Last year at the GFA convention in Oklahoma City, Pavel Steidl blew us away with an incendiary version of Carlo Domeniconi’s “Hommage\u00a0\u00e0\u00a0Jimi Hendrix.” It’s quite a piece of writing\u2014 alternately flashy, as Hendrix often was, but also soulful, bluesy, tender, lyrical, and downright weird; all traits of the late rock god. This performance comes from a different festival, but it definitely still captures the strange magic of Domeniconi’s bold, multi-textured work, and Steidl shines throughout\u2014indeed, he seems to revel in its bursts of theatricality And wait until you get to the part where he accompanies himself with other-worldly whistling\u2014crazy (but effective) stuff. Hendrix’s adventurous spirit is very much in evidence throughout. It’s a wonderful fusion of styles.<\/p>\n","protected":false},"excerpt":{"rendered":"
Last year at the GFA convention in Oklahoma City, Pavel Steidl blew us away with an incendiary version of Carlo Domeniconi’s “Hommage\u00a0\u00e0\u00a0Jimi Hendrix.” It’s quite a piece of writing\u2014 alternately flashy, as Hendrix often was, but also soulful, bluesy, tender, lyrical, and downright weird; all traits of the late rock god. This performance comes from a different festival, but it definitely still captures the strange magic of Domeniconi’s bold, multi-textured work, and Steidl shines throughout\u2014indeed, he seems to revel in […]<\/p>\n","protected":false},"author":11,"featured_media":3998,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6,7],"tags":[],"class_list":["post-3997","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-news","category-watch","post_format-post-format-video"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/04\/pavel.jpg?fit=900%2C675&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/3997","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=3997"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/3997\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/3998"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=3997"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=3997"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=3997"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}