It sad to see that Rock music isn’t around anymore. At least not in the popular culture anyways. After all, this is the EMD / Trap generation. That’s okay . . . Legends are always going to be around one way or another.
Here is the list of the most famous guitar players ever.
Mention the name Jeff Healey and the word “amazing” invariably pops into the conversation.
Now one of the world’s finest guitarists, this Canadian born young gun has technical abilities that command respect from his peers, and his passion for the music, whether it be rock/blues or jazz, transfixes audiences of all ages.
At the tender age of one Jeff lost his sight to a form of cancer called retinoblastoma.
He then went on to receive his first guitar at the age of three and developed his unique lap-top style by working out the chords and finger positions when his hands were not large enough to grip around the neck of his guitar.
In 1985, a 19-year-old Healey, recorded an independent video called “Adrianna” which played on Canada’s Much Music.
That same year, a friend convinced Albert Collins to let Healey join him onstage during a Toronto club gig. An impressed Collins asked Jeff to play with him and Stevie Ray Vaughan only a few nights later. Healey quickly became a hot commodity and all the while gaining the friendship of Vaughan who had once stated that Healey would revolutionize guitar playing.
So, you know Healey and you may have even seen Roadhouse but, perhaps what you didn’t know is that jazz is his first true love. And that is probably why he has been quoted as saying, “I don’t think of myself as blues or rock — I’m a musician.”
At age 33, with fans on the heels of an eagerly awaited fifth album, Healey still found time to lend his name and assistance to the Annual Jeff Healey Golf Classic Tournament in support of The Canadian National Institute for the Blind.
Furthermore, he promoted bands such as Amanda Marshall, Lilith (now disbanded), and Alex Pangman under the ARISTA and Sensational Records label. All the while adding to his collection of over 22,000 jazz and swing records, and performing with local Toronto artists such as Tyler Yarema and The Hot Five Jazzmakers.
So, you can plainly see that this guitar virtuoso is not only well-rounded, but more importantly a first-class act all the way.
On another note also check out, JHB’s second guitarist and shred-prodigy, Philip Sayce!
Jeff Healy’s Discography
|Name||Year of Release|
|See the Light||1988|
|Hell to Pay||1990|
|Cover To Cover||1995|
|The Very Best Of JHB||1998|
|Get Me Some||2000|
Jeff Healy’s Gear
The unique Healey sound is accomplished with the following gear:
- Fender Squier Stratocaster
- Matchless or Marshall amps
- Gibson acoustic
- Grooves Tubes amp vacuum tubes
- Jeff Healey Custom strings
- Wah wah pedal
- Overdrive unit Equalizer
- An occasional flanger
Hendrix is probably the single most influential guitarist of all time. Death stole Jimi from the world at the young age of 27 on September 18, 1970.
Even before his death Jimi was ready to shake up the world again as he was preparing to collaborate with Miles Davis, who was fascinated with Jimi’s music.
- James Marshal Hendrix was born in Seattle in November 27, 1942
- spent much of his young life width his Aunt in Vancouver, BC (Canada!!!!)
- recieved his first guitar in 1959, his father tried to teach him to play right handed as southpaws were considered abnormal
- played for small bands all throughout high school and elementary school as well as his excellence in art and poetry
- Joined the army and met Billy Cox (he’s the bass player on the CD Band of Gypseys), later, using a foot injury as a catalist for being discharged from the army, Jimi and Billy move off to Nashville to play the chitlin’ circuit, forming the band King Casual
- 1963-66 Jimi plays for various people such as Sam Cooke, The Supremes and The Isley Brothers, on July 5th Jimi meets Chas Chandler (formerly of The Animals) and moves to England under his direction and form The Jimi Hendrix Experience
- Hey Joe! becomes a hit in 1967 from their “Are You Experienced?” album
- 1969 – Noel Redding quits the band shortly before the Woodstock festival and is replaced by Billy Cox. Eventually the band is renamed Gypsey Sun and Rainbows. Hendrix later forms an all black band entitled Band of Gypseys
- Sept 18, 1970 – Hendrix dies in his sleep, choking on his own vomit
Jimi Hendrix Discography:
|Classic Singles Collection||N/A|
|Axis- Bold as Love||1967|
|Are You Experienced?||1967|
|Band of Gypsies||1970|
|Live at Woodstock||1994|
|First Rays of the New Rising Sun||1997|
|If Six Were Nine||1997|
|South Saturn Delta||1997|
|New York Session||1998|
|Experience Hendrix – Best of Jimi Hendrix||1998|
|His Greatest Hits||1998|
|Live at Filmore East||1999|
Jimi Hendrix’s Gear:
- He used a right handed Fender Stratocaster played upside down with the strings reversed.
