WOW! You made a special occasion unforgettable. Todd''s Fortieth Birthday on New Year''s Eve (held at the Compound Restaurant) was a night we will all remember forever and you made it even more special by providing us with exceptional music. Our guests were extremely complimentary of your music. You surpassed my expectations. Todd was thrilled! Thank you for a wonderful evening of music and we look forward to hearing more of you in the future. Please let us know of your local performances so we can hear you often. Take care and all my best to you both. --Chris Richter Santa Fe, NM 1/2/2005
On behalf of the Board of Directors I''d like to thank you for your outstanding music. We enjoyed having you and hope to have you back in the future. Jeff Janke Vice President of Programs --Otowi Bridge Chapter PMI Los Alamos, NM 12/9/2004
New Jersey-born Wayne Wesley Johnson was inspired as a boy by Les Paul, Chet Atkins, The Ventures, Django Reinhardt, Wes Montgomery and later by George Benson, Pat Martino, and Earl Klugh. Wayne took up guitar when he was nine years old and focused primarily on jazz style flat-picking. He led two of his own bands and also worked as a drummer for several guitarists, including the legendary Les Paul (toured the U.S. and South America with Les? band). His love for what he calls ?Jazzamenco? guitar caused him to change over from the flat-pick in favor of thumb and finger style playing. Artists like Ottmar Liebert, Armik, Strunz & Farah, and Willie & Lobo inspired Wayne to pursue the Jazzamenco course and the result is a fun and fascinating, creative new solo project called CANCIONES DEL ALMA (or Songs from the Soul). This exotic and relaxing project features super cool, surf guitar tracks as well as Flamenco music and melodic, world rhythms. Some of the music sounds like it?s directly from a Quentin Tarantino movie (Okay? Alright?), like ?Pipeline Duet? with Nokie Edwards (The Ventures). We always find room for hip, world textures on our playlist, listen to Radio for tracks from CANCIONES DEL ALMA including ?Segovia?s Dream?, ?Chi-di-di-cha-cha,? ?Camina no corras? and the beautiful ?Melancolia.? If you have a yearning for something fresh, think outside the bun and grab a copy of Wayne Wesley Johnson?s Songs from the Soul!~Sandy Shore, Los Angeles, CA 6/11/2004
Graham and I wanted to tell you that we had such a fantastic time at the reception! We were thrilled at how amazing you guys sounded! It was so full of vitality and talent! We were worried that the energy at the reception would be a little 'stale' and uncomfortable but to our surprise when we got there you were already playing and the energy was great! I, also, wanted to thank you for how well you did with everything from working with us on music selection to making sure that everything went smoothly. The ceremony also went great. We didn''t even have a rehearsal but you managed to play perfectly and at the right times. I also noticed that at the reception even when you went on break to eat you continued to get up and make sure that the sound and volume were just right for the speeches and the other musician! Everything about you did was professional and dedicated to making our night the best night ever. Thank you, you succeeded! Every one loved you guys and we all had a excellent time! Our only regret is that we had such a small location we couldn''t all dance our hearts out but since the music was great for dancing we made room anyway. Then again we all thoroughly enjoyed just watching and listening to you all! I also wanted to thank you for allowing Graham to sit in with you guys that was a moment I will never forget! We couldn''t have made a better choice than you guys! Thank you for making our wedding night perfect Wayne! --Graham & Wendy Kepfer Warner Robins, GA 5/13/2004
'Wayne's rasgueado is like a swarm of bees dancing around with honey combs in their hair.' Mason Williams (famous composer of 'Classical Gas') --Mason Williams Eugene, Oregon 5/4/2004
Wayne Wesley Johnson - CANCIONES DEL ALMA (SONGS FROM THE SOUL): Several guest artists on this round with Wayne''s fantastic guitars. Th'' title tells it all... these are definitely SONGS (not chicken-scratch noise sculptures), & they (all) reach right in & grab your spirit - make it sing! Shades of Santana''s most recent efforts, but distinctly Mr. Johnson''s fingers. The compositions are allowed to s-t-r-e-t-c-h out and take their own sweet time; no one-hit wonders on the album. We''ve reviewed Johnson''s works before, & always found them attractive (especially if you love th'' fire inherent in Latin-based musics). Patterns are similar to songs you''ve heard (all these years), but Wayne Wesley infuses the performances with high-end energy that will have you clackin'' yer'' castanets from the opener to the end-run. I don''t (really) feature this as 'road music', but a coupla'' margaritas on your patio with Wayne''s songs will have you whippin'' out your Zorro sword to make yer'' mark on th'' lawn... heh! heh! Thoroughly enjoyable, this gets a HIGHLY RECOMMENDED from us! Rotcod Zzaj Improvijazzation Nation site: Zzaj Productions Catalog site: --Dick Metcalf, aka Rotcod Zzaj Productions Lacey, Washington 5/1/2004
Ruben and Wayne, Thank you very much for an enjoyable evening of music at our conference banquet (ipdps.org). I''ve heard a number of compliments from our attendees that I promised to pass along to you. David A. Bader, Associate Professor and Regent''s Lecturer, Electrical and computer Engineering Department, University of New Mexico --IPDPS Albuquerque, NM 4/29/2004
Wayne Wesley Johnson is a name synonymous with creative innovation and artistic excellence. For more than four decades Johnson has dedicated his personal vision to music, starting out as a jazz-style flat picker, exploring various styles and genres, and eventually developing his own unique signature sound. Drawing from musical principles refined by the celebrated blues and jazz legends of past and present, as well as from the time-honored melodies and spirited rhythms of classical Old World flamenco, Johnson has inspired the fusion of these very different forms of sonic expression to create a high-energy hybrid of sound and tempo that has come to be known as Jazzamenco tm, also referred to as nuevo flamenco or rumba flamenca. Johnson?s affinity with music was evident early in his life. In 1959, at the age of nine, he began studying guitar with renowned jazz artist Sandy DeVito, and remained under his instruction for almost a decade. Shortly after the commencement of these studies, Johnson founded The Yellow Jackets, a three-member band inspired by the music of Les Paul, Duane Eddy and The Ventures. Performing their own original songs, as well as top 40 and standard tunes, the group enjoyed notable success playing local venues throughout New England and the Mid-Atlantic states, and stayed together until 1968. The following year Johnson formed a new group, Sons and Lovers, which featured a five-piece brass section and female vocals, and of course the diverse range of acoustics and percussion that came to characterize the band?s personality. Covering the college and fraternity circuits throughout Johnson?s home state of New Jersey, the band thrived for several years, eventually growing to include 11 members. With a musical repertoire that included covers of Sly and the Family Stone, Three Dog Night, Blood Sweat and Tears, Chicago and Santana, Sons and Lovers appealed not only to the groove-seeking casual listener, but to the socially conscious audience of the era as well. During this time Johnson also played guitar and drums in New Jersey?s Fairleigh Dickinson University-Madison Campus? jazz and concert bands, and studied with celebrated guitar greats Gary Keller, Eddie Berg and Vic Cenicola, whose innovative musical styles were influential in Johnson?s early artistic development. Shortly after college graduation, Johnson took a temporary though extended detour from his musical career to pursue the less artistic though equally demanding profession of the industrial scale business. He joined his family?s New Jersey-based business and worked his way up through the ranks of floor sweeper, mechanic, truck driver, salesman and marketing VP, and eventually to CEO. He later sold his interest in the business to his brother and went on to become the CEO of a scale-manufacturing firm located in Lancaster, PA., where he served for 15 years. The firm was eventually sold to a foreign company and, as is typical in corporate restructuring, Johnson soon found himself out of a job. But time spent away from the melodic hums of the guitar and the precise punctuation of percussion did not dampen the artist?s passion for making music, and his dream of returning to the genre on a more regular basis remained in tact. After almost two decades of high-pressure, production-oriented bottom lines, Johnson decided to make his dream a reality. Trading the urban metropolis for the less hectic foothills of the Sangre de Cristo?s, Johnson has in recent years become an integral part of Santa Fe?s music scene. Working both as a solo artist as well as with famed classical/flamenco guitarist Ruben Romero, with whom he has collaborated extensively for several years, Johnson has mastered the complex intricacies of Spanish guitar and refined his own unique style. Together, the duo produced the exceptionally well-received collection, Hypnotic Safari, running just over 56 minutes. An emotion-filled musical journey of 11 tracks, ranging from the one-and-a-half minute Short Stories to the nearly nineteen minute extended version of the title song, the CD is a showcase of pure melodic delight and artistic perfection. The arrangements, utilizing over a dozen individual guitars including Johnson?s own custom designed ?Fla-quinto? tm (a unique double necked flamenco guitar and requinto to add distinctive new sounds to their recordings), not only reveal the individual styles of both artists, but also demonstrate how well their different approaches to the genre come together to create an entirely new sound: infused with innovative translations of a classical art form, the collaborations of Johnson and Romero are both inspired and inspiring, and express both personal vision and mastery of the universal language of music. Johnson?s 2003 solo release, Canciones de Alma (Songs from the Soul), is an impressive compilation of fourteen titles performed with several guest artists including Nokie Edwards, Tom Doyle and Gao Hong. Rich in the familiar rhythms of rumba and classic, tradition-steeped flamenco, arrangements include the impassioned title track, and the equally so, Fire of the Gypsy, both running just over two-and-a-half minutes. Lively renditions of Walk Don?t Run and Pipeline (The Ventures), featuring both electric and nylon string flamenco guitar, offer a splash of summer and surf, while Rumba Oriental incorporates the rare sound of the Chinese pipa, accompanied by Bolivian pan flute. Combining traditional thumb-, finger- and flat-picking styles with a variety of genres, including jazz, world beat and new age, the CD is a feast for the ears. The artist?s long and varied musical career has produced some of the most innovative world-class guitar compositions ever set on disk. Having shared the stage with some of the biggest talents in the business, among them BB King, Lou Pallo, Jon Paris, Chet Atkins, Thom Bresh, Scotty Moore, Tommy Emmanuel, Nokie Edwards, Antonio Mendoza, George Benson, Howard Roberts, Larry Carlton, Al Caiola, Edgar Cruz, and the legendary Les Paul, who recruited Johnson?s refined if little-known drumming talents for his 1979-80 tour, Johnson?s history of keeping excellent company is reflective of his uncompromised skill at arranging notes and tempos into expressions of the heart and soul. Johnson?s contributions to his genre have earned him a number of honors and awards, including the Guitars for Life Award in 2001, the Soave Guitar Festival plaque (Italy), also in 2001, in recognition of his promotion of American music, and, most recently, honorary membership in the Association of Fingerstyle Guitarists (AFG). In 1999, he placed as runner-up in the dance category of the John Lennon Songwriters Contest, winning kudos for his beautiful Baile de la Paloma (Dance of the Dove), a four-and-a-half minute celebration of jazzamenco?s finest hour and Johnson?s musical genius. With vast and varied and seemingly endless creative resource, Johnson has performed throughout the United States, most recently at the AFG convention in Anaheim, CA. and at the Chet Atkins Appreciation Society?s annual celebration in Nashville and the Nokie Festival in Eugene, Oregon, as well as in China, Israel, Scandinavia, South America, Europe, Canada and Mexico. With CD sales-of music produced on his own label (Wannadu Productions) numbering over 70,000 in just a few years, Johnson is undoubtedly one of today?s premiere guitar artists. Playing some of Santa Fe?s and northern New Mexico?s most popular nightlife stages, galleries, restaurants and hotels, Johnson also avails himself to a variety of other venues, including private parties, weddings and trade shows. Residing just outside of Santa Fe with his fiancee�business partner and muse, Freda Ruiz, for whom he wrote Un poco de Elfida (A Bit of Freda, Hypnotic Safari), Johnson is one of the City Different?s most important musical talents whose unique sound has become woven into the fabric of its rich musical tapestry. --RoseMary Diaz, writer Santa Fe, NM 2/25/2004
'I didn''t know you were a drummer, too....that explains your excellent time.' --Artie Traum - World Class Guitarist N/A, N/A 9/2/2003
