Toshi Nakada (Cool Sound) posted this message on his Facebook page:
JAY GRAYDON Special Book, in stores on October 8th!!
Sorry for being written in Japanese, but this book covers his whole career!!
The title of the book is "Jay Graydon : a track record", which is issued from Shinko Music.
Jay-san provided us many photos, including almost of all his guitars & equipments,
and helped us for completing his session works list.
(We've found several stuff which have no musicians credit, but Jay-san actually played on)
I wrote many articles of it, and if you would like to purchase it, please let me know via
I might help you.
UPDATE ON THE E ELECTRONIC PIANO PROJECT
After around three years, finally we are near the point of releasing the program! I figure no more than two months. I gotta
tell ya when you hear that thing it's going to blow you away. It's definitely the best sounding Rhodes of all time, not even
a close second. The full story will be noted when we release the product. - Jay
JAY SHARING SOME THOUGHTS ON MUSIC AND MATH
Cats, check out the link below as what is interesting is the math and how our ears are tricked!
Pass along the above and the following if you like, as I bet there are many stories regarding "Ghost Notes" and other strange
"Ghost Notes" within a mix!
That got me thinking about another subject as when mixing, no doubt you Cats at some point over the years have heard a
strange "ghost note" created by harmonics of two or more instruments. The first time I heard this, I set up a locate spot
a few beats before the problem as to quickly start the test over and over. I muted an instrumental track. If that did not make
the ghost note go away, I un-muted that track and muted another and so on with all possible combinations of muting and soloing
tracks until finally finding what caused the ghost note. Then I started moving the level down in 1 dB intervals on one or more of
the tracks until getting rid of the ghost note. If no automation, manual moves needed to happen when recording the final mix to
the 2-track machine.
With Pro Tools and the like, much easier to fix with a quick automated downward level ride on one or more of the tracks
responsible for the ghost note.
Over the years, I seem to remember this happening 3 times and I seem to remember one ghost note was caused by 3
tracks. Not sure if any ghost notes were caused by the drums as part of the equation.
I wonder if any records were released with the ghost note as part of the mix sounding like a major clam? (g)
Obviously with Pro Tools and the like, much easier to fix with a quick automated downward level ride on one or more of
the tracks responsible for the ghost note. Also, more options such as changing the pitch very slightly on one of
the tracks using Melodyne.
Later Cats, Rake
IMPORTANT MESSAGES FROM JAY AND GREG MATHIESON!
Jay's lifelong friend Greg Mathieson posted this below on his Facebook page on June 19, 2019. It is a very important
message, which sadly captures the essence of the music business of today. With Greg's kind permission, we are reposting his
Facebook entry here below, but first Jay's comments on this situation:
Hey all, the following was posted by one of my best friends, Greg Mathieson. His thought as to trying to eliminate free music
makes sense when noting something like people will buy a cup of coffee at Starbucks (probably 4 to 7 bucks) but won't pay 99 cents
for downloading a song.
Thankfully my era was the last in which, songwriters, record producers, and recording artists made a good living as to royalties. My
royalties have dropped big time starting when free music became something people expect and think is OK! Spotify is a total joke
as let's say a song gets 1 million plays. The total royalty is just under 5,000 that is to be split with the record company,
writer, and producer! When the new copyright law came (after near 100 years of no updating), Spotify filed an appeal! If the record
companies and artists pulled all of their music from Spotify, they would go from millions to out of business in one day, which
they deserve sucking up all of the advertising monies with very little consideration to the people that created and paid for
recording the music!
Now to the main point. Why would anyone want to be a musician, etc. in this era as it is next to impossible to make any money
is what is left of the music business! I worry about the young generation as such musicians, etc. must have a day gig to survive
instead of a shot at being paid what we were paid!
There is only one way to pull this off, which is they must unite as to stopping people from file sharing and ask they pay for
the music as we all did before Napster! It's all up to you so please spread the word to everyone you know! Also, if people stopped
using Spotify and the like, those blood sucking vampires would either charge the proper rate to users per play and pay royalties
like record companies and ASCAP/BMI pays!
