Rick Washbrook is like a Pied Piper; whenever he plays his guitar, you want to follow.  A little gypsy in his soul, combined with an intense admiration for the stylings of guitar virtuoso Lenny Breau, prompted Washbrook to produce the inspired double CD, Gypsy’s Bed.  This two-CD tribute set will delight the listener with classic standards such as “Autumn Leaves,” “Manha De Carnival,” “The Shadow of Your Smile” and “Here’s That Rainy Day,” but you will be even more impressed with Washbrook’s original compositions.  Each original has a story behind it as explained in the liner notes, and they ooze with charisma and imagination.

Washbrook’s romantic and instrumental flare for a song gives you pause for heartfelt reflection.  Then he lifts you up gently, wipes away your tears, and plays you a happy tune to make the boo-boo’s all go away.  His gift is the ingenious melding of flavors and harmonic depth with which he weaves the melody.  It will also come as no surprise, when Washbrook lends vocals to a few of his originals, that the results are indeed favorable.

Please join me in finding out more about this Pied Piper of song, Rick Washbrook.

JazzReview:  Let’s talk a little bit about you personally, Rick.  You are originally from the Los Angeles area correct?

Rick Washbrook:  Yes, from the San Fernando Valley.

JazzReview:  How did you end up living in Canada?

Rick Washbrook:  My brother, Johnny Washbrook, was a child star in the series called, ‘My Friend Flicka.’ Are you familiar with that?  My other brother, Donald Washbrook, was a regular in the TV series, ‘Petticoat Junction,” so, I come from a family of actors.  In the late fifties, my folks were living in Canada, but went to California after some talent scouts had come to Canada looking for new talent.

JazzReview:  How many children are in your family?

Rick Washbrook:  There are four…four brothers.  I’m the youngest.  Anyway, my family moved to California while my two brothers were acting in television.  Johnny went on to do ‘Perry Mason,’ ‘My Three Sons,’ and ‘Flipper.’  He appeared in almost every TV show during the fifties and sixties.  Johnny went on to do other things and left for New York to act in plays.  In 1971, my father decided he wanted to return to Canada, so that’s how we got there and back.  My roots up until age twelve were in California.

JazzReview:  So you were born in California then?

Rick Washbrook:  Yeah, a big chunk of me is Californian…I mean when I go back there I just go ‘oh man, this is home!’

JazzReview:  I know exactly how you feel.  Were you a surfer hangin’ out at Malibu & South Bay?

Rick Washbrook:  Oh, I love the sun.  I used to surf, but I liked swimming too…just everything about the ocean.  I love that whole lifestyle.

JazzReview:  It must have been a rude awakening moving to Canada so far from the sun and surf.

Rick Washbrook:  It definitely was.  You know, it’s funny, you don’t know how life will change.  My father wanted to come back here, so that’s what we did, but maybe it was all a blessing and good how things worked out.

JazzReview:  When did you begin playing the guitar?

Rick Washbrook:  In California, when I was about eleven or twelve.  I was listening to jazz as a little boy because back then, my brother was in the 8-track business.  He had a friend who worked at a radio station.  He would bring home all the LPs that they were considering playing on the radio.  I used to go through the milk cartons.  You know, the plastic milk carton crates?  I would find old records of David T. Walker, Jack McDuff, Kenny Burrell, and Wes Montgomery.  I’m trying to think of all the names, but there were a ton of them that I just adored.  That was my early exposure to jazz, going through and listening all those DJ’s albums.  I was immersed in them.  That scene was cool back then and I especially liked organ and guitar players.

JazzReview:  How did you come to appreciate the guitar style of Lenny Breau after moving to Canada?

Rick Washbrook:  That is sort of a special story.  I was just this young kid coming from California.  I had a really good ear and I would just pick up the guitar and play.  Everybody was amazed that I could hear something and do things [play what I heard].  I really wanted to know what I was doing and learn more.  I remember the first school year in Canada.  I think I was in about 7^th grade.  I went to my teacher and asked if I could play in the stage band.  He asked if I could read music and I said, ‘Well, not really.’  So he said, “Well, these are really hard charts.  You’re going to have to be able to read the piano charts because I don’t have any guitar charts yet.” But, he said he would give me a try.  So he stuck me in there, but I was lost with those charts, so mainly I played by ear with the band.

I told the teacher I wanted to take the charts home and write the chords above them.  At the end of the session, and I remember this vividly, the teacher looked at me and said, “Rick, do you really want to learn to play that guitar?  Then listen to a man named Lenny Breau.”  I looked at him and he had this very stern face [laughs].  It was like a message from God!  I immediately searched out Lenny Breau recordings.  The rest is history.  I could go on and on and tell you what happened after that, but it was my high school teacher, Ron Davidson, who turned me onto Lenny Breau in 1971.

JazzReview:  Lenny Breau hadn’t even recorded “Five O’clock Bells” or his “Mo’ Breau” albums yet, the ones that are considered some of his best.  I think those were in 1977 or ‘78.  He only had two albums out before 1971.

Rick Washbrook:  Yeah, you’re right.  So we are talking about a young Lenny Breau that the teacher was talking about.  The Velvet Touch of Lenny Breau [1969] was a beautiful album.  That was the one that blew me away.  I never did hear any of the Boy Wonder albums.  You know, the one when he played all those Rags.  I don’t think they were released until Randy Bachman from Guitarchives here in Canada released it.  Randy has a distribution record company for Lenny’s material.  I believe he released three albums…Boy Wonder from when Lenny was a very, young boy, before he got into jazz, Live at Bourbon St. with [bassist] David Young, and I think Lenny Meets Tal, or Friends, something like that.  There are many obscure recordings of Breau still unpublished.

JazzReview:  Breau had a very sporadic career, possibly because of his drug addiction and he didn’t record much during his short life.  But, just like famous painters who never really had vast recognition during their lifetime, his guitar work is now so cherished.

Rick Washbrook:  I agree, absolutely.

JazzReview:  Some of the things you’ve written and included on your latest double tribute album were written in Costa Rica and Cuba.  I read that in the liner notes your title song, “Gypsy’s Bed,” was a result of your influences traveling through some of those countries.

Rick Washbrook:  I’ve done a lot of the traveling over the years earning a living with my guitar.  In the winter I would go to warmer climates and play.  I would be influenced by the type of music in those countries and incorporate my own expressions of what I was feeling.  At the same time, I was always working with Lenny things, so I was combining the two and coming up with different interpretations.

