Sean Harkness

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Recordings

Aloft

Harkness uses both regular and nylon strings, and steel guitars as well, quiet new age, bouncy smooth jazz.

Trio of One

"I saw Sean play with the 2001 Winter Solstace tour. I was captivated by the prowess and fluidity with which he played."

Praise for Sean

Filled with agreeable melodies and competent playing, the debut solo recording from session guitarist Sean Harkness could hardly be a more pleasant affair. Commanding? No. Rewarding? Only sporadically. But pleasant? Without question. This is a sweet audio truffle intended to blend nicely with after-dinner drinks and civil conversation. Harkness has a thing for kites (hence the album's title), and fittingly the folk- and jazz-tinged compositions he offers on Aloft convey a lighter-than-air mood that is engaging yet dispensable. Playing a variety of guitars and a fretless bass, the nimble-fingered Harkness gently mixes textures (pop, Celtic, flamenco, Caribbean, funk, folk) to arrive at an easy-listening destination that is a modest notch above standard smooth-jazz fare.

To his credit, no saxophones invade the guitarist's carefully constructed audio space, and Harkness sometimes breaks from his airplay-friendly formula ("Green Mountain Trail," "Cuchullain's Dream," and "Wynkus McGynkus," a detailed exercise on classical guitar) to remind us that this hired gun possesses an inquisitive, artistic soul of his own. --Terry Wood

Cleanly articulated lines and technical mastery are just the beginning, for Harkness does something rare in any musical genre: He expresses power and passion with soft touch and meaningful glances, knowing that often our most compelling moments are ones that simply brush past. Some of his note shading on "Siempre Conmingo," for example, is heart-stopping. And if the dramatic spiraling dance "Luna Baillando" demonstrates Harkness' talents as a guitarist and composer, "Coconuts," an island tune riding a sly line between parody and homage, shows him to have a sharp sense of humor as well.

Adding to the abundance of spacious melodies are guests Gil Goldstein, whose accordion brings an Old World touch to the gorgeous "Puesta del Sol," and pianist Liz Story, whose delicate interplay on the title track is a memorable highlight. The closing funk of "Harlem River Drive" loses none of its organ-powered vigor with Harkness' nylon strings at the wheel. --- Larry Nai, JAZZIZ Magazine  

Copyright © 2000, Milor Entertainment, Inc.

First Show with my Walden G1070CE

Text copyright Walden Guitars.

Feb. 12, 2005 – First of all, let me say that this guitar is a big surprise. The first conversations with the Walden folks were all about the instrument. Then I received it and played it at length, opening up the sound of the wood, exploring its physical and tonal character. A couple of months later we spoke again to discuss how our relationship would continue. This was the first time I learned of the retail price. I was stunned! This is a top shelf guitar in so many respects, and its available to folks in a way most guitars of this caliber would only be dreamed of.

If you dream of one day owning a truly fine acoustic guitar but feel that it's just out of reach - guess again! That day is here.

Yesterday and today were the rehearsal and performance for a one-off show with Broadway diva Susan Egan (Beauty and the Beast, Cabaret, Thoroughly Modern Millie, etc.) at the West Side Playhouse Theatre. The tech for this show was pretty limited, so I was playing through my NYC Subway­ready guitar rig – a little 40 watt Pignose tube amp with a single 10" speaker. I've modified the amp slightly by replacing the tubes and the speaker with fuller sounding alternatives, but it's still a 1x10" combo. The Walden came out of there sounding like an acoustic guitar!

From my experience with Windham Hill recordings and tours I have encountered many fine acoustic instruments, and my expectations are high. From my years in the guitar shop with Chip Wilson (Wilson Guitars, Borys Guitars) I also have a very high standard of what to look for in an instrument. Both tonally and physically, the G1070CE holds up really well to scrutiny. The choice of materials, the structural approach (thin top, substantial yet easily playable neck, etc), and the fit-and-finish all contribute to a very good sounding and very playable guitar.

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