(The musician's union is powerless and hardly any musicians sign up to the union anymore for obvious reasons. The union pension fund many
of us old guys paid into, is about to take a huge drop as to our retirement checks! This will really affect the musicians who can
no longer get work and can't play anymore. I have good friends that have debilitating medical issues who need their pension
monies! If the government steps in to help, they will have total control of how much of a cut will take place and the word on the
street is it could be half!)
It's up to you or things will only get worse!
How about someone starts a FaceBook conversation as to hopefully go viral. You may want to note stuff like some people think it
is OK for them to get music for free as I am just one person. Even worse is people simply expect to get music for free not even
thinking that doing so is causing people a huge loss as to income! It's like taking money out of the people's pocket that created
After all of that, I know most of you that like my music have bought CD's or album downloads of my recordings and I thank you
from the bottom of my heart and I am very proud of you respecting this is what I do for a living!
So check out what Greg wrote as to this subject along with the bootleg videos of his gigs that people post stealing the music. The
story about Vinnie is major proof of how pissed off he is regarding stealing music!
Your musical pal, Jay
I have to get one more thing off my chest. It's a little negative so if you don't want to read it STOP NOW!!!
I know that there was some illegal recording of the gig last week and that's not what bothers me because that
gig/party was a one-off. That band might not ever happen again. Or, maybe it will happen in in 10 years for the 60th B-Party.
The one that really hurt and effected my life was the the illegal recording of the band with me, Vinnie, Landau and Abraham Sr. You see
we had planned to do our own videos so we could make some money. The music world has been turned upside down now. Everybody thinks
that music should be free. WHAT'S UP WITH THAT? My royalties and publishing checks have gone down by 90%. Big bummer. (Now, I'm cool
because I lived through the golden days of sessions, but I worry about the next generation of musicians). File sharing and protools
has made it so there is no real session work anymore. Everyone is sitting in a room by themselves making records. I hardly ever
do a recording session with live players in a studio with all the cats there in the same room. I THINK WE'RE LOSING SOMETHING! (I have
a plan about this but I'll tell you about that next month when I'm ready).
So ... some cat comes into the club and illegally records the Vinnie band right behind Vinnie and posts it all over you tube. Vinnie
hits the roof!!!!!
Long story short ... Vinnie will never ever! ... do you understand the words "never ever" ... play with me at the Baked Potato again! This
cat ruined the band! The band brakes up. The band will never play again! THAT'S A DAMM SHAME!!! I miss that band……..DAMM!!!!!!
So you, Yea you!! ... you know who you are. Are you happy that you broke the band up? Did you ever consider the consequences
of your actions? This is BS and I'm bummed and I miss that band.
Now to my Facebook friends. I know that you probably give to a charity or to your church or maybe help out out a friend. Next
time you down load a song for free ... instead think about your local musicians. Go to iTunes and pay $.99 or $1.99 and support
your local musicians. You pay way more than that at Starbucks!
THE RIVERA RAKE HEAD SOON SOLD OUT!
You people probably know Rivera makes a signature amp called the Rake Head. There are enough panels, circuit boards, and key parts
to build around 7 more and that will be it forever! Check it out here!
In the era of amp modelers the amp market has almost over, which is sad as molders will never sound as good as an amp and takes
the fun away since they don't have the punch and sweet warm mid range tone. The Rake Head was designed to allow the high E string
not "thin out" when playing up high on the neck as the amp can be loaded with sweet mids obviously the mid range control! The Focus
pot is so very cool as the more you add, the sound gets bigger when needed! The clean channel is sweet with more highs (for rhythm) AND
you can also use this channel for sweet distortion as well adding in the Ninga Boost!
When I played a few gigs at the Baked Potato a while back, my very good friend Dan Sawyer was there. Dan is an outstanding guitarist
and he was doing studio work in the same era when I was doing session work. I love Dan's tone as he likes the sweet mids!