I think the title, “A Gypsy’s Bed,” has two interpretations for me.  My first thought was that a gypsy is like a troubadour, traveling all over with his instrument and deeply getting into the music wherever he goes.  This was definitely true of Lenny Breau’s life.  When the gypsy or troubadour lays his head down each night during his travels, his mind is still hearing the music, getting lost in musical thoughts as he drifts off to sleep.  Life is a tough road, so my second thought about the title is ‘you make the bed you lie in.’ That is what I am trying to express with my song.

JazzReview:  It has been said that Lenny Breau was among the first guitarists to interpret the post-bop chord voicings of pianist Bill Evans.  Listening to Breau was like hearing two guitarists play at the same time.  Is this something that intrigued you about Breau’s style?

Rick Washbrook:  It’s beautiful.  Lenny would take two note comping chords and play an independent melody on top.  In the beginning that whole style was so fascinating.  I’ve worked on that over the years and tried to figure out how exactly he did that.  He was attracted to piano players obviously, but there is so much woodshedding, so much practice time and gymnastics associated with Breau’s style.  It is like learning how to walk or dance.  It’s very physical and takes hours, not just playing the music.  I developed my own exercises to be able to have the coordination and dexterity to independently make two fingers do one thing while two other fingers do something else.  The Bill Evans voicing came after a lot of the preliminary work.  I love Bill Evan’s work.

JazzReview:  The collections of songs on your double album, Gypsy’s Bed, are originals from the period of 1999 through 2001.  Why did you decide to put out a double CD rather than two separate releases?

Rick Washbrook:  That’s a great question.  I have to go back to 1999.  The original recordings for Gypsy’s Bed were demos.  I always wanted to have a demo of my solo guitar playing so I could get gigs when I was traveling.  I was going down to Costa Rica to work again for the winter.  What was interesting is that when I returned in the spring, I thought about looking up some of the artists that Lenny played with and sending them a copy of the demo.  I looked up Breau’s brother, Denny Breau, Terry Clark, Don Thompson, Ed Bickert, Moe Kaufman, Bob Erlendson, all the Toronto cats he played with.

I mailed out the demos and I couldn’t believe the response I received.  They gave me such positive praise, but I also asked for their criticism.  They gave me some great critiques and it pushed me to do the tribute.  I thought, ‘Wow, these guys who loved and worked with Breau are behind me.’  It inspired me to keep working on the project.  That is why some of the songs reach back to 1999, because some were a few from that demo that were good enough to keep.  Then in 2001, I pulled a few more pieces together.  I looked at it and thought, ‘My gosh, I have at least 2 CD’s worth of material here.’

JazzReview:  A double CD can be quite a marketing effort.

Rick Washbrook:  I remember asking a few people and they said, ‘Well that’s a hard sell Rick.  It’s a lot of material.’  I said, ‘You’re right,’ so originally I made it into a single album.  I hadn’t released it yet of course, but I had paid the money and mastered it as one album.  I’d be driving my car down the road thinking about it and I wasn’t sleeping at night.  Something was bugging me.  I just wasn’t happy with the single.

There were times when I felt Lenny was guiding me through the project.  It was very deep. [In a dream,] Lenny said, “Just throw it out Rick. It’s just all one big thing and you’re going to go on to other projects.”  When I woke up I thought, ‘Well, if it’s too much for the public to assimilate or too much for an interviewer to be able to review…Well, I’m just going to go with it and put it out as a double album.’  Of course, I realized that it would cost me more money, but I was willing to sell it at the cost of a single just to keep it together.

I truly accepted that the project was a labor of love and because of that, I wasn’t as concerned about the marketability of a double album.  In my heart I felt if I had gone this far, I’d add a few originals to the project that were Lenny influenced, rather than remain faceless without my own songs in it.  When I do move on, I won’t be haunted by material that hadn’t been included or be tempted to put them into new projects.

JazzReview:  Obviously Lenny Breau has been a great influence on you, but you also incorporate other influences in your music.

Rick Washbrook:  Yeah, I play solo guitar and a lot of Blues, Flamenco, and some Ragtime.  There are a lot of genres that I crisscross with.  It’s a matter of survival when you play a lot of clubs.  Ninety percent of my work is trio and other times I play with a quartet with either a sax or a piano player.

JazzReview:  Do you have a regular trio?

Rick Washbrook:  At the moment I’m working with one particular bass player.  The drummers I rotate.  A gentleman named Dennis Pendrith…he’s a fabulous bass player and has done at least ten Bruce Colburn albums, played with Etta James, and has worked on some great CDs.  He’s an all-around bass player and such a loving character.  A lot of people up here [Canada] have such respect for him.  He really listens and is thoughtful.  When you go out to play and have someone you trust behind you, it’s great.

JazzReview:  I was reading The Wire and see that you play an assortment of jazz, swing, boogie, electrified Chicago blues, twangy Texas rock and subtle balladry.  I guess you really are a gypsy!

Rick Washbrook:  [laughs] Well, all that aspect of my playing is really deep rooted from the over all joy of playing the guitar from my true eclectic attractions.  It is my passion, and music is about art, making a living and entertaining people.  I have been narrowing it down lately and concentrating more on jazz and blues.  As I get older, I’m trying to pick rooms that are more ‘listening’ rooms than some of the bigger clubs.

JazzReview:  It’s far more rewarding personally when people are really listening and feeling what you are saying through your music.

Rick Washbrook:  Exactly. When you get into concerts, you are doing more originals and have a collection of CDs to sell.  You want to do those more rewarding shows.  I try to put 100% of my soul into my playing.  After a show, people have come up to me and said, ‘You really do breathe what you play.’  When I do concerts, I start off with my trio and half way through the concert, I will play about five solo things by myself, then the trio comes back.  The solos encourage conversation with my audience.

JazzReview:  There is a lot of emotion and feeling on your CD.  I especially liked the classic, “The Shadow of Your Smile,” and your originals like the one “How Can I Forget?” are extremely beautiful.

Rick Washbrook:  Well, thank you.  “How Can I Forget?” was one that was influenced by my travels to Costa Rica.  It takes on a bit of a Spanish flavor to it.

JazzReview:  I noticed that your rendition of “Autumn Leaves” was recorded in a Church in Oakwood, Ontario.

Rick Washbrook:  I always go into churches.  In every church the acoustics sound different and just the vibes you get in the quiet is great.   If you listen closely to <I>Autumn Leaves</I> you can faintly hear the wooden pews making cracking sounds.  My performance of “Autumn Leaves” in the church was very acoustically satisfying.  I started the song with chord substitutions used in place of ones used in the original composition that Lenny did.  During the solo section, I moved into using the two and three-note comping chord techniques done in 2/4 time, with an independent melody in ¾ time.  This gives the illusion of independent parts.

