Farms supply KFC with around 23 million chickens each year and its chains sell almost 400 pieces of chicken every minute.
At one farm around 34,000 chickens are penned into sheds with few windowsAbout 1,000 farms in the country supply KFC with 23million chickens a year.
The supplier, who has 35 yearsa€™ experience, says: a€?As you can see, theya€™ve got beautifully clean feet and that is a good sign that these birds are healthy and theya€™ve been grown on good litter.
The views expressed in the contents above are those of our users and do not necessarily reflect the views of MailOnline. I’ve always been fascinated by songwriters who change keys in their tunes to create unexpected lifts and dramatic moments in common chord progressions. Changing the IV chord to a minor chord introduces an F natural to the key signature which creates tension, but makes the resolution to the I chord at the end of the bar sound stronger. Lately, I’ve been checking out some music from fusion wizards Allan Holdsworth and Derryl Gabel and was inspired to explore chord voicings with wide stretches.
Although the left hand stretching takes some getting used to, the close intervals on the D, G, and B strings create a modern dissonance that can breathe new life into old chord progressions. In a genre dominated by traditionalists, you’d be hard pressed to find a blues guitarist with a more pristine tone, sterling skill, and forward thinking songwriting than Matt Schofield.
From a songwriting point of view, his tunes possessed a fresh vibrancy as they stretched out from typical chord progressions and arrangements without losing their blues appeal. Virtuoso supergroup, The Winery Dogs, played the last gig of their year long tour at The Phoenix last Sunday. Sheehan and Portnoy played gargantuan grooves driven by their tireless energy and ferocity, all while pulling off acrobatics on the bass and drums.
Jazz veteran John Scofield brought his exuberant brand of funk last night to the Toronto Star Main Stage with his Uberjam band: Avi Bortnick (rhythm guitar and samples), Andy Hess (bass), and Louis Cato (drums). In this post, triple threat singer, songwriter, and shredder extraordinaire Richie Kotzen talks to me about The Winery Dogs, improvising, and songwriting. Your legato technique is one of the best around and I’ve heard you say you used to study Allan Holdsworth in the beginning. As far as how my style evolved, initially I gravitated towards things that were easy to me. From transcribing a lot of your solos, I notice you often play sequences of major 7 and minor 7 arpeggios instead of just sticking to a scale. It’s important to not look at the instrument in terms of patterns, but as available notes. The ability to analyze a Coltrane solo and apply that to playing over changes means you have a deep grasp of music theory. On The Winery Dogs, you and bass virtuoso Billy Sheehan play a lot of high speed lines in unison. Working with a progressive rock drummer like Mike Portnoy, did it challenge you to make any adjustments to your playing style or the way you arranged your vocals?
I’ve read that you come up with solos by just improvising over a whole song and then picking out parts that stand out.
In anticipation of his performance at the TD Toronto Jazz Fest on June 26, I had the honour of chatting with jazz guitar legend John Scofield. The last time you were in Toronto for the TD Jazz Fest, you mentioned in an interview that you don’t believe music can be taught.
Were there any particular classes you took while attending Berklee School of Music that helped you make some breakthroughs? From teaching at NYU and conducting workshops, what have you found are some of the recurring problems guitarists ask for your help on?
I’ve read interviews where I got the impression you don’t necessarily like to talk about scales or break down your playing, but is there any way you can shed some light on the different soloing approaches you use? Researcher and former Army officer Alec Barker creates heat maps that illustrate how the Afghan fight is evolving. We use your email address to provide you with better customer service support, and to update you on Kotula's internet specials that you have requested. KFC say that all their suppliers meet or exceed UK and EU welfare requirementsa€?Millions of these birds, just like the ones KFC is commissioning to be produced die in sheds wretchedly and painfully every year.a€?These birds are deprived of everything that makes life worth living. In this series of blogs, we’ll look at strategies for changing keys from some great songsmiths.
Notice that this section starts in the key of A, with Mike fingerpicking the I chord in the first bar and then descending diatonically to the V chord, E. This is because there are now two chromatic movements on the B and G string (D to C# and F to E, respectively) when moving from Dm to A.
For now, experiment with Strategy 1 in your own chord progressions and see what melodies it inspires in you.
Here are seven 4-note voicings of add9 chords built from the C major scale that I’ve been experimenting with. When used with generous amounts of delay, reverb, and chorus, these voicings can conjure an ethereal atmosphere, while playing them through a distorted amp produces sinister snarls. Upfront, Kotzen dazzled on the fretboard with his effortless mastery of legato, fluidly ripping from one lightning idea to the next.