- The whammy bar like an instrument in itself, he could use it to make the guitar scream, talk and howl.
- He was always trying to bend the whammy to get it at the perfect angle.
- Other equipment used: 100-watt Marshall stack, Vox wah wah, Dallas-Arbiter Fuzz Face, Uni-Vibe, Octavia.
When you hear the name Jimmy Page, a few things pop into your mind instantly. One is Stairway to Heaven.
Though this is the most popular piece written by Page, it’s just one of the many masterpiece’s he has made.
From being an influential guitar player, to composer, to the riff-master himself, he is one man who made a huge impact on rock and roll and guitar players all around the world.
Famous for his use of a bow on guitar, alternate tunings, and his Gibson Double Neck, he is definitely a guitar guru!
Jan. 9th, 1944.
James Patrick Page was born in Heston, Middlesex, England.
Jimmy Page and Jeff Beck met and became friends.
Jimmy taught himself the guitar with a spanish guitar that was a gift to his family.
Jimmy appears on the “Huw Wheldon Show” playing a little part of “Mama Don’t Wanna Play No Skiffle No More”.
His first band was Neil Christian and The Crusaders.
Jimmy played on 50-90% of all the records recorded in England, ranging from solos to a lick or two.
When Page first joined the Yardbirds, he was on bass, then lead with Jeck Beck, and finally lead by himself. Clapton, Page, and Beck were never in the band at the same time.
Jimmy Page formed Led Zeppelin with the help of Peter Grant.
John Bonham dies and Led Zeppelin breaks up.
Jimmy Page reunites with the remaining members of Led Zeppelin for a Live Aid performance.
David Cloverdale, formerly of Whitesnake, formed Cloverdale/Page.
Page reunites with Robert Plant and records the No Quarter Album which has many reworked Led Zeppelin songs. John Paul Jones was not asked to join.
He released Walking Into Clarksdale with Plant.
Jimmy Page’s Discography
|Name||Year Of Release|
|Rare Jimmy Page Solo 45||1965|
|Yardbirds: Little Games||1967|
|Yardbirds: BBS Sessions||N/A|
|Led Zeppelin I||1969|
|Led Zeppelin II||1969|
|Led Zeppelin III||1970|
|Untitled (aka Led Zeppelin IV)||1971|
|Houses Of The Holy||1973|
|The Song Remains The Same||1976|
|In Through The Out Door||1979|
|DEATH WISH II (Soundtrack)||1982|
|Scream for Help (Soundtrack)||N/A|
|The Firm (with Paul Rodgers)||N/A|
|The Firm: Mean Business||N/A|
|Profiled (Promo Interview CD)||1990|
|Boxed Set I||1990|
|Coverdale and Page||1993|
|Boxed Set II||1993|
|The Complete Studio Recordings||1993|
|Whole Lotta Love||1997|
|Walking Into Clacksdale||1998|
Jimmy Page’s Gear
- Fender Telecaster 1958: Given to Page by Jeff Beck. Used mostly in the 1968-69 tours. Painted psychedelic colors. Page painted it himself.
- 1958 Gibson Les Paul Standard (No. 1): Page has realied on this guitar the most since the early days of Led Zeppelin. Through out the years the finish has faded. The serial number is gone because of neck repairs and the replacement bridge pickup hasn’t had a cover in a while. Gold plated Grovers have replaced the original white Kluson tuners.
- 1959 Gibson Les Paul Standard (No. 2): Joe Walsh gave this to Page. The tuners have been replaced and the neck is shaved to look like No. 1. The bridge is rounded over so he can access each string easier with the ciolin scratch plate to change the pickup configurations. One of the buttons puts the pickups into series or parallel and the other offers regular or out-of-phase tones. In addition, the tone and volume knobs have been replaced by two pairs of push/pulls allowing coil-tapping on either pickup or the possibility of using the four coils together.
