TESTIMONIALS:
23rd Psalm song by James Sundquist:
"You taught me your rendition 'The Lord is my Shepherd... ' I had had a piano in my house, with roommates on Sadowa Street... I was raped in San Francisco and that song saved my life as I sang it to that man could have been the end of my life...so technically you saved my life in San Fran!" Suz R.
"You taught me your rendition 'The Lord is my Shepherd... ' I had had a piano in my house, with roommates on Sadowa Street... I was raped in San Francisco and that song saved my life as I sang it to that man could have been the end of my life...so technically you saved my life in San Fran!" Suz R.
James Sundquist's first album 'Freedom Flight' on Lamb & Lion Records:
"The album 'Freedom flight' became one of my most precious possessions. I've listened to the LP over 500 times plus! It moved me and still moves my spirit so deeply!" Glenn B.
"The album 'Freedom flight' became one of my most precious possessions. I've listened to the LP over 500 times plus! It moved me and still moves my spirit so deeply!" Glenn B.
James Sundquist In Concert & James and Karen Sundquist In Concert Ministry:
"The music of James and Karen Sundquist is solidly grounded on the rock of our salvation, Jesus Christ. God gave James and Karen great talent and they multiply it for God’s glory and our sharing in God’s joy and comfort by the hearing of the Word of God in spiritual songs and sacred hymns. And that increases faith. I have long awaited more and am so glad I put a fire under James to launch this website!" Liz P.
"I knew James not long after he recorded this disc (Freedom Flight) and it has long been one of my favorite Contemporary Christian Music albums. The 1st track, Even Though The Devil Hate Me, is delightfully playful. but my favorite has always been Twelve Gates, which clearly showcases James' mastery of the 12-string guitar. Love it! I no longer have my copy and am looking to replace it. Wish it were available commercially on CD...." Deana
"Carried me away in the Spirit... I remember you played one time at a coffee house in Sea Cliff Long Island. The worship was amazing. The presence of God... wow. At the end where you do the guitar part everyone was quiet and just soaking God in. The music stopped and you walked off the stage, I opened my eyes and you were gone... spooked me and my sister for a second. I sing that song all the time, and Caravan. 2 of my faves.. someday I will find that album again." Dagmar J.
James Sundquist in Marne Glee Club, 3rd Infantry Division, West Germany:
"I have known James Sundquist since 1970. Anyone who reads these comments understands that true friendship is based on a personal connection that is unaffected by space and time. Although James and I have not been together for many years, our bond of friendship is based on our shared experiences, and the depth of those experiences is significant.
In the early 1970's we were both in the US Army. We served with the 3rd Infantry Division in Wurzburg, Germany. Our duties were extremely unusual; we were professional entertainers for the troops stationed throughout Europe.
The organization to which we were assigned was known as the Marne Glee Club. Do not be fooled by the term "glee club"; not everything was gleeful, and it was not a club. We were a troupe of vocalists and instrumentalists, and therefore not an "Army Band".
We were in some cases assigned to the duty because something in our military records alluded to things musical, or because we were "discovered" and recruited into the organization. In my case, an evening playing guitar in a local club led to an audition. At my audition I had to display the ability to read music, and to perform all styles of music; Broadway show tunes, country and western, rock and roll, gospel, soul, jazz...virtually every genre.
The troupe consisted of the band: drummer, keyboardist, bassist, guitarist, and a great horn section. And talk about talent: we had 33 male vocalists! There was no music beyond our ability. We played everything from James Brown to Faron Young to Elvis to Simon and Garfunkel. We were somewhat multilingual as well, and performed Christmas Carols for the public in German as well as English.
I had been in the band as the guitarist at the time. I knew James as a VERY young man. He was impressive even way back then. Besides being a gifted vocalist, his primary duty, he was a creative and inventive guitarist. When I first heard him play, I was amazed by his dexterity, stamina, timing, technique and his impeccable finger-picking.
Very soon we became good friends and collaborators. His contributions to the group were always performed to the best of his ability. He never delivered anything less than his very best.
Collaborating with James was an elevating experience for both of us. Often we would sit on a hillside, teaching each other the intricacies of our individual styles and repertory. My role in the band was mostly on electric guitar, although there were songs that demanded acoustic work. I was hampered, as the only guitarist for a long period, by having to switch instruments in the songs that were mostly acoustic. In doing so, I could not play the electric guitar solo that would normally be featured. Having James on board opened new possibilities for our performances.
James and I "went to the woodshed" quite often; a term that defines intense practice of rudiments and essentials. He learned some of my electric solo tricks, and shared his vast knowledge of all things acoustic. In retrospect; he opened my ears and eyes to a new understanding of acoustic guitar work as an art form.
