Update: Dec 21, 2020: The Band's Classic Album, 'Stage Fright',  Remixed, Remastered And Expanded in 50th Anniversary Edition Release

Update: Dec 21, 2020: The Band's Classic Album, 'Stage Fright', Remixed, Remastered And Expanded in 50th Anniversary Edition Release

LOS ANGELES, Dec. 21-- By the time The Band was ready to record their third album, Stage Fright, in 1970, they were riding high from having released back-to-back albums that solidified them as one of the most exciting and revolutionary groups of the late 1960s. Seemingly coming from nowhere and everywhere in '68, their landmark debut album, Music From Big Pink, drew from the American roots music panoply of country, blues, R&B, gospel, soul, rockabilly, the honking tenor sax tradition, hymns, funeral dirges, brass band music, folk, and rock 'n' roll to forge a timeless new style that forever changed the course of popular music. When they released their seminal eponymous second album the following year, "The Brown Album" as it would lovingly be called, not much more was known about the reclusive group. The band, made up of four Canadians and one American, was still shrouded in mystery, allowing for listeners and the music press to let their imaginations run wild about who these men were and what this music was that sounded unlike anything else happening at the close of the psychedelic '60s. Dressed like 19th century fire-and-brimstone preachers and singing rustic, sepia-toned songs about America and the deep south, The Band – Garth Hudson (keyboards, piano, horn), Levon Helm (drums, vocals, mandolin), Richard Manuel (keyboards, vocals, drums), Rick Danko (bass, vocals, fiddle) and Robbie Robertson (guitar, piano, vocals) – was an enigma, unlike any group that came before or after. One of the few things known about the elusive band was that, along with neighbor and collaborator Bob Dylan, they called the rural artist community of Woodstock, NY home base, years before the sleepy town became a cultural flashpoint and shorthand for the emerging counterculture in the wake of the massive Woodstock Music & Arts Festival, held 40 miles southwest in Bethel, NY. The one band to actually hail from Woodstock, The Band famously played their second-ever show on the final day of the festival in front of nearly half a million people. As a result of Woodstock, the small town became a Bohemian mecca of sorts and was overrun by the hordes of people it was now attracting. As a peace offering to their community, The Band rented out the Woodstock Playhouse to host a concert where they'd debut their new batch of songs they had been workshopping to their neighbors. Fearing that the show would only attract more outsiders and make matters worse it was turned down by the townsfolk. As a result, The Band ended up recording their next album on the playhouse stage, without an audience. Enter: Stage Fright. On February 12, Capitol/UMe will celebrate the 50th anniversary of The Band's classic third album, Stage Fright, with a suite of newly remixed, remastered and expanded 50th Anniversary Edition packages, including a multi-format Super Deluxe 2CD/Blu-ray/1LP/7-inch vinyl box set photo booklet; digital, 2CD, 180-gram black vinyl, and limited edition 180-gram color vinyl packages. All the Anniversary Edition releases were overseen by principal songwriter Robbie Robertson and boast a new stereo mix by Bob Clearmountain from the original multi-track masters. For the first time, the album is being presented in the originally planned song order. The box set, CD and digital configurations feature a bevy of unreleased recordings, including Live at the Royal Albert Hall, June 1971, a thrilling full concert captured in the midst of their European tour as the band was at the top of its game; alternate versions of "Strawberry Wine" and "Sleeping;" and seven unearthed field recordings, Calgary Hotel Recordings, 1970, a fun and loose, impromptu late night hotel jam session between Robertson, Danko and Manuel of several Stage Fright songs recorded while the album was in the mixing stage. Exclusively for the box set, Clearmountain has also created a new 5.1 surround mix and a hi-res stereo mix of the album, bonus tracks and the live show, presented on Blu-ray. All the new audio mixes have been mastered by Bob Ludwig at Gateway Mastering. The set also includes an exclusive reproduction of the Spanish pressing of The Band's 1971 7-inch vinyl single for "Time To Kill" b/w "The Shape I'm In" in their new stereo mixes and a photo booklet with new notes by Robbie Robertson and touring photographer John