- Danelectro: Made from two seperate Dan Electro’s. The holes for the original bridge are still under the new replaced bridge. Used live on the songs Babe I’m Gonna Leave You, White Summer/Black Mountain Side & In My Time Of Dying, and in later performances of Kashmir.
- Vox 12 String: Used on Led Zeppelin II for Thank You.
- Gibson “Black Beauty” Les Paul Custom: Used in the Yardbirds quite frequently. It had been custom wired with a Bigsby 06130 tremolo arm. In 1970, it was stolen while the band was on its way to Canada. Page put an anonymous add in Rolling Stone with a reward but the guitar was never found.
- Rickenbacker: Used on stage in 1971.
- Gibson Doubleneck EDS-1275: The guitar is a six/twelve string double neck which are both fitted with two humbucking pickups and Les Paul system control assemblies especially for Page. The six string is an SG type and doesn’t match the quality of the 58. It can be heard on In Through The Outdoor’s Caroselambra. Serial # 911117.
- 1973 Gibson Les Paul: Cherry Red. Seen in the film The Song Remains The Same.
- 70’s Gibson Les Paul: Reworked by Steve Hoyland and also fitted with a Parsons/White B-String bender.
- 60’s Fender Stratocastor: Lake Placid Blue. Used in the tour of 1975 and for the live cersion of In The Evening in 1979 and 1980.
- 1966 Fender Stratocastor: Cream. Used in 1980 in Brussels on the European tour.
- 1959 Fender Telecaster: Botswana brown model with a Parsons/White B-String bender and Rosewood neck. Used on stage in ’68-69, 77, and on All My Love and Hot Dog in 1980.
- Fender 12 String: Used on the Untitled album.
- Gibson RD Artist: Used at Knebworth on Misty Mountain Hop.
- Gibson J-200: Used on Led Zeppelin I.
- 1971 Martin D28 Acoustic: Used for the studio and touring after 1970.
- Gretsch Cutaway 12 String: Used in 1970 on the summer tour.
- Harmony Acoustic: Used on Led Zeppelin III.
- Fender 10 String Pedal Steel: Used in the studio.
- Fender: (Used in 1968, 1×12 combo amp with 2×12 cabinet.)
- Vox AC-30 Solid State: (36 watts output. Features two 12″ Celestion Greenback speackers. Used only in the studio.)
- Supro Amp: (Used only in the studio for recording.)
- Orange: (Two amps and two 4×12 cabinets for the theremin.)
- Marshall SLP-1959: (100 watts)
- Marshall 4×12 Cabinets: (Straight)
- Marshall 4×12 Cabinets: (Angled)
- Hiwatt 50: (Seen in 1970 tour.)
- Fuzz: All of the fuzz boxes were hand-made by Roger Mayer, who also provided Jimi Hendrix and Jeff Beck with back-up and sound effects.
- Wah-Wah: Vox CryBaby
- Maestor Echoplex: Used stage for his echo effects.
- Clockwork Harmonizer: Eventide H949
- Distortion: Boxx SD 1
- Chorus: Boss CE 2
- Theremin Unit: (Heard on No Quarter and Whole Lotta Love)
- MXR Phase 90: (The Wanton Song and Achilles Last Stand have this effect on them.)
- Guitar Synthesizer: Roland GR 300 (Not used much in the studio; Can be heard on Fool In The Rain from In Through The Out Door where it’s used for bass unison octave doubling for the lead guitar at points in the song.)
- Gizmotron: (Invented by Lol Creme and Kevin Godley of 10CC. It never took off and was a financial disaster. It has been described as a “hurdy-gurdy type of thing” according to Page.There were two versions of the machine: 4 or 6 stings (bass or guitar). It works by having a rubber wheel for each string and a key for each wheel, such that pressing down on the key engages the wheel with a rotating shaft and the guitar string.The shaft rotates the wheel which then excites the string. May have been used on Carouselambra and In The Evening from In Through The Outdoor to produce the drone sound.
