Título: Clarence White
Seção: Session work (1966-1968)
Background: Clarence White (born Clarence Joseph LeBlanc; June 7, 1944 - July 14, 1973), was an American bluegrass and country guitarist and singer. He is best known as a member of the bluegrass ensemble the Kentucky Colonels and the rock band the Byrds, as well as for being a pioneer of the musical genre of country rock during the late 1960s. White also worked extensively as a session musician, appearing on recordings by the Everly Brothers, Joe Cocker, Ricky Nelson, Pat Boone, the Monkees, Randy Newman, Gene Clark, Linda Ronstadt, Arlo Guthrie, and Jackson Browne amongst others. Together with frequent collaborator Gene Parsons, he invented the B-Bender, a guitar accessory that enables a player to mechanically bend the B-string up a whole tone and emulate the sound of a pedal steel guitar.

Conteúdo: During 1964, White began to look beyond bluegrass music towards rock 'n' roll as an avenue for artistic expression. Although he was influenced by Country guitarists like Doc Watson, Don Reno and Joe Maphis, he also idolized the playing of jazz guitarist Django Reinhardt, rock 'n' roller Chuck Berry, and studio musician James Burton. White even anticipated the viability of a folk/rock hybrid when, in the summer of 1964, he was approached by Jim Dickson to record a version of the then-unreleased Bob Dylan song "Mr. Tambourine Man" with electric instruments. However, despite White's enthusiasm for the project, he was unable to convince his bandmates in the Kentucky Colonels of the experiment's validity and ultimately, the song was instead recorded by Dickson's proteges, the Byrds.  By the time the original line-up of the Kentucky Colonels folded in late 1965, White had become a respected and well-known guitarist. Abandoning bluegrass temporarily, he switched from his Martin D-28 acoustic guitar to an electric Fender Telecaster, with the intention of becoming a studio musician like his hero James Burton. Transitioning to electric guitar required White to modify his right hand playing technique, switch from open chording to fretting the whole guitar neck with his left hand, and practice using the tone and volume controls. However, he soon mastered the intricacies of the instrument and, between 1965 and 1968, he undertook session work for artists including Ricky Nelson, the Monkees

user: What was session work?

assistant: he undertook session work for artists including Ricky Nelson, the Monkees, and the Gosdin Brothers.

user: What kind of session work

assistant: he soon mastered the intricacies of the instrument and, between 1965 and 1968, he undertook session work

user: Are there any other interesting aspects about this article?

assistant: As 1965 turned into 1966, White met Gene Parsons and Gib Guilbeau at a recording session for the Gosdin Brothers and shortly after, he began to perform live

user: What did he perform live

assistant: he began to perform live with the duo in local California clubs, as well as doing regular session work on their records,

user: What happen in 1968

assistant: White also contributed guitar to the band's follow-up album, The Notorious Byrd Brothers, and to their seminal 1968 country rock release,

user: Was they successfu

assistant: The country-oriented nature of the songs was something of a stylistic departure for the group and can be seen as an early indicator of the experimentation

user: What else was they known for?

assistant: During the Clark album sessions, White reconnected with mandolin player and bassist Chris Hillman, who he had known during the early 1960s

user: Did they make any music together?

assistant: Hillman was currently a member of the Byrds and in December 1966, he invited White to contribute countrified lead guitar playing to his songs

user: How did that work out?

assistant: to his songs "Time Between" and "The Girl with no Name", which both appeared on the Byrds' Younger Than Yesterday album.