JazzReview:  I see that you used many different guitars on this CD to create a different feel to your songs.  You used a hand-made electric guitar, an Arch Top Aria 2 Jazz guitar, a Gibson EC-20 Starburst, a Takamine G335 12-string, a classical Yamaha and classical Marn Matao guitar.

Rick Washbrook:  Currently, I only have my classical and electric guitars.  I borrowed the others.  I definitely had to have those other guitars for some of the songs.

JazzReview:  So have you been called the gypsy guitarist yet?  [laughs]

Rick Washbrook:  Not yet [laughs].  My latest name is ‘Roy.’ [laughs]  I don’t know what that is all about, but some of the girls were calling me Roy the other night.

JazzReview:  Must be a private joke. [laughs]  Turning to a more serious matter, can you tell me how your recovery is coming after contracting adult Chicken Pox in January?  I understand it caused a problem with some of your fingers.

Rick Washbrook:  They are on the mend.  The Chicken Pox virus left some scar damage to my nerves in my left hand.  I guess it’s a process of healing and building up the body’s immunity to get it all back.  I have dexterity there, but it still hurts when I play.  It’s not one hundred percent yet, but it is definitely coming back.  I was very sick with the virus for three months in total.

JazzReview:  I understand that Chicken Pox can be very serious to an adult if they contract it.  I hope the healing process continues.  What are your plans now that you are on the mend?

Rick Washbrook:  Well, my biggest plan is to continue to promote my current tribute CD.  I’ve been getting a lot of response from the West Coast from pitching my CD to radio stations there.  A lot of them are contacting me and are either interested, or playing songs from my CD.  I don’t know what the totals are right now, but there is definitely interest.  I want to go to the West Coast.  I’d like to play some of the universities, larger venues and clubs around there.  I’d also be open to and thrilled to go on tour with a big band if any offers come my way.

This summer I will be playing some of the major festivals here in Canada, ones in Orillia, Calgary, Markham and Barrie.  I also have three instruction videos that I’ve released dealing with Lenny Breau’s style.  I’m really excited about them. One is a two-hour video dealing with Breau’s two-note comping with melody on top.  The second video is on the use of harmonics, and the third is walking baselines with chords and melody.  I’m working on eight altogether.  Within six months I’ll have distribution on all the videos.  My website is being arranged to be a little more educational and all the videos will be available for purchase.

JazzReview:  I guess Chicken Pox can’t hold a good man down.

Rick Washbrook:  [Laughs] I have a new project I’m releasing this summer.  It is called Labyrinth.  It contains all originals and I think my audience will get a different taste of my work.  Some of it is very atmospheric, some of it is fun, but it’s all jazzy.  It goes to some interesting almost mystic places.  You would have to hear it to know what I mean.  I’m hoping I’ll get some good response.

JazzReview:  We will look forward to it Rick.  Thank you for the interview and good luck with your tribute CD, and those fingers too.  For more information about Rick Washbrook and his music, visit his website at www.washbrookmusic.com  Lenny Breau Guitar Lessons contact Rick Washbrook   rick@washbrookmusic.com

Interview By: Suzi Price

Classic Jazz Editor & Media Consultant
JazzReview.com

The poster quoted a jazz musician, whose name I recognized, saying that Rick’s guitar stylings were reminiscent of Lenny Breau.  Well! That caught my eye – just the ticket for an aspiring finger style guitar player.  I thought to myself, “Wow, he said that about Rick Washbrook?” Then I thought “Hey, I wouldn’t mind sounding a bit more Like Lenny Breau”, so I decided to check Rick Washbrook out.

We set up the first lesson, and we were off… well, once I’d extracted his cat’s claws from my leg, and the cat had settled down for a snooze in my guitar case, then we were off.

Rick gave lessons in his cozy apartment with a brick fireplace, and it was a good setting for lessons (feline sneak attacks aside). Rick’s sessions were laid-back, but with a flexible structure that kept us moving forward.

I liked the way that Rick layered instruction with practical examples. We’d learn something new, and then reinforce it with some repetition, and then we’d have some fun by jamming together on what we’d learned.

A couple of years later, I’m still not quite playing like Lenny Breau (the man is a guitar genius, after all), but my playing has improved a lot, and I can do a pretty reasonable version of Cannonball Rag.

More importantly, thanks to Rick, my love of guitar playing has been rekindled, my music is far from stale, and I’m really excited about trying new stuff… My musical horizons have broadened, to the point that I’ve even picked up a banjo (time for some more lessons!).

Thank you, Rick Washbrook! You’ve helped me to breathe new life into my guitar playing!”

By: Ian Newall

Learn guitar from recording artist and teacher Rick Washbrook. Rick Washbrook offers private lessons or global instruction via guitar videos.

www.rick@washbrookmusic.com

www.washbrookmusic.com
Rick Washbrook Guitar Lessons Testimonial From Student By: Ian Newall

Posted: Jul 14, 2011
Rick Washbrook – Guitar Lessons – (Teacher & Student) – Makes The Difference

http://education.ezinemark.com/rick-washbrook-guitar-lessons-teacher-student-makes-the-difference-169bc9ea8fb.html

Rick Washbrook – How to Play the Guitar – Every one learns Differently

http://inform.com/musical-instruments/rick-washbrook-play-guitar-learns-differently-1744476a

Rick Washbrook Guitar Lessons Testimonial From Student By: Ian Newall

Virtually every lesson with Rick Washbrook would open my eyes up to new
innovations, and techniques on the instrument.  He has a level of
expertise in terms of knowledge and skill that cannot be put into words.
Washbrook would start a lesson and during the lesson it was like he was
taking me to a sac-ride place.

I started studying from Rick Washbrook in 2002 to 2003, at the Sir William
Mackenzie Inn Located in Kirkfield Ontario.  He was living at the mansion
that was constructed by the man that built the Canadian Railroad.  Rick
Washbrook played a regular show Sunday night,solo guitar at the
“Gate House Restaurant”, next to the Inn.

Washbrook went back to Toronto in 2004. I continued studying with him by
cassette lessons. I found it to be at times even more of a great lesson, because
Rick Washbrook would tell little stories about the music business, and his life on the
road in between the lessons on the cassette. I would record a cassette of my progress to mail back to Washbrook.

I continued religiously with the 2 cassette lessons a month, 4 years in total.
I have been playing guitar now for about 18 years.