CD Review: As the closest major town to Taos which I call home, Santa Fe has quite the stable of local music talent. It''s always proudly featured in dedicated sections of the more enterprising of music retailers. Of course, homegrown doesn''t automatically equate to quality. Inherently suspicious of flag waving, I don''t touch any of it unless a listening station supported sampling. That''s how I discovered Ladino singer Consuelo Luz and Flamenco maestro Chuscales. Resident clarinet wizard Eddie Daniels I of course loved long before I ever moved to the SouthWest. Today''s guitar album played a cut in the background while I perused the magazine racks at Hastings. It''s not a store I frequent for CDs since their selection focus doesn''t accommodate my acquired taste. Borders and The Ark tend to more be my kind of haunts. Alas, this rumba-flamenco flavored track with Chinese pipa, charango and panflute caught my attention. A copy of HiFi News got stuffed back into the rack while I made tracks to the customer service counter to find out what was spinning. Turns out Mr. Johnson started guitar life as a Jazz-style flatpicker and led The Yellow Jackets and Sons & Lovers in the early 60s before touring with Les Paul as drummer in 1979 and ''80. He studied flamenco technique with Ruben and Miguel Romero and also picked up -- pun intentional -- Nashville country-style thumb picking. He''s an instrumental gearhad who collects guitars and amplifiers and is also the creator of the Tap Guitar (a flamenco guitar with 19 midi triggers to add Latin percussion while playing) and the Fla-quinto, a double-necked flamenco/requinto hybrid. For his first solo album under his own label, all this adds up to sophisticated 'Nuevo Flamenco Lite' that makes up in wealth of timbres, production values and compositional detail what it lacks in depth when compared to present-day Spanish masters of the genre. Think of it as a major step-up from Ottmar Liebert -- Armik-sans-overdubs moves to the four corners -- and you''ve nailed both the genre and level of presentation. There are shrum-shrum romps that cross Mexican and Sinti Jazz idioms; a smooth Jazz number sporting both Koontz archtop electric steel string and Hernandez Huipe cutaway models over pipa tremolos before the latter segues into a strangely bluesy solo; an Ennio Morricone-style Spaghetti Western tune with a brief Kung Fu priest appearance; Bossa-inspired hip-swaying rhythms; 11-string nylon fretless Godin Glissentar octave doubling for ambiance; or a seamless transition from Spanish guitar fingerstyle suggesting a bubbling brook to Travis thumb-picking white-rapid waters before the 'River Suite' returns again its calmer opening mood. On 'Pharao''s Journey', a shifty rumba-flamenco rhythm is overlaid by Bop Jazz guitar and twangy pipa riffs - George Benson meets The Three Mustaphas. There''s also a redo of 'Pipeline' with the lead on Heritage Bluesette and Fender Telecaster while the closing 'Melancolia' becomes a wistful meditation on September 11th, with Roland synth guitar strings as backdrop. 'Rumba Oriental' is actually a tune lifted from the Beijing Opera for which Wayne Wesley contracted Gao Hong on Chinese pipa, a combo that worked out so well that it carried over into other numbers already mentioned. In short, Songs from the Soul is guitar-based happy music that spins off the non-vocal Gipsy Kings craze but goes the extra mile to separate it from the numerous would-be clones clogging the airwaves. It''s the kind of music I listen to while savoring a good sunset meal on the patio. And a fella''s gotta eat every day, ya know? Nothing wrong then with low-calorie aural fare to go with it. written by Srajan Ebaen Arroyo Seco (Taos), NM 7/25/2003
'Wayne Wesley Johnson is a fine guitarist and a fine drummer, too!' --Living Guitar Legend Les Paul at the Iridium, NYC New York, New York 5/19/2003
'Canciones del alma' Songs from the Soul by Wayne Wesley Johnson is the most significant recording to come out of New Mexico in years...this is a guitarist you need to know about.' -Matthew Andrae resident staff guitarist --Inn at Loretto Santa Fe, New Mexico 5/9/2003
Canciones del alma by Wayne Wesley Johnson 'conjures the musical spirits of Carlos Santana, The Ventures, and Paco DeLucia...Wayne Wesley Johnson is essential listening for guitar enthusiasts' --20th Century Guitar Magazine Hauppauge, NY 4/22/2003
Canciones del alma (Songs from the soul)... This isn''t the first CD I''ve run across from Wayne, but it is my favorite. Wayne mostly plays nylon-string guitar and mixes different music, including jazz, surf, and various styles of Latin. His chops are never suspect. Just listen to 'Rumba Azul' for a taste of what he can do. He plays with a lot of fire and his right hand can send notes flying out a mile a minute. He shows he can write a great pop instrumental tune, too, on the title cut. Killer changes mix with fine guitar and piano (also playbed by Johnson), and some nice violin fills. There are some nice guest turns from former Venture''s Nokie Edwards. Their version of 'Walk Don''t Run' is killer, with both men soloing nicely and throwing together some nice harmony parts. The cover of the classic pop tune 'Venus' oozes prettiness. both from Nokie''s electric and Johnson''s acoustic. And the classic 'Pipeline' cooks with just the right amount of fire. Other tunes, like 'The River Suite' let Johnson show his fingerpicking prowess. 'Pharoah''s Journey' has a mideastern feel that lets Johnson play a moving bass line while he''s soloing. Very Nice. -- John Heidt --Vintage Guitar Magazine Review Bismark, North Dakota 3/31/2003
I have known Wayne Wesley Johnson at C.A.A.S. 2000 Convention in Nashville, and I''ve been impressed by his style, his taste and his personality. Moreover his gentle touch (that nowadays is something rare) also caught me, and convinced me to invite him to Soave 2001 Guitar Festival, in Italy, where he was very successful. Surely he is an outstanding guitarist and performer, and the music he plays (the so called 'jazzamenco') is an interesting and innovating way to mix tradition and modernity, where the result is something original and really capturing in the inside. Yours truly, Pierpaolo Adda -- Soave Guitar Festival Soave, Italy 3/14/2003
My friend Wayne Wesley Johnson 'I''m pleased to know that many people on GK list''s members as me had loved your musics.....your a great artist. Thanks for your friendship...!' Manitas Fernando de Plata, Jr. Camargue, France --Manitas Fernando de Plata, Jr. Camargue, France 3/5/2003
A pleasant album of Nuevo Flamenco/Jazz guitar playing... Reviewer: Lawrance M. Bernabo (see more about me) from The Zenith City: Duluth, MN United States Usually in the morning my initial music selections are along the lines of classic rock ''n'' roll, designed to get me fully awake and ready to work. But sometimes I actually enjoy something a little more mellow. Lately it has been Wayne Wesley Johnson''s 'Canciones del alma' album, with its pleasant guitar work. We are talking mostly acoustic, fingerstyle guitar playing, which, according to the back of the CD, would be characterized as Nuevo Flamenco/Jazz (I can pass along the label, do not expect a musical definition to be forthcoming). There are few songs on the album that I recognize ('Venus'), even if I do not know the name ('Chi-di-di-cha-cha'), but there are several times when Johnson works a familiar theme into a song. My favorite track is 'Camina no corras (Walk Don''t Run)' which I know well enough to appreciate what is being done in this version. The main thing is that this is a pleasant album of what I would call morning music, although certainly you can use it for relaxing later in the day as you desire. The album features several guest artists so that Johnson is usually playing a duet or trio. My guitar playing skills are such that I can do 'House of the Rising Son' and 'Stairway to Heaven,' so while I cannot recognize the different types of guitars being played here (most of which I assume are shown on the CD and in the liner notes), I can appreciate that there are some different types of guitars and styles of playing at work here (including Taiwanese on 'Rumba Oriental'). 'Canciones del alma' is a pleasant little album of guitar music that makes for nice morning music. Too bad there are no clips here for you to be able to listen to in order to check out the sounds. --Lawrance M. Bernabo Duluth, MN 3/5/2003
I'm just listening to 2 wonderfull CDs from Wayne Wesley Johnson, ' Hypnotic Safari ' and ' Canciones del Alma' ! I didn't realise that we have between our listmembers a so good musician, composer, arranger in World Music / Flamenco Nuevo / Latin ! If you have any chance to put you hands on them, do it, listen to them, take them. They are, in any way, multistyle CDs, allways very good guitar, well arranged, technically perfect. It's not often I put my 20 points for a CD, but here I do it for 2 CDs at a time without great reflection ! I think you would agree too ! --Krishna Gans CD REVIEW Mainz-Kastel, Germany 2/27/2003
Subject: Re: GK: recommandation ! My copy of 'Canciones del Alma' just came in the mail on Monday...I think it''s a great CD!!! Wayne you gotta come visit in Chicago! John L --Gipsy Kings Group List Review Chicago, ILL 2/27/2003
WAYNE WESLEY JOHNSON Canciones del Alma (Songs from the Soul) Taking the Nuevo Flamenco sound to it?s loftiest peak yet, the 2003 release of Canciones del Alma - Songs From The Soul from the New Mexico guitarist is a real revelation for guitar fans. Johnson?s played with guitar legends including Les Paul and Nokie Edwards and his wealth of guitar experience and influences comes shining through on Canciones del Alma. The Spanish title underscores Johnson?s affinity for uptempo, lushly recorded Latin-flavored instrumental music. The album features a number of skillful players and percussionists, including masterful drumming from K.C. Morris and right at the center of the soundstage is Johnson?s ever inventive guitar work. Ventures guitarist Nokie Edwards appears a new Latin rhythm version of Walk Don?t Run called Camina No Corras. Another highlight is a remake of the 60s surf-rock classic Pipeline again featuring Nokie Edwards on electric lead with Johnson carrying that supple Jazzamenco rhythm on nylon string flamenco guitar. The skilled fretboard practitioner that he is, Johnson often spices up the sound with rare, exotic instruments like the Chinese pipa (skillfully played by Gao Hong) and Bolivian pan flutes & charango (Mario Reynolds). Topped off by excellent label artwork and superbly detailed CD booklet, Canciones del Alma is a splendid sonic joyride filled with a wealth of dazzling instrumental guitar music. 20th Century Guitar Magazine --Robert Silverstein Hauppauge, NY 2/26/2003
I enjoy this type of music so I tend to listen to alot of it. Since Wayne is a relatively new artist, I wasn''t sure of what to expect. However, after listening to the CD I can tell you that this artist (and CD) is a real undiscovered gem. This easy listening production is some of the best music of this genre I have ever heard. Soothing and stimulating all in one very entertaining package. As with his other works, Wayne seamlessly blends jazz, r&b and Spanish flamenco flavor with ease. The arrangements flow, the melodies captivate and you''ll find yourself hitting the replay button over and over again. This CD is a first rate entry into Wayne''s already impressive portfolio. Buy it with confidence, it''s loaded with tracks you''ll enjoy over and over again. --Raymond J. Cobos Kearny, NJ 2/24/2003
Hi Wayne, I received your box today. I am listening to 'Safari' as we type. I love that CD the best! It has started me pondering which place would be the best to contact here in vegas? The Billagio has a piano, bar, etc area right across from the check in? I''m thinking. hmmmmm I think what I might do is wait until after Nascar which is this week-end and then go down the whole strip and check it out. I love the Jazz Guitar! I just love Jazz. You are great!! I will keep you posted. --Renae Knapp Las Vegas, NV 2/24/2003
We liked this CD a lot, February 12, 2003 I am more of a fan of Flamenco than Jazz...but we played this CD start to finish and were happily humming along. I wasn''t the only one at home who enjoyed it at home, which tells me that 'Hypnotic Safari' has a very broad appeal. The guitar is very clean and crisp, and the tunes are snappy or relaxingly mellow. Very enjoyable, and the term 'hypnotic' really did describe the feeling. If you are a fan of Ottmar Liebert, you''d probably also like this particular CD from Wayne Wesley Johnson and Ruben Romero. The sound is very polished, and the cuts blend from one to the next smoothly. I found I could play this CD from start to finish without having to skip over the bits I didn''t like. --Joanna Daneman (Independent CD Reviewer) Middletown, DE 2/12/2003
Wesley Wayne Johnson - Canciones del Alma / Hypnotic Safari Wesley Wayne calls himself a 'Jazzmenco' guitarist -- obviously a combination of Jazz and Flamenco, but these two recordings make it clear that there is much more to it than that. Backed by Latin percussion, bass and keyboards and sax when needed, WW and Ruben Romero lay down some intricate but mellow songs that will put you in a relaxed mood as you travel on your Hypnotic Safari. Guest artists Tom Doyle, Nokie Edwards, Gao Hong, and others help out on Canciones del Alma, WWs first solo album. You''ll hear many original melodies and a totally new take on classics like 'Walk Don''t Run' and 'Pipeline'. Get your copy or download an mp3 at this website. Kirk Schutte --Kirk Schutte, Independent Review Madison,, WI 2/8/2003
Re: Annual Conference/Showcase......Thanks Wayne for attending. The members loved you and hope you can come again soon. With people like yourself attending our meeting, your helping us to build and teach Fingerstyle Guitar. Thanks: J.D.Roberts --Association of Fingerstyle Guitarists / AFG Santa Ana, California 2/2/2003
CD Review: Canciones del alma (Songs from the Soul) Style: World Music..... Musicians: Wayne Wesley Johnson, guitar, composer. Various guest artists including Mario Reynolds on pan flute/charango...... Review: Without doubt, Wayne Wesley Johnson is a world class guitarist, and the jazz listening audience will find his new CD collection, CANCIONES DEL ALMA, a wonderful blend of world music and contemporary jazz. His guitar performances are flawless. There are 14 songs on the CD. Among the many selections are 'Cancion del alma,' 'Fire of the Gypsy,' 'Sambaleo,' the intricate 'The River Suite.' The performances on this CD are topnotch, and the musicians with Wayne Wesley Johnson are topnotch. For those who enjoy world music with contemporary jazz influences, CANCIONES DEL ALMA is excellent listening and entertaining. For those who enjoy the stylings of Wayne Wesley Johnson, he is at his finest on CANCIONES DEL ALMA. Great entertainment for jazz guitar fans! ..... Reviewer: Lee Prosser Foyil, Oklahoma 1/31/2003