- Picks: Herco Flex 75
- Strings: Ernie Ball Super Slinky .008 (Electric), Ernie Ball Earthwoods (Acoustic)
Violin Bow: TBD
Joe Satriani is a man who can not only produce albums with amazing technique and sound, but can teach his students the same thing. He has sculpted several guitarists who are just as well-known as he is. Only the work of a master could do such a thing.
Joe Satriani was one of the best, most influential rock guitarists of the late ’80s, equally capable of fast flights of blinding technique as well as sweet, lyrical passages. What also separates Satriani from most technically gifted guitar virtuosos is that he treats a song as a song, not as an excuse to shred.
For these reasons, he appeals not only to guitarists, but also to many rock fans who have never touched the instrument — his breakthrough 1987 album, Surfing with the Alien, was the first rock instrumental album in years to chart in the Top 30 on Billboard’s Top 200 Albums.
Since then, he has added vocals to his records; while his voice can’t compare to his guitar, it added another dimension to an artist that was already more versatile than the majority of contemporary musicians.
Joe Satriani’s Discography
|Name||Year of Release|
|Surfing With The Alien||N/A|
|Not of This Earth||1986|
|Flying in a Blue Dream||1989|
Stevie Ray Vaughan, the last guitarist ever since Jimi Hendrix that caused nearly all guitarists of every flavor to turn their heads to get a glimpse of guitar perfection.
Though Stevie’s name is not mentioned nearly as much as Jimi’s, it doesn’t make him any less of an idol for the young guitarists of today.
Stevie’s mainstream career as a guitarist was interrupted by a tragic helicopter crash, leaving us with his sound for us to learn from and develop.
Steve Vai’s Gear:
As with any guitarist, the guitar is the most essential of the gear. Steve Vai’s guitar of choice is a Jem series by Ibanez.
This is a completely custom design guitar made in partnership with Vai and the Ibanez crew. Here are some quick facts about his guitar: *all facts are taken directly from the Ibanez site*
Here are some quick facts about the Legacy Amp:
clean and overdrive channels
uses 4-EL34, 5-12AX7A tubes
G12M-25 celestion greenback speakers
for more detailed info, please see the Carvin Legacy Amp page
A semi-complete SRV discography.
|Name||Year of Release|
|Volume 2 - Real Deal - Greatest Hits||1992|
|In the beginning||1992|
|Couldn't Stand the Weather (w/ Jimmie Vaughan)||1984|
|Soul to Soul||1985|
|Live Alive (w/ Jimmie Vaughan)||1986|
|In the beginning||1992|
|Couldn't Stand the Weather (w/ Jimmie Vaughan)||1984|
|Soul to Soul||1985|
|Live Alive (w/ Jimmie Vaughan)||1986|
Here we have a special RARE bonus interview with Steve Vai. Enjoy!
How Did You Get Into Playing A Guitar?
I thought it was too cool and I thought, you know, people would laugh at me or something because I was trying to play it. So I started to play, and I didn’t tell anybody, you know, I hid it, and practiced on my own and one day I joined this band and that was kind of it.
Did you play any other instruments before this?
I played the accordian. I played the tuba in high school, if you can imagine that.
Did you play in the band?
Yup, and I actually played the guitar in the orchestra.
Guitar in the orchestra?
Yeah, yeah. It was the very Renaissance thing to do.
Did they make up a position for you or…
Well, we did these plays. The drama class put on these plays, On The Town, Cold Borders, Anything Goes and there were guitar parts so that’s when I started playing in the orchestra.
I read somewhere once that you were one of Satriani’s favorite students. Do you think that he’s as good of a teacher as he is an artist?
Well, proof is in the pudding. He was a fantastic teacher!
Did you enjoy it? or was it pretty tough?
Well, it was both. You know, if it wasn’t for Joe Satriani the guitar player, it’s quite unlikely there would have been Steve Vai the guitar player. When I was in school, we all looked up to Joe, you know, he could play the damn thing. I just treasured my lessons. I mean, it’s like every lesson I got was like a little jewel.