Rick Washbrook looks at the guitar as an orchestra, with 6 voices that
must be trained first before they are blended to produce beautiful
harmony.

When I first started taking lessons with Rick I didn’t know what to
expect. I had already been through the Berkley books from a great
guitarist near my home Gerald Van Haltern. In fact it was Gerald that
suggested I study from Rick Washbrook when he first came to town. He
had a habit of moving around a lot. I had studied the Berkley books but just
didn’t know how to apply what I learned from the books.

I wondered could someone at his level really teach in a way that I could
connect with in spite of my limited experience? I found out not only could he
teach buthe would graciously share so much information that I could spend months
developing the techniques and exercises.

To give you a hint of Rick’s dedication to his dedication, I remember
studying with Rick Washbrook at The Sir William Mackenzie Inn, in
Kirkfield, Ontario. On a particularly cold winter day in February we had
to sit next to the oven in the kitchen, just to keep ourselves and our instruments
warm.

The Inn was not heated fully in the winter only certain rooms.
For me that is an image that will stay in my mind forever. I could really
see the dedication of the mans mind just sitting there in front of the stove, pouring out
his knowledge and loveof the instrument. From that day on I felt that dedication in me.

Rick is a very giving person who sees music as something to be shared and
not squandered. Rick Washbrook has a deep respect for the Canadian late genius Lenny
Breau. Rick Washbrook would show me a lot of Lenny’s techniques.

Anyone looking to improve their playing in any genre of guitar would be
amazed at what they have not yet discovered after a lesson with Rick Washbrook.

His way of thinking about the guitar and teaching are unique. I have not seen these methods in any text before.

Warren Graves (Student of Rick Washbrook)
Science teacher, and music guitar teacher at Lindsay High School.

By: Warren Graves (Student of Rick Washbrook) September, 2010
Science teacher, and music guitar teacher at Lindsay High School.

Rick Washbrook Days At Sir William Mackenzie Inn

www.washbrookmusic.com

Rick Washbrook’s guitar playing received attention from Guitar Player Magazine USA for his guitar efforts on his tribute to Lenny Breau CD called “A Gypsy’s Bed”.

Rick Washbrook expresses how he feels receiving the quote appreciating his guitar playing: “It feels like winning a ten million dollar lottery prize! Guitar Player Magazine gets thousands of CDs a month!”

I want to share with all you guitar players a great guitar picking technique I learned from a guitar player named Brad Davis. He does this awesome picking technique called double down up, and visa versa guitar picking technique for speed picking.

You have to check out his video he really is a great guitar player.  I encourage you to go to this URL.

http://www.guitar-domain.com/info/Guitar-Lessons/Double-Down-Up-Guitar-Picking-Technique.html

If this technique excites you I can coach you to make this technique work for you.

Learn guitar from recording artist and teacher Rick Washbrook. Washbrook offers not only private lessons, but also global instruction via guitar videos.

Washbrook offers half hour or one hour sessions, with lower pricing than most music stores. As a teacher

“Rick Washbrook’s guitar playing is beautiful.”

Guitar Player Magazine USA Jude Gold, Editor
Rick Washbrook’s guitar playing received attention from Guitar Player Magazine USA for his guitar efforts on his tribute to Lenny Breau CD called “A Gypsy’s Bed”.

Rick Washbrook expresses how he feels receiving the quote appreciating his guitar playing:  ”It feels like winning a ten million dollar lottery prize! Guitar Player Magazine gets thousands of CDs a month! “I teach music theory and arranging, guitar, and vocal lessons in the York area.

Learn guitar from recording artist and teacher Rick Washbrook. Washbrook offers not only private lessons, but also global instruction via guitar videos.

Washbrook offers half hour or one hour sessions, with lower pricing than most music stores. As a teacher/songwriter and an award-winning guitarist, Rick Washbrook offers his students 38 years of experience. Washbrook’s experience provides him with methods and exercises for students of any level.

Rick Washbrook Guitar Teacher has received Accolades and reviews from. Guitar Player Magazine USA, Finger Style Guitar Magazine USA, Just jazz magazine, Liona Boyd, Randy Bachman, Don Thompson, Moe Koffman, Ed Bickert, Jamie Abersole, Dave Young, Denny Breau (Lenny Breau’s brother and,Terry Clark.

A few Quotes

“Rick Washbrook is one of the best guitarists in North America. He is humble and never has shown an ego about his talent or acted like he is the ‘amazing guitarist’. I admire that about him. Musicians fortunate to be around Rick with their instruments in hand love to jam with him, and share his laughter. I have studied with Rick Washbrook and seen him play live many times. I have all his CD’s. I recognize through Washbrook that we can break on through to the other side. He transcends when he performs. Rick Washbrook plays the music, not so much playing the guitar.”
Fraser MacDonald: Music critic

“Rick Washbrook, your guitar playing is amazing. I feel it especially after viewing your
Flamenco ‘You Tube’ music videos.”
Liona Boyd

“Washbrooks understanding of Lenny Beau’s technique is astounding, and he has really
great ideas.”
Randy Bachman

For more information and pricing, please contact Rick Washbrook
(416) 824-3377

www.rick@washbrookmusic.com
You won’t be disappointed.

http://www.washbrookmusic.com

www.learnguitarlicks.com

Posted: Aug 14, 2011 |

For more information and pricing, please contact Rick Washbrook
(416) 824-3377

www.washbrookmusic.com
www.rick@washbrookmusic.com

“Rick Washbrook’s guitar playing is beautiful.”

Guitar Player Magazine USAJude Gold,

I used to have a thin, black leather tie that I wore on stage with a white shirt and jail pants. It was a funky band and we had a lot of fun together. That was in the early 1980s when the pretend punk thing was going on. I was 20 years old.

Canadian kids thought it was cool to pretend that Ontario was a repressed society like London, England during their brutal punk invasion period – rebelling against the government, poverty and repression. Kids in Ontario just acted out the part, because we really had nothing to rebel against. I never fell for any of that nonsense. I was the only guy with long hair in all the punk bands that were popular in Toronto. I was a hippy in a pop punk band!

Some teenagers do some dumb and dangerous (yet fun) things while growing up. But man, some of us did some crazy things in our late teens and early ‘20s. We were lucky to come out of it all alive.

I only stayed in that pretend-punk scene for two years. I quit the band and went off to pick tobacco north of London, Ontario, making enough money to buy myself a one-way ticket to Vancouver, British Columbia. When I got there, it took me all of five days to realize that what I really wanted to do was head north and not turn back.

