david hidalgo instruments

What exactly is a “Hidalguera”? Learn to play guitar by chord / tabs using chord diagrams, transpose the key, watch video lessons and much more. When Hendrix came along, it changed my life forever. When I hit a point where I have to move away and just let go, then I’m just watching this thing, like an observer. Who were your earliest influences, Dave? He bought Canned Heat and Are You Experienced? Where he got me was on those Victoria Spivey records, where she had jam sessions in her apartment in Brooklyn. David: When ZZ Top was first happening, we were doing folk music, so I didn’t pay much attention. When did you become aware of him? Having an inordinate concentration of talent in one group was a big plus. I had that single [by the Strangers] and “Rebel Rouser” by Duane, and then some Coasters, and “Purple People Eater.” Surf guitar and stuff like that; just drowned in guitar. And they certainly succeeded on a local level. But then I went back three more times, and it happened every time. “What are you then? They put a bass bridge on it, set up for four doubles. The one I’m using now is like a Precision bass, but I have one being made now that’s like a Jazz Bass, like a Joe Osborne copy. David: I like those, too. And that’s another one of those three-guitar things. The Documents are instruments of service and are not a “product” or a “good” as defined in the Uniform Commercial Code. After the show, someone from his entourage handed me the guitar. Steve Chapman, his guitarist, was my favorite, and [singer] Jack Greene on drums. I took a piece of paper and wrote down where he was pushing his fingers down, on which frets and strings. (read more at Wikipedia) American singer-songwriter, guitarist, percusionnist, accordion player born October 6, 1954 in Los Angeles, California. ‘Lobos' has prospered over a storied forty-five year career, introducing audiences around the world to its unique Chicano-flavored American rock and roll, blues and roots music. So when I started playing guitar again, it’s back like in 1972. Louie: I thought it was maybe because it was my first experience, my first concert. I’ve got a nice little collection, but, being left-handed, it’s so rare to find a nice guitar like that. I got it from Norman’s Rare Guitars in the Valley years ago. Jerry Garcia could do all that. Did you add instruments or change roles because the music dictated it – like, “We need a drummer”? I’m really glad that somehow they came around, but we were waiting for them for a long time. And I just did the best I could for a long time – until things started to get where we really wanted to push it a bit. Not to sound edifying or anything, but maybe it’s because we made such a big impact at that point.” You just kind of miss that sound, or it’s something you’re digging at the moment. During that period they weren’t as expensive, but Norman has been a good friend and would give me exceptional deals. And St. George amps. Conrad: I still love the old ’60s stuff – Mountain, Cream, and all that stuff. Each guy had his own cubicle backstage, where they’d hang out during the breaks. Nino Rivera is one of my favorites on tres, and Lino Chavez is a great requinto jarocho player. Between those three, I take either a Strat or a Telecaster and a Les Paul. We could sit here talking for days just about the blues – the three Kings (B.B., Albert, and Freddie) and Albert Collins. David is also a member of Los Super Seven and of the Latin Playboys, a side project band made up of some of the members of Los Lobos. It wasn’t until around ’88; we went to Thailand, and for five bucks I bought the whole ZZ Top catalog on bootleg cassettes. How could this “new” unknown band be so good? David: We played at New George’s in San Rafael in ’85 or ’86. Cesar: I think the one I used on the solo on “La Bamba” is a 1960, all original, slab-board. This record was done mainly analog 2″, then we’d dump it over to Pro Tools for a few overdubs. You kind of know what David’s going to do before it happens, or Cesar, or vice-versa, with all of us. Louie: Gibson was nice enough to give me a ’60 reissue Les Paul goldtop. Participants reflected […], Copyright © 2021 Playing for Change | Terms | Privacy, Listen to the Music | Songs Around The World Movie, Our Music Students in Ghana Unite to Record an Original Song, Peace Through Music: A Global Event for Social Justice, Mark Johnson Joins the United Nation’s “What’s Next” Conversation. Like Yomo Toro, a great cuatro player from Puerto Rico. I was raised in the desert, living with Indians, because my father was a diesel mechanic at