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Preston Reed

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Preston ReedPreston Reed est un musicien américain connu comme un des précurseurs du style tapping sur guitare acoustique.

Né à Armonk, New York, la première performance de Preston Reed fut en support au poète beat Allen Ginsberg au Smithsonian Institute. Il lança son premier album sous un petit label avant d'en enregister trois autres sous Flying Fish Records label. Les quatre autres (maintenant discontinués) furent sous étiquette MCA Records. Actuellement, il possède son propre label, Outer Bridge.

Reed fut strictement guitariste acoutique de la branche des artistes tels que Erik Mongrain, Leo Kottke et John Fahey avant de s'adonner dans l'innovation du tapping à deux main de style percussion. Il utilise souvent des accords altérés.

Il a enregistré des trames musicales de films et une suite de musiques originales pour le Minneapolis Guitar Quartet. Il habite actuellement l'Écosse.


* Acoustic Guitar (1979)
* Don't Be a Stranger (1982)
* Pointing Up (1982)
* Playing By Ear (1984)
* The Road Less Travelled (1987)
* Instrument Landing (1989)
* Blue Vertigo (1990)
* Preston Reed (compilation album)|Preston Reed]] (1990)
* Halfway Home (1991)
* Border Towns (1992)
* Métal (1995)
* Groovemasters, Volume 1, duet with Laurence Juber (1997)
* Ladies Night (1996)
* Handwritten Notes (2000)
* History of Now (2005)
* Spirit (2006)

Site officiel

--English Version--

Preston Reed, born on 13 April 1955 in Armonk, New York, is a US – American fingerstyle and tapping guitarist.

Preston Reed plays with fingers, thumbs, fists and hands at once, suggesting a whole band at work: drummer, keyboardist, bassist and several guitarists at once. Some of his tunes invoke impressions of rock bands and duelling guitars, but he is also a player of blues or ballads reminiscent of Bill Evans, one of his musical idols.

As a teenager Preston Reed was influenced by Leo Kottke and John Fahey and in the beginning of his career was a fingerpicker with notable technical prowess. In the late 1980's though he developed his own, highly individual and percussive style; a short time after Michael Hedges published his first records using technically similar techniques, but creating very different music. He drew not only from fingerstyle, but from Rock 'n' Roll too, developing a very rhythmic drive in some of his compositions. Other pieces are very melodic and dreamy ballads.

His guitar style is characterised by the use of percussive effects he generates with both hands on various parts of the guitar body, he names them appropriately rim shots and bongo hits. He uses slap – and tap – techniques like slap harmonics or the generation of notes or whole chords with his left hand (hammer-on, pull-off). He uses both hands for tapping (two-hand tapping) and frets chords with his right hand (right-hand fretting). He often plays with both hands from above the guitar's neck. In many of his compositions Reed uses altered tunings characterized by very low bass string tunings, for example BGDGAD or CGDGGD, though he also uses standard tuning on his latest CD, Spirit.

On his first recording Reed used a Martin D28 12 String and a Martin D28 6 String. He later used guitars made by the American luthier Michael Jacobson-Hardy. Later he played Washburn-guitars with Seymour Duncan-pickups and in the second half of the 1990s a custom Adamas – Long Neck Ovation.

Around 2000 he began using several different guitars, not only steel-string acoustic, but solid body electric guitars too, semi-acoustic guitars, electrical baritone guitars, 12-string and classical guitars.


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