In today’s churches, the guitar is coming to dominate the landscape in the same way that the piano and organ once did. It’s important that as church musicians we give great care and thought to our guitar playing - everything from chord voicings to tones - so that the instrument is a servant of the congregation, not the star and not the distraction. Each week on Sojournmusic.com, Pastor Mike Cosper will post a guitarist’s feature, which will range from articles to links, online lessons and interviews:
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Jim Campilongo On the Lost Art Of Melodic Guitar Playing
by Mike Cosper; photo by Dan Canales
This week, I want to introduce you to Jim Campilongo - one of the most musical, creative musicians I’ve ever heard. Jim did an interview with TONEQUEST, discussing everything from his musical history to his creative philosophy. Jim is primarily an instrumental musician, but is also a sideman for Martha Wainwright and in the band The Little Willies (with Norah Jones).
In today’s churches, melodicism is almost entirely lost on guitarists. Instead, they play some variation of The Edge-style leads, arpeggiated chords with layers of rhythmic echoes, or standard blues licks - the Ted Nugent lick, as my friend Eddy Morris describes it. There’s certainly nothing wrong with this in principle (the Ted Nugent lick has a way of digging a stuck guitarist out of holes) but church musicians - especially guitarists - would do well to learn how to play melodies, using that knowledge to support and uphold the singing of the congregation. In this interview, Campilongo talks about the value of songs and musicality, love of Fender amps, and his threadbare ‘59 toploader Telecaster.
Visit his website for more info (www.jimcampilongo.com), including a killer bootleg of “Chelsea Bridge.” And check out his records. I especially recommend “Heaven is Creepy”, an instrumental record, and The Little Willies self-titled record, a phenomenal display of Jim’s abilities.
The interview with Jim Campilongo is here, at the top of the page