Most of my acoustic work was as a sideman in the band, strumming chords. My tutelage at James' side re-shaped my understanding of my instrument. I became a better musician as a result of our friendship and collaboration.
The time we spent together was priceless. But I should mention the scale of our performance schedule and duties. The troupe would often be handed a last-minute assignment to play at certain events, even though typically a booking would be made months in advance. And we were in demand and very, very busy.
The mission of the Marne Glee Club also included not only the performances for military personnel wherever they might be, but we were an instrument of goodwill representing the United States armed forces in Europe. We did not usually wear military clothing, but stage clothing ensembles; blazers, slacks, turtleneck shirts and so on. Our hair was longer than the military standards allowed, but hey...we had to do all the latest top rock, soul and jazz songs by acts like Chicago, Led Zeppelin and The Jackson 5!
We performed in tents as well as some of the finest venues, traveling by bus to more exotic gigs like Oktoberfest...yes, THAT Oktoberfest in Munich. We traveled through communist East Germany to perform in West Berlin, and played in places in Switzerland, Austria, Brussels or wherever the booking might be.
I was very fortunate to spend so much time on the road with James. The road trips were endless and grueling, but we had the opportunity to sit in the back of the bus with our acoustic guitars; learning, rehearsing and improving.
Unfortunately the time came when I drove to the airport with James. His time done, it was now a sad goodbye as he returned to the USA and I went back to touring and gigging.
Several years ago, we found each other through the internet. We have renewed our friendship, and after so many years we are both working productively as musicians. Of course, if you are reading these words, you already know about James' success.
I have been playing professionally for more than 50 years now, and I still perform weekly. Having known James since those early days of intense collaboration and endless performing schedules, I consider myself uniquely qualified to offer a critique of his recent and current work.
I must say that I am truly in love with his musicianship. His performances within the catalogue of his recorded works are all unique and individually impressive. But I can state with total certainty that he has been able to keep and maintain the youthful vigor and passion of his formative years, and he infuses his new works with the fluency and style that I saw developing so many decades ago.
The man is true to himself as a performer. As successful as he has been, he is deserving of being "discovered" by the masses. He has the capacity and skill to perform for audiences of ten thousand or more, but with the ability to connect with each listener on an individual level.
I reviewed some of his works on compact disc. First, I must say that the recordings are, in and of themselves, works of art. Pristine examples of properly applied recording technique, they capture the very essence of his performances. They enable a valid critique because there is no "gimmickry" or "digital wizardry" adding to or detracting from the actual performances.
As a guitarist, I understand the subtle nuances that influence the melding of the man and his instrument. I also recognize and appreciate the complexity of his performance ability; it is musical art in its' purest form, from the instrument to the human ear with no intervening influences.
Here are the highlights of James' style as appreciated by my well-trained and very critical ear...
...his left-hand technique enables every nuance of each musical note to be delivered to the audience with remarkable clarity. The left hand controls vibrato, string tension (and therefore note tension), pitch, sustain, string damping, and tonal color. As I listen to his playing, every subtle influence is aurally apparent. These elements, as well as others, define the sound envelope. His left hand technique is technically complex, but transparent to the typical listener. Not all listeners are capable of providing a measure of technically correct style and technique critique; but they know what they like. As a mature, disciplined and well trained guitarist, I know precisely what to listen for, and I also know what I like. And I like everything I hear!
...his right-hand technique shows his command of the elements of strums, flourishes, sweeps, and the control of arpeggiation. He has mastered the complexity of "divided brain" articulation by providing clean and clear right-hand attack and muting while his left hand is simultaneously providing contrary motion bass lines over chords and melodic inventions. This is the very essence of mastery when performing on a nylon-stringed or "classical" guitar.
His right hand also delivers the appropriate attack dynamics needed to control note and chord volume, note cutoff and muting. Most listeners who are not guitarists will probably not be aware of the need for meticulous care of the nails and cuticles. However, the educated reviewer can tell the difference between the string attack made by a fingernail, fingertip or finger pad. James' playing is clean, accurate, and not influenced by any distracting artifacts.
What must also be mentioned is the positioning of the instrument relative to the body of the musician. Too much body contact can negatively affect the resonance of the guitar body. Too little contact can contribute to poor control of the instrument in a mechanical sense, making it impossible to deliver consistent performances. When I perform, members of the audience will sometimes ask why I will hold a guitar a certain way for some songs, and differently for others. It all contributes to the development of the "sound envelope" or sonic waveforms developed through control of the instrument versus player interface.