He’d show me songs. He’d show me riffs, he’d show me theory and I just took it home and absorbed it because it was everything I had. I didn’t have Nintendo. We didn’t have video games. We didn’t have MTV. We didn’t have the internet. We didn’t have a lot of things that are very distracting today. What we had was records, LPs, vinyl. We didn’t have videos so we couldn’t see what Jimmy Page looked like when he moved.
We had to wait for the “Song Remains the Same” to come out or wait for the Jimmy Hendrix story or something and it would come on once on tv and there was no rewinding and we would just sit and listen to the stuff and try to play it and we had the band.
I’m talkin’ when I was thirteen. We had the band, and that was really important. We just didn’t have all the other things that kids have today so my guitar lessons were precious.
Did he believe strongly in teaching theory only? or did you guys have a lot of jam sessions?
Oh no, sometimes I’d go over to his house for six hours and we’d just jam.
Did you make up a lot of your own stuff then? or did you try to figure out what Page was doing?
If I would go to Joe and say, “Can you show me these songs?”, it would take five minutes. He knew everything. But when it came time to jam, it was just pure musical expression.
You would just use your ears and just go for it. You don’t jam over a Hendrix song, that’s lame, you know? You just go, you play anything and you listen. That’s what it’s about. Now, jam sessions, that’s one thing that I hate.
You show up and they’re like, “Do you know this song?” and I’m like, “Yeah! But let’s just play and see what comes out!” But that takes a certain kind of personality too and that’s what Joe’s all about. He makes great songs and he makes great records. The guy is an unbelievable improvisor on anything.
He said that one of the reasons he liked you so much is because you spent an enormous amount of time the first couple of years practicing. How much did you practice?
I practiced all the time. When I got home from school, I’d play the guitar, and then I’d go to sleep at night. Then on the weekends I’d play until 7 o’clock and then me and my friends would go out on Friday night.
Then I’d play all day Saturday, go out Saturday night, or I went to rehearsal, when I had the band. In the summer I put a lot of hours in everyday. I used to have a schedule that I’d adhere to, almost military.
It was like a nine-ten hour practice, sometimes I would even do more. So, I’d come home from school on a Friday and I’d go to sleep really early and I’d wake up on Saturday morning and practice until I go to school on Monday.
So, a lot of times you’d do nothing but spend the entire weekend just practicing?
How much do you practice now? Do you still practice a lot?
I’d like to, but I’m always doing ten-million other things. When the time calls for it, I can really focus. Right now, I just finished my record and am just coasting. I play at least an hour a day which is nothing but it kind of just keeps your fingers going. Sometimes I’ll go for a week without playing, but if I go for a time my fingers just start to hurt. What I mean by hurt is that they ache to play. You know, they don’t actually hurt physically. It’s a psychological thing. I really feel like I have to play the guitar.
So you hack around about an hour a day?
Well, sort of, yeah.
When you get the chance?
Yeah, when I get to focus though I can go all day!
When you’re hacking around at home, we all know what type of gear you use officially, but what do you like to use at home? Is it still your signature stuff?
Well, I designed this amp called the Legacy. It’s a great amp! It just gives me a new lease on guitar playing! You know, I just love it to death! I really dig into that amp. You know, I can sit and play nothing all day but I’ve got a little combo that I use and that’s what I use really.
What kind of guitars?
Well, I play Ibanez guitars. I designed this guitar for Ibanez because it really fits my playing. I can play anything, but that’s what I enjoy playing. Everytime I play another one, another kind of guitar, I always just go back to the Ibanez because it has the sound, it has the feel, all those things that I really like about that guitar.
So you built the guitar for you? As opposed to trying to push something into the market place?
For the Legacy, how long did it take you and Carvin to develop it from the early stages to the prototype?
It took about a year and a half.
Did you know what kind of tubes and speakers you wanted before hand or did you spend a bunch of time with them experimenting?
What I did was I got their amp, their stock amp, and I listened to it and I knew what I wanted to change. It was basically completely rebuilt. The amp was rebuilt. I sent it to a lot of designers and asked for their critique of how I could get it to be changed to a certain way.