I struck out on my own with my cowboy boots and bandanna around my neck and my Hudson Bay coat and my guitar and my Bob Dylan harmonica neck brace and two harmonicas, one in the lowest key and one in the highest key. I trekked up the Alaska Highway and played some real country rooms along the way. Really got to see it all.

There were some genuine trappers mountain man rooms where guys would stay during hunting season, and then bring their game back into town to sell. There were also a lot of rooms where the oil rig guys would get a weekend off every two or three months and they would spend so much money on booze it was just unimaginable. It was out of this world!

Back in 1977 until about 1980 you’d find all these different tradesmen out west – oil rig men, trappers, road builders, road graters, carpenters, Natives. They knew how to party it up, but they also worked really hard.

I remember as if it was yesterday… the oil rig guys who were away for ages working long days, finally getting the weekend off to come into town. One of the guys would pop his head up and shout, “I’m buying a round for the bar!” The bar was packed with 100 people. Guys would drop $1000 or more by the end of the night. I don’t know if this was a tall tale or not, but one bar owner on the Alaska Highway told me that in one night some guy’s tab was $3000!

Man, I look back on those days with fondness and disbelief. There I was learning the ropes, singing in front of Natives, trackers, oil rig guys, male strippers, female strippers, crazy wild drunks, ladies, carpenters, you name it.

One night I was singing in one of the most rugged bars in the Village of Pouce Coupe. Pouce Coupe means “cut-thumb” and was originally named Pouskapie’s Prairie after the local native band chief. Anyway, some guy from the audience ran up onstage and grabbed my raccoon fur hat of my head. He put it on his head, tail and all, and raced around the bar, making fun of me. Everyone was laughing. I was 22 years old. I thought for a second what should I do and this voice in my head said “don’t think Rick”.

I quickly walked over to his table, picked up his cowboy hat, plunked it on my head, climbed back on stage, and continued singing with this big funny smile and hick look in my eye. But I was scared shitless. In a matter of seconds, the whole room was laughing at me and laughing at each other. In the end, the guy ran past me and I sneakily stopped strumming my guitar and grabbed my raccoon fur hat off his head while respectfully placing his cowboy hat on his head, straight and even. I did it so fast he didn’t even know what happened and I just carried on with the show.

There was no trouble for me after that for the rest of that six-nighter job, and a Saturday matinee. I remember those Saturday Matinees only because they were so brutal on me. All the partying and the stamina an entertainer would have to have for a Friday night, and then wake up at noon and have to be ready to play again at 3:00 in the afternoon was hell. That’s when I would say laughing I better eat some liver and vegetables in the morning.

This is a snapshot of a small part of my gigging on the road when I was out there. I have so many stories to tell about that time learning the ropes, the time of my life in my early twenties. Ya man, it was enough to drive you crazy. The stories are endless all through my thirties, until I was 44. I have a smile on my face right now. I am so glad I’m here to tell the story.

Before I end I want to share one other experience I had in that time period that I always get a chuckle out of. It happened when I got to Fort Nelson. But first, let me backtrack a bit here… I had just left the Okanogan Valley where I’d met up with two great guys named Hugh and Henry. Hugh’s family owned an apple orchard in the valley and I stayed there for a month to pick apples.

At the end of apple pickin’ season I got a ride up the road with them in a rickety old truck with a four-foot-long stick shift. Imagine how big the front was with the two seats and a little seat in the back where I sat! We would stop every day to rest, then set up shop the next morning. We’d go to the nearby radio station and Hugh and Henry would pay for a radio ad announcing at which crossroads people could buy these delicious Okanogan Valley apples. I would stand at the intersection and play guitar for the folks who would stop and buy apples. But they got more than apples that year – they got a bonus song or two of thanks.

I can remember it still – how the skies would be so beautiful and the wind at times would catch my guitar strings if my guitar was at the right angle. It would make my strings sound without my touching them. It gave me the idea that one day I would build a guitar 27 feet long and it would be attached to a telescope type of design, so I could change the angle of the guitar to catch the way the wind would be blowing that day. I would tune that giant guitar to a mystical chord and the strings would just do their thing with the wind.

By the time we landed in the town of Fort Nelson we had sold all our apples and I found myself helping Hugh and Henry build a foundation for Hugh’s first log cabin. After a few months of helping to getting the cabin off the ground, I got itching to play live and get out and do some gigs. The road just three miles off the Alaska Highway had a funky name – Radar Road – and that’s where I lived.

I decided to go into town and visit the manager of the local bar. At my impromptu audition I sang him a few songs and asked if he would book me for a gig. He was very pleased with what he heard so he hired me. That was on a Thursday afternoon and he wanted me to start the following Tuesday night. I showed up with my guitar and harmonica and my songs singing in my head. I didn’t use an amplifier so in order to be heard; I had to belt out the songs. It was a very enchanting experience for me because I moved from table to table and sang to each group of people because I quickly learned that it was hard to just stand in one spot and really touch everyone’s heart.

Getting back to the details… the night I arrived, a guy seated at the bar said hi to me. I was running a few minutes late so I set up really fast. Luckily my guitar was already tuned. I started to sing. I wanted to make the best impression the first night and not appear to be late. The man at the bar was a worker. I looked around the room for the man who hired me but he wasn’t there. I loved singing for this crowd because they were tipping me and buying me drinks and every night the guy at the bar was thanking me a lot – a real lot. I would say at the end of the night, “Thanks so much, I had a good time. See you tomorrow.”

I showed up on time for the rest of this six-nighter gig. Every time I played there it was a blast and I really got into playing to each table, and either having fun with a song or being more intimate and serious, depending on what tune I was singing. I was footloose and fancy-free. I walked around everywhere. Later in the week, I was performing in the bar when a new idea came to me: why don’t I go out into the lobby and see if I can sing a song next to the restaurant and maybe draw some people into the bar. So that’s exactly what I did.

After about ten minutes, a big, broad Native walked in. He looked tough. I decided to sing him a song anyway. The song that instantly popped into my head was one I had written called ‘It Comes Back to You.’ The main line in the song was “it comes back to you everything you do because what you do remains and will come back to you.” About a minute into the song (I never left his eyes) and for a split second, I really looked at him and his big body and saw that he was holding his side. It was red and soaked in blood. Looked like he had just been stabbed. It was frightening to see the fresh wound on his side. I looked back up at his eyes. He stood there, his eyes fixed on mine, as I continued for three minutes or so. Somehow I kept on singing to the end of the song. After the last chord was strummed, he walked over and slapped me on the back real hard and said, “You’re a good man.” Then, still holding his side, he headed for the bathroom. I never saw him again. I was completely freaked out that he was bleeding so much yet stopped to hear me sing. I was deeply moved. His friend followed him quickly into the bathroom and he was out as fast as can be holding his side. I am sure they were going to get medical help.

