Joined: 14 May 2004 Posts: 278 Location: Boulder, CO
Posted: Sat Nov 06, 2004 11:35 pm Post subject: Scott answers your questions – round 8 - 11/7/04
you are a killer guitar player! i allways enjoy your gigs when you play in switzerland!
which arion chorus do you use?fatchorus?sch-1? do you use the beano boost a lot? do you also boost pedals with it?in ex. beano->bd-2->amp..?
what is the difference for you between the original (with the good chip in it)sd-9 and the analogman modified sd-9 and the maxon sd-9 in sound?
I have the sch-1. I like the beano boost but it's better for humbuckers. A better one for single coils is the Divided By 13 Dyna-Ranger. Unfortunately both those pedals don't work for me live because they use germanium transistors which don't work well with buffers, and they also tend to pick up radio stations. I use the RC Booster live - it sounds great with none of those problems. The only SD9 I really like is the Maxon - the others have too much mid for me. But I really like the Analogman silver mod on the TS-9.
I saw some pics with you and Zawinul in europe. I noticed
that there was another guitarist on the gig as well.
What was it like for you to gig with another guitarist in that setting?
That week in Vienna, it was Alegre Correa on guitar and I just sat in on the last song of the show. I was hired to play the next week in Milan. I had a week off in Vienna so I used the time to listen and pick the tracks for the live record.
Also, did Joe have specific parts for you guys to play, or did he give
you the freedom to come up with your own stuff? Also, how was the band in comparison to when you played with the Syndicate back in the day?
There were some written parts but my main job was comping. The music Joe's doing now is completely different from 10 years ago - it's mostly his own kind of world music with lots of vocals. There are 3 singers and they do most of the melodies. There wasn't much room for guitar solos but that's OK, it's cool to be a team player and support what's happening around me, and it's always great to hear Joe play. It sure was a change from the trio.
You said that you just recorded an album with Rob Whitlock. What kind of stuff did you guys play? was it more jazz or fusion? Also,do you have any idea when that cd is coming out?
It's more funk-jazz. I don't know when it's coming out - I'm not even sure if Rob has found a label for it yet.
Just found this site. I used to hang out at the famous "pig bar" in Arcadia with you way back when. Do you still go there? I used to enjoy listening to you sit in with the top 40 band and play your ass off on pop songs. Nothing quite like watching you pull off a great solo and having the drunk at the bar next to me bitch "Why the fuck they let that guy get up there he sucks!". I enjoyed talking with you about Wayne Shorters Atlantis album one night. Hope things are going well for you and might run into you again somewhere. Let me know if you still go there and I might have to stop by sometime. If not I will try and catch some gigs in LA. Good to see Humphrey is playing with you also. I studied with him for a short while at BIT.
I still go there once in awhile to hear Pat O'Brien play - he's such a great guitar player. See you at the pig bar sometime. BTW for anyone visiting LA, it's the First Cabin in Arcadia and Pat plays every Thursday though Sunday.
my name is Massimo and live in Florence Italy. I had the opportunity
to speak with you the first time by phone from Steve Trovato's home (dec 2000, I was there for guitar lessons, great Steve..). Then we met in Pisa, you were with Tribal Tech, and at Naima's in Emilia romagna, where you were playing with your trio. I only want to say hello to you and thank so much for your great music and fantastic way of guitar playing! I am sorry could not come to Milan..
I hope you will be able to see the following photos
Hi Scott I asked you about plexi mod. Could you tell me more about it? I'm going to buy super lead, or super bass and modyfi them. Thanks a lot. Someone asked you about kinmans. Could you write about them on forum when you check them?
Thanks! Martin from Poland
Sorry, I don't remember exactly what was done to the Marshall but any Marshall expert can tell you which capacitors to change to affect bass or treble. You just have to replace them one at a time until you like the sound - that's what I did.
I really enjoyed meeting you and having a chat before your last gig with The Zawinul Syndacate at the Blue Note in Milan, Italy.
I'm the guy in the white shirt that wanted to try out your white Suhr Strat. Hey, that was a mystical experience for me, thanks for making it happen. It also confirmed my theory that you could play an out of tune EKO Ranger guitar and still make it sound good. That Strat was VERY abused. I would love to see you again when you come to play with the trio in Milan so keep us informed, please.
Tell us what you think of Chris Kinman's pickups when you try them out, as well.
My question is once again about your whammy bar setup. I noticed it was floating maybe 4-5mm above the body and that you tugged pretty violently when improvising doing pretty large upward pitch changes instead of bending the string "normally". Sounds incredibly cool, but I am having big problems setting up my bridge for pitch changes higher that one tone. How do you go about setting up your tremolo? Any tips you can share?
I'd need to know what kind of problems.... the only problem I can think of is that the block hits the wood when you go down on the bar if the back of the bridge is set high. On Gohto bridges, the block is thinner so that might be why I can set the back of the bridge higher. If you've got a traditional strat bridge, you might have to rout some wood out.
