Michael Adam Hedges (December 31, 1953 – December 2, 1997) was an American … Read Full Bio ↴Michael Adam Hedges (December 31, 1953 – December 2, 1997) was an American composer and acoustic guitarist born in Sacramento, CA. He studied classical guitar at Phillips University in Enid, Oklahoma. He is widely considered to be one of the greatest and most influential solo acoustic guitarists of all time. His music features his own unique performing style which features harmonics, fingerpicking, knocking and slapping.
Michael Hedges was a conservatory composition major who applied his classically trained musical background in combination with radical innovation to “reinvent” the steel string acoustic guitar. He combined many unusual techniques on the acoustic guitar with a wide range of musical styles, and was also considered a dynamic performer in concert - in short, a “Paganini” of the guitar.
He is known for extensive use in several pieces of two handed tapping techniques (nearly a contrapuntal style of multiple voices). He used the fingers of his right (typically picking) hand to slap harmonic "chords" at the 12th, 7th or 5th fret (or elsewhere). He made use of right hand hammer-ons, particularly on bass notes, and often used the left hand for melodic or rhythmic hammer-ons and pull offs, as well as unusual strummings, that played, as mentioned, independent voices to the right hand. These techniques tended to convert the guitar into a quasi-keyboard like instrument for certain musical purposes. He also made extensive use of string dampening as employed in classical guitar, and was known to insist strongly on the precise duration of sounds and silences in his pieces. Other facets to his playing were percussive slapping on the guitar body and extensive use of artificial harmonics. He also played guitar-variants like the Harp Guitar (an instrument with additional bass strings that Hedges used to play Bach's Prelude to Cello Suite #1 in G Major in its intended key), and the Trans-Trem Guitar.
Michael Hedges was discovered by William Ackerman who heard him performing in a Palo Alto cafe (the former Varsity Theater) and immediately signed him to a recording contract (1980). For several years Hedges toured and performed in concert with Ackerman. He also appeared on several of Ackerman's albums. In turn William Ackerman produced Hedge's first two albums.
The first two records Michael Hedges made - Breakfast in the Field and Aerial Boundaries - were milestones for the acoustic guitar. He then branched out into singing and performing more popular forms of music, although he would periodically make a return to more guitar-centred music. His record Oracle won the 1998 Grammy for Best New Age Album. Hedges was in fact quite a multi-instrumentalist, playing piano, percussion, tin whistle, harmonica, and flute, among others on his albums. Bassist Michael Manring contributed to many of Michael's records.
Many acoustic guitarists claim a very broad range of influences and will not fit into any genre, but this was truer of Hedges than of any other. His musical education was largely in modern 20th century composition. He listened to Leo Kottke, Bruce Cockburn, Martin Carthy, John Martyn, John Fahey, and the Beatles, but his approach to composition owed much to Stravinsky, Varèse, Webern, and experimental composers such as Morton Feldman. He saw himself as a composer who played guitar, rather than a guitarist who composed music. He was often categorized as New Age due to his association with the Windham Hill record label. Somewhat in reaction to this, he would describe his music as "Heavy Mental", "New Edge", ""Thrash Acoustic", "Deep Tissue Gladiator Guitar" or "Savage Myth Guitar," amongst other terms.
Hedges was killed in a car accident in 1997 at the age of 43. His unfinished last recordings were brought to completion in the album Torched, with the help of his friends David Crosby and Graham Nash.
Michael Hedges was a conservatory composition major who applied his classically trained musical background in combination with radical innovation to “reinvent” the steel string acoustic guitar. He combined many unusual techniques on the acoustic guitar with a wide range of musical styles, and was also considered a dynamic performer in concert - in short, a “Paganini” of the guitar.
He is known for extensive use in several pieces of two handed tapping techniques (nearly a contrapuntal style of multiple voices). He used the fingers of his right (typically picking) hand to slap harmonic "chords" at the 12th, 7th or 5th fret (or elsewhere). He made use of right hand hammer-ons, particularly on bass notes, and often used the left hand for melodic or rhythmic hammer-ons and pull offs, as well as unusual strummings, that played, as mentioned, independent voices to the right hand. These techniques tended to convert the guitar into a quasi-keyboard like instrument for certain musical purposes. He also made extensive use of string dampening as employed in classical guitar, and was known to insist strongly on the precise duration of sounds and silences in his pieces. Other facets to his playing were percussive slapping on the guitar body and extensive use of artificial harmonics. He also played guitar-variants like the Harp Guitar (an instrument with additional bass strings that Hedges used to play Bach's Prelude to Cello Suite #1 in G Major in its intended key), and the Trans-Trem Guitar.
Michael Hedges was discovered by William Ackerman who heard him performing in a Palo Alto cafe (the former Varsity Theater) and immediately signed him to a recording contract (1980). For several years Hedges toured and performed in concert with Ackerman. He also appeared on several of Ackerman's albums. In turn William Ackerman produced Hedge's first two albums.
The first two records Michael Hedges made - Breakfast in the Field and Aerial Boundaries - were milestones for the acoustic guitar. He then branched out into singing and performing more popular forms of music, although he would periodically make a return to more guitar-centred music. His record Oracle won the 1998 Grammy for Best New Age Album. Hedges was in fact quite a multi-instrumentalist, playing piano, percussion, tin whistle, harmonica, and flute, among others on his albums. Bassist Michael Manring contributed to many of Michael's records.