Scheele, who recorded the Calgary Hotel Recordings; plus a reprinting of the original Los Angeles Times album review by famed critic Robert Hilburn; three classic photo lithographs; and a wealth of photographs from Scheele and several other photographers. Pre-order for the Stage Fright 50th anniversary editions is available now and the first taste of the new mix can be heard with today's release of "The Shape I'm In" (2020 Mix), streaming now and available for immediate download with digital album pre-order. Listen to "The Shape I'm In" and pre-order Stage Fright (50th Anniversary Edition): here: https://TheBand.lnk.to/StageFrightPR As with the acclaimed 50th anniversary collections for Music From Big Pink and the self-titled record, Clearmountain and Robertson's approach to remixing the beloved album was done with the utmost care and respect for the music and what The Band represents. "Doing new mixes on these songs with Bob Clearmountain has been a gift and special opportunity," Robertson writes in the new liner notes. "Glyn Johns and Todd [Rundgren] did a terrific job on the original mixes in England while The Band was on the Festival Express train tour across Canada with Janis Joplin and the Grateful Dead. We had always been part of the mixing process before, which left something on this album feeling a little unfinished. Clearmountain has taken this music and given it the sonic lift it deserves. The album has become a whole new listening experience with the original song order and the depth of these mixes." The result is a new mix that allows listeners to hear these timeless songs clearer than ever before. "There may be some purists that prefer 'the way it was,' and of course that's always readily available," adds Robertson. "I'm enjoying this new version, this story, this musical journey. It feels like a fulfillment and I know my brothers in The Band would definitely agree." In the spring of 1971, The Band set off to Europe where they hadn't played since their tumultuous tour with Bob Dylan in 1966, where they were booed every night as the folk rock purists felt betrayed by Dylan who had gone electric, backed by The Hawks who would soon after become The Band. Not having played there in five years, the guys were understandably weary and didn't know what to expect, but instead of boos they received a rapturous response at their first concert in Hamburg, Germany and would go on to play for one enthusiastic crowd after another. "Each member of The Band was on a musical high. Everybody playing and singing at the top of their game. Each night, from Amsterdam to Paris to Copenhagen, the spirit kept rising," remarks Robertson. When it came to the band's concert at London's Royal Albert Hall, they wanted to document it so EMI taped it on a 4-track machine. For the first time ever, this concert recording is being released as Live At The Royal Albert Hall, 1971, an exhilarating 20-song set that captures the band firing on all cylinders and delivering rousing performances of songs from their then-recently released third album alongside their most popular tracks from Music From Big Pink and "The Brown Album" such as "The Weight," "King Harvest (Has Surely Come)," "Up On Cripple Creek," "The Night They Drove Old Dixie Down," "Across The Great Divide," "Chest Fever," and inspired covers of Dylan's "I Shall Be Released" and the Stevie Wonder-penned, Four Tops hit, "Loving You Is Sweeter Than Ever." With the help of Clearmountain, these recordings have been restored nearly five decades later, allowing listeners to experience what Robertson call "One of the greatest live concerts The Band ever played." Whereas this electrifying concert showcases The Band playing as good as they ever did, The Calgary Hotel Recordings, 1970 offer a glimpse into a different kind of performance, the kind of fun, spur-of-the-moment jam sessions that were bound to happen whenever the guys were together in a hotel room or backstage on tour. As Robertson started to run through some of The Band's new songs recently recorded for Stage Fright, photographer John Scheele, who was traveling with the group on the Festival Express, hit record on his portable cassette recorder and captured the spontaneous performance late at night on July 3, 1970 in Calgary, the last stop of the legendary tour. The field recordings, which feature Robertson on guitar and vocals with Danko harmonizing and playing rhythm and Manuel joining in on vocals and harmonica, are a fascinating document that lets fans hear the friends letting loose and having a good time together doing