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Take Five With Adam De Lucia

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Meet Adam De Lucia: Adam De Lucia is a musician/composer/producer who has pulled out all the stops to make Hi-Bred Productions successful. He has several personas at the studio beside his dedicated guitar playing and composing. He has networked with all of the creative partners himself to secure their participation. He has designed album artwork and labored as an Art Director and conceptualist to lead other design professionals to create album art work.

He develops and deploys an impressive array of online strategies, including syndicated news feeds, promotional downloads, blog posts and bulletins, advertisements that include rich media, an ever-evolving official band website, and profiles at five social networks—All About Jazz, ReverbNation, Facebook, MySpace and iLike. His composer credits span the complete, growing catalogue of the studio—except Ila Cantor's album—with production credits on all releases. Adam performs all of the guitars on his originals, and he has mixed and mastered all music in the workflow of the studio since 2006.

Instrument(s):

Guitar.

Teachers and/or influences? Although I would not say I came from a musical household, I did grew up listening to a lot of music. My dad owned a guitar when I was a baby, but he never learned to play. When he would go out bowling on league night and I stayed home with mom I would take the guitar out and pretend to play. I wasn't even in school yet—might have been three.

I remember the first time I realized music was about something. The words didn't just rhyme; they were telling me a story. I still was very young. In some way, music for me has become more about telling a story than just playing the guitar or writing a song.

All of the music I grew up listening to has influenced me. When I was too young to buy music I heard a lot of Tracy Chapman and Harry Chapin, from my mom and dad respectively. My mom used to blast music—volume all the way up—on weekends, which was interesting.

As I grew older I got caught in a rap phase. The only popular white groups, before grunge bands like Nirvana and Pearl Jam broke, were the original boy bands, like New Kids On The Block. But, by age 15 I was deep into classic rock. It all happened one summer, when I spent a month at my grandparents' home. Grunge took time to grow on me, but I eventually had quite a collection. However, the guitar greats of the 1960s were taking prominence in my listening taste as I gravitated to the guitar, as a player: Clapton, Hendrix, Duane Allman, Jerry Garcia and Santana—even guitarists who were lesser-known in my day, like Jorma Kaukonen, John Cipollina, Barry Melton and others. I was also listening to a good amount of Stevie Ray Vaughan at this time. My big turning point came when a friend in high school handed me his copy of Mahavishnu Orchestra's Birds Of Fire and said, "If you love Hendrix you have to hear this." Of course, he was talking about John McLaughlin. John was one of my biggest and most enduring influences. I love John McLaughlin. Later in college, I went through a period of trying to emulate him.

Although, I have to admit, it originally took me a long time to hear that music. Not the album, just the first song! It was a big change from listening to Jimi. It challenged me.

Soon after, a high school friend of mine bought No Mystery, by Return To Forever, mainly because the picture of the wild-looking guys on the cover convinced him it must be a great album—and it was! Then I bought Romantic Warrior, and from there things took off. We were discovering the great unspoken music from the 1970s all over again. Not James Taylor or Don McLean, whose "American Pie" is played to death on the radio, which is fine, or even Led Zeppelin or Lynyrd Skynyrd, who I was also listening to. (Zepplin's "Over The Hills And Far Away" was the first song I learned to play on the guitar, as a matter of fact.)

Jazz fusion was pretty inaccessible stuff to teenagers in the mid-1990s. Nobody talked about it. I got lucky. Not just to be tongue in cheek, I almost went broke rounding out my jazz fusion collection with Miles Davis albums, box sets, and almost all of the RTF and Mahavishnu Orchestra albums. It was a good fit for me. I never focused too much on emulating one player.

Yeah, I learned Hendrix songs and solos, Zeppelin songs, Grateful Dead songs and Jerry Garcia solos, heads to Mahavishnu Orchestra and RTF tunes, etc., but it was always about a fusion. The best way I can describe my aim as a guitarist and musician—from very early on—was to arrive at an organic solution from the distilled essences of many players. For example, I tried to imagine how it would sound if you crossed Jerry Garcia's guitar playing with Jimi Hendrix, and then play like what I imagined that to be. I listened obsessively to my favorite players and continued to learn to do my best to make it happen.

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