an agriculture post. Robert Nighthawk is another favorite, along with Mike Bloomfield and Otis Rush. Then I played guitar; that’s all I did. And it was a struggle when he was playing; his whole body would pull the guitar. Carlos [Santana] was on that, and Willie said, “Excuse me – you with the white pants – what was your name?” He said, “Carlos.” Willie said, “Are you capable of taking a solo?” (laughs). Louie, where were you coming from musically? Hidalgo performing with Los Lobos on the South Lawn of the White House, October 13, 2009. All: (laughter) In the middle of the show, [Grateful Dead roadie] Steve Parrish invited me back there, so I sat down with Jerry and talked about Buck Owens and stuff. Saed Hindash/The Star-LedgerLos Lobos member Louie Perez, play an acoustic concert with David Hidalgo Friday night at the Allen Room at Jazz at Lincoln Center. All the mothers would make food, and they’d hire a group. Has he continued to be a big influence? Louie: When you think about what music is, it’s invisible. Hidalgo, who has played on two previous Dylan albums, wasn’t expecting to add his Mexican instruments to the new project. He showed up with Carlos, and they sat in. I’ve got Pro Tools, but we use it kind of as a side thing. Was the solidbody electric bajo quinto custom-made for you? Though they began as a rockin’ garage band, they quickly took on a new mission: to revitalize Mexican and Chicano folk music for a new generation. But when we came to the United States, the whole encounter with rock and roll was amazing. On the same song? David: There’s a different sound, but it sounds like the same guy playing it. I loved that. I saw him do a thing, playing the cuatro, cross-picking with the bent wrist. But that was where I had my first experience with music. How Will The Wolf Survive, their first full-length album, from ’84, revealed the band’s ever-broadening palette, mature songwriting, and the two-guitar attack of Rosas and Hidalgo. I’ll dig that forever. Don’t think Los Lobos has had an impact on the tastes of the public and other musicians? There was something that happened there that you could never get off a record. You can’t hang it on the wall to look at; it’s not something you can touch and feel. That’s almost like the Muddy Waters band concept. When we learned about the different instruments, we started to notice that you could get all these things at the pawn shops for 30 or 40 bucks. And Brian Wilson, when he used to do his stuff with the Beach Boys, he did some amazing things. Later, somebody said “It’s rockabilly.” Then, of course, the Beatles were a big influence, too, and the Stones, and of course a lot of R&B and soul music – Curtis Mayfield, all the Stax stuff with Steve Cropper. It was always like a history lesson. Fender recently put out a “mo’ better” copy of the 4×10″; I want to look into that. And then there’s the Cuban stuff, like the tres players, and the fundamentals of all that music. I’ve been collecting since I was a teenager. And we recently got the okay to actually start recording our own shows and sell them at our gigs. I know that he uses Fender Hot Rod amps when touring but does he get the same type of tone? Of course, their many contributions are much greater. Los Refugio Tiernos) Chords by David Hidalgo. “Wow, this stuff’s really good!” It’s hard to beat that sound, especially with those old Celestian speakers with a Les Paul. “We came up with the idea as sort of an unofficial anniversary record,” says Perez. If we don’t belong over there, and we’re not totally accepted over here, then we belong everywhere. After a few years, he handed the guitar down to me. I think he was a big fan of Jesse Ed Davis; it changed his way of playing. When was the last time you saw a “Play an accordion, go to jail” bumper sticker? Then we electrified, and I became the drummer, and we continued on for another 10 years. In the early years, when this band was playing exclusively Mexican music, there was a lot of pressure for us to get more political. They were borrowing more from jazz. And everybody’s got to have a Höfner, so I’ve got a Beatle Bass, and my ’68 Gibson EB3, an Ampeg scroll bass, and my first bass – an old brown Teisco. Cesar: But you know, that was a different feel of country music. The latter LP and its title track shot to #1 on Billboard‘s album and singles charts. My brother was right-handed, so I was playing upside-down for a few years. Not to be confused with David Hidalgo Jr.. David Hidalgo. David Hidalgo is perhaps best known as the guitarist and singer of the Grammy-winning band Los Lobos, the East LA based