80 Million Daily Listeners * 6 Million Homes * 180,000 Businesses * 30 Airlines Worldwide................. Greetings Wayne, I just reviewed the Canciones del Alma CD and it''s absolutely fabulous. Everything I read is true, and then some. With that said I wanted to let you know which tunes I will be adding and to which programs. Thanks so much for bringing this to my attention. Peace!.... #1 - Rumba Azul - to Riviera & Smooth Jazz.... #2 - Baile de la Paloma - to Riviera.... #4 - Fire of the Gypsy - to Riviera.... #5 - Segovia''s Dream - To Smooth Jazz.... KenKi Johnson Program Director --DMX Music Los Angeles, CA 1/29/2003
Jazz Guitar meets Nuevo Flamenco and time-trips, January 28, 2003 ....... Reviewer: Joanna Daneman..... If you like Nuevo Flamenco (Ottmar Liebert, for example) and you also like Jazz Guitar (Al Dimeola, Django Reinhardt) you will find this as interesting a CD as I did. Wayne Wesley Johnson and Latin percussionist Josef Martinez team up with guests on this album and give a wide sampling of their Santa Fe sound. The sound has been called 'Jazzamenco' for very good reason: it is jazzy but has Latin tunes and rhythms. But the sound is also a very polished 'big-studio' with a harking back to the Latin craze of the 50''s and a touch of that smooth, sophisticated cocktail-lounge sound. Listening to this CD, I occasionally felt I was taking a time-trip back to the 50''s or 60''s, with a brief stop in the 70''s and back to the 90''s. This CD definitely takes you places. All kinds of places. If you love a breezy Latin and Jazz guitar sound with more than a bit of tongue-in-cheek and a vague hint of country-with-Spaghetti-Western soundtrack, you will adore this CD and play it over and over. It''s a mood-lifter. If you like your guitar to have the rough but deeply felt sound of Gypsy guitar in a dark, smokey Paris Le Club Jazz or a Spanish flamenco boite, pass this one up. --Joanna Daneman Middletown, Delaware 1/28/2003
80 Million Daily Listeners * 6 Million Homes * 180,000 Businesses * 30 Airlines Worldwide................. Greetings Wayne, this is KenKi Johnson with DMX Music and I was just listening to the Riviera channel and my attention was grabbed by a tune I heard. I immediately checked my remote to see what the tune was and it was 'Hypnotic Safari'. Apparently I had a copy of this CD and on January 6 I added both 'Hypnotic Safari' and 'Entre dos Montanas' to the Riviera channel. Both are on high rotation and doing just fine. I will review the 'Songs from the Soul' CD before the week is done. Thanks a ton partner!! --DMX Music Los Angeles , CA 1/28/2003
Review of Canciones del Alma 'Songs from the Soul' by Wayne Wesley Johnson Title: CANCIONES DEL ALMA ?Songs from the Soul? Category: Music Subcategory: INTRUMENTAL ReviewerName: Mike Woznicki ReveiwerCertifications: A+, NET+, INET+, SERVER+, CCNA, CCDA, MSP, CNX-A, CIWA, CIWP, AWP, IWA, BCIP rating: ***** of ***** As a freelance reviewer most of the time I determine what I want to review, however in rare instances I get the opportunity to review something that I didn?t choose. In this case it was certainly my pleasure to have the chance to hear some of the best music I have heard in a long time. There is no doubt as to the unbelievable gift and talent that Wayne Wesley Johnson has and his ability to share this with everyone in nothing short of amazing. Throughout this album, there is a collection of 14 tracks; each one has its own unique sound and a blend of musical flavor that makes this collection one to have. I found a mix of Rumba, Spanish guitar, jazz, fusion, classical and R & B sounds mixed together and blended in delicate, yet sharp edged sound. The set takes you through a wide range of musical emotion, from the slow and smooth to quick and fast paced. Overall, this album is for anyone looking for the sounds that make a rainy day seem easier to handle or for those looking to take a leisurely drive or even those who just want to sit around a warm fire on a cold winter?s day. My highest recommendation ? you certainly won?t be disappointed with this purchase! Reprinted with permission. --Mike Woznicki Music Reviewer Holland, MA 1/22/2003
Wayne is a true guitar aficionado, he is a collector, designer as well as a fine player. His recent collaboration with Ruben Romero (Hypnotic Safari, avail. at Hallmark stores everywhere) is a unique blend of jazz, classical,and fingerstyle with a rumba rhythm Wayne calls it 'Jazzamenco'. Wayne is multi-talented and has toured with the legendary Les Paul as a drummer and has also sat in on drums with Nokie Edwards of 'The Ventures.' Wayne has several Leach guitars: Rachel (with Willoughby cut-away), Franconia, a 16' Archtop and Jurassic Guitar and has a 'Bresh Spirit' too. Wayne has also had a great effect on Leach Guitars, his 'subtle' design hints into what collectors 'see' were invaluable, as was his 'networking'( several of the endorsers on this page were met through Wayne). Harvey Leach --H.G. Leach Guitar Company Grass Valley, CA. 1/22/2003
'......Mr. Johnson and I have worked together for the last three years in promoting UltraSound Acoustic Amps, which is my company's line of amplifiers. To that degree I would offer the following observations on my relationship with Mr. Johnson: 1. Mr. Johnson's knowledge of guitars is unsurpassed. His knowledge covers: a. History of guitars which includes both electric and acoustic. b. Manufacturing of guitars. c. Assessment of various manufacturers and their place in the market 2. Mr. Johnson also posses this same field of knowledge as it applies to amplifiers which is very important to me. 3. Mr. Johnson is well networked within the industry and has the ability to move freely among the different niches. He has shared freely with this knowledge and introduced me to any number of members of our industry that has enabled me to move forward. 4. While not as important, he is respected by the players.' Dan Gore --Ultrasound Guitar Amplifier Co. Adel, , Iowa 1/22/2003
Congratulations Wayne! You have a certifiable hit on your hands! This is one of the best CD's I have ever listened to and it has immediately become one of my all time favorites! Thank you so very much for this gift, I truly enjoy it! I particularly like to listen to cuts #13, 14 , 1 and 2 in that order - and playing cuts #14 and #2 over and over several times in a row. You are lucky I haven't sent you a speeding ticket to pay for - this is the only CD I play in my BMW and I get to grooving on your music and drive the car to the pace of the tunes! I just listen to the music and get lost in the exotic images that come to my imagination and the next thing I know I am zooming down some back country mountain road pretty fast! I really enjoy Melancolia - your performance of this song is very smooth and comes across very hypnotic - I enjoy listening to it over and over. This is a very solid CD - no weak points at all! You have done great work! I can't wait for your next release! I am in the planning stages of next years concert season (9/03 - 5/04) and I would love to have you perform for us if it were possible. See you in Nashville - Joe --Joe Bolton Knoxville, TN 1/12/2003
WWJ .....I received your latest CD the other day. What the heck kind of magic spell have you fallen under? I hear the guitar come alive in your hands! This time you and your friends have really outdone yourselves. BRAVO! --George Manno Chicago, IL 1/7/2003
Dear Mr. Johnson, On behalf of the Board of Directors of the Reading Public Museum, I wish to extend a most sincere thank you for your personal role in the success of An Evening with Dan Naminha and His Friends on May 18. Although I was out of town and unable to attend, I have enjoyed glowing reports from many who expressed the utmost appreciation of the concert, the dinner, and all aspects of what they regarded as a most impressive experience. The success of the evening is also significant since this major fundraising event is a key component in making possible the Museum's presentation of this exciting exhibit to the Berks community and entire mid-Atlantic region. Dedicated to providing a resource that enlightens, educates and entertains, the Museum will achieve all those purposes through Dan Namingha: Reflections on the Natural Way, scheduled from September 16, 2000 through January 7, 2001. With your help, this show will provide a most unique opportunity to view the dramatic work of the artist considered the most significant contemporary native American artist working today. Again, please accept our sincerest thanks for your important assistance. Sincerely, John C. Barney Foundation Chairman --Reading Public Museum Reading, PA 1/6/2003
Dear Wayne, As ISWM's 1995 Conference Chairman, I would like to extend a Grand Thank You for your performance at our Opening Session held at the MGM Grand in Las Vegas. Your music was one of the topics of discussion amongst our attendees during the conference. Everyone was impressed with your talent and your charisma. Playing in conjunction with Thom Bresh made this year's opening session one of the best in recent history. Also, we were pleased that you could join former Elvis Presley's lead guitarist Scotty Moore, during our evening performance at the RIO. We were thrilled that he was part of Ronnie McDowell's band during their exclusive performance for us. Having you hjoin in on guitar that evening made for a great night for all. We appreciate your wide range of talent, Wayne. Thank you for bringing your spirit and unrelenting talents to us during our 76th Annual Conference at the MGM Grand in Las Vegas, Nevada. You made me look good all week long. Sincerely, Bob Cheyne, 1995 Conference Chairman --International Society of Weighing & Measurement Las Vegas, NV 1/6/2003
Dear Wayne, It was great to have you back. Our 1997 conference attendees once again enjoyed your music. After having heard you in 1995, I was certain our audience would love to hear you again. You did not let me down. Your music during our President's banquet for our 78th Annual Conference in Reno, Nevada was superb. Everyone enjoyed the relaxing yet energetic tunes played by you and Ruben Romero. You two were a wonderful pre-show act. Even though you were on a huge stage that held an airplane, you coordinated y our music superbly with the audio-visual staff. Music coming just from the two of you was better than any ten-piece band we could have hired. Your professionalism and ability to work with hotel staff and my convention staff made our event perfect. Your performance was flawless. Thank you for making our evening so enjoyable. Best Regards, Mimi Harlan, Executive Director ISWM 10 West Kimball Street Winder, Georgia USA --International Society of Weighing & Measurement Reno / Lake Tahoe, NV 1/6/2003
Thank You very much for providing such fabulous music at the Horse Play in the Hills auction at Merck & CO., last weekend. You are a truly talented musician. As you know, the auction was finished by 9:30 p.m. The total amount raised for the represented charities exceeded $280,000. What a wonderful success for all involved. Please realize that your contribution helped to make the evening the success that it was. Jacqueline L. Welsh, Director of Development and Marketing 908.766.0180 --Visiting Nurse Association & Merck Pharmaceutical Bernardsville, NJ 1/5/2003
Wayne- You are incredible!Your 'Songs from the soul' cd is an extraordinarily beautiful and varied cd.The production shows a life long dream has come to pass for you.Jazz,flamenco,world music,Ventures melodies blending together beautifully by your wise choice of expert musicians and great playing!What a producer you are! I love the pipa and guitar together.If I don't hear your music on the next Karate movie I watch I'll consider it a horrible injustice to you! Seriously,your dedication to the beauty of music will be reaching out to all my friends and students and fellow music lovers.If they haven't heard of Wayne Wesley Johnson before they will now! Sincerely,John Sheehan --John Sheehan Ringwood, NJ 1/5/2003
Wayne is a musician's musician. He has been blessed with talent, and he hasn't wasted a moment of his musical life trying to imitate someone else or copying someone else's style. Wayne is as original as they come. It doesn't matter if we're talking Jazz, Finger Picking, or Flamenco. Wayne Wesley Johnson is the guy I'd want on stage with a six string in his hand. George Manno, Chicago, Ill --George Manno Chicago, Ill 1/5/2003
Wayne is an extremely talented individual both in writing and performing. Our clientele truly enjoyed his music and many times asked if they could purchase CD's of his work. We play his CD's at the restaurant and constantly hear great things from those who listen to the music while dining. John Sorrenti Owner Veneto Restaurant, Bedminster, NJ --Veneto Restaurant Bedminster, NJ 1/5/2003
As a friend of Wayne's, and a guitarist, I can honestly tell you he is a multi-talented individual, whose efforts should be heard by a world wide audience. He not only plays the guitar with panache, but composes new pieces, as well devising great arrangements of the standards. His idea to put 'jazzamenco' percussion as the rhythm for a re-recording of 'Pipeline' is a classic example. He has been and continues to be a featured performer at the Chet Atkins Appreciation Society conventions. Only the very best of the fingerstyle guitarists receive that recognition. Bob Snyder --Georgia Fingerstyle Guitarist's Assn. Albany, GA 1/5/2003
I am president of the Chet Atkins Appreciation Society. We have an annual convention in Nashville, and we have been fortunate for the last several years to have Wayne Wesley Johnson as a performer at the event. He is a fine fingerpicker who has focused on a new breed of playing which he has named 'jazzamenco'. He has brought together the flavor of spanish guitar, jazz and gypsy music, and used his knowledge of fingerstyle music, and improvisation to fashion a unique sound. He is a crowd pleaser at our event, and he is also a big help to us in that he leads a workshop on his style of playing. I have played with him on stage, and can attest to his professionalism, and his ability to interact with a crowd. In other words I can vouch for his 'chops' and his all around stage ability. Dr. Mark Pritcher, Knoxville, Tn --Chet Atkins Appreciation Society Nashville, TN 1/5/2003
