Fareed Haque

1997

Ultraviolet Hippopotamus at Bell’s Brewery in Kalamazoo (Friday) After an opening set from Kalamazoo prog-rockers Lazara — a band that is preparing to release its second EP in the coming months and has a sound similar to early Umphrey’s McGee — Grand Rapids’ experimental, multi-genre-fueled jam band Ultraviolet Hippopotamus (UV Hippo) took to the Bell’s stage Friday night, leaving some in the audience wondering what happened to former Garaj Mahal guitarist Fareed Haque, who was also supposed to be supporting Hippo.

Haque, who has been touring with legendary jazz drummer Billy Cobham of late, lent his support in a different fashion, however, as four songs into UV’s two-set performance, the Chicago guitar virtuoso joined the GR quintet on stage, where he added plenty of improvisational jazz-infused, high-neck solos to the mix for the remainder of the show while playing on a gorgeous Stromberg Montreux.

Jazz Tuesdays featuring Fareed Haque II 12/19/17

Larry Eifert Published on Feb 15, 2018

Playing his Galloup Guitars prototype #3, 17" bout archtop, no F-holes, flat back, thinline

I used it on a blues track with Cassandra Wilson, and it was like playing through an old Fender Princeton. Rock guitarists didn’t invent distortion— some sitar player invented it a thousand years ago [laughs]. Our ears and bodies have always loved the complex harmonic overtones of stuff that buzzes.

Fareed Haque - Two Venezuelan Waltzes [Sunday Night Live - 1989]

Performing on Gibson Chet Atkins Studio CEC

Fareed Haque, Tony Monaco, Greg Fundis LIVE in Boulder, CO

Jeff Pistana Published on Dec 10, 2015

"All God's Chillun Got Rhythm" Performed by: Fareed Haque: guitar Tony Monaco: organ Greg Fundis: drums

Playing his transparent amber Stromberg Montreux archtop

Modal Improvisation - #2 - Guitar Lesson - Fareed Haque

TrueFire Published on Nov 14, 2012

Using his D'Angelico NYSS-3 archtop in this tutorial series.

I’ve tried all that digital-processor stuff, but I like cheap pedals better. To me, the tone has more grit and balls. On the road I use a Boss ME50 that sounds great, but I have a few old pedals that I always go back to, like the Crybaby wah, DOD envelope filter, Electro-Harmonix stuff, and now the Pigtronix pedals. Of course, Moog pedals are also the bomb. As for amps, about 90 percent of the time I use a backline rental amp at wherever I’m playing.

I played it through a Boss ME-50, which I regularly use for distortion and most of my effects, and a Polytone Mini-Brute.

Fareed shown with his Gibson L-5S Custom in cherrburst finish for his profile picture for this organization Conscience Alliance.

Moving easily between jazz and classical guitar, guitar virtuoso Fareed haque has worked with prominent artists including Paquito D’rivera, Dave Holland, Sting, Joe Henderson, Joe Zawinul, Cassandra Wilson, Kurt Elling, Lester Bowie, Arturo Sandoval, medeski, Martin and Wood, Kahil el Zabar, Defunckt, Ramsey Lewis, Nigel Kennedy, Edgar Meyer, Robert Conant, Stephen Stubbs, Frank Bungarten, members of the Vermeer Quartet and many symphony orchestras in the U.S. and abroad. He has permformed all of the major guitar concertos, is an active transcriber of baroque as well as South American music and has had numerous modern works dedicated to him.

Jazz Tuesdays featuring Fareed Haque II 12/19/17

Larry Eifert Published on Feb 15, 2018

I have some amazing guitars, like a newer Guild Artist Award that has great sustain and tone. It just got repaired by Saul Koll after Southwest Air snapped the headstock in half – fortunately, the airline has been great about paying for it.

I have a ’71 David Rubio classical that is being restored by a wonderful luthier name Ron Pinkham in Maine. It can be heard on Flat Planet on the duet with violinist Kala Ramnath – just gorgeous tone.

I’ve tried all that digital-processor stuff, but I like cheap pedals better. To me, the tone has more grit and balls. On the road I use a Boss ME50 that sounds great, but I have a few old pedals that I always go back to, like the Crybaby wah, DOD envelope filter, Electro-Harmonix stuff, and now the Pigtronix pedals. Of course, Moog pedals are also the bomb. As for amps, about 90 percent of the time I use a backline rental amp at wherever I’m playing.

Lastly is my joy, a 1981 Ignacio y Hijos Fleta classical with spruce top and Indian rosewood back and sides.

The Moog Guitar is off the charts. It can create infinite sustain without distortion in a completely organic way. All you have to do is manipulate the flow. They brought me a prototype when Garaj Mahal was in the studio, and I did about five improvisations to demo it. I used the most interesting one to introduce “Jamie’s Jam.” That was done in Full Sustain mode [For details on the Moog Guitar’s three modes see “Paul Vo Collector’s Edition Moog Guitar Prototype” in the November 2008 issue of GP]. I used the Moog on the rest of the tune as well, because it seemed like a natural vehicle. I played it through a Boss ME-50, which I regularly use for distortion and most of my effects, and a Polytone Mini-Brute.

” I love the Alhambra line of classical guitars! The Flamenco models 7fp and 10fp are fantastic recording guitars!

Traditional spanish sound and construction, superb playability and intonation, impeccable balance. The thinline classical acoustic electrics serve me perfectly in live settings at rock concert volumes, they still provide an excellent sound with minimal feedback issues. Blending in mic and pickup at lower volumes has produced a lovely tone, with audience members and musicians alike loving the sound, unaware that the guitar was amplified at all!

At the upper end, the Luthier and Professional models are true concert guitars. I have owned Fleta, Rodriguez, Ramirez, Rubio guitars. The Alhambra guitars stand side by side with these historic guitars. The Alhambra concert guitars are powerful, with fantastic projection and a fat, clear sound, musical, expressive and dynamic – a great performing guitar at a fraction of the price!”

” I love the Alhambra line of classical guitars! The Flamenco models 7fp and 10fp are fantastic recording guitars!

Traditional spanish sound and construction, superb playability and intonation, impeccable balance. The thinline classical acoustic electrics serve me perfectly in live settings at rock concert volumes, they still provide an excellent sound with minimal feedback issues. Blending in mic and pickup at lower volumes has produced a lovely tone, with audience members and musicians alike loving the sound, unaware that the guitar was amplified at all!

At the upper end, the Luthier and Professional models are true concert guitars. I have owned Fleta, Rodriguez, Ramirez, Rubio guitars. The Alhambra guitars stand side by side with these historic guitars. The Alhambra concert guitars are powerful, with fantastic projection and a fat, clear sound, musical, expressive and dynamic – a great performing guitar at a fraction of the price!”

Fareed Haque utilizes the DigiTech iPB-10 Programmable Pedalboard, as detailed on his official gear page.

Fareed Haque plays "La Rose" by Mauro Giuliani (Op. 46, No. 9) on the Alhambra Luthier India

alhambrausa Published on May 10, 2011