group he co-founded with Louie Perez. For the most part, I’ve been playing a Les Paul for years, but recently I started getting my Tele back out. But it took me years and years. Then some friends and I started a band. Cesar: I used to play Marshall combos quite a bit. He was real good to us, real down to earth. There’s something that keeps the enthusiasm alive and the sense of discovery. That’s become my main guitar lately. David Hidalgo David Kent Hidalgo (born October 6, 1954, in Los Angeles) is an American singer-songwriter, best known for his work with the band Los Lobos. Louie: My jarana was made by Candelas Guitars in L.A. It’ll blow your mind, if you go down there. Every night after dinner we would crank up the radio and get these stations from Hermosillo, playing Mexican pop music. Then, I’m really into Fenders and Gibsons and some older basses I have. (read more at Wikipedia) He formed as well a side project band called Houndog. He makes a single-12 that’s a 20-watt with 6V6s, but he has one now with 6L6s, a 40-watt. Do you sit on your hands and ponder your dilemma and not do anything, or do you find freedom in it? That was a good day. But it wasn’t until the ’70s, after we went back to the hardcore regional folk music of Mexico and started studying that from the ground up. I fell into that and had to learn to use different scales and play that style. But it took a long time. Cesar: Early on, in rock and roll, it was Elvis and Scotty Moore. And the world is a better damn place because of that. David Kent Hidalgo is an American singer-songwriter, best known for his work with the band Los Lobos. David Hidalgo said you gave him an oud. Cesar: It’s as small as ever, but I got some cooler old stuff, like an old Nieve board. Houndog really is bare-bones blues, as unpretentious and honest as it gets. And just so many great, soulful black R&B guitarists who weren’t even mentioned on the records. I am really a Fender guy but everytime I hear Los Lobos recordings I am blown away by what sounds like a Marshall. Cesar, what music had the biggest effect on you? I like him even more now; I appreciate him. So we always talked about how it would be cool to have a band with three guitars. I changed the strings on it and re-learned everything. Cesar: It’s like Billy Gibbons. Only about five minutes; I said, “I don’t want to take up all your time.” But it was just a cool little conversation. I have my early-’60s ES-175, factory black, but it wouldn’t work onstage for what we do. If making the world a safe place for accordionists to rock out were the group’s only accomplishment, their place in rock history would be secure. The answer: Mike Halby and David Hidalgo's homage to weltanschmerz, Houndog. Cesar: Well, believe it or not, we had no electricity, but we did have a generator. It comes from another place. The surging, blues-drenched “Don’t Worry Baby” is a prime illustration of their contrasting styles, with Cesar’s gritty, muscular solo followed by David’s more melodic, ornamental approach. So it’s going to be a chock-full Year Of Los Lobos.” We owe a lot to him. Cesar: Exactly. Bajo spacing is way wider than that. The way he said “Being on stage with the godlike David Hidalgo night after night – the greatest guitar player in the world. I already knew how to play, and I obviously grew up with a lot of musical heroes, but to have a guy in the band who could actually play it and was such a great guitarist, it was like, “God!” Before, whatever song I learned, I’d have to copy the solos off the records the best I could. My two-bit theory is that, in the early years of the sort of Mexican-American renaissance in art, music and dance, in the early ’70s, a lot of it carried a lot of baggage from the late ’60s, when it was more of a separatist mentality and an “us against them” sort of attitude. David: There was that stuff, and then my brother’s band was playing James Brown, around ’64. Conrad: On the soul side, James Jamerson, man. When we started doing the Tex-Mex stuff, we got the accordion and a snare drum at first, then the electric bass. It was funny, because that was such an effective thing Jamerson was doing with that whole [Motown] sound, and nobody knew who he was forever. He should have one – a Turkish oud.” They came full circle, back to their rock and roll roots – this time with a fresh direction and strong sense of self. We had to not only educate them about what was going on and what happened in East L.A. – I’m talking about the second generation of kids – but also explain that there were a lot of gifted musicians in East L.A. That sounds like too simple