When I planned a small, intimate marriage ceremony and reception for my son and his fianc鬠there were many unique details that needed to be addressed: the couple yearned to have the rich rhythmic music of a classical guitarist; the officiating pastor had certain definite feelings about appropriate musical chorus? during the actual ceremony; the luncheon reception to follow would call for a more lively, celebratory entertainment. Knowing these elements, Wayne called upon his experience with weddings and went out of his way to satisfy all involved. The result was a beautifully sensitive accompaniment to the pastor?s words, responding to his cues---the music was softly woven into the nuptials. Wayne did a completely separate setup for the luncheon reception---his unique styling highlighted many of the songs. He included the couple?s favorite pieces, working their presentation into the joyously emotional afternoon. The groom had specifically asked for a classical guitarist to play. He was very happy with Wayne?s presentation, and found (as we all did) this talented gentleman to also be most congenial and comfortable to be with. Wayne was highly professional in contracting and planning this event, working closely with me as details fluctuated and changed. He handles his set up and break-down efficiently, quickly and quietly, requiring very little support. Our family was very pleased. --Joan England Santa Fe, NM 1/5/2003
This multi-talented guitarist, headquartered in Santa Fe, NM, plays the guitar with panache, composes original pieces and devises great arrangements of the standards. His playing style, nicknamed ?jazzamenco? is an integration of different techniques. Wayne?s idea to put ?jazzamenco? percussion as rhythm for a recording of the Surfaris classic ?Wipe Out? is guaranteed to take the listener on a wild ride! He has been, and continues to be, a featured performer at the Chet Atkins Appreciation Society (CAAS) gatherings in Nashville, TN. This clearly establishes Wayne as one of the very best fingerstyle guitarists in the world today. Greg Atkin --Association of Fingerstyle Guitarists (AFG) Anaheim, CA 1/19/06
To the Eldorado Hotel: Lynne and I spent some vacation in Santa Fe last week. Our evenings were spent testing the music in town. We were quite happy with the guitar players and singers we found. The St. Francis had a very good singer and guitarist on Thursday and Lynne and I were the only people there. Very embarrassing. Friday had more audience and was terrific also. But, when we went to the El Dorado, on Saturday, and experienced Wayne and Ruben, we were there till after closing. What a treat. Wayne projects a professional guitar mastery that you could only hope to imitate. What a talent. Someone needs to grab him and make him a star. If I were to evaluate their show, it would only be to mix some ?Margherita-ville? type music for the general audience. They would be hanging from the rafters. Again, thanks for having the great music. --Chuck Lischer Cameron Park, CA 2/25/06
To Wayne: I wanted to tell you of our first impression of you that night. We saw you arrive with your tie on and the blue guitar. You picked up the guitar and within the first few bars, I knew you were the best guitar player in Santa Fe and one of the best I'd ever seen live. ( I watched Glenn Campbell play solo once and you present the same impression with the guitar. One with the instrument. In fact your visual styles are very close.) I'm sure you are familiar with 'Estaban'. He figured out how to do it with not nearly the ability you have. We saw him play in Phoenix a couple of years ago. --Chuck Lischer Cameron Park, CA 2/25/06
Hi Wayne: I signed the contract and issued a check for the deposit that will go in Monday's mail. I really liked what I heard on your website! You are an extremely talented guitarist that will help to make this a spectacular event. --Tricia Hiser Albuquerque, NM 3/23/06
Review: Canciones del Alma (Songs from the Soul) CD by Wayne Wesley Johnson I just love this Cd. It has a Jazz and Latin taste about. the songs with Nokie edwards are outstanding. best I have ever heard. this is a must for collector of great CD's. --Reviewer: Dennis Cote customer 5/26/06
Hi Wayne, We enjoyed your performance and your company as well! I will spread the word about your availability and wish you the best for the future! -- Julie Schwartzbard, YPO 5/19/07
Dear Wayne, We had a great time on our wedding day and enjoyed your music very much! Thanks for being a part of our big day. Good luck with your future plans. Take care and all the best to you!-- Charmaine and Tony Oklahoma City, Ok 6/2/07
Wayne - I just wanted to thank you for the great job you did at Blair's wedding and reception. Everyone was very complimentary, and besides that I loved it. Blair and Scott were very pleased and you set the mood for the whole night. I wanted to visit with you more and let you know how we all felt. I was too busy with guests and the night went by too quickly. I will try to look you up later in the summer. Hopefully Robin and I can hear you perform sometime soon. Thanks for the CDs and everything you did. --Lela Wood, Houston, TX 7/7/07
Monday, August 6, 2007
Bio: Wayne Wesley Johnson
'Wayne Wesley Johnson is a fine guitarist & a fine drummer, too!' (Living legendary guitarist Les Paul at the Iridium, NYC)
'WORLD CLASS GUITARIST'...Internationally recognized, this award winning guitarist performs on acoustic, electric, nylon & steel string guitars and guitar synthesizer in a variety of musical styles and genres. A pioneer of the 'New Sound of Santa Fe' tm and 'Jazzamenco' tm., the artist performs in thumbpicking, fingerstyle, and flatpicking styles...playing jazz, world, new age, latin & rumba flamenca and with classical techniques. Wayne is currently a guitar instructor and member of the faculty of the Santa Fe Community College. In addition to his concert, corporate and private performances, Wayne has also become known by many as Santa Fe,New Mexico's Premier Wedding Guitarist, in high demand for both ceremonies and receptions, alike.
This charismatic performer has shared the stage with some of the world's finest guitarists, too... Formerly a drummer and touring companion with legendary guitarist's Les Paul, and Nokie Edwards (The Ventures), Wayne has also shared the stage with Mason Williams, George Benson, Bucky Pizzarelli, BB King, Scotty Moore, Howard Roberts, Larry Carlton, Chet Atkins, Thom Bresh (Son of the legendary guitarist Merle Travis), Tom Doyle, Ruben Romero, Antonio Mendoza, Tommy Emmanuel, Seymour Duncan, Stephen Bennett, Stephen King, Richard Smith, Anthony Smith, Tim Farrell, Edgar Cruz, Lou Pallo *The Les Paul Trio), John 'Nightwolf' Nelson, Jon Paris, Roberto Gonzales and more.
"Wes" is a regular annual performer at the Chet Atkins Appreciation Society (CAAS), Nokie Festival, Association of Fingerstyle Guitarists (AFG) and the Guitars for life (GFL) benefit concerts.
Wes now spends his time touring, performing, songwriting, recording and producing music for his own artist owned Wannadu record label. This artist knows the importance of 'professionalism' in performance and appearance and how to provide for client satisfaction. The artist selects his gear, attire and tune selection to suit any size venue and any type of occasion.
WWJ performs for small venues, holiday & private parties, weddings, trade shows, art gallery openings, resorts & hotel lounges and restaurants, Bar Mitzvah, Bat Mitzvah, Anniversaries, cruises, business banquets, opening sessions, festivals, fairs, corporate conventions, political events, shows, & concerts.
Note: Please contact us directly to check on date availability...Our bookings sometimes change, particularly on regular hotel gigs where we may be able to get a substitute to cover for us on occasion...so, we may still be available for your event.
NOTE: PLEASE ADD TO ABOVE
TRAVEL RADIUS: unlimited or any distance, budget permitting
ADDITIONAL SURROUNDING AREAS: Albuquerque, Los Lunas, Espanola, Taos, Las Cruces, Gallup, El Paso, Austin, Brownsville & Amarillo Texas, Denver, Keystone, & Colorado Springs Colorado. Sedona, Carefree, Cave Creek, Phoenix, Scottsdale, Tucson, Flagstaff, Prescott, AZ.
ADDITIONAL CATEGORIES: Acoustic Guitar, Nylon String Guitar, Steel String Guitar, Spanish Guitar, Electric Guitar, Jazz Guitar, Guitar Synthesizer, Tap Guitar, Composer, Producer, Songwriter
KEYWORDS: Guitar Santa Fe, Santa Fe Guitar, Santa Fe Guitarist, Guitarist Santa Fe, Acoustic Guitarist, Electric Guitarist, Classical Guitar Santa Fe, Classical Guitarist Santa Fe, Jazz Guitar Santa Fe, Jazz Guitarist Santa Fe, Wedding Guitarist Santa Fe, Sedona Guitarist, Musicians Sedona, AZ. Wayne Wesley Johnson, guitarist, Wes Johnson, guitarist.
ADDITIONAL GENRE: Smooth Jazz, Nuevo Flamenco, Traditional Jazz, Contemporary Instrumental, Latin, Brazilian, Fusion, New Age, World Music,Blues, Easy Listening, Ambient STYLES: Fingerstyle, Flatpick & Thumbpick techniques
ALSO AVAILABLE FOR: Wine Tastes, Concerts & Workshops
ABOUT WES' SOLO PERFORMANCES:
Solo performances include solo guitar, but, are sometimes augmented with guitar synthesizer or a technique called 'looping' which permits the artist to record on the fly and accompany himself when no other musicians are available, and the sometimes use of TV Mixes or 'backing tracks' from Wes' latest recordings, promising the audience a great musical experience.
When appropriate, Wes shares information about his instruments and playing styles with his audience, further enhancing the audiences participation and enjoyment.
ARTIST PRICING:
GENERAL PERFORMANCES... 'GIG RATE' includes Gallery Openings, Holiday & Private Parties, Weddings, Trade Show Booth, Resorts / Hotel / Casino lounges and Restaurants, Bar Mitzvah, Bat Mitzvah, Anniversaries, Cruises etc....Price depends on the type of venue, day of the week, length of performance and location, and size of the audience. Contact for pricing information.
CONCERTS / SHOW RATES... standard 90 minute performances...Includes Concerts, Festivals, Corporate Conventions, Arenas, Fairs, Casino Showcases, Banquets, & Political Events.... Price depends on the type of venue, day of the week, length of performance and location, and size of the audience. Typical audiences may range from 200 people to well over 10,000. Call for pricing information.
Note: For larger venues, Sound Reinforcement Systems may be required at extra cost to client. Additionally, a Sound Engineer may be required at extra cost to client...Depends on venue t/b arranged by client.
ADDITIONAL MUSICIANS / BAND:
When required, Wayne Wesley Johnson may be accompanied by his 'JAZZAMENCO' tm band.
Please call to discuss the opportunities...e.g. Bass guitar or upright bass, Drums &/or Latin percussion, other / keyboards / horns / vocalist, etc. Let us customize a 'Show' just for you! Band sideman Rates will apply..call for more information.
WORKSHOPS / CLINICS are also available...Call for pricing and brochure
GLOBAL PERFORMANCES:
The artist is available for both local, national and international performances. WWJ has performed in China, Israel, Europe, Scandanavia, South America, and various locations throughout the U.S. and Canada, and Mexico.
WWJ THE RECORDING ARTIST & PRODUCER:
Wes is a successful recording artist & producer with over 80,000 CDs having been sold in just the past several years. His music has been licensed and airs on Muzak, Dish Network, and currently on The Weather Channel, WBTV's Roswell, Malcolm in the Middle, and the Discovery Channel's Outward Bound series on a regular basis, and is now being considered for several film soundtracks. He has recorded with Nokie Edwards, Tom Doyle, Gao Hong, Consuelo Luz, Thom Bresh (Merle Travis' son), Lou Pallo (Les Paul trio), Anthony Smith, Tim Farrell, Edgar Cruz, and others. The artist is available for studio production and recording work....please contact us for pricing information.
RECENT AWARDS & HONORS:
New Mexico Music Commission's "Artist of the Month" November 2006
Business Excellence Award Nominee Santa Fe Chamber of Commerce, Santa Fe, NM -- 2004-2006
Guitar Nine Top Seller List -- Top 40 Smooth Jazz # 7 Hypnotic Safari # 20 Canciones del alma (Songs from the Soul)
Guitar Nine Top Seller List -- Top 40 World # 19 Hypnotic Safari
Guitar Nine Most Popular List -- Top 50 Most Popular New Age # 8 Canciones del alma (Songs from the Soul) Movin' fast
Guitar Nine Most Popular List -- Top 50 Most Popular Smooth Jazz # 1 Canciones del Alma (Songs from the Soul) # 2 Hypnotic Safari
Guitar Nine Most Popular List -- Top 50 Most Popular World # 20 Canciones del alma (Songs from the Soul) Movin' fast # 31 Hypnotic Safari
AFG - Association of Fingerstyle Guitarists Honorary Member Santa Ana, CA 2004
Elected Chairman of the Board of Rodeo de Santa Fe Santa Fe, NM August 2004
Guitars for Life Award New York 2001
Soave Guitar Festival Plaque for promoting American Music Italy 2001
John Lennon Songwriters Contest ?Baile de la paloma? Dance Category / Runner Up Winner 1999
RECENT CONCERT PERFORMANCES & WORKSHOPS:
Acoustic Alchemy WWJ Opening Act Santa, Fe, NM
CAAS Chet Atkins Appreciation Society Nashville, TN
Nokie Festival Eugene, OR
Chamizal Festival El Paso, Texas
Chimayo Museum Chimayo, New Mexico
AFG Association of Fingerstyle Guitarists Santa Ana, California
Keystone Pavillion Keystone, Colorado
'Jazzamenco' Concerts (Sold Out) Radisson Santa Fe Maria Benitez Cabaret Theater Santa Fe, NM
Performance with Nuevo Latino Band 'Manzanares' Swan Lake Ranch Espinola, NM
Concerts in El Paso & Brownsville, TX and Del Norte, Colorado
Faculty Member at Santa Fe Community College Fall '05 / Spring '06
RECENT RADIO / TV / AIRPLAY & MUSIC LICENSING EVENTS
'Entre dos Montanas' (Between Two Mountains) and 'Un Poco de Elfida' played as part of the music program in the Franklin Covey chain of stores (appx. 175 across the country) 'Un Poco de Elfida' and 'Hypnotic Safari' were recently aired frequently on The Weather Channel. Wes' music may also be heard on MUZAK, Cable/Satellite TV, MTV's 'Made,' WBTV's Roswell, Malcolm in the Middle, Discovery Channel's Outward Bound Series.