Many acoustic guitarists claim a very broad range of influences and will not fit into any genre, but this was truer of Hedges than of any other. His musical education was largely in modern 20th century composition. He listened to Leo Kottke, Bruce Cockburn, Martin Carthy, John Martyn, John Fahey, and the Beatles, but his approach to composition owed much to Stravinsky, Varèse, Webern, and experimental composers such as Morton Feldman. He saw himself as a composer who played guitar, rather than a guitarist who composed music. He was often categorized as New Age due to his association with the Windham Hill record label. Somewhat in reaction to this, he would describe his music as "Heavy Mental", "New Edge", ""Thrash Acoustic", "Deep Tissue Gladiator Guitar" or "Savage Myth Guitar," amongst other terms.
Hedges was killed in a car accident in 1997 at the age of 43. His unfinished last recordings were brought to completion in the album Torched, with the help of his friends David Crosby and Graham Nash.
Aerial Boundaries
Michael Hedges Lyrics
Instrumental
To comment on or correct specific content, highlight it
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
@JD-si6se
That would have been the New Varsity Theater on University Av. in the early-to-mid '80s . . . I worked as a cook there during that time . . .
The New Varsity, was the reincarnation of one of 20th Century Fox's original movie theaters first built in the 1920s to, basically, have a place to show their movies . . . By the time I worked there, it had been bought and converted into a multi-performing arts venue that also included a bar and a restaurant . . .
In addition to the patio, there were also live performances in the theater itself (Buddy Rich; Hoyt Axton; Count Baise, to name a few), lobby/bar/snack bar area, and upstairs . . . Michael was a regular performer there.
I remember we once discovered he and I had the same birthday, NYE, as I was making his dinner. He was always cool, and I really loved his performances . . . one of the greatest guitarists I have ever witnessed . . . a beautiful soul gone way too soon . . .
And the New Varsity? . . . Sadly, the last time I was there, it was a Borders Bookstore . . . Though, I suppose, it could be worse, I suppose . . . they could have razed it and erected a Walmart . . .
@garymcaleer6112
Michael Hedges, my old friend and schoolmate in the late 70's at The Peabody Conservatory of Music, passed away at age 43 in a car accident. He was a sweet tempered man who loved creative innovation in his music. And as such set in motion a number of players who followed his lead and continue to use his techniques to this day. As they say, "imitation is the sincerest form of flattery."
@adamfretwell3461
such as Andy Mckee
@rogergoode5698
Gary, I had the pleasure of meeting Michael and spending an entire day with him back in 1985. He and I met when he came to Knoxville, TN for a concert while I was in school at the University of Tennessee and he was signing autographs at the local music store. We struck a conversation about his album that was playing in the store at the time and how I had seen him twice before in Nashville and he commented how he was playing there the next night and I told him that I knew that and that I was going to THAT concert. He was taken aback since he was performing that night in Knoxville and wondered why I would be driving three hours the next day to see him perform and not just see him in Knoxville that night. I told him that I could not afford two concerts but that I had never seen Shadowfax perform and that concert was going to be a triple-bill with he, Liz Story and Shadowfax. He understood. Then he decides that I am going to be his guest that night in Knoxville so that I can see him perform there as well too. Then, and this is the part that will blow you away, he asked if I had room in my car and could he ride with me to Nashville the next day. Of course I said yes. Long story short and I can expound more later if anyone wants to know of our day together, I would be more than happy to share that experience but I took him to Nashville, he gave me a backstage pass for the concert, I met all the members of Shadowfax and in fact, the violinist for them sat with me in the audience when Michael performed. He was a great guy and tremendously talented. I will always remember my day with Michael, listening to him telling me of his influences and me turning him onto Pat Metheny, to whom he had never heard of. He is truly missed in this world and a pioneer.
@skreelthebarbarian
@Roger Goode Wow thats a really great story, so cool hearing things like this about people that most of us will never meet in person.
@MultiSLASHMAN
@Roger Goode Oh my god, tell the whole story please, sounds very interesting, i love his music a lot.
@cameronhirtle7316
But Andy respects Hedges. How can you expect the next generation to be this influential? Hedges changed the way guitar could be played. At least there are torch bearers who can still try and build on that
@TheGuitarNomad
The good news I've heard is that they are finally making a film about Michael's life and music. It's about time!
@theloniouscoltrane3778
Quotations about Hedges
"I feel I can always hear his heart when he plays. He respected my playing too, and that simply thrills me." – Pete Townshend
"Michael was unique. His music transcends genre and trend. It's truly musical, fun and enlightening." – Steve Vai
"His playing has a feel and timbre all its own – technically brilliant, but always organic and true." – Joe Satriani
"One of the most brilliant musicians in America." – David Crosby
"I considered him to be a genius and when he died I lost a great friend." – Graham Nash
"There was simply no one like him." – Bonnie Raitt
"He was a real musician who remained humble even through stardom. A rare breed indeed." – Alvin Lee
@7sevens
This was a very unique contribution on comments - thanks!
@analogkid4957
Wow that’s a great list of accolades from prestigious musicians. Sad he died so young probably with so much music he could have still made.