I finished my gigging on the Saturday night and they all said to come back any time and if you want, come back next week. I thanked them and went back hone to Radar Road, to the shack attached to the small motor home on the same lot where Hugh was building his cabin.

The following Monday I walked back to the bar in Fort Nelson. It took me an hour from the cabin. I asked the lady at the desk for Chris, the man who hired me. She told me that he was out of town and that his brother Bart was the acting manager that day. So she went and got Bart. I recognized him as the bartender who worked there the previous week when I sang.

He smiled at me and said, “Hey, it’s good to see you Rick. How you doing?”

I said I was fine and that I was just dropping by to pick up my wages.

With a puzzled look on his face, he asked, “What wages are you talking about?”

I said, “My pay for singing and playing last week.”

He said “I never hired you to play and sing here, I thought you were just coming in to play.”

I said, “No. Chris hired me.”

He replied, “I don’t believe you. Chris is my brother and he would never hire any one to sing at our bar at this time of the year.”

I didn’t get mad because I knew that if I put down my guitar in that part of the country, I wouldn’t have much to protect me.

He said, “You got lots of tips and free drinks. That’s all I can give you.”

I asked when his brother Chris would be back and he said “Chris won’t be back until Friday.”

I waited all week, not knowing if I was going to get paid or not.

On Friday I returned to the bar in the late afternoon on a beautiful Indian summer October day in 1981 to find Chris. I found him.

As soon as he saw me he broke out laughing and said to me “I never told my brother Bart I hired you so he thought that you were playing for free, that you just came in off the street.”

We both laughed our guts out for a while and then he gave me an envelope of cash – my wages.

He shook my hand and said, “I’m sorry I never got to hear you sing and play but I sure got a lot of good reports and great comments about you.”

Well, like I said, I have hundreds of stories like many musicians do who travel and play and have different experiences. Those were magic times for me growing up. There is no one magic solution for success in life that we should replicate. Life is never solved. There are always going to be new challenges that we never knew existed.

Being grateful for where I am now brings me happiness. I am invisible doing what I love, and it can be darn hard at times when there is no real magical place to get to. I have to create that magical place.

Doing what I love every day is great but it’s not free of problems. The journey never ends; there is no quick fix. I listen to my own inner whispers. No one can teach us passion.

I hope you enjoyed the story of my early twenties, playing up the Alaska Highway, as much as I enjoyed recapturing it and sharing it with you.
All the best to everyone

From your musical friend Rick Washbrook

www.washbrookmusic.com

www.learnguitarlicks.com

By TODD S. JENKINS, Published: December 1, 2001
There are fans, and then there are fans. When it comes to the late Lenny Breau, Rick Washbrook is a fan.  Breau was a Canadian jazz guitar genius whose distinctive style of fingering two-note chords while playing the melody on top was highly influential to mainstream jazz guitarists.  For some reason Breau never became as well-known as Jim Hall, Herb Ellis, Kenny Burrell or other guitar giants whose talents he equaled or surpassed.  Thanks to the efforts of devotees like his countryman Rick Washbrook, Breau’s legacy is gradually gaining more prominence.

A two-disc set of solo jazz guitar performances is a tall order indeed, but Washbrook delivers with change to spare. He doesn’t even concentrate on Breau’s usual repertoire, but instead applies the guitar techniques for which Breau is renowned to an excellent collection of standards and originals.  A Gypsy’s Bed is Washbrook’s sixth CD, and clearly the one closest to his heart. Besides Breau’s spirit, the album is soaked in the rich broth of the blues.

The songs here are incredible and well-selected.  Standards like “Summertime”, “Autumn Leaves”, “Here’s That Rainy Day” and The Beatles’ “Yesterday” all benefit from the bright communication of Breau’s style as delivered by Washbrook.  Surprises like Merle Travis’ breakneck “Cannonball Rag”, one of Breau’s favorites, are scattered throughout the set. Washbrook’s originals, like the bittersweet “Childhood Memories” and exotic “Gypsy Gala” throw more coals onto the fire.

It’s easy to forget after a while that this is just one man and a guitar.  That’s a testament not only to the brilliance of Breau’s technical breakthroughs, but also Washbrook’s gift for interpretation. This set makes for fine, relaxing background music during dinner, but it also rewards careful listening by guitar fans who like to focus on the subtle nuances of great players. To anyone who is a fan of mainstream jazz guitar, A Gypsy’s Bed is recommended without hesitation.

(http://www.washbrookmusic.com)

Track Listing: Disc 1: There Is No Greater Love; Autumn Leaves; Cannonball Rag; Summertime; Manha de Carnaval; Childhood Memories; Am I Blue/Baby Face; Gypsy Gala; Harmlessly; On A Clear Day; Texas Breau; Days of Wine and Roses; The Shadow of Your Smile; A Gypsy

Personnel: Rick Washbrook, various guitars.

Guitarist Rick Washbrook Is Rising In Popularity

Rick Washbrook’s guitar playing and music is a mixture of jazz, flamenco and world music influences.  His music is a mixture of styles, but he says it is more about expressing both a creative spirit, as well as sharing more love and peace in the world.

Rick Washbrook had an unusual talent growing up; having a higher voice than a girls’ when singing in the famous North Hollywood Saint Micheal’s Choir. It isn’t surprising, coming from someone who grew up in a family of child movie stars.  His brother, John Washbrook, was the star of ‘My Friend Flicka’ and played roles in over 35 movies, and many TV series, like ‘Perry Mason’ and many more.

The Washbrook’s are a highly creative family.  Rick Washbrook has received many industry accolades, which has landed him high respect in Canada and has carved him a niche with his growing popularity in Nashville. He was asked to attend the Nashville CAAS (Chet Atkins Appreciation Society) where he performed and taught workshops to guitar players from all over the world. Rick was asked to return the second summer of 2004 – 2005.  He has won awards such as the best guitarist of the year in the Kawarthas 2003, which is a very big region in the eastern part of Ontario.

After being very well-received by the CBC Canadian Radio Network, Rick Washbrook’s 2007 CD ‘Roncesvalles Tango’ was included in the top ten out of all Canadian music artist submissions in the category of Flamenco, Latin and World Music.

Washbrook has traveled and played throughout Canada as far as the Northwest Territories and in places such as Switzerland, Davos Platze; Costa Rica; Tahiti, and the United States.