'Autumn Wind,' 'Caricias para la princessa,' and 'Cathedral Bells' from the 'Hypnotic Safari' CD have been recently added to the Contemporary Instrumental Channel on Satellite through Muzak.
Wannadu Music licensed to Lancit Media / RCN Entertainment for Discovery Channel Outward Bound Series Reality Adventure program premiered April 3 on Discovery Kids.
Wannadu's Music is also licensed to Twentieth Century Fox Film Corporation, Surreal to Reel, Sonic Licensing
WWJ ON FILM
Wayne Wesley Johnson has been selected to be a film extra in "The Flock."
American actress Claire Danes will star opposite Richard Gere in the thriller. The Flock, is the first English language film from director Andrew Lau (Infernal Affairs). The screenplay was written by Hans Bauer (Anacondas: The Hunt for the Blood Orchid) and Craig Mitchell (Highwaymen).
Danes (Terminator 3: Rise of the Machines) and Gere play American Federal agents. The story follows a hyper-vigilant federal agent (Gere) who, while training his young female replacement (Danes), must track down a missing girl who could be connected to a paroled sex offender who is under investigation.
Johnson is playing a coffee house patron. The scene was filmed on November 21st in Albuquerque, NM.
Filming for The Flock began on October 10th and will be released in April of 2007.
Wes has also recently been a film extra in "The Lost Room" TV film series starring Peter Krause. Wes plays a truck driver in a diner scene.
PRESS (recent)
20th Century Guitar Magazine April and June 2003 Vintage Guitar Magazine (review) July 2003 Fingerstyle Guitar Magazine t/b announced Just Jazz Guitar Magazine t/b announced The SantaFean Magazine July 2003
OFFICIAL ARTIST ENDORSEMENTS:
GUITARS; Godin Multiac Grand Classic, Glissentar , LGX-SA, / Leach Spirit/ McGill Resonator, Super Ace
AMPLIFIERS; Budda Dual Stage 30 / Carr Imperial Custom 6x10 / Crate Acoustic CA120DG Durango (w/ Demeter Tube Direct Preamps) / Kendrick 2410
SOUND REINFORCEMENT: Yorkville AudioPro AP-812 / various cabinets
PICKUPS; T.W.Doyle / Kinman / RMC / B-Band / Pick Up The World
STRINGS; GHS / John Pearse
ACCESSORIES; Aphex / Sabine / Mundobeat / Kangaroo Covers / Sound Seat / Strum n' Comfort & DAVA picks
'WORLD CLASS GUITAR MUSIC & ALWAY'S A PROFESSIONAL'
Current Member Santa Fe Chamber of Commerce, Santa Fe, NM
Past Member SFEDI New Media Crossroads Cluster Group, Santa Fe, NM
Past Member and Chairman of the Board of Directors Rodeo de Santa Fe, Santa Fe, NM
'WORLD CLASS GUITARIST'...Internationally recognized, this award winning guitarist performs on acoustic, electric, nylon & steel string guitars and guitar synthesizer in a variety of musical styles and genres. A pioneer of the 'New Sound of Santa Fe' tm and 'Jazzamenco' tm., the artist performs in thumbpicking, fingerstyle, and flatpicking styles...playing jazz, world, new age, latin & rumba flamenca and with classical techniques. Wayne is currently a guitar instructor and member of the faculty of the Santa Fe Community College. In addition to his concert, corporate and private performances, Wayne has also become known by many as Santa Fe,New Mexico's Premier Wedding Guitarist, in high demand for both ceremonies and receptions, alike.
This charismatic performer has shared the stage with some of the world's finest guitarists, too... Formerly a drummer and touring companion with legendary guitarist's Les Paul, and Nokie Edwards (The Ventures), Wayne has also shared the stage with Mason Williams, George Benson, Bucky Pizzarelli, BB King, Scotty Moore, Howard Roberts, Larry Carlton, Chet Atkins, Thom Bresh (Son of the legendary guitarist Merle Travis), Tom Doyle, Ruben Romero, Antonio Mendoza, Tommy Emmanuel, Seymour Duncan, Stephen Bennett, Stephen King, Richard Smith, Anthony Smith, Tim Farrell, Edgar Cruz, Lou Pallo *The Les Paul Trio), John 'Nightwolf' Nelson, Jon Paris, Roberto Gonzales and more.
"Wes" is a regular annual performer at the Chet Atkins Appreciation Society (CAAS), Nokie Festival, Association of Fingerstyle Guitarists (AFG) and the Guitars for life (GFL) benefit concerts.
Wes now spends his time touring, performing, songwriting, recording and producing music for his own artist owned Wannadu record label. This artist knows the importance of 'professionalism' in performance and appearance and how to provide for client satisfaction. The artist selects his gear, attire and tune selection to suit any size venue and any type of occasion.
WWJ performs for small venues, holiday & private parties, weddings, trade shows, art gallery openings, resorts & hotel lounges and restaurants, Bar Mitzvah, Bat Mitzvah, Anniversaries, cruises, business banquets, opening sessions, festivals, fairs, corporate conventions, political events, shows, & concerts.
Note: Please contact us directly to check on date availability...Our bookings sometimes change, particularly on regular hotel gigs where we may be able to get a substitute to cover for us on occasion...so, we may still be available for your event.
NOTE: PLEASE ADD TO ABOVE
TRAVEL RADIUS: unlimited or any distance, budget permitting
ADDITIONAL SURROUNDING AREAS: Albuquerque, Los Lunas, Espanola, Taos, Las Cruces, Gallup, El Paso, Austin, Brownsville & Amarillo Texas, Denver, Keystone, & Colorado Springs Colorado. Sedona, Carefree, Cave Creek, Phoenix, Scottsdale, Tucson, Flagstaff, Prescott, AZ.
ADDITIONAL CATEGORIES: Acoustic Guitar, Nylon String Guitar, Steel String Guitar, Spanish Guitar, Electric Guitar, Jazz Guitar, Guitar Synthesizer, Tap Guitar, Composer, Producer, Songwriter
KEYWORDS: Guitar Santa Fe, Santa Fe Guitar, Santa Fe Guitarist, Guitarist Santa Fe, Acoustic Guitarist, Electric Guitarist, Classical Guitar Santa Fe, Classical Guitarist Santa Fe, Jazz Guitar Santa Fe, Jazz Guitarist Santa Fe, Wedding Guitarist Santa Fe, Sedona Guitarist, Musicians Sedona, AZ. Wayne Wesley Johnson, guitarist, Wes Johnson, guitarist.
ADDITIONAL GENRE: Smooth Jazz, Nuevo Flamenco, Traditional Jazz, Contemporary Instrumental, Latin, Brazilian, Fusion, New Age, World Music,Blues, Easy Listening, Ambient STYLES: Fingerstyle, Flatpick & Thumbpick techniques
ALSO AVAILABLE FOR: Wine Tastes, Concerts & Workshops
ABOUT WES' SOLO PERFORMANCES:
Solo performances include solo guitar, but, are sometimes augmented with guitar synthesizer or a technique called 'looping' which permits the artist to record on the fly and accompany himself when no other musicians are available, and the sometimes use of TV Mixes or 'backing tracks' from Wes' latest recordings, promising the audience a great musical experience.
When appropriate, Wes shares information about his instruments and playing styles with his audience, further enhancing the audiences participation and enjoyment.
ARTIST PRICING:
GENERAL PERFORMANCES... 'GIG RATE' includes Gallery Openings, Holiday & Private Parties, Weddings, Trade Show Booth, Resorts / Hotel / Casino lounges and Restaurants, Bar Mitzvah, Bat Mitzvah, Anniversaries, Cruises etc....Price depends on the type of venue, day of the week, length of performance and location, and size of the audience. Contact for pricing information.
CONCERTS / SHOW RATES... standard 90 minute performances...Includes Concerts, Festivals, Corporate Conventions, Arenas, Fairs, Casino Showcases, Banquets, & Political Events.... Price depends on the type of venue, day of the week, length of performance and location, and size of the audience. Typical audiences may range from 200 people to well over 10,000. Call for pricing information.
Note: For larger venues, Sound Reinforcement Systems may be required at extra cost to client. Additionally, a Sound Engineer may be required at extra cost to client...Depends on venue t/b arranged by client.
ADDITIONAL MUSICIANS / BAND:
When required, Wayne Wesley Johnson may be accompanied by his 'JAZZAMENCO' tm band.
Please call to discuss the opportunities...e.g. Bass guitar or upright bass, Drums &/or Latin percussion, other / keyboards / horns / vocalist, etc. Let us customize a 'Show' just for you! Band sideman Rates will apply..call for more information.
WORKSHOPS / CLINICS are also available...Call for pricing and brochure
GLOBAL PERFORMANCES:
The artist is available for both local, national and international performances. WWJ has performed in China, Israel, Europe, Scandanavia, South America, and various locations throughout the U.S. and Canada, and Mexico.
WWJ THE RECORDING ARTIST & PRODUCER:
Wes is a successful recording artist & producer with over 80,000 CDs having been sold in just the past several years. His music has been licensed and airs on Muzak, Dish Network, and currently on The Weather Channel, WBTV's Roswell, Malcolm in the Middle, and the Discovery Channel's Outward Bound series on a regular basis, and is now being considered for several film soundtracks. He has recorded with Nokie Edwards, Tom Doyle, Gao Hong, Consuelo Luz, Thom Bresh (Merle Travis' son), Lou Pallo (Les Paul trio), Anthony Smith, Tim Farrell, Edgar Cruz, and others. The artist is available for studio production and recording work....please contact us for pricing information.
RECENT AWARDS & HONORS:
New Mexico Music Commission's "Artist of the Month" November 2006
Business Excellence Award Nominee Santa Fe Chamber of Commerce, Santa Fe, NM -- 2004-2006
Guitar Nine Top Seller List -- Top 40 Smooth Jazz # 7 Hypnotic Safari # 20 Canciones del alma (Songs from the Soul)
Guitar Nine Top Seller List -- Top 40 World # 19 Hypnotic Safari
Guitar Nine Most Popular List -- Top 50 Most Popular New Age # 8 Canciones del alma (Songs from the Soul) Movin' fast
Guitar Nine Most Popular List -- Top 50 Most Popular Smooth Jazz # 1 Canciones del Alma (Songs from the Soul) # 2 Hypnotic Safari
Guitar Nine Most Popular List -- Top 50 Most Popular World # 20 Canciones del alma (Songs from the Soul) Movin' fast # 31 Hypnotic Safari
AFG - Association of Fingerstyle Guitarists Honorary Member Santa Ana, CA 2004
Elected Chairman of the Board of Rodeo de Santa Fe Santa Fe, NM August 2004
Guitars for Life Award New York 2001
Soave Guitar Festival Plaque for promoting American Music Italy 2001
John Lennon Songwriters Contest ?Baile de la paloma? Dance Category / Runner Up Winner 1999
RECENT CONCERT PERFORMANCES & WORKSHOPS:
Acoustic Alchemy WWJ Opening Act Santa, Fe, NM
CAAS Chet Atkins Appreciation Society Nashville, TN
Nokie Festival Eugene, OR
Chamizal Festival El Paso, Texas
Chimayo Museum Chimayo, New Mexico
AFG Association of Fingerstyle Guitarists Santa Ana, California
Keystone Pavillion Keystone, Colorado
'Jazzamenco' Concerts (Sold Out) Radisson Santa Fe Maria Benitez Cabaret Theater Santa Fe, NM
Performance with Nuevo Latino Band 'Manzanares' Swan Lake Ranch Espinola, NM
Concerts in El Paso & Brownsville, TX and Del Norte, Colorado
Faculty Member at Santa Fe Community College Fall '05 / Spring '06
RECENT RADIO / TV / AIRPLAY & MUSIC LICENSING EVENTS
'Entre dos Montanas' (Between Two Mountains) and 'Un Poco de Elfida' played as part of the music program in the Franklin Covey chain of stores (appx. 175 across the country) 'Un Poco de Elfida' and 'Hypnotic Safari' were recently aired frequently on The Weather Channel. Wes' music may also be heard on MUZAK, Cable/Satellite TV, MTV's 'Made,' WBTV's Roswell, Malcolm in the Middle, Discovery Channel's Outward Bound Series.
'Autumn Wind,' 'Caricias para la princessa,' and 'Cathedral Bells' from the 'Hypnotic Safari' CD have been recently added to the Contemporary Instrumental Channel on Satellite through Muzak.