an answer. Jimi just hits a chord, and it’s like you can feel the air, you know. It’s a nice marriage of a Marshall and a Fender. In honor of the United Nations’ 75th Anniversary and GivingTuesday, Playing For Change and the  United Nations Population Fund (UNFPA) are thrilled to announce Peace Through Music: A Global Event for Social Justice, produced by Playing For Change and Blackbird Presents, exclusively on Facebook Live for 48 hours. His son, David Hidalgo, Jr. is the current drummer for Social Distortion. It’s funny because there was a period when he was playing slide through a Leslie, and George Harrison was hanging out with him. Four guys from East L.A., but I think we had a huge impact on it, and somehow we have influenced a lot of younger bands. I had one 335 as a backup guitar, so there was only one extra right-handed guitar, so Carlos and Jerry would trade off. That’s when we got to meet Jerry for the first time. They’re kind of delicate instruments, but they’d get tossed around and broken. He was like 200 percent. I have not seen them live. I think that’s called a gang! There’s one with Muddy’s band, where Otis Spann is playing organ, and Sammy’s playing the guitar. So Paul ended up with it – the sunburst he’s been playing for the past seven years or so. Louie: Absolutely. We opened that door, and nobody seemed to come through. That’s what we found. We’ve been kind of beat up by this business, but if you peel away the business and even take away the music altogether, you’ll end up with a bunch of guys who are just buddies. I have a couple of 330s that we use a lot in the studio – the type with the one P-90 in the middle, and then one with two pickups, like Slim Harpo’s. But the whole culture was pretty much a shock. As lead guitarist and vocalist of the legendary East LA band Los Lobos, David Hidalgo has been a creative force straddling the border of rock, R&B, cumbia, Tex-Mex and country for four decades. Yeah, a Turkish oud – great-sounding. Every so often, all the neighbors would get together and have a dance. David: I love his playing. Have you taken up any new instruments lately? Tired of the cover-band scene in East Los Angeles, David Hidalgo, Conrad Lozano, Louie Perez and Cesar Rosas – four recent graduates of Garfield High in East L.A. – formed Los Lobos in 1973, with the specific intent to play the traditional Mexican folk music of their ancestors. The intuitive thing with us, after 30 years, is that you can actually feel where the next thing is going to go. David, did you take up accordion the same way Louie learned to play drums – because it was needed for the kind of music you were doing? We were like gushing – big fans. And vice versa. That’s another heavy influence in our music. It’s something we don’t even have to summon; it just happens. I think I can do that.” “All right then.” My amp is a Top Hat, which is kind of like a Twin. What year is the “La Bamba” Strat? I learned to speak English very quickly, because when you’re a kid your brain is still developing, and you adapt. The whole guitar is carved out of one piece of mahogany. Of the first dozen Alembic instruments made, five were guitars for Jerry. David: The earliest stuff was the guitar instrumentals, like Duane Eddy and “Caterpillar Crawl” – I don’t even know who did it. A lot of musicians talk about those moments when they seem to be playing beyond their abilities, when everything goes up a notch, as if something else is in control. It’s like I’m 16 years old. Conrad: I use Lakland basses, and I’ve always used Ampeg amps. Hidalgo frequently plays musical instruments such as accordion, violin, 6-string banjo, cello, requinto jarocho, percussion, drums and guitar as a session musician on other artists' releases. In addition to his work with Los Lobos, Hidalgo frequently plays musical instruments such as accordion, violin, 6-string banjo, cello, requinto jarocho, percussion, drums and guitar as a session musician for other artists’ releases. And Carlos was cool; he said, “Yes, sir. I used to take my skateboard there and take guitar lessons. He’d fire off these little parts, and then you put them all together, and man! Maraga goes into retirement with his head held high, to be remembered as a man who stood against the bullying from the Executive and a man who spoke his mind. He’s the guitarist on “Watching The River Flow” by Bob Dylan – some great playing on that one. And then watching the country [TV] shows, like “The Ernest Tubb Show.” His band was so good. It’s a cliché, but it’s true; you just feed off your audience. And everywhere I saw a guitar, I’d pick it