The unassuming guitar hero serenaded the audience with a captivating instrumental set that echoed nostalgic elements of country, surf, doo wop, and rock and roll.
Backed by the dynamic Kenny Wollesen and Tony Scherr on drums and bass respectively, the music conjured a charming cinematic mood of an idyllic and rustic past. The quartet played an irresistibly groovy set consisting of songs from their latest release, Uberjam Deux, as well as a few cult favourites from the original Uberjam record released in 2002.
The music transcends into a feverish atmosphere of celebration with Sco as the master of ceremonies at the centre. Over a Bb7, Sco ascends on a maj 9 arpeggio and targets the major 7th interval to create tension before descending on a major triad and ending with the minor pentatonic scale.
For whatever reason, it might just be my physical makeup, like the size of my hands, legato came easier to me.

You have the whole neck at your disposal, but a lot of guys get caught up in playing one little section of the neck because they’re thinking in terms of the pentatonic box, for example. I had two different guitar instructors when I was very young, so I learned the foundations of theory and harmony. Could you describe some things you’ve learned from him as a musician from this experience? On the record, I had written certain lines into the songs and there were other lines that Billy wrote, which came out of improvisation. For me, I got to a point where I realized that there is no such thing as writer’s block. Two of the many standout moments in his solo are the sequence of arpeggios (Emin7, A, D, and G) that he plays in bar 40 and the chromatic ending in bar 42. In this interview, he talks about developing as a jazz guitarist and his album, Uberjam Deux.
He had a really great way of explaining how to take straight melodies and turn them into jazz.
Now that you’ve toured these songs a lot, how have your improvisations on these vamps evolved? Army officer, we don't have a very firm grasp on the nature of IED attacks in Afghanistan. That might still be true, but Barker uses these graphs to show that the Taliban, aided by training and information-sharing, are able to learn new tactics faster than ever before and disseminate them farther. The kits will arrive on the chassis and would take you approximately two days to assemble it.
You can expect to receive emails including the latest exclusive offers, sales events, and special announcements. I cana€™t think therea€™s anything better than being sat in a chicken farm looking at chickens.
The next step after this is to be grabbed by their frail legs, and shoved in crates and taken off to slaughter. In bar 2, Mike avoids simply moving down the scale to the IV chord, D, and breaks out of the key by playing a Dm (in this case, a Dmadd9). To end the lick, he descends on the Fmin pentatonic scale with some slides and the major 3rd thrown in to create a slippery blues feel.
Use the ring finger on the low E string, the pinky on the D string, the middle finger on the G string, and the index finger on the B string. John’s father and Rock and Roll Hall of Fame bassist, Prakash John, also joined the trio for a spirited Elmore James cover that got the delighted crowd off their seats dancing. Each member is widely celebrated and revered on their instruments and displayed their strengths by creating moments within songs where they played impossibly intricate lines in unison. Scofield was in peak form, masterfully executing screaming blues bends, burning bebop lines, and effects driven squeaks from his guitar that incited constant whoops from the crowd. On the last note of the lick, yank the string off the fretboard repeatedly with your fretting hand while still holding down the note to create Sco’s patented warbling effect. So it evolved quicker and became it’s own thing that helped me formulate a style when I was 17 or 18. If you’re playing over a G major chord, for example, you can play an E minor arpeggio.
I made a solo record during that time called Mother Head’s Family Reunion, and I felt I was connected and playing really well. Both Mike and Billy allow me space to do what I do so I can be at my best, and at the same time, I allow space for them. Now, all of a sudden, I had a clear picture of where they needed to go, lyrically and harmonically, and I finished a couple of them. From a songwriting point of view, notice the key change in the chorus to create lift and the use of a bV (Bb) chord to return to the key of E in the verse instead of the more common V (B) chord. I had a lot of records and I listened to them and tried to copy them to learn how to play jazz on the guitar.
I went to Berklee when I was 18 and before that, I hadn’t really played with many jazz musicians. The fact that he had me in the band and thought that my style was good gave me a lot of confidence. In every solo, Matt avoided the usual blues cliches and instead, made major melodic statements with exemplary phrasing that escalated in intensity. For fans of live music of any genre, Scofield’s Uberjam is an experience that cannot be missed. Then as I grew as a person, I started to realize the reason I play guitar is not to master any techniques, but to create music.
