“Ted Greene Remembered” CD

28 11 2007

“Ted Greene Remembered” CD

from El Dorado Records featuring tribute performances by Tommy Emmanuel, Lee Ritenour, George Winston, Laurence Juber, John Pisano and Ted, Dan Sawyer, Anthony Wilson, Mark Goldenberg, Phil deGruy, Jay Graydon , Steve Ferguson, Stephen Bruton and produced by Tom Bocci was released on November 10th.

The four-panel Digi-pak with Ted on the wrap-around cover plus the accompanying 12 page booklet insert with liner notes by Barbara Franklin and the artists themselves, make a beautiful package. You can learn more by visiting www.eldoradorecords.net to listen, read about, or place an order.

A portion of the proceeds go to TedGreene.com


Dan Sindel – “Excerpts From Handel’s Messiah”

21 11 2007

As a gift to all you fine people, here is a bit of Symphonic Guitar Music to help celebrate your Holiday Season…

Excerpts From Handel’s Messiah” by Dan Sindel:
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About George Friederich Händel:
George Frideric Handel (1685 – 1759)
George Friederich Händel was born in 1685, a vintage year indeed for baroque composers, in Halle on the Saale river in Thuringia, Germany on February 23rd.

George Frideric Handel (1685 - 1759)
From Germany to England – via Italy.

Though his father had intended him for the law, Handel’s own musical inclinations seem always to have been clear to him. At the age of 18, in 1703, he traveled to Hamburg, where he took a job as a violinist at the Hamburg Opera and gave private lessons to support himself. He became acquainted with Johann Mattheson (who later chronicled the known events of Handel’s life during his stay there) and together they visited Buxtehude in Lübeck in that first year. In the new year Handel’s first two operas were produced, Almira and Nero.

Whilst in Hamburg, Handel made the acquaintance of Prince Ferdinando de’ Medici, son and heir of the Grand Duke of Tuscany, who invited Handel to visit Italy where he spent more than three years, in Florence, Rome, Naples and Venice. By 1706 he had reached Rome, where Marquis (later Prince) Francesco Ruspoli employed him as a household musician and where most of Handel’s major Italian works were composed. This visit was significant; baroque music, like that of any period, has its musical clichés, and much that is typical of baroque music can be traced back to Italy and particularly to Corelli, with whom Handel had studied. The influence of Italy was to show itself in Handel’s lifetime preoccupation with opera – as well as Italian operatic “stars”. His Concerti Grossi too, bear witness to the influence of Italy and Corelli.

Italy was a great center of musical activity particularly during the first 20 years of the 1700s, and Handel was to meet and exchange ideas with many of the leading composers, musicians and nobility of the time – and not only Italians, for it was obligatory for every cultural and music-loving person of any rank or nobility to do the Grand European Tour which naturally included the main Italian cultural centers. Thus on his travels around Italy Handel also made a number of useful contacts including the Duke of Manchester, the English Ambassador, and most significantly Prince Ernst August of Hanover, brother of the Elector (later King George I of England) who pressed him to visit Hanover. The Prince may also have intimated the possibility of a post at the Hanoverian court, for when Handel left Italy early in 1710 it was for Hanover, where he was in fact appointed Capellmeister to the Elector, George Louis, who immediately packed him off on a twelve months’ leave of absence to visit England. The Royal Houses of Britain and Germany had always been closely inter-related, and the Act of Settlement of 1701 which secured the Protestant succession to the Crown of England, had made Handel’s Hanoverian employer George Louis’ mother heiress-presumptive to the throne of Great Britain. Thus the Elector George Louis would have been anxious to have Handel spy out the land and report back to him on the London musical, social and political scene.

During this first London visit, lasting eight months, Handel was favorably received at Queen Anne’s court, though his eyes were largely set on Vanburgh’s new opera house, the Queen’s Theatre in the Haymarket. Rinaldo, the first Italian opera specially composed for London, was performed there in 1711 and was a sensational success. Returning only briefly to Hanover in 1711, Handel was back in London by 1712 when he was invited to produce an English Court Ode for Queen Anne’s birthday. The Queen normally took little interest in her composers, being (according to the Duke of Manchester) ”too busy or too careless to listen to her own band, and had no thought of hearing and paying new players however great their genius or vast their skill”. It is surprising, therefore, that she granted Handel a pension of £200 a year for life.

