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Anthony
Weller (born September 18, 1957, Macon, Georgia) is a jazz and
classical guitarist and composer. He first studied the guitar at
Phillips Exeter with Walter Spalding, and began playing professionally
at 18. He took a degree in music at Yale, then moved to New York, where
he was active performing and recording in both genres. Weller also
trained extensively as a composer with Julián Orbón for ten years, and
has written works for piano, orchestra, voice, and chamber ensembles, as
well as solo guitar; in 1977 his background score for three Tennessee
Williams plays was honored by a circle of Atlanta theater critics. He
left New York to spend several years in Amsterdam and Paris, and is now
based in the Boston area.
On classical guitar Weller was a
longtime disciple of the virtuoso Rey de la Torre, one of the great
guitarists of the 20th century and the most eminent disciple of Miguel
Llobet, and completed the highly-praised De la Torre edition of the
Carcassi studies for Orphée Publications. Weller is currently preparing a
companion edition of Sor studies. He has concertized and taught all
over the world and premiered the work of composers Julián Orbón, David
Erlanger, Steven Kinigstein, and Robert J. Bradshaw. He also performs
with the Boston Artists Ensemble, and with flamenco guitarists Valdemar
Phoenix and Peter Regis in Guitarramania. He contributed a master class
and a concert to both the 2004 and 2006 Newport Guitar Festivals.
He
plays concert guitars made by John F. Mello (www.johnfmello.com),
Michael Cone (www.coneguitar.com), and Francisco Navarro Garcia.
Weller’s
main jazz studies were with Allen Hanlon and Ike Isaacs; he has also
studied with Pat Martino and Tuck Andress. Another influence has been
his friendships with London guitarist John Etheridge, with whom he has
given concerts in the USA and the Middle East, and with legendary solo
guitarist Tommy Crook of Tulsa, Oklahoma. He regularly collaborates with
Turkish Cypriot pianist Arman Ratip, playing a hybrid of jazz and
Turkish folk music.
While often performing solo, Weller is also
part of four prominent groups. As a member of the Jon Jarvis Trio he has
recorded with violinist Stéphane Grappelli and appeared in New York’s
JVC Jazz Festival and at Birdland. He is co-founder of Chamber Jazz,
with trombonist Philip Swanson and reedman Michael Rossi. Since
1995 he has been guitarist with the trio of eminent trumpeter Herb
Pomeroy. More recently he has joined forces with vocalist Maggie
Galloway and bassist Bob Nieske. He duos frequently with clarinetist
Billy Novick, and bassist Thomas Hebb. Over the years he has also
performed with Joel DiBartolo, Evan Ziporyn, and Brian Torff.
Weller
is a worldwide endorser of Thomastik-Infeld classical and jazz guitar
strings, and of Höfner jazz guitars. For years he taught both jazz and
classical guitar at Brandeis University; he now only teaches privately.
To inquire about music lessons, concerts, gigs, scores, or recordings, please send Anthony an e-mail.
WHAT THE CRITICS SAY
“A
brilliant classical guitarist who... brings a wonderful technique and
intelligence to his jazz playing. A superb musician with focus and
drive... very creative.”
— Herb Pomeroy
"A great guitarist."
— Ñico Rojas
“Lovely... an uncanny sense of pace and volume.”
— Downbeat
“The audience held its collective breath while he played, and kept Weller
for a standing ovation and three encores.”
— Istanbul Times
“An outstanding jazz and classical guitarist.”
— James Sallis, author of The Guitar Players
“Virtuosity used for the sake of the music.”
— Tuck Andress
“Stylish, elegant playing.”
— The Boston Globe
“Weller’s reputation for artistry and scholarship has been well-earned.”
— Macon Telegraph and News
“Masterful skills, romantic touch, unbelievable technique... Creative,
lyrical, powerfully executed playing.”
— Pan (Cyprus)
“Sweet, clear, Weller can bring tears to the eyes of anyone listening to his guitar.”
— Arizona Daily Sun
“Gorgeous!”
— Brookline Tab
“Sonically explorative and rhythmically adventurous fretwork.”
— Vermont Review
“Haunting... technique to burn.”
— 52nd St. Review
“Sleek beauty with class.”
— Short Takes
“An unbroken string of ideas.”
— The Boston Phoenix
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