what they loved to do. Released on August 17, 1970, Stage Fright features two of The Band's best-known songs, "The Shape I'm In" and the title track, both of which showcased inspired lead vocal performances by Manuel and Danko, respectively and became staples in the group's live shows. Recorded over 12 days on the stage of the Woodstock Playhouse, the album was self-produced by The Band for the first time and engineered and mixed by Todd Rundgren with additional mixing by Glyn Johns. Coming off the heels of the band's monumental debut and sophomore records, Stage Fright cemented The Band as one of the most exciting and important musical acts of the '60s and '70s. As noted music critic Robert Hilburn wrote in his glowing review for the Los Angeles Times, "Like the first two albums, the new one features a staggering display of musical prowess – superb instrumentation, precise vocals and rich, timeless lyrics," adding, "At least five of the songs, including 'The Rumor,' 'Daniel and the Sacred Harp, 'The Shape I'm In' and 'Time to Kill' rank comfortably alongside 'The Weight,' The Night They Drove Old Dixie Down' and a few others as the best things the group has ever done." Stage Fright peaked at #5 on Billboard, surpassing The Band's first two albums, and went gold. For the 50th Anniversary collection, the sequence has been changed to present Stage Fright with the originally planned song order. "On the album, we used a different sequence to feature and encourage Richard and Levon's songwriting participation," Robertson reveals. "Over time, I pined for our first song order, because it pulls you right into the Stage Fright scenario." Fifty years on, lifelong fans and those just discovering The Band can experience the album in a whole new way, sounding better than ever, or for the first time. Stage Fright (50th Anniversary Edition) Tracklisting CD1; Digital 1. The W.S. Walcott Medicine Show 2. The Shape I'm In 3. Daniel And The Sacred Harp 4. Stage Fright 5. The Rumor 6. Time To Kill 7. Just Another Whistle Stop 8. All La Glory 9. Strawberry Wine 10. Sleeping Bonus Tracks 11. Strawberry Wine (Alternate Mix) * 12. Sleeping (Alternate Mix) * Calgary Hotel Room Recordings, 1970 * 13. Get Up Jake (#1) * 14. Get Up Jake (#2) * 15. The W.S. Walcott Medicine Show * 16. Rockin' Pneumonia And The Boogie Woogie Flu * 17. Calgary Blues * 18. Before You Accuse Me * 19. Mojo Hannah * * Previously unreleased CD2; Digital Live At Royal Albert Hall, June 1971 (Previously Unreleased) 1. The Shape I'm In 2. Time To Kill 3. The Weight 4. King Harvest (Has Surely Come) 5. Strawberry Wine 6. Rockin' Chair 7. Look Out Cleveland 8. I Shall Be Released 9. Stage Fright 10. Up On Cripple Creek 11. The W.S. Walcott Medicine Show 12. We Can Talk 13. Loving You Is Sweeter Than Ever 14. The Night They Drove Old Dixie Down 15. Across the Great Divide 16. The Unfaithful Servant 17. Don't Do It 18. The Genetic Method 19. Chest Fever 20. Rag Mama Rag Blu-ray Stereo and 5.1 Surround High Resolution Audio: 96 kHz/24 bit DISC 1 1. The W.S. Walcott Medicine Show 2. The Shape I'm In 3. Daniel And The Sacred Harp 4. Stage Fright 5. The Rumor 6. Time To Kill 7. Just Another Whistle Stop 8. All La Glory 9. Strawberry Wine 10. Sleeping Bonus Tracks 11. Strawberry Wine (Alternate Mix) * 12. Sleeping (Alternate Mix) * * Previously unreleased DISC 2 Live At Royal Albert Hall, June 1971 (Previously Unreleased) 1. The Shape I'm In 2. Time To Kill 3. The Weight 4. King Harvest (Has Surely Come) 5. Strawberry Wine 6. Rockin' Chair 7. Look Out Cleveland 8. I Shall Be Released 9. Stage Fright 10. Up On Cripple Creek 11. The W.S. Walcott Medicine Show 12. We Can Talk 13. Loving You Is Sweeter Than Ever 14. The Night They Drove Old Dixie Down 15. Across the Great Divide 16. The Unfaithful Servant 17. Don't Do It 18. The Genetic Method 19. Chest Fever 20. Rag Mama Rag 1LP (33 1/3 RPM) 180g black vinyl (included in the box set and available individually); ltd. edition 180g multi-colored vinyl (available individually) Side One 1. The W.S. Walcott Medicine Show 2. The Shape I'm In 3. Daniel And The Sacred Harp 4. Stage Fright 5. The Rumor Side Two 1. Time To Kill 2. Just Another Whistle Stop 3. All La Glory 4. Strawberry Wine 5. Sleeping "Time To Kill" (Original 1971 7" Capitol Single, Spanish Pressing) A. Time To Kill B. The Shape I'm In SOURCE Capitol/UMe for more, click the INFO button
Duration: 05:56

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Exclusive Interview with Spanish Guitarist/Composer, Russ Hewitt

