{"id":9524,"date":"2016-03-09T09:49:50","date_gmt":"2016-03-09T17:49:50","guid":{"rendered":"http:\/\/jazzusa.com\/?p=9524"},"modified":"2013-03-09T09:49:50","modified_gmt":"2013-03-09T17:49:50","slug":"drew-davidsen-true-drew","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=9524","title":{"rendered":"Drew Davidsen – True Drew"},"content":{"rendered":"

True Drew<\/strong> is an explosion of Drew Davidsen’s love and passion for the guitar. Recorded in TN, LA and NYC with producers Eric Copeland, Preston Glass and Norman Connors, guest artists Bobby Lyle, Ron Tyson, Eric Marienthal, Gerald Veasley, Bob Baldwin<\/strong> and more, this CD has 12 incredible mind-blowing tracks.<\/p>\n

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  1. My Guitar<\/strong> was inspired by Pat Metheny. This upbeat, driving symphony of guitars with a unique vocal hook takes full advantage of a beautiful 24-fret, solid-body Carvin.<\/li>\n
  2. 95 South<\/strong> What is in your GPS? In search of a new sound on my Carvin nylon string, I used a wooden pick given to me as a birthday gift by my friend, Michael Packard. Even when I m headed south, I m feelin Wes.<\/li>\n
  3. Hi5<\/strong> Imagine yourself at a hip LA rooftop party with your favorite drink. Can you hear the songo rhythm?<\/li>\n
  4. Double or Nothin’<\/strong> was co-written with my friend, Preston Glass. The gambling, blues-y title called for intertwining twin guitar harmonies \u00e0 la Larry Carlton and Robin Ford. I set my Carvin amp on blue.<\/li>\n
  5. All Night and Forever<\/strong> is a whole tone melody that resonates clearly through the f holes of my guitar and is a tribute to the great George Benson.<\/li>\n
  6. Sweet Spot<\/strong> is another co-write with Preston Glass, featuring stacked saxes, a smooth hook, funky bass and a blistering rock guitar solo.<\/li>\n
  7. I’m Into You<\/strong> The idea for this tune came as I imagined Earl Klugh’s guitar with an updated Hall & Oates vibe. Ron Tyson tempts us with his silky vocals.<\/li>\n
  8. Do Right<\/strong> was written for me by my friend Eric Copeland, who sent me the concept via a top secret iPhone video. In the studio it was exhilarating to work with guitar tech, Jonathan Crone. He had some really cool pedals to play with. While I have always done scatting in my live shows, this was the tune to “do right.”<\/li>\n
  9. I Can’t Help It<\/strong> Collaborating with three other producers has been an exciting process. Each of us contributed important elements to this tune. It started with Preston Glass, a fabulous LA songwriter and producer. His own arrangement of this Michael Jackson tune caught my ear with a cool, high, string line. If we were going to do an MJ tune we knew we had to make it extra GOOD! Covering a great vocal on guitar is audacious in the first place. I wanted to make my guitar sound smooth and mellow but at the same time I needed it to speak. We tracked the live upright bass in LA, latin drums in Nashville, under Eric Copeland’s direction. Norman Connors had the great idea to bring in Bobby Lyle in NYC as the cherry on top.<\/li>\n
  10. Change the World<\/strong> As an Eric Clapton and Babyface fan it was my pleasure to make my axe sing the blues with Bobby, Gerald and the guys in NYC.<\/li>\n
  11. All Creatures<\/strong> My fans have come to expect that on every album there will be an arrangement of a classic hymn. This time I chose All Creatures of our God and King. I love to go back to music\/guitar at its most simple — acoustic on acoustic. I chose to play this in drop D tuning with a 6\/8 time signature. Then God delivered the most wonderful guitar tech, Jonathan Crone, to the recording studio. As I began to share my arrangement he graciously agreed to join me and magic happened.<\/li>\n
  12. Give Me Your Heart<\/strong> was written by Bobby Lyle. The original version (1992) featured Norman Brown. This tune is a duet between guitar and piano. The solos on this version are intense, long, luscious and beautiful.<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

    True Drew is an explosion of Drew Davidsen’s love and<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-9524","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/9524","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=9524"}],"version-history":[{"count":2,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/9524\/revisions"}],"predecessor-version":[{"id":9527,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/9524\/revisions\/9527"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9524"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9524"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9524"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}