your new album and in your many live recordings I have enjoyed the mystery and
surprise of the interplay between improvisation and composition. It's often
difficult to tell which is which. Do you think you have a different approach to
this than most folks working in what's call fusion?
think so, but I haven't listened to fusion since the ’70s so I couldn't say.
I've spent lots of time trying to figure out how to balance the two elements,
that's for sure. It was one of my first targets back in the days of Long To
I tried to reinvent whatever I could within the stock format of guitar, bass
and drums, and the writing/improv duality was ripe for it, via experimenting
with different forms and combinations. Maybe you could say that a lot of fusion
tried to make the composition sound more like soloing. I flipped that around
and started improvising more compositionally, more like what I was writing
instead of the 16th note, post-bop linear approach that was sort of the stuff
of fusion and of my playing at that time. Once you give up what people normally
associate with "soloing"—long lines, approach notes, interval
patterns, licks, etc.—then what's left can sound suspiciously like composition,
even if it's the sheerest improvisation. To me it's a step towards unifying
those two basic musical elements, something I've imagined as a kind of ultimate
goal for some time now.
years making live albums and no studio albums of your own. What was
different about your return to working in the studio this time?
digitally, it wasn't that different from the live stuff. We felt free to play
partial takes, knowing I'd be able to edit later on - but we did that on live
gigs sometimes, too. It was odd to not play in the same room together. We
pulled it off but might change that next time. Mostly it was finally having
some sonic control over the thing, instead of being ruled by the chance mic
placement/passing fire truck/knife-fight-in-the-club issues with live
where ideas come from, does practice relate to composing for you?
don't derive composition from practicing, as some people have done so
successfully. Joe Zawinul for one, and probably every other important jazz
player of the ’50s and ’60s. My practicing is geared almost completely towards
improvising, and as I still haven't unified improvisation with composition, I
approach composing in its own way—one that practicing is a distraction from.
It's a certain internal place I go to, maybe "The Well" or something.
It’s the creative place of quiet, not to be obscured by excessive hand movement
or even the certainty of a groove. It's a place of expectancy, of hypersensitivity
to the moment and its connection with the infinite... Sorry for the bad poetry
but I don't know how else to talk about it. I mean, I also just hear a riff and
go for it sometimes, you know?
you have composed material in the melodic harmonic sense is it subject to
drastically different rhythmic improvisation? Or are the rhythms and grooves
part of what's composed?
my case the rhythms are as important as the melody and harmony, so I'd be no
more or less inclined to change them as I would those elements. The grooves can
change drastically, though. That was kind of a signature for us in the Your
period. The inspiration for that might have been the Miles Davis quintet of the
mid ’60s, playing the same bunch of standards every night without boring
everybody to tears.
are your influences and models in thinking about groove and feel?
a listener it was initially the California funk bands of the early ’70s. Sons
of Champlin, Tower of Power, Cold Blood, and Santana. Then it was Herbie
Hancock's Headhunters. Then Sly Stone and Prince. In terms of professional
experience, Anthony Jackson made a huge impression. His placement was unlike
anything I'd ever heard. But I still thought I had pretty good time until I did
some recording wIth Donald Fagen and Walter Becker. It was then I realized
there was a center to the beat that I wasn't hearing. I started imagining what
my music would sound like if I could key off that center. So I focused on that
intensely for years after.
the ring modulation thing a particular style of jamming? Are there subsets to
guess so, based on the Electronica thing, but maybe funkier and all live, of
course. It doesn't sound stock to me so it's cool. Sometimes when I hear people
trying to do the d'n'b thing live its too imitative, too referential to stand
on its own. We escape that because that is never our aesthetic, no matter what
style we're trying on for size. It still sounds like us, just filtered through
some different processors.
seem to use echo in a very controlled way—often in time with the track? Are you
using tap tempos? Is it more than just a timbrel thickener? What does echo do
haven't found a tap delay that I can get comfortable with or that sounds good,
so I just try to tweak it manually, often with disastrous results. Mostly I
think of it as a rhythmic device and randomly try for settings that make some
kind of metric sense with the current tempo. Sometimes I use it to make
ultra-distorted sounds more listenable, though that can feel like cheating. But
should someone do if they want to be a better guitar player?
out some time each day for practice. Younger people have an easier time with
this. Older people usually have more going on and less time for themselves.
Players know that practice is work, necessary to make the world a better place,
but non-player friends and family will see it as selfishness, even laziness.
Commit to at least a half-hour a day and do what's necessary to keep that slot.
If you're not obsessive, you'll need to make your practice style fun to keep it
up. That means making music out of it. Routine hand patterns for scales and
chord inversions are the dullest things on earth for anybody even modestly
creative. Using a tape recorder and a metronome, make every bit of practicing
you do sound enough like music that you can listen back to it and maybe even jam
along with it. Whatever you practice, record it with the metronome and ask
yourself, "How can I make what I'm doing sound more like music without
just falling back on the licks I know?" Any answers you can come up with
will make you a better guitar player. Guaranteed!
Emma Effects Releases The DiscumBOBulator Auto-Wah Pedal
Emma Effects Releases The Okto-Nøjs Octave-Fuzz Pedal
Robin Zielhorst Releases Four New Solo Bass Playthrough Videos (WATCH)
This Week in Free Stuff: Music Maker DAW & Field Recordings
Video: Mixvibes RemixLive 3.0 Brings Finger Drumming to Android
Drag-and-Drop Sound Effects from the Cloud to Your Projects with Soundly
Eliane Elias Celebrates the Samba on Her New #1 Album Dance of Time
The Art of Synth Soloing: Joe Zawinul
DISCOVERY – Thelonious Monk: Les Liaisons Dangereuses 1960
Prisma Accardo: A Boutique Beauty Built from Hard Rock Maple Skate Decks
Watch Chuck Berry Rock the Grammys with Stevie Ray Vaughan and George Thorogood
Line 6 Introduces Echo Farm 3.0 64-Bit AAX Native Plug-In
Ghost Announce U.S. Headlining Summer Dates
Contestant Performs Death Metal Version of "Born to Be Wild" on Québec’s ‘The Voice’ Series
Mastodon Unveil Exclusive Coloring Book Vinyl Jacket for 'Emperor of Sand'
Everything You Need to Know About Modes, Part 1
Watch Eddie Van Halen's "Beat It" Guitar Solo Performed on Bottles
Hear Steve Vai's Isolated Guitar from "For the Love of God"
Copyright ©2017 by NewBay Media, LLC. All Rights Reserved. 28 East 28th Street, 12th floor, New York, NY 10016 T (212) 378-0400 F (212) 378-0470