It has been quite a year for guitar virtuoso Russ Hewitt with his current CD, ‘Cielo Nocturno’, showing all the signs of becoming a run-away success. Shimmering with the rumba flamenco rhythms and lightning guitar runs that have become trademarks of Hewitt’s distinctive style, the album includes a stellar line up of returning musicians including percussionist Raphael Padilla (Miami Sound Machine, Chris Isaak), drummer Walfredo Reyes Jr. (Santana, Steve Winwood, Chicago), bass player Bob Parr (Cher, Barry White), guitarist Alfredo Caceres (Gipsy Kings All-Stars) and most notably Larry Carlton who features on the delightfully easy grooving ‘North of Home’. The radio single featuring Larry Carlton was a mainstay on stations worldwide. The recording was mastered by Chris Bellman who, in his time, has worked with the likes of Van Halen, Stevie Wonder, Michael Jackson and Elton John while completing the lineup are guitarist Ardeshir Farah (Strunz & Farah) on the fiery ‘Persian Sky’ and accordion player Vladimir Kaliazine. Bellman mastered Hewitt’s two previous releases, ‘Bajo el Sol’ and ‘Alma Vieja’ which not only garnered outstanding reviews from around the world but also drew fulsome praise from his peers. Accolades are coming from all over the world in forms of press and reviews including making the ballot for the 59th Grammy Awards (Best Contemporary Instrumental Album, Engineered Album, Instrumental Composition ‘Persian Sky’); Two silver medal’s from the Global Music Awards in the instrumental category for the song ‘Presido’ and album category for ‘Cielo Nocturno‘; Nominated for ‘Best Acoustic Guitar Album 2016’ from One World Music Awards; Nominated in the Best Jazz Single category from RoundGlass Music Awards (‘Samba Sao Paulo’). The latest CD also made several ‘Best of’ lists including #2 by Vincent Furnier at Soundcheckdfw.com, #4 by Travis Tutwiler at at Soundcheckdfw.com (‘Persian Sky’ featuring Ardeshir Farah was at #6 for his song of the year), #5 by Michael Debbage at MainlyPiano.com, Kathy Parsons at MainlyPiano.com (She did not put number orders to her selections) and honorable mention from Scott Itter at Dr.Music.org. In addition to the ‘Best of lists’ several reviews added their own score rating: 9.5 of 10 by Arthur Gonzales at Rock N Roll Industries; 8.1 of 10 by James McQuiston at NeuFutur; a (perfect) “EQ” (energy quotient) rating of 5.00 by Rotcod Zzaj at Contemporary Fusion Reviews; 4.0 out of 5 by Matt Jensen at Divide and Conquer; Five Starz by Scott Thomas at Guitarz Forever. In fact the favorable opinion gained from Hewitt’s debut CD, ‘Bajo el Sol’, rapidly translated into prolific airplay and a ten-week stay at #1 on Music Choice. It took up residence on the Smooth Jazz indie charts for 16 weeks and the first track to be released to radio (the dazzlingly Latin flavored title cut) climbed rapidly into the Top 20. The follow-up single, ‘Lydia’, enjoyed similar success, peaking at #15 and storming into the Billboard’s Top 40. Not content with that, Hewitt then made it three for three with ‘El Beso’ which also made it onto that same Top 40 listing and was named as one of the top smooth jazz tunes of 2009 by www.smoothjazznow.com. In addition, ‘Bajo el Sol’ was generously acknowledged by the music industry. It was included on the ballot for the 52nd Grammy Awards in the categories Best Pop Instrumental Performance, Best Pop Instrumental Album, Best Instrumental Composition, Best Instrumental Arrangement and Best Engineered Album whilst elsewhere Hewitt gained an ‘Honorable Mention’ for the album’s title cut at the 2009 International Songwriting Competition. When Russ’s sophomore project, ‘Alma Vieja’ came long in 2011 it delivered two more Top 40 smooth Jazz singles, ‘Pacific Sunrise’ and ‘Samba Samba’. Not surprisingly, Russ has endorsements from a wide spectrum of suppliers and manufacturers. These include Godin guitars, Radial Engineering (Tonebone), Analysis Plus Cables, Morley Pedals, V-Picks, Neunaber Audio Effects, Voodoo Lab, BBF Pedal Boards, Primacoustic, Mission Engineering and DLS Effects. Always striving to extend his boundaries into sound tracks and commercial work, Russ contributes artist interviews and a monthly guitar lessons column to ‘The Sound’ magazine whereas his prowess as a composer has resulted in five Telly Awards (for ‘Parent Compass’) and the DVD companion to the New York Best Seller ‘The Harbinger Decoded’ by Jonathan Cahn. Russ has written the music for the upcoming feature film ‘Thirst: Mission Liberia’ which has already won a Silver Telly in the Spiritual – Faith category and a Bronze Telly in the Documentary category.