But the Queen’s health deteriorated, and by September 1714 Britain had a new monarch. Thus it was that George Louis, Elector of Hanover and already naturalized by Act of Parliament in 1705, became King George I of England, initiating the Royal House of Hanover. One of the first engagements for the new George I was to attend morning service at the Chapel Royal where ”a Te Deum was sung, composed by Mr Handel” – and Handel’s position with the new ruler appears to have been secured. In addition to his royal duties for King and Court – his ‘Caroline’ Te Deum was performed by the Chapel Royal musicians at the king’s first royal engagement – Handel became music master to the princesses, for whom he may well have composed the keyboard suites subsequently published in 1720. In the summer of 1717 the king requested a concert on the River Thames and Handel was commissioned to write ‘Water Music’, for wind and strings. With members of the court and musicians accommodated in barges, the evening’s entertainment went on until the early hours of the morning.

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Dan Sindel Proudly Plays Washburn Guitars

20 11 2007

For press release 11.19.07

It’s official we can now say “Dan Sindel Proudly Plays Washburn Guitars”
Dan Sindel Proudly Plays Washburn Guitars

Dan states: “I love the playability of Washburn Guitars, I have used the WD32SCE extensively on my upcoming CD and it is such a pleasure to record with, the sound is warm and resonant and the low profile neck makes it very easy to perform very intricate passages with ease, I am quite honored to be part of the Washburn “family of artists” and look forward to great things in the future..!

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Washburn History
Some stories demand to be told. Others are simply content on being heard. Heard through music, through lyrics, through a cultural revolution. This is the story of Washburn Guitars.

Steeped in the tradition of fine instrument making, Washburn Guitar’s dynamic 120-history began in Chicago in 1883. The original guitar factory was located just blocks away from Maxwell Street.

In the early 1920s, Maxwell Street itself would emerge as the epicenter of a musical movement. Often considered the first entry point for thousands of African-Americans arriving from the Mississippi Delta, Maxwell Street became a hotbed for Delta Blues in its most raw and dramatic form. Newcomers and established musicians alike would listen and jam with one another in an atmosphere void of commercial influence. Once recorded, this powerful, emotional style of music would not only become the dominant form of blues but would radically change the emerging sound of rock and roll.

There, on Maxwell Street, as well as in alleyways, city sidewalks, bars, and honky-tonks around the country, Washburn guitars were embraced as the very embodiment and reflective spirit of the hard-working musicians who played them as well as the employees who designed and crafted them. It is the same spirit that guides Washburn to this day.

The history of Washburn Guitars is the history of a wide range of musicians. From blues players who shaped rock ‘n roll to multi-platinum recording artists to emerging guitar virtuosos. It is a history that can be heard and experienced every time you turn on the radio or listen to a live performance. It is a history built by skilled craftsmen and musicians who share one common love–a passion for the guitar.

Washburn continues to be a consistent leader in combining design, innovation, and technology to deliver the rich, bold sounds for a vast musical landscape.


Steve Sykes onboard to mix Dan Sindel “Marching In”

9 11 2007

Steve Sykes onboard to mix “Marching In”
For Press Release: 11/09/07

Steve Sykes
We are extremely pleased to announce that multi-platinum producer/engineer Steve Sykes has been brought onboard to lend his amazing musical talents in mixing a pair of Dan’s tracks for his upcoming CD Release “Marching In” – A tribute to the March King, John Philip Sousa, which has a tentative release date in December.

Steve brings quite a lot to the table as he is a very accomplished musician himself as he started his career as a session guitarist and member of various bands with such greats as Stanley Clarke and John Oates (Hall & Oates fame) to name a few. His vast experience working with Orchestra, TV & Film and many top name artists in the industry brings Dan’s music to new heights.


See Steve’s discography

Dan Sindel Proudly Uses Dr. Ducks AxWax

4 11 2007


Nov 3, 2007
We are pleased to announce it’s official “Dan Sindel Proudly Uses Dr. Ducks AxWax”..!

Dan States: “All my recordings have one thing in common; DR. Ducks Ax Wax is “in” every note”…

Dr. Ducks If you are serious about your guitar playing check into http://www.ducksdeluxe.com/

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