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Premium Jams - Volume 2

by Phil Keaggy - Studio Instrumentals

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1.
Lockdown 03:35
2.
Watt Ever 07:16
3.
Elect Rick 03:14
4.
5.
Shock Bite 01:28
6.
7.
Kegworth Jam 13:43
8.
9.

about

Original Liner Notes:

Spontaneous Chemistry. Uninterrupted stream of consciousness. The happy accidents. A free-fall free-for-all. Inspired moments segueing into the terrifying. Such is the magical, creative, and wonderful stuff of the jam session But the collection of musicians presented here is no garage band. On the contrary, they are some of the world’s best, caught in playful, “off the record” moments freed from the corset of commercial form and function. And the epicenter of it all? Phil Keaggy, of course.

Recorded at various times and in various environments, this collection represents our efforts to cull through and pare down the many hours of tape to a single-disc sampling of the very best – the premium jams, if you will. Couldn’t do it. Just no way to get ten pounds of jam into a five pound jar! So we have two jars, er, discs for your listening enthrallment.

DISC 2 opens kicking and screaming with the Alan Bradley-penned track “Lockdown.” Recorded in the winter of ’92 at Bennett House Studio, and engineered by Ritchie Biggs, Keaggy remembers, “This music went through five different sets of different lyrics: two by me, one by Alan, one by Phil Madeira, and one by Lynn Nichols. This is the basic track with John Sferra on drums and me playing Lynn’s ’56 Gold Top Les Paul guitar and a Les Paul bass. San vocals, of course.

Tracks 2 through 5 hail from the “220” sessions (recorded in 1996 at Javalena Studios for Sparrow Records), featuring Spencer Campbell on bass and Lynn Williams on drums. Phil went for his ’86 Zion, played, as usual, through his venerable Vox AC30. His sound, particularly on the slow blues “Watt Ever,” was well-served by his faithful HE300 Ibanez Tube Screamer/chorus/composer pedal; no reverb or delay, though. Produced and engineered by Bill Deaton, these jams were recorded as a precursor to the “official 220 sessions.”

Next up (tracks 6 and 7) are a pair of jams recorded in the summer of ’96 at Phil’s own Kegworth Studio. On bass is Anthony Salee; Keith Carlock, with Steely Dan at the time of this writing, played drums. Salee, with whom Keaggy had played before, brought Carlock along for the ride. This occasion was their first and only meeting. “We had great fun,” Keaggy recalls. This time around, Phil plugged his black Parker Fly into a Crate tube amp with the Roland SDE 3000 delay.

Returning to the Bennet House for tracks 8 and 9 – again with Sferra and Jaynes holding down the rhythm section – we put a lid on things. We close the jam jar with a take on Badfinger’s “Baby Blue,” whose guitar solo served as the prototype for the version you hear on the “Blue” album, on which the track appears in it’s entirety with Keaggy’s lead vocals.

So there you have it. Lots of jam to spread around, and plenty of tasty licks to go. Turn it up!

~John August Schroeter

credits

released August 15, 2019

All music by Phil Keaggy (Kegworth Music ASCAP), except “Lockdown” by Alan Bradley (Dayspring Music, Inc.)

Phil Keaggy thanks all the great players, producers, and engineers who had a part in making this music.

Digitally re-mastered by Paul Schwotzer and John August Schroeter at Studio Distinctive, Colorado Springs, CO.

Art direction by Ed Rother, ER Graphics.

Copyright © 1999 Kegworth Music. All rights reserved. Unauthorized reproduction is a violation of applicable laws.

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Phil Keaggy - Studio Instrumentals Nashville, Tennessee

Phil Keaggy is one of the most admired guitarists in music today. A master of both electric rock and acoustic finger style, he has been honing his craft for over 50 years.
He continues to sell out concerts all over the United States, with his ever-changing style, ranging from rock-and-roll to fully orchestrated instrumental compositions.
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