37:5335 hours ago
Update: Jan 14th, 2021: Martin Introduces First Acoustic Guitar That Is Both FSC-Certified And Plastic-Free
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Update: Jan 14th, 2021: Martin Introduces First Acoustic Guitar That Is Both FSC-Certified And Plastic-Free

On March 15, 2019, artist Robert Goetzl watched the news in awe as a million students, across 125 countries, took part in the School Strike for Climate, an international movement of students who skip Friday classes in protest to demand action from political leaders against climate change. The movement started in 2018, when Greta Thunberg, a then 16-year-old activist from Sweden, staged a lone protest outside the Swedish Parliament holding a sign that read "School strike for climate," inspiring students across the globe to stand together to fight for the future of the planet. The movement fanned a flame in Goetzl that had been slowly burning for many years and now he wanted to use his talent to become part of the solution, so he immediately dropped what he was doing and painted a watercolor of the earth. His hope was that it would one day adorn the top of a Martin guitar that could be used to bring awareness to the urgent need for climate action. Upon completing the painting, Goetzl wasted no time, driving to Nazareth to share his idea with Martin Chairman and CEO, Chris Martin. Like Goetzl, the sixth-generation leader of Martin has a deep passion for fighting climate change and preserving the earth for future generations. This shared passion, reignited by the energy and perseverance of this new generation of activists, put into motion the plans to develop what is now being introduced as the Martin 00L Earth guitar—the first acoustic guitar that is 100% FSC® certified AND 100% plastic-free. said Goetzl., "When I first heard this eloquent young woman, Greta Thunberg, speak so passionately about climate change, I was immediately inspired and thought, why not design a guitar with a visual element as a tool to promote the message 'Save the Earth'. Perhaps this is a way to help raise awareness of resource sustainability and our society's failure to take action against the global crisis that this troubled planet is facing."   With Chris Martin's blessing, Goetzl set about doing what he does best—turning his initial ideas into refined art—and he later presented several variations to the Martin team. The final design featured the earth and stars with a beautiful light burst peaking over the horizon. While Goetzl was finalizing the artwork, Martin Lead Instrument Designer Tim Teel and former Martin Green Team Leader Chris Thomas began working on building out the model that would ultimately become the master canvas for Goetzl's artwork. Teel and Thomas decided to use the framework from the Martin 17 Series and then went on to collaborate with many colleagues throughout the company to select and source only materials that are 100% FSC certified and free of all man-made plastics. Even the gig bag was specially sourced and made with hemp, a fast-growing and highly sustainable material, another first for the company. said Teel., "I respect working for a company that takes environmental issues seriously. This project illustrates the importance of our planet and is depicted in this amazing graphic by Robert Goetzl. By using responsibly harvested materials, we will ensure the next generation of musicians and luthiers will have great tonewoods to choose from when designing, building, and playing stringed instruments of the future."  Martin chose to go plastic-free with this model because single-use plastic is destroying entire ecosystems and greatly contributes to global warming. The world urgently needs to reduce single-use plastic, and Martin hopes  this guitar will be another vehicle for spreading the message. said Chris Martin., "There's so much that we can do as individuals to fight climate change in our daily lives. Yet we are continually looking for ways that our company can inspire musicians and their fans to take action. Not just on Earth Day, but every day. Music has always been a powerful tool for bringing people together for change." In honor of the 00L Earth guitar, Martin will make a charitable donation to the Rainforest Alliance. The guitar is priced at $2,249. click the INFO BUTTON for more.......
