative in Utah a week ago. Fortunately for the Seattle crowd, which cooled itself with portable fans in the midst of 90-degree heat, her pipes had regained their strength by Saturday. Kicking off their set with the tender “Let Me Touch You for Awhile,” the band quickly showed its range by delving into “Who’s Your Uncle?”, a rip-roaring instrumental composition from Douglas that Krauss told the crowd she’d nicknamed “Ride the Donkey.”

“If you knew my uncle, you could call it that,” joked Douglas in reply.

Union Station doesn’t feature a drummer, with Krauss’ rhythmic violin-tapping the closest the band gets to percussion. On Saturday, they took a plodding ballad, “Ghost in This House,” and relaxed the tempo even more. After Krauss shared an anecdote about being starstruck while singing alongside Seattle native Ann Wilson during the taping of the Heart concert special Night at Sky Church, Dan Tyminski stepped in on lead vocals for the foot-stomping “Rain Please Go Away” and the tragicomic “Wild Bill Jones,” glowering at the crowd like a territorial bulldog, no matter how sweetly he sang.

Among the highlights of any Union Station show are Krauss’ quirky introductions of her longtime bandmates, most of whom she’s been playing with for upwards of 20 years. Introducing banjo player Ron Block, she revealed that he’s from Torrance, California, “where they like to make a lot of vegetarians, but not our Ronnie.” She later engaged in a hilariously nuanced conversation about fowl hunting with bassist Barry Bales, and remarked of Tyminski’s strange-bedfellow collaboration (“Hey Brother”) with the Swedish DJ Avicii, “We didn’t know who Avicii was. We though it was a mysterious skin growth or something.”

After Krauss and Union Station’s short encore that included a gorgeous, a cappella version of “Down to the River to Pray,” co-headliner Willie Nelson and his family band quickly got joints blazing and toes tapping on a more earthbound kind of grass. (Kenny Chesney was simultaneously playing at a football stadium a few miles away, but the amount of shoeless feet at Marymoor doubtless had No Shoes Nation licked.) A Lone Star flag was dramatically unfurled as Nelson and his disarmingly casual crew started their set with “Whiskey River.” In stark contrast to Krauss and her collaborators, fully half of Nelson’s band consists of percussionists, with a drumline fronted by Paul English, a real-life outlaw who doubles as the group’s enforcer. Whereas Krauss and Union Station present themselves as the best musicians that could possibly have been curated for inclusion in their band, Nelson’s sidemen, while perfectly competent, appear as though they’ve been enlisted simply because the braided legend likes having them around.

Most aging musicians who choose to stay on the road justifiably recruit younger players who compensate for whatever artistic shortcomings advanced maturation might wreak. Not Nelson. At 82, his guitar-playing remains nimble and adventurous, to the point where it could qualify as free jazz; he never plays the same solo twice, straying far from a tune’s rhythm before miraculously finding his way back to the beat.

While Nelson’s set featured most of his classic hits, including “Always on My Mind” and “On the Road Again,” he played nearly as many covers as originals, with Mickey Raphael’s harmonica buoying Lefty Frizzell’s “If You’ve Got the Money, I’ve Got the Time.” Like most of his bandmates, Raphael, a tall, striking presence clad in black denim, meanders around the stage as though he’s oblivious to the thousands of faces staring back at him.

Toward the end of the set, after Nelson introduced “Roll Me Up and Smoke Me When I Die” as a “new gospel song” he’d written, two of his offspring, Micah and Amy, stepped to a microphone near their dad, slung their arms around one another and sang call-and-response backing vocals while Amy recorded the proceedings on a smartphone. At that point, attendees must have felt as though they’d crashed a raucous family party, with the coolest granddad ever leading sing-alongs on a resin-stained guitar.

Read more: http://www.rollingstone.com/music/news/willie-nelson-alison-krauss-enchant-seattle-stage-20150629#ixzz3eUhUZGMH
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Jay Blakesberg photography, “Guitars That Jam”

Wednesday, June 24th, 2015

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photo: Jay Blakesberg

“Trigger… It is what it is. I have pictures of Willie playing Trigger back when I was in high school. Pictures that I took in 1979. It’s obviously taken on mythological proportions at this point. I mean that hole in the guitar alone is enough to be an entire book and conversation starter. But you know, it’s the guitar that Willie loves the sound of and he’s not filling in that hole because it’s part of the personality of that guitar. I think it’s such a beautiful instrument. I love the close-up of that particular guitar. The detail of it, the autographs… When you get up close to it, a lot of the autographs were written in ballpoint pen… on that soft wood gives it that bumpy look. The guitar is gorgeous as it is, a beat up and dilapidated instrument and someday it’ll probably be in a museum, behind glass and never played again.”