Wannadu Music licensed to Lancit Media / RCN Entertainment for Discovery Channel Outward Bound Series Reality Adventure program premiered April 3 on Discovery Kids.
Wannadu's Music is also licensed to Twentieth Century Fox Film Corporation, Surreal to Reel, Sonic Licensing
WWJ ON FILM
Wayne Wesley Johnson has been selected to be a film extra in "The Flock."
American actress Claire Danes will star opposite Richard Gere in the thriller. The Flock, is the first English language film from director Andrew Lau (Infernal Affairs). The screenplay was written by Hans Bauer (Anacondas: The Hunt for the Blood Orchid) and Craig Mitchell (Highwaymen).
Danes (Terminator 3: Rise of the Machines) and Gere play American Federal agents. The story follows a hyper-vigilant federal agent (Gere) who, while training his young female replacement (Danes), must track down a missing girl who could be connected to a paroled sex offender who is under investigation.
Johnson is playing a coffee house patron. The scene was filmed on November 21st in Albuquerque, NM.
Filming for The Flock began on October 10th and will be released in April of 2007.
Wes has also recently been a film extra in "The Lost Room" TV film series starring Peter Krause. Wes plays a truck driver in a diner scene.
PRESS (recent)
20th Century Guitar Magazine April and June 2003 Vintage Guitar Magazine (review) July 2003 Fingerstyle Guitar Magazine t/b announced Just Jazz Guitar Magazine t/b announced The SantaFean Magazine July 2003
OFFICIAL ARTIST ENDORSEMENTS:
GUITARS; Godin Multiac Grand Classic, Glissentar , LGX-SA, / Leach Spirit/ McGill Resonator, Super Ace
AMPLIFIERS; Budda Dual Stage 30 / Carr Imperial Custom 6x10 / Crate Acoustic CA120DG Durango (w/ Demeter Tube Direct Preamps) / Kendrick 2410
SOUND REINFORCEMENT: Yorkville AudioPro AP-812 / various cabinets
PICKUPS; T.W.Doyle / Kinman / RMC / B-Band / Pick Up The World
STRINGS; GHS / John Pearse
ACCESSORIES; Aphex / Sabine / Mundobeat / Kangaroo Covers / Sound Seat / Strum n' Comfort & DAVA picks
'WORLD CLASS GUITAR MUSIC & ALWAY'S A PROFESSIONAL'
Current Member Santa Fe Chamber of Commerce, Santa Fe, NM
Past Member SFEDI New Media Crossroads Cluster Group, Santa Fe, NM
Past Member and Chairman of the Board of Directors Rodeo de Santa Fe, Santa Fe, NM
Bio: Miguel "Mito" de Soto
The Name
“The beginning is not conveyed with an inaccurate or expounded imagination but rather an accurate history no matter how trite it may seem.” - Mito
Miguelito “ Mito” de Soto is a well-known Spanish guitarist with very early roots in America. Let’s start with his chosen nickname “ Mito,” which happens to be a play on words. Although it is not, Mito sounds like a diminutive for Miguelito, when actually Miguelito is the diminutive for Miguel (Michael), ‘though it has a longer pronunciation. Translated to English Mito means, “Myth”, therefore, in the indicative dry wit of Miguel, he calls himself Mito de Soto, e.g., “the myth of grove.”
The Spanish surname de Soto originates from several places in Spain: El soto, a subsection of northern Madrid; Soto de Ribiera, approx. 70 kilometers north of Madrid; The Grove, approx. 35 kilometers southwest of Santiago de Compestela ( Compestela being where the remains of St. James are buried); and finally, in the north central part of Spain near Oviedo we find, Soto del Barco.
The name Soto del Barco literally translates into English as “Grove of the Ship.” This town naturally maintains a glorious array of foliage and wildflowers, which beautifully rival any grove worldwide. The town is not too arid and not too humid, but rather perfectly temperate. Soto del Barco is on the Mar Cantábrico (The Cantabrian Sea) with a very active port, hence the Barco aspect of the name. This is a well comforted vacation rest spot whether on the way to a destination or the destination itself. This will become a favorite stop if quaint, intimate and beautiful is what you enjoy.
The name Soto, or de Soto, is steeped in Flamenco history, so much so that in the 1800’s Manuel Soto developed the style of flamenco guitar playing known today as the Seguiriyas. Mito is very proud of this fact knowing that Manuel is his ancestor. This Flamenco style is frequently coveted as a means of lament through the vehicle of guitar, voice or both.
Miguelito’s immediate patriarchal family ( los de Soto’s 1930’s to present) is from Gomez Palácio, Durango, Mexico and for the previous two hundred years between (1680 – 1900) they had married and procreated with the natives of the land along the Gulf of Mexico coastline. Prior to that, the family had been relatively stable in eastern Texas before it was deemed Texas (c. 1680), and prior to that, the area now known as the mouth of the Mississippi (c. 1549) had been home. Throughout these centuries his family made several trips to and from Spain. This area had been stumbled on by an ancestor of Mito, Hernando de Soto (del Barco); “stumbled on” because Hernando had originally been in search of the “fountain of youth.” But after all his searching through Florida and across Georgia & Louisiana, he never found his elusive fountain. He died near the Mississippi river from pneumonia complications. His sons carried out his request to find this “fountain” and much to their dismay, they had not found it either.
The other side of Mito’s patriarchal family consisted mostly of trade workers in leather goods and metal works.
Just because the matriarchal surname is not identified in the name “ Mito de Soto”, does not mean that he is not proud of the matriarchal side of his family. He espouses about the French-Canadian/Scot-Irish ancestry on his mother’s side, those names being the Wilkins and Naptons ancestry. The Wilkins had been sent from Scotland in the late 1600’s to Ireland to work the land crops for England. The Wilkins, i.e. the Kin (relations) of Wil (William of Scotland) slaved and sweated the land in County Cork, Ireland until they fled the hunger of the great “Potato Famine of Ireland.” of the 1800’s. Shortly after the famine, and after generations of slave labor, many families headed back to England. Some stole away on ships to the Americas, Canada, and northern Spain, as did Mito’s ancestors.
On the other side of Mito’s matriarchal family, we find the Naptons who were French Huguenots. They were trappers, seamstresses and woodworkers. Most of them came to Canada and settled in New Glasgow, Nova Scotia as well as Montreal & Québec in the Québec Province, at the turn of the 19 th Century.
Through the centuries into present day the unity of these two races (Irish and Spanish), especially in northern Spain, is visibly undeniable. This is evident in Mito’s family as well. Seeing the people and listening to the music of the “Asturias” region of northern Spain, the Celtic influence becomes apparent not only in appearance of the inhabitants, but in song as well; “Celtic Corto”, a rock group from northern Spain. They play a combination of Irish Folk-Rock rhythms and Irish instrumentation with Spanish lyrics, which is very indicative of the region from which they hale. Many believe that most Spaniards are dark haired and dark eyed… though many Spaniards are; it may come as a surprise to know this is quite to the contrary of the norm. Of course the “light” Irish are not the only fair-skinned, fair-haired people who continue to “influx” Spain, therefore, the mixture of Miguelito’s ethnicity is not as uncommon as one may think.
The Musical Influence “Most people grow up with one or two main musical influence styles, but five or six styles that are completely different…eclectic. Yes” - Mito
There are many music styles worldwide and few that influence a musician throughout his/her life. For Miguelito “ Mito” many influential musicians had been family members from both sides. From early childhood he heard the sounds of mouth harps, various stringed instruments, flutes, guitars, clapping & stomping, dancing and of course, singing… plenty of singing. Early musical influential styles were indicative of but not limited to; Mexican, Spanish (yes, there is a difference), Celtic, Rock (all aspects), Jazz (all variants), African drumming, Artistic-Classical, Eastern Dirges, American Hymns and various American folk styles. Therefore, from early in his life, Mito gained an understanding of music appreciation. All of these styles had their time and importance in shaping the musician he has become.
As a teenager, Mito had begun singing for enjoyment and inspirational release. But he had always maintained a great desire to play guitar. His mother bought him a “ Silvertone” electric guitar and amplifier for his 15 th birthday. One year later she understood the uniqueness in his adaptation and ability to play various solos of violin, keyboard and other instruments, on guitar. His mother being a Jazz singer, understood the complexities of various jazz styles, and decided to open two (2) Jazz-Fusion guitar doors to Miguelito, Frank Zappa and Chicago (Chicago VI & VII in particular). From this point Mito explored his own world of Fusion (a combination of rock and jazz, implementing extremely difficult solos) by purchasing the music of Jean-Luc Ponty (featuring: Allan Holdsworth and Daryl Stuermer), Joe Satriani and Al DiMeola. These fusion icons continue to peak his interest to this day. He began studying and playing fusion guitar riffs (solos) verbatim. Copying these scales aurally (by ear) only had intrinsic meaning to him, being that he did not understand the intricacies of scale inversions (manipulating the beginning and ending points of solos) and how they connected modally (the end of one scale being the beginning of the next scale), which allows the performer to freely move up and down the neck or the board of their instrument. Miguelito was born a natural musician and as an older teen and young adult, he became a well sought out performer for various Progressive-Fusion groups. However, Mito was not satisfied with only learning aurally and for that matter, by rote (repeated to commit to memory). He soon found this “rote” avenue to be limiting to what he believed to be his true gift, that being the ability to play more difficult music styles.
Mito began studying these new fusion styles and decided to learn more about rhythmic syncopations (striking notes or chords other then on simple beats 1, 2, 3, or 4) and poly-rhythms (more then simple 1, 2, 3, 4; beats happening simultaneously) of Fusion music. He did not limit himself to guitar. In 1992 he attended a workshop by world renown percussionist Alex Acuña and began aurally studying and professionally playing percussion using poly-rhythms of “5 beats against 3 beats” that is, accenting beat one for each measure. Later, Mito explored drumming time signatures from Senegal & Ghana, that are poly-metric (multiple changing beats per piece) transitions of 4/4 to 6/4 accenting every third beat, East Indian rhythms in 9 and 10 beat measures and of course, 12/8 – count measures in Flamenco rhythms and finger plucking. All of these styles came to fruition during Miguelito’s formative college years. During this time period, Mito found another natural ability; playing the Zamponia, Rondador, and the Siku (various sized pan-pipes) and transverse (played sideways; as a concert flute) wooden flutes. Most recently he had utilized this flute playing gift on his CD - Flamenco III.
The Education
IMAGINE; not being able to read music and within five short years, completing a B.A. of Fine Arts and entering an MA program in Orchestral Composition-Technology, the pinnacle of most music programs. “Some struggles are worth enduring.” - Mito
The musical change began in 1991 at the University of Wisconsin-Milwaukee. Mito enrolled as a “Broadcast major” hoping to get into radio. He maintained the thought that since he could not read music, (at the time) he would at least be around it through this career in radio. However, because he loved singing so much, Mito tried out and joined the university choir. During the spring semester of his second year in college (’92-’93), one of the voice professors (Evelyn LaBruce) heard and saw Mito perform at an annual concert and approached him asking if he would like to study with her. Although, unaware to her at the time, this was all of the chance beginning that Miguel needed.
Within weeks of this semester Prof. LaBruce taught Mito how to proficiently pluck out his vocal lines on piano and read S.A.T.B. scores. By the end of the semester she convinced him to become a “Voice major.” Miguelito had summer break to learn some basic music theory before taking the entrance exam for the music program. He bought a book on music theory and studied beyond full-time for the next two months. Before he returned to school in the fall of ‘93, Mito tested and “aced” the final exam for Fundamental Music Theory. This gave him instant entrance into Theory I, the first semester music theory class.
The professors knew that there was something unique about Miguelito’s focus, fortitude, desire and immediate grasp of music. They encouraged him to take a chance in the music program. From that point on, Mito virtually stopped playing guitar and focused on proficiently learning piano. After one semester in the music program his skills in voice and piano increased enough to merit changing his major from voice performance to choral director. He didn’t officially change his major but the intent was there. This too was a jump but not as much of a jump as fate had in mind for Mito; step by step, line upon line, precept upon precept, he pressed forward.
That spring (’94), Miguelito met an oboist from Oberlin College (a prestigious music college) who had been in Milwaukee working on her MA in performance. In late spring, seeing where his passion lay, she asked Miguel a poignant question, “Can you imagine never teaching music or directing a choir the rest of your life?” Miguelito’s reply was simply, “Yes, I can imagine not doing that.” She continued, “Well, can you imagine never composing or playing guitar?” he paused, “No… no way!” Referencing his major, she followed up with, “Well, what are you doing then? Go for it!” He decided she was right. That summer he bought a music composition book, Composing for the 20 th Century and took the entire summer going to the lakefront, lying on the grass near the beach, studying techniques and reading about avant-garde composition methods.