His originals are from a deep broth of flamenco and jazz influences of the late and famous, genius guitarist, Lenny Breau; and his never ending respect for flamenco greats Sabicas and Montoya. Washbrook always drew upon these influences while growing up and still holds them in the highest esteem today.

Rick approaches a mixture of tradition in the gypsy sense of creativity, but departs from convention when he is adding his jazz and Hot Club sounds. Mixing it all together, recording artist Rick Washbrook is an extremely lively and spirited performer.

Katy Nicholson
August 1st, 2011

“Rick Washbrook has what it takes to go to the top.”
Moe Koffman

“If the sign of an artist is the melding of chops / technical proficiency
and soul, Washbrook’s guitar playing is indeed the work of a
maestro…..His music within speaks of his love of the instrument. Rick
Washbrook is an articulate musician with a deeply joyful, soulful, and
spiritual approach.”
Mark E. Gallo, Editor Jazzreview.com USA

“Washbrook’s understanding of Lenny Breau’s technique is astounding, and he has really great ideas.”
Randy Bachman

“Rick Washbrook is one of the best guitarists in North America. He is
humble and never has shown an ego about his talent or acted like he is the
‘amazing guitarist’. I truly admire that about him. Musicians fortunate
to be around Rick Washbrook are thrilled to jam with him, and share his
laughter. I have studied with Washbrook and seen him play live many
times. I have all his CD’s. I recognize through Washbrook that we can break on through
to the other side. He transcends when he performs. Rick Washbrook plays the music,
not so much the guitar.”
Fraser MacDonald: Music critic

“You are one of the family now Rick Washbrook.”
John Knowles in Nashville / Chet Atkins main guitar arranger

“Washbrook is one of Toronto’s Treasures.”
Brian Blain, Toronto Blues Jazz Editor Magazine.

“I enjoy seeing Rick Washbrook’s enthusiasm when he swings with that
walking bass,comping chords, and melody simultaneously. It is so musical
while sounding effortless.”
Ed Bickert

“Rick is an inventive player who is continuing the great tradition of the
masters.”
Jamey Aebersold (famous Jazz instruction and musician)

“The tribute to Lenny Breau is a heart-felt tribute CD to the great Lenny
Breau. Washbrook plays the music with great love and respect.”
Don Thompson

“When I listen to Rick Washbrook play it makes me feel very close to my
brother Lenny, and it makes me realize that Lenny will always live on.
Thank you Rick Washbrook for keeping Lenny’s music so vital and alive.”
Denny Breau (Lenny’s brother)

“The spirit of Lenny Breau lives in Rick Washbrook’s guitar playing.”
Dave Young

“Washbrook can capture the essence and mood of Lenny Breau’s musical
spirit without resorting to emulation or imitation. His ability to sustain
that fragile mood throughout his playing is captivating.”
Terry Clarke

“Rick Washbrooks music is always welcome. His solo new Flamenco & Latin
CD “Roncesvalles Tango” is in the top percentile of all CD Canadian CBC
Submissions in his genre in 2007.”
CBC Radio Mark Rheaume

“It is heart warming to hear Washbrook holding the flame in regards to the
great guitarist Lenny Breau. Washbrook obviously finds inspiration from
Lenny while developing his own inner voice and vision. You can hear his
passion, heart and soul on his CD tribute to Lenny Breau “A Gypsy’s Bed.”
Bob Erlendson

“It is obvious Washbrook holds a great respect and love towards Lenny
Breau’s jazz guitar playing. Lenny’s contributions are heard in
Washbrooks playing, but Washbrook is not faceless. Rick Washbrook has
managed to do his own thing with Lenny’s influences.”
Canadian Musician

“Rick Washbrook did a fine job playing on your Lenny Breau tribute
“A Gypsy’s Bed”. I can appreciate how hard you worked to make that CD. I
know from experience.”
Howard Morgan

“Let me tell you about Rick Washbrook. I was fortunate to play with Rick
a number of times. Some of those were among my best musical experiences.
Rick brings fire and passion, nuance, and subtlety, never repeating
himself, and allowing the music to be free. His tribute to Lenny Breau is
a landmark. He is equally at home playing blues or flamenco. He can do
things you won’t hear anywhere else.”
Dennis Pendrith

“Thanks to Rick’s incredible guitar playing, whether a composition or a
cover, from country to jazz, each song enhances a particular facet of the
technique and genius of Lenny Breau. A great double CD that is full of
emotion, feeling and respect, to keep close to your stereo set. ”
Jazz Break

“Thanks to the efforts of Lenny Breau’s countryman Rick Washbrook, Breau’s
legacy is gradually gaining more prominence. A two-disc set of solo jazz
guitar performances is a tall order indeed, but Washbrook delivers with
change to spare. He doesn’t even concentrate totally on Breau’s entire
usual repertoire, but instead applies the guitar techniques for which
Breau is renowned to an excellent collection of standards and originals.
“A Gypsy’s Bed” is Washbrook’s sixth CD, and clearly the one closest to
his heart. It is easy to forget after a while that this is just one man
and a guitar. That’s a testament not only to the brilliance of Breau’s
technical breakthroughs, but also Washbrook’s gift for interpretation.”
By: Todd S. Jenkins in All About Jazz

“The word jazz must be one of the most misused words in the dictionary and
likewise, in the wrong hands, the guitar can be a most misused musical
instrument; but certainly not in this situation. Rick Washbrook proves
without any shadow of doubt to be a devoted slave and perfectionist in the
art of contemporary jazz guitar playing. In the jazz he plays I recognize
the gifted artistry of Lenny Breau and a little Django Reinhardt
influences.”
By: Bert Booth Kings Jazz Review Friday the 1st of August 2008

“Rick Washbrook is a one of a kind guitar player. I went to many of his
Show’s in the 90′s. Rick played solos that made me feel deeply the
harmonic power of music. He played angelic and then at times like a
demon. The man is genius. The one thing that always struck me about Rick
Washbrook on stage was the intensity and expressiveness of his playing.
He always had the audience spell bound. Rick as a brave artist, a student
of spiritual purity and an extraordinary performer, teacher, and recording
artist is a servant to the music. Rick has a very deep understanding of
the harmonic capabilities of the guitar. Thanks to Rick my blues and solo
improvising has improved beyond belief.”
By:Don McQueston
El Sobrante, California

By: Dan Armstrong

Exciting guitar lessons Rick Washbrook. I can save you time and improve your learning curve guaranteed.

Contact Rick Washbrook at (416) 824-3377

How about a FREE 30-MINUTE GUITAR LESSON to get acquainted?