After the gig, Dan e-mailed me stating the following. "I have heard Larry Carlton, Luke, Landau, and the rest of the outstanding
guitarists at the Spud (the nickname for the Baked Potato) and your tone is the best I have ever heard!" I thanked him big time
and simply noted when Paul Rivera and I were designing the amp (we would test different circuits and tone circuits) that led to
the final Rake head design so you should be telling this to Paul Rivera. (g)
When I power up the amp and play through it, it makes me want to play! In the past, when playing through other amps, they were
OK but since the Rake Head tone is perfect for me, I play better for sure as things become effortless as I am never fighting with
the amp (you get the drift).
I just remastered Past to Present - the 70s and as usual, the incredible
Fab Filter plugins and some others as well allow so much
flexibility! This album is interesting as it is an adventure through my history leading up to the point of before
becoming a 1st call studio guitarist up to the point when I made the move to producing and writing. - Jay
The Japan/Scandinavia Tours 1994 and 1996 with documentary bonus material
As noted above - A Region Free 4 DVD box set, having a few flashbacks from the 1994 and 1996 actual concert footage, a fun and
informational band reunion hang at Garden Rake Studios 20 years later, filmed by Todd Homme, and a lot of bonus material, such as
for instance a complete explanation by Jay Graydon on how to play his "Peg" solo, as well as a very cool jam
session in Jay's garden from 1989 with great musicians, including Steve Lukather, and so much more.
TRIBUTE ALBUM TO AL JARREAU!
Chris Walker - We're In This Love Together - Celebrating Al Jarreau
A musical tribute project produced by Chris Walker & Larry Williams, with special guests Jay Graydon, David Foster, Jerry Hey,
Dave Koz, Arturo Sandoval, Greg Phillinganes, Paul Jackson Jr., Gary Grant, Chuck Findley, Bill Reichenbach, and
many other greats.
Jay's comments on the project:
Larry Williams is one of my best friends. Larry called me noting he was working on a Jarreau tribute album and asked
me if I would play the guitar parts on Mornin', which I did. The track is great as expected and the bass player (Chris) in Al's
band is an outstanding singer and can sound like Al to the point it's scary!
Larry was Al’s musical director for many years and Chris was his bass player and background singer for many years as well. I just
played the full album now and was amazed as to how the songs have developed regarding the arrangements over the years! Outstanding
musicians as expected. Well done guys! - Jay
The album will be released May 17 and is available for pre-order
at Chris Walker's website and
here below are the tracks and featured artists on the album.
Mornin' feat. David Foster & Jay Graydon
Breakin' Away feat. Larry Williams
Roof Garden feat. Jerry Hey Horns
We Got By feat. Will Downing & David Caceres
Save Me feat. Randy Brecker & Larry Williams
We're In This Love Together feat. Regina Belle & Gerald Albright
Alonzo feat. Larry Williams
Agua De Beber
Not Like This feat. Gil Goldstein
I Will Be Here For You feat. Kirk Whalum
Flame feat. Arturo Sandoval
Spain feat. Larry Williams
Jarreau feat. Dave Koz & Rick Braun
SIX STRING SHOW feat. LEE RITENOUR!
As you know Jay was one of the guitar judges in Lee Ritenour's Six String Theory
Competition 2018 and recently Rit hosted a great evening of music presenting the winners of his 2018 Six String
Theory Music Competition at the Catalina Jazz Club in Hollywood.
It was an awesome night and Lee Ritenour was jamming with the winners - some incredible young talent
from around the world! Jazz, Blues, Rock, Classical.... they covered it all!
Rit, Wes Ritenour on drums, the main bass player and keyboard player are contest winners (I think) and with
Wes, they played with all the other guitarists, which all were outstanding! The winners are noted on the site for 6 string theory.
The classical guitarist winner is a chick who is unbelievable!!!!
Guitarists of my era that were there - Mitch Holder, Tim May, Thom Rotella, Pat Kelly. Me, Luke and Steve Vai sat together with our
chicks (or wives). My voice over 1st call pal Scott Rummel sat with us as well. I got Bill Evans in but did not see him as too much
was going on and just until the gig started, I was in the band room meeting the winners and hanging out with Rit, Luke, and Vai.
