Aaron Dugan

Aaron Dugan is a guitarist, composer and songwriter originally from Philadelphia who resides in Brooklyn. Dugan has performed and recorded with a wide variety of musicians and producers including Roots Tonic, Matisyahu, Trevor Hall, Bootsy Collins, Amy Carrigan, John Zorn, Maya Dunietz, Chris Tunkel, Mark Guiliana and Bill Laswell. Dugan has clinched two Gold Records as lead guitarist on Matisyahu's Live at Stubb's and Youth, and has recorded two solo albums featuring his own compositions.

Aaron Dugan
Dugan on-stage with Matisyahu during the Connection Festival in Jacksonville, Florida
Background information
BornJune 20, 1977 (1977-06-20)
InstrumentsGuitar
Associated actsMatisyahu[1]
Websitewww.aarondugan.com

Personal life

Born June 20, 1977, Dugan grew up in Northeast Philadelphia. Aaron grew up with a father who wrote and played music and was exposed to music and instruments at a young age. At fourteen, Dugan received his first guitar as a birthday present and spent most of his teenage years skateboarding and practicing guitar. In 1992 he moved to Willow Grove, a northwestern suburb of Philadelphia. There, Dugan began teaching guitar at the Pro Drum Music Works in nearby Glenside. In 1998, Dugan enrolled in the New School for Jazz and Contemporary Music in New York, NY.[1] He received a B.F.A. in Jazz Composition in 2001.

Career

While living in Brooklyn, NY[2] Dugan has spent the last decade collaborating with other musicians and performing on stages around the world. He studied Jazz Performance at Bucks County Community College with Ben Schachter and John Sheridan before attending the New School in Manhattan. There he studied with George Garzone, Steve Cardenas, Richie Beirach, Vic Juris, Reggie Workman, Jane Ira Bloom and others. He has released two solo albums as well as many others with various groups. He is a founding member of Matisyahu’s original band, touring with him for six years and co-writing/performing on five of his records released on Sony. Two of those albums are RIAA certified Gold. He co-wrote and recorded on the critically acclaimed Roots Tonic Meets Bill Laswell album that came out on ROIR records in 2006. He recorded on Lee Scratch Perry’s album Rise Again. He has recorded and performed with Mark Guiliana’s Beat Music. He has performed with pianist Maya Dunietz in Israel and Europe. He has also collaborated with a diverse set musicians such as Sly and Robbie, Anders Nilsson, Jaymay, John Zorn, Bootsy Collins, Matt Maneri, Andrew D'Angelo, Cyro Baptista, Me'Shell Ndegeocello, Amy Carrigan, Tim Lefebvre, Zeena Parkins, Nir Felder, Jeff Arnal, Mike Pride, Jason Fraticelli, Tim Keiper and many others.

Discography
YearBandAlbum Title
2000SevenseventeenSelf Titled
2000DucarriganiganSelf Titled
2000Astro-CusionO my O
2004MatisyahuShake Off the Dust... Arise
2004Senor Salty BallsSexual Checkers
2005MatisyahuLive at Stubb's
2005Astro-CusionFake Horse Mating Rituals
2006MatisyahuYouth
2006MatisyahuYouth Dub
2006MatisyahuNo Place to Be
2006Aaron DuganTen Improvisations
2006Roots TonicBill Laswell Meets Roots Tonic[3]
2007Chris TunkelGrey Matters
2007Jeff Arnal, Aaron DuganDog Day[4]
2008MatisyahuShattered EP
2009Aaron DuganTheory of Everything
2009MatisyahuLight
2009MatisyahuLouisville Light
2009MatisyahuLive at Twist & Shout
2009BalkSelf Titled
2010Trevor hallChasing the Flame
gollark: ?tag create blub Graham considers a hypothetical Blub programmer. When the programmer looks down the "power continuum", he considers the lower languages to be less powerful because they miss some feature that a Blub programmer is used to. But when he looks up, he fails to realise that he is looking up: he merely sees "weird languages" with unnecessary features and assumes they are equivalent in power, but with "other hairy stuff thrown in as well". When Graham considers the point of view of a programmer using a language higher than Blub, he describes that programmer as looking down on Blub and noting its "missing" features from the point of view of the higher language.
gollark: ?tag blub Graham considers a hypothetical Blub programmer. When the programmer looks down the "power continuum", he considers the lower languages to be less powerful because they miss some feature that a Blub programmer is used to. But when he looks up, he fails to realise that he is looking up: he merely sees "weird languages" with unnecessary features and assumes they are equivalent in power, but with "other hairy stuff thrown in as well". When Graham considers the point of view of a programmer using a language higher than Blub, he describes that programmer as looking down on Blub and noting its "missing" features from the point of view of the higher language.
gollark: > As long as our hypothetical Blub programmer is looking down the power continuum, he knows he's looking down. Languages less powerful than Blub are obviously less powerful, because they're missing some feature he's used to. But when our hypothetical Blub programmer looks in the other direction, up the power continuum, he doesn't realize he's looking up. What he sees are merely weird languages. He probably considers them about equivalent in power to Blub, but with all this other hairy stuff thrown in as well. Blub is good enough for him, because he thinks in Blub.
gollark: Imagine YOU are a BLUB programmer.
gollark: Imagine a language which is UTTERLY generic in expressiveness and whatever, called blub.

References
  1. "Aaron Dugan's Guitar Theory". TheGrixer.com. Retrieved 22 October 2012.
  2. Glasspiegel, William. "Chance Meeting with Aaron Dugan". Retrieved 22 October 2012.
  3. Heselgrave, Douglas (March 9, 2008). "Roots Tonic - Roots Tonic Meets Bill Laswell". Retrieved 22 October 2012.
  4. "Dugan, Dugan / Arnal, Jeff - Dog Day". Archived from the original on 5 March 2012. Retrieved 22 October 2012.
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