You won’t be disappointed.

TESTIMONIAL

By: Dan Armstrong

“After studying with Rick Washbrook I am so much more at ease and confident with my guitar playing. I saw his ad and I felt and I would follow up and give him a call. I was always playing the same old stuff. I wanted to learn some new ways to play my blues scale, and learn more about the way the guitar works.

I needed a little theory and I want to be better at my solos, and learn better chord voicing for blues songs and other styles. I strongly suggest him as a great guitar teacher. He shared some great lessons that helped me focus. I felt relaxed at the lessons with Rick. His sessions were laid-back because he has an open mind. Rick Washbrook has a theme prepared for you each week, but if you have questions about other things in the middle of the lesson he will stop and answer you. He would take my question and add it to the lesson theme we were working on. This fascinated me. He is flexible and that kept us moving forward.

I liked the way that Rick instructed me with practical examples. I was using the concept in the lesson before I went home. He would coach me right at the lesson. I never had this happen to me before with other teachers. We’d learn something new, and then I would get used to doing it by jamming it out, having some fun together, on what I learned. He always applied the technique or theory example he had for each lesson.

Rick Washbrook also showed me some great traditional blues licks, rock licks, and how to use them with phrasing exercises. He taught me how to experiment by showing me how I can play my licks starting on different beats of the bar. This was amazing for me. I have never tried this before. It really teaches you how to get your blues guitar licks to talk. Rick Washbrook’s lessons gave me a whole new perspective on how to improve my lead guitar playing.”

Thank you Rick Washbrook!

Dan Armstrong

6 GREAT REASONS TO CHECK OUT GUITAR TEACHER RICK WASHBROOK!

1.         Any music questions you have will be answered so you can get on the right path for your personal musical journey.

2.         Private lessons or global instruction via guitar video DVDs.

3.         Great lessons for beginners and advanced guitarists.

4.         You get an excellent guitar teacher who’s an award-winning songwriter.

5.         You benefit from my many years of experience – I will reveal some key guitar  playing methods that many guitar teachers do not provide.

6.         Choose a half-hour lesson or a one-hour session. My fees are lower than what most music stores offer.

For more information about guitar lessons and fees, contact Rick Washbrook:

Phone: 416-824-3377

http://www.washbrookmusic.com

Get Started on Your First Guitar Lesson Today!

Below you’ll find the URLs for some free guitar lesson articles, and some of my music-related articles published on the Internet. Check them out. Then contact me to get started on your first lesson!

Rick Washbrook Blues guitarist gives tips and experience on getting a good Blues Guitar sound

http://www.articlesbase.com/music-articles/rick-washbrook-blues-guitarist-gives-tips-and-experience-on-getting-a-good-blues-guitar-sound-2387231.html

Guitar lessons Newmarket With Rick Washbrook How To Practice And Play Guitar

http://www.articlesbase.com/tutoring-articles/guitar-lessons-newmarket-with-rick-washbrook-how-to-practice-and-play-guitar-4878947.html

Rick Washbrook has a guitar lesson for ya’ when yo’ speaken blues guitar

http://www.articlesbase.com/tutoring-articles/rick-washbrook-has-a-guitar-lesson-for-ya-when-yo-speaken-blues-guitar-2791073.html

Guitar Lesson Newmarket Testimonial by Dan Armstrong

“I have played guitar with Rick Washbrook from 1997 to 2000.  We played many club dates in Toronto, and many shows throughout Ontario.  Soon after I joined up with Rick, he asked me to play with him in Costa Rica- a nice get away from the cold, Toronto winters. We had a really great time working together and playing the Blues and Jazz in many clubs.   It was amazing to watch and be a part of Washbrook’s performances.  His singing and guitar solos completely entranced the Hotel audiences. Rick likes to joke around a lot and we had a lot of good laughs together.
Upon our return to Canada, I had the good fortune of playing bass on some of Washbrook’s studio tracks from his CD Blues project ‘Wedding in The Rain’.  The great thing about all of Rick’s music is that he definitely has a unique approach to the guitar as an instrument, and it pays tribute to his mentors and favorite guitarists without copying or mimicking them.  He is always connecting and extending what he knows, while simultaneously creating new approaches to harmonize melodies and textures by blending various musical genres.  With Rick, there are no rules.  He loves to work on new innovative ideas all the time and for him, playing guitar is a life long journey- not a destination.  If you have attempted the ‘traditional lessons’ and read the books but still feel that they just don’t offer the quality hands-on, interactive, performance-based learning you desire; then talk to Rick Washbrook and learn by actually doing.”

By: Chad Wenzel, Toronto Bass player, and High School music teacher
Rick Washbrook offers private lessons or global instruction via guitar videos.
He offers half hour or full hour sessions, and pricing is lower than most music stores. As a teacher/songwriter and award-winning guitarist, Rick Washbrook offers his students 38 years experience. This is important for both the beginning guitarist and those requiring advanced studies because his experience brings methods that many guitar teachers do not provide.

Private guitar lessons by Rick are offered in an atmosphere that is relaxing and enjoyable for the student.

For further information contact Rick Washbrook at. (416) 824-3377
www.rick@washbrookmusic.com

A few of Rick Washbrooks quotes
“Rick Washbrook’s guitar playing is beautiful.”
Jude Gold, editor Guitar Player Magazine USA
“The spirit of Lenny Breau lives in Rick Washbrook’s guitar playing.”
Dave Young
“Washbrook can capture the essence and mood of Lenny Breua’s musical spirit without resorting to emulation or imitation. His ability to sustain that fragile mood throughout his playing is captivating.”
Terry Clarke
“Rick Washbrook is touched by a giving spirit, besides driven by a tenacious vision that stirs the hearts of jazz purists. In his 2008, release from Dirty Ice Cream Music Dana Stone the CD “West Mystic”…. The form-fitted excellence of melodies fascinating chords, and rhythms bonded with a smooth jazz feel.”
Karl H. Stober, CRMC, Jazz review.com
Rick Washbrook free guitar lesson articles

Rick Washbrook – How to Play the Guitar – Everyone Learns Differently

http://www.articlesbase.com/tutoring-articles/rick-washbrook-how-to-play-the-guitar-every-one-learns-differently-3343043.html

Guitar Lessons Newmarket There Comes a Time to Put The Books Down

http://www.articlesbase.com/tutoring-articles/guitar-lessons-newmarket-there-comes-a-time-to-put-the-books-down-5051637.html

Rick Washbrook’s side man Chad Wenzel remembers the Costa Rica gigs