In the late summer of ’94, while speaking to a fellow classmate (who had been a composition major), Miguel was encouraged to speak to Yehuda Yannay (a composition professor) about becoming a Theory Composition Technology major (which is the pinnacle of most music programs). Keep in mind that this would be the third time changing his major in one field of study. Professor Yehuda Yannay ( Tel Aviv University graduate) agreed to teach Mito composition/technology on a probation/trial basis for that semester. It did not take long for Prof. Yannay to see the passion and natural ability of his new prodigy. Prof. Yannay became Mito’s mentor and confidant for the next three years. Mito also studied Electro-Acoustic Music (digital-analog studio engineering) through Prof. Jon Welstead (UC-Berkeley graduate) and Computer Music Theory and form structure from Prof. Gregoria Suchy.
Needless to say Mito had an extreme amount of “catch up” work compared to his fellow music composition majors, most of whom had been studying music before they could talk. After five long and rewarding years in the music program, Mito continued his studies pursuing an MA in Music Composition-Technology at U.W.-Milwaukee. Why did Mito stay in the MA program for only one year ’97-’98? Let us briefly back up to 1994 with the event that filled Mito with an unexplainable desire to pursue Flamenco music, and the event that instilled a propensity of joy to explore his ancestral roots in Europe (Spain in particular).
The Change
“Profoundness exists on many different levels within many different emotions.” - Mito
During the fall of 1994 Miguelito’s close friend and fellow classmate and classical guitarist Michael Bootzin, frequently purchased multiple tickets for himself, Mito and others for various guitar concerts throughout the Milwaukee metro area, this time was virtually no different from previous events with one exception, it was about to change Mito’s musical life forever. The world renownGuitar Trio was underway again. This group consisted of John McLaughlin, Al Di’Meola, and Paco de Lucia. Of course Miguel was elated to attend considering he had heard a CD from these incredible virtuosos produced years before, entitled Passion, Grace and Fire. This concert encouraged him to focus harder on his studies in music. It was this school year that Miguelito excelled in his self taught knowledge of FINALE ™ (a composition program) and Digital Performer ™ (Sound Design software). Mito became a hermit for the next nine months or more immersing himself in his new found love, orchestral computer composition. As incredible as this concert had been, it was not the pinnacle turning point for Miguelito. His music journey had just begun.
The reason for a dramatic change one’s life is usually astronomical, and profound, but to the observer it may seem mundane. For Miguelito this profound event happened the fall of 1995; Wednesday, Oct 25, to be exact. This evening opened a new perspective on life (life, which is equated to music for Miguelito). He attended a concert of world renowned Flamenco guitarist Paco de Lucia. The concert opened with Paco coming out alone (he had his sextet with him). Paco played an amazing solo guitar piece in the form of “ Solea.” This floored Mito because the previous year he had heard Paco play with John McLaughlin and Al Di’Meola, who are also incredible guitarists. John and Al played extremely fast solos however, they used pic’s. This was the profound difference for Mito, in regard to Paco… Paco did not use a pick, but rather picado (rapidly alternating the right hand index and middle fingers to pick the strings) to produce sound. He also played unbelievably fast and accurate, (called picado limpio in Flamenco terms). You would think this would be enough to encourage any serious guitarist to continue to work harder at his or her craft, but why stop the profound experience there?
Miguelito brought a poster from the university bulletin board, to the concert and yes… backstage to get Paco to sign it. In one of the most humble moments in his life, Mito looked up at Paco, who was larger than life, and anxiously pulled a pen from his pocket saying,
“ Con sus ordenes Paco . ¿Puede firma ésta para mi?
”Paco: “Si claro.”
Mito: “…que concierto increíble!”
Paco: “Gracias, eh…”
Mito: “MIGUEL”
Paco: “Gracias, Miguel”
Miguel: “Gracias a ustedes.”
Paco: “De nada, ‘buenas noches’.”
How would it affect you to meet your idol? To shake his/her hand, get a poster autographed, or exchange some pleasantries with a kind look?
From this point on Miguelito focused his time to reworking his guitar performance techniques. After a year of research, trial and error, and testing different types, he bought a nylon string guitar and began his new found passion. The world renowned Gipsy Kings, who play and sing rumba rhythms (the simplest form of Flamenco music). They were as good as any place to start, after all Mito loves to sing and the rhythms were not too difficult. Although the chord structures were very different for him, Mito grasped the concept quickly, then on to Strunz & Farah, Primal Magic to be exact. Strunz and Farah are two nylon string guitarists who combine melodies and rhythms from South America and Spain. Their solos are challenging because they use pics. Mito refuses to use a pick, therefore, when he began practicing their styles, some of the passages were too fast for him to obtain a clear picado. But that did not discourage him. It actually forced him to try that much harder at perfecting his craft. He never failed to press forward when things became very challenging.
Flamenco music styles are very intense with articulations that rival most classical compositions. Mito has studied the Flamenco guitar styles of innovative Flamenco guitarists; Carlos Montoya, Sabicas and Paco Peña, respectively. But his Flamenco guitar CD collection also includes world renown Tomatito, Niño Ricardo, Vicente Amigo, Manitas de Plata and of course the great Paco de Lucia. Mito has been also graced with a powerful voice. His voice is often likened to that of Flamenco famed Enrique Morente, José Soto and E. Montoya. However, his favorite Flamenco vocalists are: Duquende, Montse Cortes, Tana and the late great Camarón.
The Performer
“What we are allowed to accomplish in this LIFE, depends on the effort and persistence we are willing to put forth.” - Mito
Along with countless, smaller, more intimate venues Mito has had the great fortune of heading (that being one of the top performers) performances at:
“ Nokie Fest” in Eugene, OR; with Ruben Romero, Edgar Cruz & Wayne Wesley Johnson
“ Kentucky Guitar Jamboree”, Louisville, KT;
“Breckenridge Chamber Music Festival”, Breckenridge, CO;
“Cultural Chamber Music Festival”, Brownsville, TX;
“Spanish Guitar Festival”, San José, CA;
Mito also performed at various stages throughout the summer at the Milwaukee lakefront festivals for: “Summer Fest, Fiesta Mexicana, Festa Italiana, Asian Fest and Indian Summer”, Milwaukee, WI;
as well as many other wonderful concerts throughout the United States.
MOST MEMORABLE
The night of 9/11
“Flamenco Festival” The Scottish Rite Temple, Santa Fe, NM:
The Temple held to their original agenda of the concert that night. The performance was to commence at 6p.m., however, Mito has vivid memories of the Presidents “Address to the Nation” beginning at 6:00. He put a portable radio that the Temple had on hand, on a chair and put a microphone to it so the President would be audible throughout the theatre. Everyone listened intently to the report and the promises that followed and after a few moments of silence, and for Mito, regaining composure, the performers began, and gave a wonderful and passionate performance. Of course, the rest of the evenings conversation consisted of the earlier events and how they would affect, effect and infect the nation, but also how grateful everyone had been at the dedication of the musicians and dancers.
The night of 9/15
“Cultural Concert Series” College of Beeville (Cultural Ctr. for the Arts), Beeville, TX:
Days after 9/11 musicians and dancers drove to Beeville, TX because of course no flights were being made. But the concert series in Beeville was continuing. Mito had time to reflect about the recent events and being very compassionate decided to sing ( accapella) the national anthem. Because his emotion had been so high he almost did not finish. When he did finish, the audience was extremely silent with the exception of a few sniffles here and there. Suddenly, the audience broke out in a roar of cheers and yells. Mito recalls that “I did not know whether we could continue. I took a bow and tears rolled down my cheeks. I looked around me and somehow there existed this incredible connection between us performers. I think that was one of the best performances ever.”
“The beginning is not conveyed with an inaccurate or expounded imagination but rather an accurate history no matter how trite it may seem.” - Mito
Miguelito “ Mito” de Soto is a well-known Spanish guitarist with very early roots in America. Let’s start with his chosen nickname “ Mito,” which happens to be a play on words. Although it is not, Mito sounds like a diminutive for Miguelito, when actually Miguelito is the diminutive for Miguel (Michael), ‘though it has a longer pronunciation. Translated to English Mito means, “Myth”, therefore, in the indicative dry wit of Miguel, he calls himself Mito de Soto, e.g., “the myth of grove.”
The Spanish surname de Soto originates from several places in Spain: El soto, a subsection of northern Madrid; Soto de Ribiera, approx. 70 kilometers north of Madrid; The Grove, approx. 35 kilometers southwest of Santiago de Compestela ( Compestela being where the remains of St. James are buried); and finally, in the north central part of Spain near Oviedo we find, Soto del Barco.
The name Soto del Barco literally translates into English as “Grove of the Ship.” This town naturally maintains a glorious array of foliage and wildflowers, which beautifully rival any grove worldwide. The town is not too arid and not too humid, but rather perfectly temperate. Soto del Barco is on the Mar Cantábrico (The Cantabrian Sea) with a very active port, hence the Barco aspect of the name. This is a well comforted vacation rest spot whether on the way to a destination or the destination itself. This will become a favorite stop if quaint, intimate and beautiful is what you enjoy.
The name Soto, or de Soto, is steeped in Flamenco history, so much so that in the 1800’s Manuel Soto developed the style of flamenco guitar playing known today as the Seguiriyas. Mito is very proud of this fact knowing that Manuel is his ancestor. This Flamenco style is frequently coveted as a means of lament through the vehicle of guitar, voice or both.
Miguelito’s immediate patriarchal family ( los de Soto’s 1930’s to present) is from Gomez Palácio, Durango, Mexico and for the previous two hundred years between (1680 – 1900) they had married and procreated with the natives of the land along the Gulf of Mexico coastline. Prior to that, the family had been relatively stable in eastern Texas before it was deemed Texas (c. 1680), and prior to that, the area now known as the mouth of the Mississippi (c. 1549) had been home. Throughout these centuries his family made several trips to and from Spain. This area had been stumbled on by an ancestor of Mito, Hernando de Soto (del Barco); “stumbled on” because Hernando had originally been in search of the “fountain of youth.” But after all his searching through Florida and across Georgia & Louisiana, he never found his elusive fountain. He died near the Mississippi river from pneumonia complications. His sons carried out his request to find this “fountain” and much to their dismay, they had not found it either.
The other side of Mito’s patriarchal family consisted mostly of trade workers in leather goods and metal works.
Just because the matriarchal surname is not identified in the name “ Mito de Soto”, does not mean that he is not proud of the matriarchal side of his family. He espouses about the French-Canadian/Scot-Irish ancestry on his mother’s side, those names being the Wilkins and Naptons ancestry. The Wilkins had been sent from Scotland in the late 1600’s to Ireland to work the land crops for England. The Wilkins, i.e. the Kin (relations) of Wil (William of Scotland) slaved and sweated the land in County Cork, Ireland until they fled the hunger of the great “Potato Famine of Ireland.” of the 1800’s. Shortly after the famine, and after generations of slave labor, many families headed back to England. Some stole away on ships to the Americas, Canada, and northern Spain, as did Mito’s ancestors.
On the other side of Mito’s matriarchal family, we find the Naptons who were French Huguenots. They were trappers, seamstresses and woodworkers. Most of them came to Canada and settled in New Glasgow, Nova Scotia as well as Montreal & Québec in the Québec Province, at the turn of the 19 th Century.
Through the centuries into present day the unity of these two races (Irish and Spanish), especially in northern Spain, is visibly undeniable. This is evident in Mito’s family as well. Seeing the people and listening to the music of the “Asturias” region of northern Spain, the Celtic influence becomes apparent not only in appearance of the inhabitants, but in song as well; “Celtic Corto”, a rock group from northern Spain. They play a combination of Irish Folk-Rock rhythms and Irish instrumentation with Spanish lyrics, which is very indicative of the region from which they hale. Many believe that most Spaniards are dark haired and dark eyed… though many Spaniards are; it may come as a surprise to know this is quite to the contrary of the norm. Of course the “light” Irish are not the only fair-skinned, fair-haired people who continue to “influx” Spain, therefore, the mixture of Miguelito’s ethnicity is not as uncommon as one may think.
The Musical Influence “Most people grow up with one or two main musical influence styles, but five or six styles that are completely different…eclectic. Yes” - Mito
There are many music styles worldwide and few that influence a musician throughout his/her life. For Miguelito “ Mito” many influential musicians had been family members from both sides. From early childhood he heard the sounds of mouth harps, various stringed instruments, flutes, guitars, clapping & stomping, dancing and of course, singing… plenty of singing. Early musical influential styles were indicative of but not limited to; Mexican, Spanish (yes, there is a difference), Celtic, Rock (all aspects), Jazz (all variants), African drumming, Artistic-Classical, Eastern Dirges, American Hymns and various American folk styles. Therefore, from early in his life, Mito gained an understanding of music appreciation. All of these styles had their time and importance in shaping the musician he has become.