While listening to James' performances, I can clearly hear all of the subtle nuances. They contribute to that "sound envelope", shaping the sonic experience. In my mind I can visualize the placement of the left thumb behind the neck, the arch of his left fingers over the fretboard, the placement of his right firearm on the body of the instrument, the placement of the heel of his right palm, and the angle of attack he takes with the tips of his right fingers as he coaxes the notes from the strings.
You may consider these infinitely variable elements to be less than important, but they define the difference between a "guitar player" and an artist. James is an artist of the highest caliber.
Timing, articulation, technique, arranging style, artistic interpretation, consistency, delivery technique...all of these define the differences between good players and great performers. James is at the top of his craft. I urge all who may read these words to explore all of James' work. I look forward to a time when we might have an opportunity to once again collaborate and perform together. Until then, I remain a devoted fan.
Thank you James, for gifts you share."
Chuck Ruggiero,
Watertown, New York
"I have known James Sundquist since 1970. Anyone who reads these comments understands that true friendship is based on a personal connection that is unaffected by space and time. Although James and I have not been together for many years, our bond of friendship is based on our shared experiences, and the depth of those experiences is significant.
In the early 1970's we were both in the US Army. We served with the 3rd Infantry Division in Wurzburg, Germany. Our duties were extremely unusual; we were professional entertainers for the troops stationed throughout Europe.
The organization to which we were assigned was known as the Marne Glee Club. Do not be fooled by the term "glee club"; not everything was gleeful, and it was not a club. We were a troupe of vocalists and instrumentalists, and therefore not an "Army Band".
We were in some cases assigned to the duty because something in our military records alluded to things musical, or because we were "discovered" and recruited into the organization. In my case, an evening playing guitar in a local club led to an audition. At my audition I had to display the ability to read music, and to perform all styles of music; Broadway show tunes, country and western, rock and roll, gospel, soul, jazz...virtually every genre.
The troupe consisted of the band: drummer, keyboardist, bassist, guitarist, and a great horn section. And talk about talent: we had 33 male vocalists! There was no music beyond our ability. We played everything from James Brown to Faron Young to Elvis to Simon and Garfunkel. We were somewhat multilingual as well, and performed Christmas Carols for the public in German as well as English.
I had been in the band as the guitarist at the time. I knew James as a VERY young man. He was impressive even way back then. Besides being a gifted vocalist, his primary duty, he was a creative and inventive guitarist. When I first heard him play, I was amazed by his dexterity, stamina, timing, technique and his impeccable finger-picking.
Very soon we became good friends and collaborators. His contributions to the group were always performed to the best of his ability. He never delivered anything less than his very best.
Collaborating with James was an elevating experience for both of us. Often we would sit on a hillside, teaching each other the intricacies of our individual styles and repertory. My role in the band was mostly on electric guitar, although there were songs that demanded acoustic work. I was hampered, as the only guitarist for a long period, by having to switch instruments in the songs that were mostly acoustic. In doing so, I could not play the electric guitar solo that would normally be featured. Having James on board opened new possibilities for our performances.
James and I "went to the woodshed" quite often; a term that defines intense practice of rudiments and essentials. He learned some of my electric solo tricks, and shared his vast knowledge of all things acoustic. In retrospect; he opened my ears and eyes to a new understanding of acoustic guitar work as an art form.
Most of my acoustic work was as a sideman in the band, strumming chords. My tutelage at James' side re-shaped my understanding of my instrument. I became a better musician as a result of our friendship and collaboration.
The time we spent together was priceless. But I should mention the scale of our performance schedule and duties. The troupe would often be handed a last-minute assignment to play at certain events, even though typically a booking would be made months in advance. And we were in demand and very, very busy.
The mission of the Marne Glee Club also included not only the performances for military personnel wherever they might be, but we were an instrument of goodwill representing the United States armed forces in Europe. We did not usually wear military clothing, but stage clothing ensembles; blazers, slacks, turtleneck shirts and so on. Our hair was longer than the military standards allowed, but hey...we had to do all the latest top rock, soul and jazz songs by acts like Chicago, Led Zeppelin and The Jackson 5!
We performed in tents as well as some of the finest venues, traveling by bus to more exotic gigs like Oktoberfest...yes, THAT Oktoberfest in Munich. We traveled through communist East Germany to perform in West Berlin, and played in places in Switzerland, Austria, Brussels or wherever the booking might be.
I was very fortunate to spend so much time on the road with James. The road trips were endless and grueling, but we had the opportunity to sit in the back of the bus with our acoustic guitars; learning, rehearsing and improving.