Everyone played great and good to see my pals Rit, Luke, Steve Vai, Tim May, Mitch Holder, and Thom Rotella. Foz was there with Chris Botti, but I did not
know until the next day when he called me. He saw me split with Scott and DML (about 15 minutes before the gig was over) and unfortunately I did not see him in the crowd.
The gig was fun!
Here below a few pics from the gig. (Click on the mini pic to get the full size).
wishing everyone Happy Holidays and a great new year!!! After having major tech problems this fall I am back to mixing the JaR 2 songs, as
well as working on other projects. Most recently I have been playing on a Jarreau tribute album for Larry Williams that will come out
next year. Further, we are getting close as to finishing mode of the first release of the "Famous E Piano" sample program.
As you may know I also produced, mixed and mastered the solo album by Phil deGruy. Check it out
at Phil's Website
I did an interview with Tim Pierce a few weeks ago, which was filmed and in it I am teaching him how to play
the PEG solo. If you are interested, you can watch it on his YouTube channel.
If you are interested in some more music for your Christmas gifts, you will find a few suggestions on my
... Christmas page
See you all next year with hopefully the NEW JaR album finally being released and also a few other projects waiting in the wings ...
"The Mutual Admiration Society" for Your Grammy Consideration!
As many of you already know, Jay Graydon is a featured guitar player on the track "Strip Mall Gourmet" of this album below -
The Mutual Admiration Society.
"For Your Grammy Consideration: The Mutual Admiration Society, an album from Sterling Ball, @jim cox, and @john ferraro. Featuring
some of the world’s greatest guitarists including @steve vai, @john petrucci, @steve lukather, @steve morse, @albert lee and Jay
Graydon. #grammys #FYC"
Airplay remastering 2018 with 3 extra bonus tracks!
Upon request from Sony International, Japan, Jay did this remastering of the AIRPLAY album (released in July 2018) involving several new techniques to enhance and
perfect the sonics of the album. It is available as a SACD and as a blue vinyl from various places, among them, these below ...
Here are a few notes from Jay on how he worked with the remaster this time around.
Hi all of you who like the Airplay album or may have not heard this album, most of you know I have remastered the album a few times over the years. Each time
I did so, there was always better electronic tools or Pro Tools plug-ins to use. For this current mastering, I spent 12 weeks as I wanted to reshape the whole
sonic concept! In the late 70's and first half of the 80's, recordings had more upper midrange than they do now. One reason Airplay had a lot of upper mids
(around 2k to 3k) was David and I thought we had over-produced the album as we had so many guitar and synth parts! The way to get a crowded album to have all
parts heard is to add the mentioned frequency on many instruments and vocals.
With the great Pro Tools 3rd party plug-ins such as the FabFilter EQ and Multi-band compressor (and many more plugs), I was able to totally reshape the
sonics! I moved the 2 to 3k feature by having the FabFilter multi-band compressor set to tame the 2 to 3k, I used the FF EQ to do the same when needed
automating all of the plug-ins as needed to get the sound I was looking for!
Many of the songs needed more bass since in when using vinyl records, the bass creates a wider groove in the record and if the attack is real
punchy, (the same for the bass drum), the "spike" could easily make the needle jump out of the groove! With digital audio, that problem does not exist!
Let's back up for a moment. Around 7 months ago, Sony and I thought it would be a good idea to remaster. I think this is the first remastering that used
the original 2-track tape instead of a tape copy since when pressing records in other countries, tape copies were made and sent to each country that would
release the product.
The original tapes are at Sony (I think in New York) and Sony Japan asked the tape be transferred to digital at 192k-24 bit, which occurred!
When I received the digital files, I was asked to re-master in 4 separate formats, which are ...
24bit / 96 kHz master– as WAV file (including the 3 bonus tracks) for SACD portion of SACD/Hybrid release
16bit / 44.1 kHz master– as one DDP file (including the 3 bonus tracks) for CD portion of SACD/Hybrid release
24bit / 96 kHz master– as WAV file (WITHOUT the bonus tracks) for Side A (Track# 1-5) for Vinyl LP release
24bit / 96 kHz master– as WAV file (WITHOUT the bonus tracks) for Side B (Track# 6-10) for Vinyl LP release
After experimenting with a few songs, I realized Stranded (the 1st song) vocal level would be too low after adding the plug-ins for the total reshaping. One of
my best friends is Bill Evans who is a total genius! As part of his PhD research, he created a new type of audio editing program called Belexes that uses
augmented reality to explore and edit sounds in three dimensions.