www.glidemagazine.com
by: Joe Raniere

In the mid-seventies, rock photographer Jay Blakesberg started shooting concerts with his father’s camera as a way to produce his own personal memorabilia. In the years that would follow, his photos would go from being his bedroom wall décor to being published in magazines, books and on websites, social media pages, album covers and album sleeves. Like his hero Jim Marshall before him, Blakesberg’s extensive body of work includes portraits and live performance shots of many of the most iconic music figures of his time, such as; The Grateful Dead, the Rolling Stones, Neil Young, the Who, Carlos Santana, Joni Mitchell, Willie Nelson, Tom Waits, John Lee Hooker, the Allman Brothers Band, Phish, B.B. King, the Black Crowes, Tom Petty, U2, Pearl Jam, Soundgarden, Metallica, the Red Hot Chili Peppers, Jane’s Addiction, Nirvana, Radiohead, the Talking Heads and many more. In more recent years, his career has grown to include titles such as filmmaker and publisher.

On May 19th, Blakesberg released Guitars That Jam, a new coffee table book that includes nearly 200 pages of photos of legendary, big-name and on-the-rise guitarists with their beloved axes. Accompanying the photos are personal tales written by the guitarists about their instruments featured in each shot. Together, Blakesberg’s vibrant photos and the featured guitarists’ passionate and informative words result in a multimedia celebration of the most defining instrument in rock music.

Shortly after the book’s release, we caught up with Blakesberg to talk a little bit about Guitars that Jam and what else he has in store for 2015.

First question, so who is this book for?

This book is for music fans. I think that there’s a lot of mystery about guitars that non-musicians would like to learn about. There’s also a lot of information that guitar players would want to hear from the musicians in this book. There are gazillions of people out there who are closet guitar players… Who have bought guitars and tried to learn to play guitars… I think that those people would enjoy these stories.

Some of the stories in the book are very technical and some of the stories are very emotional and personal. So it’s a good mixture of how people relate to their instruments, or at least how the musicians in this book relate to their instruments.

What was it that inspired this project?

 In my previous book, Jam, there was a whole bunch of close-ups of guitars on the inside cover and those photos really resonated with a lot of people, which gave me a really cool idea. I just kind of took off on the original concept of Jam, which was to have the artists talk about playing onstage, to improvise and you know, the connection that made to the music. I took that same theme and same idea and applied it to the musicians talking about their instruments. I had a bunch of shots like those on the inside cover of Jam,some of those made it into the book and some of those didn’t. Once we came up with this idea, I went out and shot a whole bunch of new artists and new guitars and new shots of the same artists that I already had shots of previously in Jam. A publisher then approached me and said they wanted to do the book. That was a publisher that passed on Jam, and I think that after they passed on Jam they were like “Hmmm, maybe we shouldn’t have passed on Jam.” They liked the idea of this book and we partnered up and the editor of the publishing company that I was assigned to did all of the interviews and we got some great stories out of the artists about their instruments and I think that’s how it all sort of came about.

Read entire article, see more of Jay’s great photos here:
http://www.glidemagazine.com/137973/photographer-jay-blakesberg-captures-beloved-axes-guitars-jam-interview/

Willie Nelson on Guitar

Tuesday, June 23rd, 2015

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photo:  Bud Fulginiti

Monday, June 22nd, 2015

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Willie Nelson and Alison Krauss in Salt Lake City (6/20/15)

Sunday, June 21st, 2015

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photo: Rick Egan
www.sltrib.com

Country legend Willie Nelson & Family and bluegrass veterans Alison Krauss & Union Station co-headlined a show Saturday at Usana Amphitheatre in West Valley City. Jerry Douglas was the opener. Here are photos from the show.

See the Slide show here:

Willie Nelson & Family in Salt Lake City (June 20, 2015)

Sunday, June 21st, 2015

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Thanks to Brad Wheeler, for sharing his photo from last night’s Willie Nelson & Family Show in Salt Lake City.  Nice view!

Willie Nelson & Family at the Apollo Theater – London, England (June 17, 2010)

Saturday, June 20th, 2015

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www.WillieNelson.com

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Willie Nelson, NYC (1979)

Saturday, June 20th, 2015

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Django and Jimmie outakes

Thursday, June 18th, 2015

Fun behind-the-scene snippets from the studio, with Willie Nelson and Merle Haggard and Buddy Cannon.

Thanks to Diana Chang, Team Coco Digital, for finding this.
www.teamcoco.com | www.facebook.com/teamcoco | www.twitter.com/teamcoco diana@teamcoco.com

The album is out! It’s fantastic.

Thursday, June 18th, 2015

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Thanks, Raelynn Nelson, for sharing this photo of her Papa Willie

Wednesday, June 17th, 2015

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Missing Willie Nelson? There’s an App for that

Tuesday, June 16th, 2015

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Keep in touch with Willie Nelson with his very own smart phone app, for iPhones and for their cousin the Androids. Find out his schedule, instantly! And I think there is a link to this site on Willie Nelson’s site, so that makes me feel like there’s an app for me, too. Amazing.

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