Carvin has a great staff over there too so we worked on the amp. Ya know, I feel bad, I put them through hell over there but we really got a great product. It’s a finely-built machine. It’s got double-sided circuit boards which is kind of rare in amplifiers these days. The only thing it’s not is point-to-point soddering but that would make the amp cost four-thousand dollars, but with the double-sided boards it gets the same results.
It’s just that it can be mass-produced and the thing is that if you would have bought that amp commercially, it would have cost a lot more but because of the way Carvin does their business, they sell direct. You can bring the price way down and that’s a good thing because my taste is kind of extreme when it comes to the things I like.
Like my guitar, if you were to go buy a Jem guitar, it’s not expensive because I play it, it’s expensive because there’s a lot of nuances in the guitar that makes it unique. It’s the same thing with the Legacy. I couldn’t settle for any amp. To make it really interesting and unique, you’ve got to work on it which costs money.
If that amp was going to sell commercially through a conventional retailer situation, it would be very expensive but because of the way Carvin does their business, you could afford it.
Is that why you chose Carvin? or do you firmly believe in them?
I’ve had a long relationship with them. Since I’ve moved out to California they gave me my first amplifier and I was always hoping I could do business with an amplifier company, and them in particular.
Through the years I had never endorsed an amp because the companies were always big companies that couldn’t really put the time or the focus into the way that I wanted an amplifier and Carvin was always there with me throughout all the years so they were my choice.
Will your new album be recorded through the Legacy?
The new album… portions of it were recorded before the Legacy was a reality but a lot of the songs have the Legacy. You can hear it too. It’s obvious, because they’re just better sounding songs!
Tell me about the new album.
The new album is called “The Ultra Zone”. I had this ten cd box set that I was working on that got postponed. There was a lot of material that I really liked so I pulled that and put it on The Ultra Zone. The material from The Ultra Zone is from this box.
When I originaly set out to do The Ultra Zone I wanted a lot of intense guitar music that I could play live very simply without having to worry about arrangement and all that stuff but low-and-behold, when I get into it, I get carried away and over-produce so I’ve got this wonderfully thick, gorgeous, lush type record and I’m trying to figure out how I’m going to pull it all off at once!
But the music on there is some of my favorite stuff. The Ultra Zone, what I intended with the title is basically sort of a frame of mind. I believe that when a person gets into a frame of mind where they’re focusing on something very intensely, I call it the ultra zone. When I write a song, I wanna have something in there that really turns me on, something that pushes my button in at least one spot in every song. Some of the stuff is just one big button pusher.
In Fire Garden, there was a lot of singing. Is there going to be a lot of singing in The Ultra Zone?
I think there’s about four songs or so, four or five songs that have vocals.
So, you’re moving back to the guitar instrumentals?
Not necessarily. I don’t even know where I’m moving. If a song feels good for vocals, I just do it. Much to the detriment of any pop icon as I may ever had the potential to achieve, I don’t really think about what should or shouldn’t be, you know, as far as conventional parameters. So, I end up with records that are eclectic, yet very satisfying to me.
How about a tour? Is there going to be a tour for the new album? … Oh! When’s it coming out?
It comes out September 7th.
September 7th? and are you going to immediately follow it up with a tour?
You bet! I’m going to be out there pounding it!
How big is the tour going to be? Are you going to all of the continents?
Oh yeah. Yeah, we start out in America in the fall and then I may go to India in the beginning of January, and then South America, Japan, Europe, Australia, New Zealand, and Russia. You know, the whole nine-yards.
On your web site it mentions your new charity, Make A Noise, but it really doesn’t tell anything about it. What’s it all about?
Well, we just sort of launched it. We haven’t officially launched it, but it’s legal now. Basically, Make A Noise is my attempt to give back everything that musical education has given me. What it is, is we’ll be working on collecting funds or instruments or any kind of music paraphernalia that could then be donated to proper organizations that are already in place that aid in music education in areas and schools that have dilapidated musical programs.
For instance, when I was young, I had this unbelievably great theory class and it taught me so much about music! It enriched my life! Because I was not very academically strong. I was not very good at English and social studies. I mean, the stuff bored the ever-loving shit out of me. I was very good at math.
