Very interesting interview ! Thanks a lot for this. Adam Levy 's playing and in-dephts views are so inspiring! And glad I discover this Channel. Adam mentioned a gig in Marseille at the end of thé vidéo , do you know more about it ? ( It's not mentioned on his website ) thx!
Hmmm, is it somehow more authentic to play old classical musical while scrunching up your face rather than blues? Oh man I fell the classics and you don’t feel the blues… is that it? Sounds like bs
Several YT channels proclaim that nothing new is happening. These "why do all modern jazz artists sound the same" guys are often primarily about affirmation of what they already know and not really into expanding at all. It's way more of a buzz to hear players like Mary Halvorson, David Torn and Brandon Seabrook than it is to just like what you know and know what you like. Three Layer Cake completely confounds expectations of what you might anticipate from Mike Watt. It's also a gorgeous sounding record...really astounding on a good playback system.
The last two Talk Talk albums were Spirit of Eden (1988) and Laughing Stock (1991). These were the two albums that were recorded using multiple session musicians often playing small parts of a song which Mark Hollis and Tim Friese-Greene then took away and edited into complete tracks. The Colour of Spring came before these two in 1986 and features David Rhodes - a good candidate for a Guitar Moderne interview!
Great interview. I'm a big fan of John's. Especially The Mahavishnu Orchestra as well as his work with Miles Davis and The Guitar Trios he's played with over the years.
@@hoagyguitarmichael I've got to check out the band you were talking about with John, Joey De Francesco and Dennis Chambers. I first discovered Dennis on the Steely Dan live album Alive In America. Fantastic drummer.
Great interview Michael!!! John is my greatest guitar hero, and great influence in spirituality as well. I have to disagree with both of you however. That Johnny Smith with the sony preamp sound is a little off-putting for me. I has a "sour" sound with a lack of articulation to my ears. However it is only that Johnny Smith guitar sound of John's that I don't like, all the rest in his entire career I love, including the guitar synth sounds. His tone on the early Mahavishnu albums is among the best ever!
@@hoagyguitarmichael Thanks Michael. I really tried to like that sound. As you mentioned it was used on the album with Elvin J and Joeu D. Along with several other albums. And I didn't know that he didn't use an amp with it but instead went directly into the PA. As a guitar player, I can see how that is not a typical set-up that normally produces good sound. To me it lacked dynamics and articulation, which took away from the sffect and impact of his machine-gun-like picking. Then it had a peculiar sound that I describe as "sour". The sound is interesting, but not guitar-like, nor beautiful, IMO. Interestinly of late I have been able to open up my ears to get what other people such as yourself like about it. But in the past, as a fanatic of John's, I was quite disapointed with it. To reiterate, great interview - it really allowed me to understand John as a muscian and person better- Just found your channel. I also watched one of the Bill Frisell interviewa which was fascinating!
@@pjjmsn That is where we differ. I was never a fan of his early rock tone; I felt it lacked the range and expressiveness of the other great guitarists of the time: Beck, Clapton, Hendrix. I loved the "sourness" and expressive quality of his Bigsby work later. Glad you like the Frisell as well.
@@hoagyguitarmichael Thanks Michael. It is interesting to try to put myself into someone else's ears. And I must admit that I haven't had the greatest ears with regard to setting up my own guitar tone iin the past although I have gotten better at it. I actually went back and did a little listening to his Johnny Smith tone again with an attempt to open my ears more. I think I was able to grasp better what you are describing and liking. And also what John said about the pickups being "wide". So I think I got it, but I still came away with the feeling that the guitar was somewhat unresponsive to his fingers and was not faithfully putting out the sound that his fingers were telling it to do. And, along those lines, there were more than a few dead notes, which, to be fair could have been him missing notes with his fingers, but it didn't seem to be. I was listening to his solo on My Favorite Things here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-FjPUrUI4_ek.html&ab_channel=PavelLevin With regard to his old tone, a good example of what I was talking about was his solo on Dance of Maya from Inner Mounting Flame, starting at 4 minutes in.
@@jasecole Nice of you to say. I think he responded to the fact I asked him about the Fender Mustang he was playing early on. He probably doesn't get asked that sort of thing often.
Aww, the giant that is Andy! The ease with which he plays complex guitar chords is amazing. In my humble opinion, I think that his versatile talent, his superb technique, and his inner strength is what facilitated The Police to become who they are, and helped Sting & Stewart to blossom. A fabulous guitarist and his solo work is superb.
Such a great man and musican love him John McLaughlin has been a big influence on my life of music since I listened to him and the Mahavishnu Orchastra Billy Cobham was a teacher at a drum seminar I went to and I learned alot from him I loved their music very spritual stuff thank for the video God Bless yall bros n sisters peace n love to all
I'm lucky enough to see Seth play every Thursday...he really is phenomenal. Been a fan of guitarists and guitar music my whole life, and he genuinely stands out.
Fantastic interview.....John is s prince! And concerning George Benson, he did record with Miles in 1968, the tune called "Paraphernalia" off of Miles In The Sky.
Great questions and great answers. I’m a student of Markus myself and this interview helps me to know him even better. I also had big struggles with the Chapman Stick and find the Touch Guitar to be a much easier instrument to play both physically and mentally. Markus is also an excellent and very patient teacher who I’m very grateful for.
Could be interesting to hear where Mclaughlin got the idea to use arpeggiated chords played with a pick, used in so many Mahavishnu tunes and some Shakti tunes . Its rather unique and very typical for his way of writing. And also his fashion for odd meters.
seen JMcL recently few years ago in milan with fusion band, but he never played acoustic guitar with nylon strings,,probably because of the problems of different neck lenght, but the live london concert with trio and trilok gurtu was unbelievable! ciao from Italy-
why not asked him how developed his style soo speedy and scales modes oriented? the greats in the 60' 70',kessel montgomery,ellis ,raney,farlow, played jazz guitar in such a similar style. he was totally different.! harmonically too with his chords. Remember" my goals beyond,"extrapolation,"devotion"and then indian records,and miles records.. and then fusion records. all played with same famous quick scales modes style. only one in the world with such a style together with larry Coryell too.ciao from Italy.
