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Q: How
much did your classical playing affect your electric guitar sound?
- from Mateusz
A: Very
much so. This has worked both ways. My electric approach works on
classical. But in the end, its just a different sound. The most
important thing is to try and service the song or music you are
playing. The attack of electric works wonders on a classical and the
softness and purity of classical can work on electric.
Q: My
question is - what was it like to co-headline on the tour with the
Grateful Dead? Did you get a chance to jam with Garcia and Weir? What
did you think of Jerry's playing? - from Ron
A: I was
the only member in Sting's band who was and still is a Dead Head. I
have been a fan since I was fifteen. I particularly like the 'Blues
For Allah' album. Of course it was an honour to share the stage with
Jerry Garcia. He is one of my all time heroes. I love the way he plays
(played). No one sounded like that. He has an instinctive way with
modes. Doing those shows was like a dream come true because I felt I
had a connection with their audience. Unforgettable experience.
Q: Just
bought the collection of JW's guitar work. I must say it is stunning.
Have you ever met him or worked with him or are you in a way
influenced by what he does because he plays J S Bach too? - from Peter
A: I am a
great admirer of John Williams' playing. He is the tone and technique
meister. For interpretation on Bach I always preferred Julian Bream.
Q: I was
just wondering if your music has been influenced at all by Arabic
music? I know Sting has recently (well a few years now) introduced
Arabic sounds to his music and songs such as 'Mad About You' and 'Desert
Rose' a great testament to this successful music combination, your
guitar work on these songs is absolutely amazing. Have you attempted
to combine these unique sounds in your work? - from David
A: I am
partly influenced by Arabic music. There is something very deep and
spiritual about music from the region. There are many styles of music
I find myself subconsciously and sometimes consciously bringing in to
my music. Arabic is one of them. I am very happy to hear you find some
meaning in my music.
Q: We
would like to know how it was to work with Kenny Kirkland? - from Mel
& Aischa
A: There
isn't enough memory on my computer or anyone else's to even come close
to expressing my admiration for Kenny Kirkland. I couldn't possibly
answer this question casually. I will say this. He was a genius, an
inspiration, a gentleman and without doubt, the most fascinating soul
I have ever met. Life isn't the same without him. I put him up there
with John F Kennedy, Lennon, Jobim, Mother Theresa and many others.
Q: In your
session work (most notably with Sting), I appreciate that fact that
the your guitar parts always seem to compliment the lyric or verse.
Although sometimes quite subtle, the method in which your voicings
weave in and out of the songs remind me quite a lot of Lindsey
Buckingham. Does your feel that your classical reference point has
contributed to your ability to express or restrain your session guitar
work (as you always seem to 'play for the song')? - from Chad
A: Thanks
for this. Lindsay Buckingham is one of the most creative song
accompanists on guitar. His parts always sound perfect to me. I am
flattered you should put me in the same paragraph as him. Yes I do in
some way model my approach on his, but there are also many others.
Classical playing has been of some help, mainly with technique which I
sometimes use on electric and visa versa. But my main instrument is
musicianship. I like to be true to the song and complement it as much
as it deserves, if not more. Having some classical background and
listening to people like Lindsay Buckingham helps make this possible.
Q: I
wanted to ask you about the development of one's own voice, and the
journey to get there. There are only a handful of guitarists that I
can name, who I can identify after 1 or 2 notes. Much like we can
immediately tell Bing Crosby's voice from James Taylor in milli-seconds.
You are one of those guitarists who I can tell immediately. I wrote
you a while ago regarding your chords and arrangements of songs, and
you replied back that chords are like the colours on a canvas, or the
adjective to a phrase. I hear that in your playing in such a way that
I know it is you. How did developing your own voice happen, when did
you realize it was happening, and what did you do to nurture it? -
from Jonathan
A: This
may sound odd but to create your own voice as an instrumentalist, I
think the last thing you should do is try. If you believe in the laws
of practice and patience it will come. This is why I don't consciously
remember any point at which this happened with me. I never tried to
have my own sound, it just evolved that way and still is. What makes
everyone unique is what they listen to and practice. This is your
fingerprint. But if you only listen to one style or very few you are
decreasing your chances of having any identity of your own. It's only
logical. If anyone wanted to set out to create a style I would tell
them to open their minds and hearts to as many genres as possible and
then try and understand their respective disciplines. It's the
combination of these styles and how you use them that will eventually
make you stand out. People will start to talk and then work will come.
I don't believe any real successful guitarist can say they have
arrived. The ones who have their own styles are constantly raising the
bar and trying to grow. Their styles are evolving the same way they
are.
Q: I was
wondering a bit about you experience with Sebastiao Tapajos - what he
taught you, what songs of his you still play live, did you keep in
touch afterwards? - from Julian
A:
Sebastiao taught me about the possibilities with a guitar. He taught
me the concept of using the instrument as a small orchestra playing
different parts together. He taught me how to put emphasis on melody
and how to support it. He lightened up my world and I still apply his
principles to my playing. I haven't been in touch except for when I
saw him last time we were in Rio de Janeiro with Sting.
Q: Curious
what inspired you to pick the guitar over any other instrument? - from
Seika
A: My
sister (Julie) and father were always playing the guitar since I was a
baby so it seemed a natural choice of instrument. We were listening to
The Beatles, The Rolling Stones, Bossa Nova and a lot of Argentine
folk music which is all driven by the guitar. Eventually Julie taught
me. She is a natural.
Q: What is
your opinion on the guitar playing of the Edge, Joe Satriani, and
Steve Vai? Do you like their music? - from Adrien
A: I think
the Edge is one of the most influential guitarists today. He has a
real talent for complimenting the song with great parts. He is a huge
influence on me. I am not a big fan of Joe Satriani nor Steve Vai.
Although I think they are great guitarists I cannot make a connection
with their music. This doesn't mean they aren't great. It's just that
I find it hard to identify with their approaches.
Q: I was
wondering if you've heard music from Yngwie Malmsteen and/or Uli Jon
Roth (heavily influenced by Bach and other classical composers
however, interpret them in a different non-traditional context) I'm
sort of stuck in the middle of playing this style and traditional and
your style has now crept up on me ( Especially the way you arrange),
and if you have any tips on going for more originality? - from Anthony
A: I
haven't heard either of these. I will look into them. More
originality? I always find it helps to listen to the way other
instrumentalists tackle Bach. I don't learn much by listening to the
way other guitarists interpret. I am more interested in the way Glen
Gould plays this music on the piano. He manages to make every single
note mean so much. We guitarists focus too much on just managing to
play the notes. This is fine but there is so much more there.
Listening to others has helped me with phrasing ideas. It has also
helped me with timing. I must recommend you listen to Glen Gould. Then
perhaps take any piece of Bach that you may already be working on and
see if there is any improvement.
Q: Is
there any artist you haven't performed with yet, but really would love
to? And what about performing with orchestras - there are, for
example, some very nice pieces by Joaquin Rodrigo that I would love to
hear in your interpretation? - from Arthur
A: Joni
Mitchell is an artist I haven't worked with whom I would like to. I
would love to do the Rodrigo with an orchestra some day but I fear I
will never be up to it unless I devote at least a years practice.
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