What I did was dissect Coltrane’s playing and sit for hours playing along with his solo.
As a musician, you don’t want to be playing a solo thinking in terms of scales and patterns. I wanted to double it, but I didn’t have that technique in my repertoire, so I came up with a way to use open strings and fingerpicking. Maybe there were times when I was playing rhythm guitar that I could have played something with more movement, but because of what they were playing, I just played whole notes and kept a foundation for them, and they do the same for me. Now, this is only going to be a true philosophy for someone that has years of experience writing songs. So if you allow yourself to not have that kind of pressure on you, it’s surprising when the inspiration comes.
Also, I can’t just be in the studio for a year on end because it becomes a labouring process. But I think more than anything, it was hanging out with other musicians that were better than me and learning from them. I played with guys that were attempting it like me, but really didn’t know how to play.

They’re just going from one idea to another freely and they get their mind so that it can respond quickly to the stuff around them and to allow their subconscious to speak and come through.
By combining four different data sets, Barker was able to create 42 maps of IED attacks in Afghanistan over the last seven years. In the future, its not hard to believe that this might be the difference between finding a reasonable strategy—and floundering without effect. So I started to focus on that as a singer and wrote songs where I could still play guitar and have fun with solos, but also had something to sing that had to do with me personally, my perspective, and my life experiences. You want to be free of thought and you want to be connected to the instrument and the music. Especially live, when I’m improvising my solos, I can depend on them to support me so I can build something. I don’t really wake up in the morning, pick up the guitar, and start practicing things I already know. Now, the real key is knowing what to do when you have that inspiration and knowing how to follow through and complete a song.
The minute you start to feel that, your work is going to suffer, because you’re not going to be inspired.
But when I went to Berklee in 1970, I got to hear people that could actually do it and meet kids my age that could swing and play tunes. That can happen any time and the live thing has to be some sort of an open lab for things to happen. And using those maps, he was able to draw conclusions about how the war is evolving, the aims of the major factions involved, and strategies in play.
It becomes instinctual muscle memory and you know where those notes are all over the guitar. So we ended up with unison lines that are unique because they weren’t executed the same way. Sometimes, I just like the beginning of a solo I played, but then I start hearing melodies over the chords and I want the solo to go somewhere different. And for the kind of work that we do, you need that inspiration for your music to really make a difference. I guess I try to play with taste more than ever now, because I hate listening back to myself and hearing myself just whacking off. That music really was the music of America that happened then and kind of went around the world.
Then you can stop thinking in terms of patterns, and start thinking in terms of individual note sequences laid out across the entire neck, not just in a little box. I call it a bridge and what that bridge is doing is connecting the internal self to the exterior, which is the instrument. I practiced all the time and just developed quicker because I got to play with these people. Am I supposed to listen to other people or listen to myself?” All I can do is tell people what I try to do when I play. The maps are divided into types of IED, and they show how lethal and frequent each one has been over time. Free shipping promotion and associated terms and conditions subject to change at Kotula's sole discretion. Free shipping promotion and associated terms and conditions subject to change at Kotula's sole discretion. About 900million of these birds are produced in country each year about 30million-plus die in the sheds.
Unfortunately, a lot of them don’t really create music that most people want to listen to. As a beginner, you have to do things like learn your scales and play with a metronome to learn to play in time. The famous names like my contemporaries Pat Metheny, Gary Burton, and Steve Swallow were there. I can appreciate the technical side, but at a certain point, there’s got to be a reason to develop it. In my opinion, the musicians that have affected us the most are the ones that found that bridge. Keeping it fresh is so important and that’s the hard thing to do with a band like Uberjam that has a limited repertoire. You develop a skill set in order to execute what you want to create, and that’s my focus. Theory is a good tool to explain the how and why something works, but it’s my belief that when someone is playing something musical, the last thing on their minds is the theory of it.
We have to work on new ways to approach stuff and have enough songs so we don’t play the exact set every night. All of a sudden when you’re there, certain combinations, like a certain groove, feels good.
I’ve had maybe 10 or 15 songs that happened like that for me, so I know what that feels like.
The ear has to be good so you can pick up on it in that mysterious way that the brain works where you just remember things. It seems to be more heartfelt than just playing a string of licks and I try not to do that, even though I like to play fast sometimes too. Playing fast is just another colour, but you don’t want to play like that all the time. At some point, when the song is meant to be written and you connect with it, the whole song will be written.

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