Guido Heistek - Solo Ukulele

Reviews: "What I most appreciate about Guido's work is how he melds each song with the beautiful sonic capabilities of the ukulele. His technique, remarkable as it is, does not detract attention from the music and his delivery is awesome." -KIMO HUSSEY Ukulele Legend "On display here are the wonderfully expressive capabilities of the ukulele as well as Guido Heistek's obvious love of gorgeous melodies. The sixteen musical gems on Guido Heistek's recording Solo Ukulele are delightful, unpretentious and beautifully performed. You feel like Guido is playing a solo concert just for you." -BILL COON 2009 National Jazz Awards Guitarist of the Year 'In the liner notes to the album SOLO UKULELE, Guido tells how he was impressed by the 'self- effacing charm and style'of the diminutive ukulele. These words also aptly describe his treatment of the 16 songs on this truly intimate recording. A fresh and honest addition to the world of the biggest 'little instrument' around.' -JIM BURNETT, CFRO 100.5FM VancouverEx-Jazz Guitar Player finds recovery on the uke? New Album by Vancouver's Guido Heistek: Guido Heistek-SOLO UKULELE The bulk of the repertoire for Guido Heistek's new album is popular songs from the years 1920-1960. Inspiration for the material on this album was derived in large part from Guido's relationship with his grandfather, musician Paul Richard from Aylmer, Quebec. Selections range from the sultry swing of Ellington's Mood Indigo to the evocative Moon River by Henry Mancini. Why the uke? Guido jokingly refers to himself as a recovering Jazz guitar player. He has studied under some of Canada's top Jazz players: Steve Fisk, Roddy Ellias and Bill Coon. He is a graduate of the Music Department of Concordia University, Montreal. After university, Guido simplified his playing and moved away from Jazz to his more folk/singer-songwriter origins. He has found his way back to jazz repertoire with the ukulele. 'There is something that makes so much sense about these songs on the uke. You do what you are told. Play the chords and the melody at the same time and it sounds beautiful. Nothing more is needed.' Guido believes that people listen to music very differently these days. 'Music has been inextricably coupled with the visual. I think this has led to a lot of flashy athleticism in playing. I believe there is a place for more space to breathe, more space to think. I like the sound of musicians thinking, taking time. It's an approach that is underrepresented these days' Going into the recording at Vancouver Live Sound, Guido and Andrew Smith (co- producer/engineer) came up with some ground rules. No cutting and pasting of audio. No pitch correction. No automation of volume or EQ. 'It was such a pleasure to decide not to do those things. It was a challenge to stick to these rules at times. Andy is such a fantastic engineer. He made it work.' Guido and Andy also aimed for a natural dynamic range and dry esthetic. 'We wanted the CD to sound like the uke was actually being played in the room where you are listening to it, instead of it sounding like a recording of a ukulele playing in a room somewhere else. We wanted it to be up close and personal. Almost dangerously stripped down and vulnerable.' In his documentary on SOUND CITY David Grohl asks this question: 'In the age of technology, where you can simulate, manipulate anything, how... do we make music sound like people?' This album proposes this simple quiet answer: ONE MIKE, ONE UKE, ONE TAKE...