04:083 days ago
Exclusive Interview with Chicken Pickin Master, John Lere
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Exclusive Interview with Chicken Pickin Master, John Lere

John W. Lere Jr. was born with a guitar in his hands. Not really, but it's a romantic thought and seems very fitting if you're familiar with him. Whether banging on different toys with a pencil or plucking around on various beginner guitars as a child, John Lere has been making music his entire life. He began traditional study on the guitar at the age of 9, taking weekly lessons from Art Gomez at Vesley Music in Las Vegas, NV, learning the fundamentals and written language of music. John started giving his own lessons to neighborhood kids or friends at school and loved everything about the guitar. As a freshman in High School he joined the Stage Band and was introduced to jazz music. The piece of music given to him to play for his audition was 'Birdland' by Weather Report. All of the sudden an obsession with this different type of music took over and John went on to play in many different High School Jazz Ensembles around Las Vegas, constantly learning and improving. He was accepted to the Las Vegas Academy of International Studies and Performing Arts after his sophomore year and the study of jazz music went into overdrive! This new learning environment was a dream come true to any kid that wanted to play, practice and study music all day and that is exactly what John did. LVA Jazz band director Alan Lawson, introduced John to legendary & local guitar instructor Hap Smith(RIP Hap. You will be forever missed) and was taught a deeper lesson in discipline and music theory. John continued regular study With Hap Smith during his junior and senior years, and began teaching part time(mostly to kids and beginners) at local music shop Pat's Desert Music. With College just around the corner, John set his sights on a school on the other side of the country. Being Alumni of Berkeley School of Music in Boston, Hap helped John prepare an audition piece and gave a very gracious letter of recommendation. After much consideration however, the decision was made to stay in Las Vegas For College and he accepted a scholarship from The University Of Nevada Las Vegas. Over the next few years John studied with jazz great Joe Lano, focusing on chord inversions, chord solos, different picking techniques and smoking cigarettes. John Played in many different bands, many different styles and genres, toured around the country many times, teaching along the way where ever possible. He was lead guitar for the late, great Elvis Presley Tribute Artist, Trent Carlini, headlining showrooms up and down the Las Vegas Strip. He has worked for Carnival Cruise Lines and traveled to Mexico and Canada, but never really feeling satisfied with what he was doing. That would soon change! Even though John had listened to and been a big fan of country music throughout his whole life, when he heard the music of The Hellecasters he became totally intrigued by the many different sounds, that in the right hands, the Telecaster could produce, and so began the journey towards Tele-mastery. All of the sudden that fire and enjoyment of playing the guitar was back! A desire to teach was also resurrected and a feeling of responsibility to give back to anybody aspiring to learn the guitar. John Lere has dedicated his life to music and of all the many different instruments in the world, the one that chose him was the Guitar. He has acquired an extremely large amount of knowledge and skill and he continues to strive for new things on the guitar as well as in Life. Fortunately, it is all available for purchase for a great low price! LOL
15:154 days ago
Update: Jan 12, 2021: Taylor Guitars Transitions Ownership To Its Employees
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Update: Jan 12, 2021: Taylor Guitars Transitions Ownership To Its Employees

EL CAJON, Calif. that Taylor Guitars, a leading global builder of premium acoustic guitars, has just announced its transition to 100% employee ownership through an Employee Stock Ownership Plan. said Bob Taylor, co-founder and President of Taylor Guitars."We have delighted in giving people the joy of music and hope to do so for generations to come. Becoming 100% ESOP allows us to ensure our independence for the long-term future and continue to realize our vision for the company as an innovative guitar manufacturer." Kurt Listug, co-founder and Chief Executive Officer, added, "While Bob and I are not retiring, we have been preparing for our eventual exit. Master guitar designer Andy Powers is not only the wellspring of our guitar designs for the future, but he also joined our leadership team several years ago, and strengthening our leadership team has been essential to our succession planning." Listug views the transition in ownership as the next step to ensure a sustainable future for the company, while also providing a valuable financial benefit to people who have contributed to its success. "We believe we've created a special company, where passionate people can engage in problem-solving innovation, collaboration and respect," he said. "Securing our independence through an ESOP allows us to strengthen this culture."  Taylor's new ownership structure supports continuity. Taylor Guitars will serve its customers, suppliers, and broader community with the same passion and innovation it has before. Bob Taylor, Kurt Listug, Andy Powers and other members of Taylor's leadership team remain committed to the company. There will be no changes to management structure, operations policies, or practices. Taylor Guitars was founded in 1974 by Bob Taylor and Kurt Listug and has grown into the leading global builder of premium acoustic guitars. Taylor now employs over 1,200 people and currently produces hundreds of guitars per day in its state-of-the-art factory complexes in both El Cajon and in Tecate, Baja California, Mexico. The company maintains an active dealer network, with Taylor guitars sold through hundreds of retail locations in North America and with international distribution to 60 countries, including a distribution warehouse and factory service center in the Netherlands. 
The ESOP is a type of tax-qualified defined contribution plan through which employees receive a retirement benefit linked to Taylor Guitars' future equity value. Employees at Taylor's production facility in Tecate, Baja California, Mexico, will participate in its US-based ESOP plan, and European Union employees will be participants in a similar incentive plan available under EU regulations. For more, click the INFO button......
02:494 days ago