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Arclight (album)

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called it a "brisk but bracing affair", while Doug Collette of the same publisher noted "Lage proves himself not just a student of his instrument...but an exceedingly fast learner in the art of studio recording." Collette praised producer Jesse Harris, saying "Harris deserves extra credit for the
232:." While most of the tunes on the album are originals, there are several "pre-bebop" compositions, from "before things got kind of codified and slick and refined", in Lage's words. Lage said he enjoyed such tunes mostly because of the 243:
composition. Lage said he liked this tune because "it starts on this minor chord, and...it's very hard to find...songs that weren't major, that weren't happy, that weren't just total dance music".
220:, which is not generally considered to be a jazz guitar. Lage stated in an interview that "the electric guitar was always so fascinating to me, and my guitar heroes played it... 86: 398:
critic Cormac Larkin said that the album had "echoes of Bill Frisell and particularly Jim Hall", the latter being one of Lage's major influences.
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size and clarity of the recorded sound here because that introductory track arises from the speaker...with as much presence as magnitude."
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According to Lage, the chord progression played on "Harlem Blues" (a
205:. Two tracks were given a prerelease, "Nocturne" and "Harlem Blues". 414: 690:"Julian Lage – Arclight: guitar virtuoso finally goes electric" 756: 541: 47: 406:
All compositions written by Julian Lage except where noted.
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Critical reception was generally positive. Troy Collins of
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is the fourth solo album by American jazz guitarist
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Index

ARCLIGHT

Studio album
Julian Lage
Brooklyn Recording
Genre
Jazz
jazz blues
Label
Mack Avenue Records
Producer
Jesse Harris
Julian Lage
World's Fair
Mount Royal
Julian Lage
Telecaster
Stevie Ray Vaughan
Clapton
Muddy Waters
chord changes
Spike Hughes
W. C. Handy
Willard Robison
All About Jazz
All About Jazz
The Irish Times
All About Jazz
Irish Times
Gus Kahn

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