up and want to play it. Everywhere we went they were playing his music. David: Peter Green was cool. When we played together, it was like bam! Hidalgo frequently plays musical instruments such as accordion, violin, 6-string banjo, cello, requinto jarocho, percussion, drums and guitar as a session musician on other artists' releases. We bravely go where no band has gone (laughs)! I had them add a gain stage so I could play them at a lower volume and still have that tone. I asked him to make me a traditional bridge – decorative but not as wide as some of the traditional bridges – and to make the action as low as possible. And you know it, and he must know it, too. Everybody did something real simple, and if you heard them individually the parts almost didn’t make sense. It took a whole generation for young musicians to not have to carry all that weight, and just make art and incredible music, which they’re doing now. All copyrights are by the author and Vintage Guitar magazine. Those are my favorite to record with; they’re amazing. Two retrospectives chronicled the band’s history: the double-set Just Another Band From East L.A. and the four-disc El Cancionero – Mas y Mas. And I want this thing to be a bolt-on neck. Just amazing! David: What about on the soul side? He showed up, and I said, “Do you want to play?” He said, “No, man, I get to see a show” – and held up his ticket. It was in him. I’ve been working with SWR a little bit; I like their cabinet sound. Cesar: Sometimes when we do a song that has a certain Latin twist to it, that sort of helps – to go back in your mind. After that we tried to go back and play a little softer, so I got into the 4×10 Bassman again, and got a couple of reissues. He did it, and then I took it home and put a volume pot on it. So did you not have a radio? What’s the main equipment you use onstage? I’ve got this bootleg where it’s just the rhythm track of “Electric Ladyland,” with him just playing rhythm guitar. Some quantum physicist can talk about how it’s vibrations moving in space, but when you think about the way Miles [Davis] could hang one note in the air – not a flurry of notes by some virtuoso; just one note – it’s just so right. Then I made it back to guitar. David: Yeah. When you have the support of your audience, it just makes it that much better. There’s so much cool stuff we’ve got. And we’ve been friends for so long, before we had a band, our moms would have our heads if we tried to break up. Then we got Victor, and we started switching off, and I started moving out to the front and playing guitar again. We recognize each other’s space; we know almost intuitively when to stay out of each other’s way. He opened with “Spanish Castle Magic,” and went into this whole feedback thing – man, that was it. Their music is influenced by rock and roll, Tex-Mex, country, zydeco, folk, R&B, blues, brown-eyed soul, and traditional music such as cumbia, boleros and norteños. What has it been like watching that, having been so far in front of that awareness? David: This friend of mine has a cassette he made from the audience of an outdoor show in Santa Clara or someplace in ’68 or ’69, and they’re all on acid. With Tom Waits, Elvis Costello, Dave Alvin, Richard Thompson, Bobby Womack, Mavis Staples, Ruben Blades, Midniter Willie G., Grateful Dead lyricist Robert Huner, and Mexico City rockers Café Tacuba on the guest list, they reinterpret four songs from their catalog and offer nine new gems. Again, like Waits, the musicians sound as if they are on the tail end of a three day heavy binge, but can muster just enough strength for one more song. Background information; Birth name: David Kent Hidalgo: Born He said, “You sound great. David Hidalgo. Their revved-up rendition of “Anselma” won the Grammy for Best Mexican-American Music Performance. How much different is it using a reissue or a vintage guitar? Paul McCartney was one of my favorites in the early days; I loved his bass playing. We came full circle, back to where we started as kids. Like surf music, man, or the kind of stuff Conrad mentioned, like the Yardbirds and Jimmy Page. We knew his wife, Nancy Covey, because she used to book McCabe’s. His son, David Hidalgo, Jr., is the current drummer for Social Distortion. Amazing guitar players. And “Town Hall Party” was filmed in Compton. And along the way, the dual-pronged guitar frontline became a trio, when Louie returned to his original instrument, leaving the percussion section to Victor Bisetti and Cougar Estrada. And the Yardbirds were wonderful; they were badass. 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