Every waveform you can see in a DAW such as Pro Tools can be broken down into millions of individual sine waves. Once this is done, sound can be edited in three
separate dimensions: frequency, time, and amplitude. He now works on a commercial version, invented by his partner Robin Lobel, which runs in two dimensions on
ordinary computers. It’s called SpectraLayers, and includes a feature they added for my own work.
So back to Stranded. Since I needed the vocal to be as much 5 dB louder than it was, I asked Bill if he could remove the vocal from the instruments and send me
both tracks. Actually to do this as good as possible, since there are vocal parts that overlap each other, There are 3 vocal tracks and an instruments
track (all are obviously stereo tracks).
Working with SpectraLayers and Steve Oliver at Audioamix (TRAX), Tom (Bill’s co-engineer) and Bill separated the three vocals to separate tracks.
Here's the audio of a section of the song before separating the vocals, then a version with just the vocals, and then the full track with the instruments put
back together with the new boosted level riding.
You are going to hear some of this sound kind of robotic and other little anomalies BUT when I tweaked the EQ and more, and then mixed back together to one
stereo track, almost impossible to notice the vocals were ever removed and added back!!!! - Jay
A few weeks ago Jay's very good friend and an excellent guitar player, Tim Pierce, visited Jay in the studio for an interview on how to
to play the iconic PEG solo, as well as chatting about the gear being used and the recording session with Donald Fagen and Walter Becker of the Steely Dan.
Near the end of the video, I did not know Tim was going to use live guitar audio along with my recorded track of
the solo. If I knew Tim was going to use my “jam along” audio with the track, I would have tuned up and played a few
passes to make sure to get it in tune so please forgive the fact the pitch is not good.
Also, the solo is a remake of the original as I have used it a few times in films and TV interviews. Since it costs big
bucks to get a synch license from Warner Bros to use the original, I hired my very close friend, Jay Oliver (excellent
keyboardist and composer), who is also outstanding as to re-creating sounds with samplers. etc. Unless the listener pays
close attention, you might think this is the original Steely version!
JaR 2 AND NEVE 2!
Message from Jay:
Hey all, Jay Graydon here,
after many months working with the re-masters for Japan of AIRPLAY and AIRPLAY FOR THE
PLANET, plus mixing, mastering and co-producing, the new album by Phil deGruy, I finally
resumed working on the JaR 2 mixes. Guess what happens next ...?
Two Caps exploded on my Neve V2 (the insert card power rail cap on channels 18&20) and the smoke rising up from the console scared the shit out
of me! It sounded like 10 firecrackers and happened twice within 5 minutes of each
other! All of those Caps on every module will need to be replaced asap as too old and they
suck major current! More will blow up soon if not replaced!
Soon every cap on the console Neve V2-48) will need to be replaced as they fail! There are around 100 per module. This
will be the 6th time a full re-capping will happen in over 30 years! A new console would cost 500,000 bucks and
for the first six months, there would be problems so that idea is not practical, especially the price!
As soon as I get problems fixed in the studio I start the mixes. I hope no more than
a week from Monday as my tech Dave Clark will work this Monday and next Monday
as there are always a few problems. I am now heading into the control room to write out notes for Dave as to failed modules, etc.
This issue is major! Shit like this happens all the time with big consoles. The more modules, the
more the problems build up. Dave is the main Neve tech at Capitol and he is constantly working
on 3 Neves!
The trade off of using an analog console with Pro Tools is worth the hassle as the Neve V2
is the last console with the old style Neve EQ that sounds great!
So hang in there, folks, JaR 2 is on the way! - Jay
JAY JUDGING IN RIT'S SIX STRING THEORY COMPETITION!