When you’re not as academically efficient as some of your classmates, it can sometimes give you a feeling of inadequacy or inferiority but I had this music class, and I totally excelled in it. I floored, you know? I was totally superior in it. I cherished everything I learned. It gave me self-esteem and it really helped me express myself musically.
Well, that particular class doesn’t even exist anymore ’cause there’s no funding for it and that’s the case with a lot of schools and a lot of high-schools. So one of the things we aim to do is try to re-establish those kind of educational classes and it’s no secret these days how important music is to infants and toddlers in creating stronger brain muscles for every part of their life. One of the other things that we’re trying to do will be focusing on implementing CD libraries within schools where you could go into libraries and pick out CDs that they might not normally get anywhere else.
Sort of like they do in public libraries?
Yeah. When I was at Berklee, Berklee college of music in Boston, that’s really where I got my best musical education about the big world of music out there. I was living in my little town in Long Island, I had friends that were really into progressive rock music so I learned a lot about that, but nobody really was into jazz or classical or fusion.
When I got to Berklee, they had a library there and that’s where I heard all of Frank Zappa’s music and that’s where I had heard Charlie Parker, Miles Davis and it was right there at my fingertips! ‘Cause I couldn’t afford that stuff. So, I think that’s real important and that could really change somebody’s entire life. When you’re introduced to that kind of music, a variety of music like that at a young age, it can change the quality of your entire life so that’s one of the things we aim to do.
How do people get involved? Teachers, people that just want to donate stuff?
As a matter of fact, right now, I’m looking for someone to head the organization. The person I had, it’s becoming a little overwhelming and we’re going to partner-up with some other organizations that do similair things.
We have ads out right now in certain music publications soliciting somebody to sort of come and run things but if you keep posted onto the web site, it’ll evolve. You can see how you can get involved. It’ll be anything from I’ll be auctioning off stuff to I’m planning on having an annual jamathon called the Big-Mamma-Jamma-Jamathon. You know how Jerry Lewis has the telethon? We just sit there and collect money every hour and the music never stops! And we just jam and jam and jam and anybody in the audience can just come up and play.
Do you know when all this is gonna happen?
Well, we’re shootin to have the launch of the organization coincide with the record release but I just don’t know how that’s going to be possible, it’s just too much to pull together.
Is it just going to benefit California for now? Or do you have plans to take it nation wide?
Well, eventually, I wanna rule the world.
What inspires you to write music? Do you get inspired? Or do ideas just pop into your head?
Well, unlike someone who’s a genious, I have to wait for the inspiration to come along and when it does come, I feverishly do everything I can to at least capture the idea to develop later on. ‘Cause all I need is the thread of an idea and then I can elaborate on that at any time but it’s that thread of an idea that I have to wait for.
Do you have any guitar heros or musical influences besides the kid in third grade?
Yeah, Jimmy Page was my biggest influence but there’s a lot: Hendrix, I like Stevie Ray Vaughan, Danny Gatton, Roy Buchanan, Richy Blackmore, Jeff Beck, I mean, you know, all the greats.
Do you go through any mental prep before you get yourself into the zone when you jam or go on stage for a concert?
Well, you know, sometimes I plant seeds, mental seeds, within myself, on how I want to perform or how I want to be perceived but mostly what I like to do is reach out to the audience. I don’t want to be an introverted player. I make a conscious effort to sear each note through the listener and try to capture them is what I’m doing. You just do that by pouring your heart, putting a lot of love into the performance.
Are you aware of your audience?
Most of the time I’m totally aware but sometimes when I go into that zone I’m not aware of anything.
Do you have any advice? Or tips to aspiring guitarists out there for anyone from new to professional?
Well, understand what it is your goal is, whether you want to be a garage jammer or totally proficient musician. Try to break down the steps, step by step, of that goal and accomplish each one, slowly and surely. Just continue to love music. Just love the music and let the music really move you. Practice your ass off. You know, all that stuff. I would say… I don’t know. I get asked this question all the time. I try to make it different each time… Wear a condom and use sunscreen!
Right, we all do!
Well, the thing is that it’s not necessarily bound to California. We’re taking baby steps. The first thing that I think we’ll be useful at is trying to implement a CD library and I would pick one school, that could really use it, try it out, see how it works, and try to move it to other schools.
End of interview.