Unfortunately the time came when I drove to the airport with James. His time done, it was now a sad goodbye as he returned to the USA and I went back to touring and gigging.
Several years ago, we found each other through the internet. We have renewed our friendship, and after so many years we are both working productively as musicians. Of course, if you are reading these words, you already know about James' success.
I have been playing professionally for more than 50 years now, and I still perform weekly. Having known James since those early days of intense collaboration and endless performing schedules, I consider myself uniquely qualified to offer a critique of his recent and current work.
I must say that I am truly in love with his musicianship. His performances within the catalogue of his recorded works are all unique and individually impressive. But I can state with total certainty that he has been able to keep and maintain the youthful vigor and passion of his formative years, and he infuses his new works with the fluency and style that I saw developing so many decades ago.
The man is true to himself as a performer. As successful as he has been, he is deserving of being "discovered" by the masses. He has the capacity and skill to perform for audiences of ten thousand or more, but with the ability to connect with each listener on an individual level.
I reviewed some of his works on compact disc. First, I must say that the recordings are, in and of themselves, works of art. Pristine examples of properly applied recording technique, they capture the very essence of his performances. They enable a valid critique because there is no "gimmickry" or "digital wizardry" adding to or detracting from the actual performances.
As a guitarist, I understand the subtle nuances that influence the melding of the man and his instrument. I also recognize and appreciate the complexity of his performance ability; it is musical art in its' purest form, from the instrument to the human ear with no intervening influences.
Here are the highlights of James' style as appreciated by my well-trained and very critical ear...
...his left-hand technique enables every nuance of each musical note to be delivered to the audience with remarkable clarity. The left hand controls vibrato, string tension (and therefore note tension), pitch, sustain, string damping, and tonal color. As I listen to his playing, every subtle influence is aurally apparent. These elements, as well as others, define the sound envelope. His left hand technique is technically complex, but transparent to the typical listener. Not all listeners are capable of providing a measure of technically correct style and technique critique; but they know what they like. As a mature, disciplined and well trained guitarist, I know precisely what to listen for, and I also know what I like. And I like everything I hear!
...his right-hand technique shows his command of the elements of strums, flourishes, sweeps, and the control of arpeggiation. He has mastered the complexity of "divided brain" articulation by providing clean and clear right-hand attack and muting while his left hand is simultaneously providing contrary motion bass lines over chords and melodic inventions. This is the very essence of mastery when performing on a nylon-stringed or "classical" guitar.
His right hand also delivers the appropriate attack dynamics needed to control note and chord volume, note cutoff and muting. Most listeners who are not guitarists will probably not be aware of the need for meticulous care of the nails and cuticles. However, the educated reviewer can tell the difference between the string attack made by a fingernail, fingertip or finger pad. James' playing is clean, accurate, and not influenced by any distracting artifacts.
What must also be mentioned is the positioning of the instrument relative to the body of the musician. Too much body contact can negatively affect the resonance of the guitar body. Too little contact can contribute to poor control of the instrument in a mechanical sense, making it impossible to deliver consistent performances. When I perform, members of the audience will sometimes ask why I will hold a guitar a certain way for some songs, and differently for others. It all contributes to the development of the "sound envelope" or sonic waveforms developed through control of the instrument versus player interface.
While listening to James' performances, I can clearly hear all of the subtle nuances. They contribute to that "sound envelope", shaping the sonic experience. In my mind I can visualize the placement of the left thumb behind the neck, the arch of his left fingers over the fretboard, the placement of his right firearm on the body of the instrument, the placement of the heel of his right palm, and the angle of attack he takes with the tips of his right fingers as he coaxes the notes from the strings.
You may consider these infinitely variable elements to be less than important, but they define the difference between a "guitar player" and an artist. James is an artist of the highest caliber.
Timing, articulation, technique, arranging style, artistic interpretation, consistency, delivery technique...all of these define the differences between good players and great performers. James is at the top of his craft. I urge all who may read these words to explore all of James' work. I look forward to a time when we might have an opportunity to once again collaborate and perform together. Until then, I remain a devoted fan.
Thank you James, for gifts you share."
Chuck Ruggiero,
Watertown, New York
NOTE: If anyone has memories or testimonials, or favorite song, please submit them on the Contact Form. Even if they aren't posted, I would love to hear from you! We have only uploaded excerpts from some of songs and recordings. So if you have a favorite you have heard or poem you have read that you would like to see posted, PLEASE TELL USE, as we will try to get it uploaded to CDBABY...the sooner the better. You will not be able to submit photos or videos on blog comments but you can include links to the photos or videos you would like to share. We would love to hear from you! James Sundquist