As a teenager, Mito had begun singing for enjoyment and inspirational release. But he had always maintained a great desire to play guitar. His mother bought him a “ Silvertone” electric guitar and amplifier for his 15 th birthday. One year later she understood the uniqueness in his adaptation and ability to play various solos of violin, keyboard and other instruments, on guitar. His mother being a Jazz singer, understood the complexities of various jazz styles, and decided to open two (2) Jazz-Fusion guitar doors to Miguelito, Frank Zappa and Chicago (Chicago VI & VII in particular). From this point Mito explored his own world of Fusion (a combination of rock and jazz, implementing extremely difficult solos) by purchasing the music of Jean-Luc Ponty (featuring: Allan Holdsworth and Daryl Stuermer), Joe Satriani and Al DiMeola. These fusion icons continue to peak his interest to this day. He began studying and playing fusion guitar riffs (solos) verbatim. Copying these scales aurally (by ear) only had intrinsic meaning to him, being that he did not understand the intricacies of scale inversions (manipulating the beginning and ending points of solos) and how they connected modally (the end of one scale being the beginning of the next scale), which allows the performer to freely move up and down the neck or the board of their instrument. Miguelito was born a natural musician and as an older teen and young adult, he became a well sought out performer for various Progressive-Fusion groups. However, Mito was not satisfied with only learning aurally and for that matter, by rote (repeated to commit to memory). He soon found this “rote” avenue to be limiting to what he believed to be his true gift, that being the ability to play more difficult music styles.
Mito began studying these new fusion styles and decided to learn more about rhythmic syncopations (striking notes or chords other then on simple beats 1, 2, 3, or 4) and poly-rhythms (more then simple 1, 2, 3, 4; beats happening simultaneously) of Fusion music. He did not limit himself to guitar. In 1992 he attended a workshop by world renown percussionist Alex Acuña and began aurally studying and professionally playing percussion using poly-rhythms of “5 beats against 3 beats” that is, accenting beat one for each measure. Later, Mito explored drumming time signatures from Senegal & Ghana, that are poly-metric (multiple changing beats per piece) transitions of 4/4 to 6/4 accenting every third beat, East Indian rhythms in 9 and 10 beat measures and of course, 12/8 – count measures in Flamenco rhythms and finger plucking. All of these styles came to fruition during Miguelito’s formative college years. During this time period, Mito found another natural ability; playing the Zamponia, Rondador, and the Siku (various sized pan-pipes) and transverse (played sideways; as a concert flute) wooden flutes. Most recently he had utilized this flute playing gift on his CD - Flamenco III.
The Education
IMAGINE; not being able to read music and within five short years, completing a B.A. of Fine Arts and entering an MA program in Orchestral Composition-Technology, the pinnacle of most music programs. “Some struggles are worth enduring.” - Mito
The musical change began in 1991 at the University of Wisconsin-Milwaukee. Mito enrolled as a “Broadcast major” hoping to get into radio. He maintained the thought that since he could not read music, (at the time) he would at least be around it through this career in radio. However, because he loved singing so much, Mito tried out and joined the university choir. During the spring semester of his second year in college (’92-’93), one of the voice professors (Evelyn LaBruce) heard and saw Mito perform at an annual concert and approached him asking if he would like to study with her. Although, unaware to her at the time, this was all of the chance beginning that Miguel needed.
Within weeks of this semester Prof. LaBruce taught Mito how to proficiently pluck out his vocal lines on piano and read S.A.T.B. scores. By the end of the semester she convinced him to become a “Voice major.” Miguelito had summer break to learn some basic music theory before taking the entrance exam for the music program. He bought a book on music theory and studied beyond full-time for the next two months. Before he returned to school in the fall of ‘93, Mito tested and “aced” the final exam for Fundamental Music Theory. This gave him instant entrance into Theory I, the first semester music theory class.
The professors knew that there was something unique about Miguelito’s focus, fortitude, desire and immediate grasp of music. They encouraged him to take a chance in the music program. From that point on, Mito virtually stopped playing guitar and focused on proficiently learning piano. After one semester in the music program his skills in voice and piano increased enough to merit changing his major from voice performance to choral director. He didn’t officially change his major but the intent was there. This too was a jump but not as much of a jump as fate had in mind for Mito; step by step, line upon line, precept upon precept, he pressed forward.
That spring (’94), Miguelito met an oboist from Oberlin College (a prestigious music college) who had been in Milwaukee working on her MA in performance. In late spring, seeing where his passion lay, she asked Miguel a poignant question, “Can you imagine never teaching music or directing a choir the rest of your life?” Miguelito’s reply was simply, “Yes, I can imagine not doing that.” She continued, “Well, can you imagine never composing or playing guitar?” he paused, “No… no way!” Referencing his major, she followed up with, “Well, what are you doing then? Go for it!” He decided she was right. That summer he bought a music composition book, Composing for the 20 th Century and took the entire summer going to the lakefront, lying on the grass near the beach, studying techniques and reading about avant-garde composition methods.
In the late summer of ’94, while speaking to a fellow classmate (who had been a composition major), Miguel was encouraged to speak to Yehuda Yannay (a composition professor) about becoming a Theory Composition Technology major (which is the pinnacle of most music programs). Keep in mind that this would be the third time changing his major in one field of study. Professor Yehuda Yannay ( Tel Aviv University graduate) agreed to teach Mito composition/technology on a probation/trial basis for that semester. It did not take long for Prof. Yannay to see the passion and natural ability of his new prodigy. Prof. Yannay became Mito’s mentor and confidant for the next three years. Mito also studied Electro-Acoustic Music (digital-analog studio engineering) through Prof. Jon Welstead (UC-Berkeley graduate) and Computer Music Theory and form structure from Prof. Gregoria Suchy.
Needless to say Mito had an extreme amount of “catch up” work compared to his fellow music composition majors, most of whom had been studying music before they could talk. After five long and rewarding years in the music program, Mito continued his studies pursuing an MA in Music Composition-Technology at U.W.-Milwaukee. Why did Mito stay in the MA program for only one year ’97-’98? Let us briefly back up to 1994 with the event that filled Mito with an unexplainable desire to pursue Flamenco music, and the event that instilled a propensity of joy to explore his ancestral roots in Europe (Spain in particular).
The Change
“Profoundness exists on many different levels within many different emotions.” - Mito
During the fall of 1994 Miguelito’s close friend and fellow classmate and classical guitarist Michael Bootzin, frequently purchased multiple tickets for himself, Mito and others for various guitar concerts throughout the Milwaukee metro area, this time was virtually no different from previous events with one exception, it was about to change Mito’s musical life forever. The world renownGuitar Trio was underway again. This group consisted of John McLaughlin, Al Di’Meola, and Paco de Lucia. Of course Miguel was elated to attend considering he had heard a CD from these incredible virtuosos produced years before, entitled Passion, Grace and Fire. This concert encouraged him to focus harder on his studies in music. It was this school year that Miguelito excelled in his self taught knowledge of FINALE ™ (a composition program) and Digital Performer ™ (Sound Design software). Mito became a hermit for the next nine months or more immersing himself in his new found love, orchestral computer composition. As incredible as this concert had been, it was not the pinnacle turning point for Miguelito. His music journey had just begun.
The reason for a dramatic change one’s life is usually astronomical, and profound, but to the observer it may seem mundane. For Miguelito this profound event happened the fall of 1995; Wednesday, Oct 25, to be exact. This evening opened a new perspective on life (life, which is equated to music for Miguelito). He attended a concert of world renowned Flamenco guitarist Paco de Lucia. The concert opened with Paco coming out alone (he had his sextet with him). Paco played an amazing solo guitar piece in the form of “ Solea.” This floored Mito because the previous year he had heard Paco play with John McLaughlin and Al Di’Meola, who are also incredible guitarists. John and Al played extremely fast solos however, they used pic’s. This was the profound difference for Mito, in regard to Paco… Paco did not use a pick, but rather picado (rapidly alternating the right hand index and middle fingers to pick the strings) to produce sound. He also played unbelievably fast and accurate, (called picado limpio in Flamenco terms). You would think this would be enough to encourage any serious guitarist to continue to work harder at his or her craft, but why stop the profound experience there?
Miguelito brought a poster from the university bulletin board, to the concert and yes… backstage to get Paco to sign it. In one of the most humble moments in his life, Mito looked up at Paco, who was larger than life, and anxiously pulled a pen from his pocket saying,
“ Con sus ordenes Paco . ¿Puede firma ésta para mi?
”Paco: “Si claro.”
Mito: “…que concierto increíble!”
Paco: “Gracias, eh…”
Mito: “MIGUEL”
Paco: “Gracias, Miguel”
Miguel: “Gracias a ustedes.”
Paco: “De nada, ‘buenas noches’.”
How would it affect you to meet your idol? To shake his/her hand, get a poster autographed, or exchange some pleasantries with a kind look?
From this point on Miguelito focused his time to reworking his guitar performance techniques. After a year of research, trial and error, and testing different types, he bought a nylon string guitar and began his new found passion. The world renowned Gipsy Kings, who play and sing rumba rhythms (the simplest form of Flamenco music). They were as good as any place to start, after all Mito loves to sing and the rhythms were not too difficult. Although the chord structures were very different for him, Mito grasped the concept quickly, then on to Strunz & Farah, Primal Magic to be exact. Strunz and Farah are two nylon string guitarists who combine melodies and rhythms from South America and Spain. Their solos are challenging because they use pics. Mito refuses to use a pick, therefore, when he began practicing their styles, some of the passages were too fast for him to obtain a clear picado. But that did not discourage him. It actually forced him to try that much harder at perfecting his craft. He never failed to press forward when things became very challenging.
Flamenco music styles are very intense with articulations that rival most classical compositions. Mito has studied the Flamenco guitar styles of innovative Flamenco guitarists; Carlos Montoya, Sabicas and Paco Peña, respectively. But his Flamenco guitar CD collection also includes world renown Tomatito, Niño Ricardo, Vicente Amigo, Manitas de Plata and of course the great Paco de Lucia. Mito has been also graced with a powerful voice. His voice is often likened to that of Flamenco famed Enrique Morente, José Soto and E. Montoya. However, his favorite Flamenco vocalists are: Duquende, Montse Cortes, Tana and the late great Camarón.
The Performer
“What we are allowed to accomplish in this LIFE, depends on the effort and persistence we are willing to put forth.” - Mito
Along with countless, smaller, more intimate venues Mito has had the great fortune of heading (that being one of the top performers) performances at:
“ Nokie Fest” in Eugene, OR; with Ruben Romero, Edgar Cruz & Wayne Wesley Johnson
“ Kentucky Guitar Jamboree”, Louisville, KT;
“Breckenridge Chamber Music Festival”, Breckenridge, CO;
“Cultural Chamber Music Festival”, Brownsville, TX;
“Spanish Guitar Festival”, San José, CA;
Mito also performed at various stages throughout the summer at the Milwaukee lakefront festivals for: “Summer Fest, Fiesta Mexicana, Festa Italiana, Asian Fest and Indian Summer”, Milwaukee, WI;
as well as many other wonderful concerts throughout the United States.
MOST MEMORABLE
The night of 9/11
“Flamenco Festival” The Scottish Rite Temple, Santa Fe, NM:
The Temple held to their original agenda of the concert that night. The performance was to commence at 6p.m., however, Mito has vivid memories of the Presidents “Address to the Nation” beginning at 6:00. He put a portable radio that the Temple had on hand, on a chair and put a microphone to it so the President would be audible throughout the theatre. Everyone listened intently to the report and the promises that followed and after a few moments of silence, and for Mito, regaining composure, the performers began, and gave a wonderful and passionate performance. Of course, the rest of the evenings conversation consisted of the earlier events and how they would affect, effect and infect the nation, but also how grateful everyone had been at the dedication of the musicians and dancers.
The night of 9/15
“Cultural Concert Series” College of Beeville (Cultural Ctr. for the Arts), Beeville, TX:
Days after 9/11 musicians and dancers drove to Beeville, TX because of course no flights were being made. But the concert series in Beeville was continuing. Mito had time to reflect about the recent events and being very compassionate decided to sing ( accapella) the national anthem. Because his emotion had been so high he almost did not finish. When he did finish, the audience was extremely silent with the exception of a few sniffles here and there. Suddenly, the audience broke out in a roar of cheers and yells. Mito recalls that “I did not know whether we could continue. I took a bow and tears rolled down my cheeks. I looked around me and somehow there existed this incredible connection between us performers. I think that was one of the best performances ever.”
"Wes & Mito" Santa Fe's Hottest Spanish Guitar Duo
Wayne Wesley Johnson & Miguel de Soto have been performing as solo artists for audiences all over the world and locally in Santa Fe, for many years. Now, you can hear them perform together with an exciting new repertoire, combining their unique and individual styles in a magnificent performance.
Wes’ forte is Instrumental - Finger-style Smooth & Traditional Jazz, Travis/Atkins thumbpickin’, New Age, World & Nuevo flamenco.
Mito’s specialty is Classical, Puro flamenco, Nuevo flamenco, Fusion & his magnificent vocals .
These two multi-talented Award Winning virtuoso entertainers are sure to delight listeners at your wedding, concert, hotel, restaurant, corporate or private event.
C’mon n’ Rumba!
Wes’ forte is Instrumental - Finger-style Smooth & Traditional Jazz, Travis/Atkins thumbpickin’, New Age, World & Nuevo flamenco.
Mito’s specialty is Classical, Puro flamenco, Nuevo flamenco, Fusion & his magnificent vocals .
These two multi-talented Award Winning virtuoso entertainers are sure to delight listeners at your wedding, concert, hotel, restaurant, corporate or private event.
C’mon n’ Rumba!
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