You did it right - so many folks overproduce, fill in every gap of silence with filler, and end up with a CD that no longer resembles the live heart and soul performance. This preserves what you do for all ages, just like we hear it now live. And Reid Papke – jeez, how does he just know exactly what should be where on bass to make the dance floor for the rest of it to twirl on...good stuff.
Lonnie was a very accomplished studio guitarist. He was first call guitarist of writer, producer, keyboardist Herb Pillhofer at one of the finest, cutting edge studios in the Midwest, Sound 80, for years. It takes a very versatile musician and a good reader, as well as a nice guy to be a successful studio musician. And Lonnie was all that and more.
The late great Lonnie Knight played an arch top. Lonnie was a great supporter of my work and test drove almost every new guitar I hung at the store [The Podium]. I did not rest easy until he gave his blessing and advice.
The acoustic guitar resonates with me more than any instrument and no one plays it better than Lonnie. He is one of those prodigies whose talent is only overshadowed by his humility. Lonnie has performed and headlined in some of the area's eminent bands and has been a top session player for as long as there has been a music scene in the Twin Cities. I don’t know anyone who isn’t in awe of his guitar playing. His songwriting is incomparable with interplay (no pun) between melodic instrumental lines and pure lyrical poetry. He’s a master.
Lonnie is the type of performer you don't really want to follow on stage because there's no way you can play like him and there's no way you can sell a song like he does. Lonnie is one of those guys who can disassemble a song, look at all the constituent parts, tweak them and then reassemble the song into something fresh and alive and purely Lonnie Knight.
Dear Lonnie, It is a great joy to collaborate in music with a man of your exceptional caliber and was a great comfort to know when you play, you know the parts and have done whatever it takes to execute it, as you did at The Dakota, a very memorable show for me, and The Webber. You are a remarkable man in all ways.
Lonnie Knight reminds me of a fine wine because his art gets better with time. Lonnie's metaphors sink into the soul like a poet's words in most of his melodies.
While the night (Salute to the Music of Bob Dylan) was filled with guest stars who cycled in and out of the front-person slots, the backing band was possibly the most noteworthy part of the evening. Anchored by guitarist/vocalist Billy Hallquist, guitarist extraordinaire Lonnie Knight and several others (including two percussionists), the group bobbed and weaved deftly through all the tunes, improvising where they could and providing support in just the right ways. Knight was particularly impressive, his liquid soloing clean, fast and inspired. Easily, he could play in Dylan's band and be much more interesting than the folks Dylan himself is currently carting around the globe. He added expression to the occasionally rote 1-4-5 song structures.