The self-titled Tribal Tech album has always been my favorite by TT. Sub-Aqua and Peru are awesome compositions. Any chance you could pull one of these off with the trio (if you wanted to)? Also, what are your thoughts regarding this album? Thanks, Scott.
We used to play Sub-Aqua in the trio but we got tired of playing it after awhile. I haven't listened to that record since we finished it, but I remember that it was a real pain in the ass to make. Dave Goldblatt played the keyboard solos and parts on that record, but he had to leave town on a tour with Diana Ross, so me and Willis had to record about 50% of the keyboard parts ourselves, me with my guitar synth and Willis on his keyboards. We were tempted to list ourselves with Dave in the keyboard credits. Anyway. I can't speak for Willis but for me it wasn't that much fun. By the time that record was done I never wanted to hear it again.
Do you have hands on tips for rhythmic development? I have your videos. Some simple tips perhaps. Like here is the metronome here is your guitar an now try this. Maybe something you encounter while teaching.
Secondly I wonder if you have tips on how to develop a solo. When you know the changes and your licks you gotta go someplace. Is there a difference in your approach in different styles, tempos.
The best way to develop your sense of rhythm is to listen to great improvisers and memorize their solos so you can sing the rhythms along with them. After you get good at doing that, those rhythms will stick in your head. It's just like transcribing, but you don't need your instrument to do it. Same thing for solo development - listen to how great improvisers do it. You might notice that the most intense stuff they play is saved for the end, or that sometimes they play phrases and then repeat them, maybe keeping the shape and rhythm but changing the notes to fit with the chords. If you listen and analyze what's going on in these great solos, you'll figure out what to do.
Scott, I was wondering if you've ever heard of Tone Bone distortion? I you have, what's your opinion about it?
I tried it but didn't like it very much, and that's how it's been with every pedal I've tried with a real tube in it. Those pedals have a fat sound, but in a "woofy" kind of way and are usually worthless for the neck pickup. I haven't heard too many pedals that sound great on both the neck and bridge pickup - a few that do are the SD9, the DOD Overdrive 250 and the Tube Zone.
scott ....have you ever considered doing an all acoustic record?
No, there are so many monster acoustic players out there that I'd feel highly intimidated. I just don't have enough chops or vocabulary on that instrument.
Hey scott! Im just wondering what you think of some more old school guitarists like Pat Martino (whos better than ever now) Wes Montgomery, Joe Pass, Grant Green, Baney Kessle, Kenny Burrel etc... I havent seen you talk about these guys so I wonder what your opinion is about them.
I love traditional jazz guitar. Wes Montgomery was a genius - I love his playing. Pat Martino was the first jazz guitarist I ever heard and I transcribed a lot of his stuff, and got to study with him for awhile at GIT. I also got to play with Joe Pass several times as a student there. There was one time when he was interviewed by the LA times and asked if he had heard any young guitarists that he liked. He said "This kid Scott Henderson is really good - he plays that kind of music - you know, where you don't know where the melody is." I thought that was kinda funny. A year later he hired me to teach his son guitar and he plays good too. I've been the guest on Joe Pisano's guitar night a few times - Joe's a great traditional jazz guitarist and it's a lot of fun to do standards together since our styles are so different.
Hi Scott! I have a question concerning your use of the volume pedal and the fx level and volume knobs:
1. What do each of these exactly control?
Just the volume in the effects loop.
2. What do you use the volume pedal for since you have a volume knob?
I use the volume pedal for faster sweeps, like when I use the Holdsworth style long delay chords, and for shutting off the sound when tuning.
3. On most live recordings I've seen of you, from what I could make out is that you keep turning something with your foot, what are you exactly doing?
It's a knob mounted in a small box that's simply another volume pot, just like the one in the pedal. It gives me a more subtile control of volume than a pedal, which for me is too sensitive to control small changes in volume.
4. How are the above mentioned connected in your whole setup?
I go from the send on my amp effects loop to the volume box, then into the volume pedal, then into the mixer and FX, then back to the amp return.
The first time I heard your playing was on Chick Corea's first Elektric Band outing. I could really only listen to 4 tunes - the 3 you played on and "Got a Match?". Carlos Rios is a great guy and player - I think he was the one who played the sole on Gino Vannelli's "Brother to Brother" - but on Corea's CD "Rumble", "King Cockroach", and "Silver Temple" were the only tunes with any 'teeth' - Bravo!
There have been stories all over the web about your departure from the band. Is there anything you wanted to add? Was Corea a slave driver? Did he force everyone in the band to rate their performances on a nightly basis? Would ever consider playing with him again if he loosened up a bit, sort of like his acoustic jazz outings?
Also, and I don't mean any disrespect, but I read somewhere that when Chick was first thinking of adding a guitar player, he wanted Holdsworth but Holdsworth wasn't interested and then your were selected because you had some Holdsworth-like qualities. Is there ANY truth to this? Did Holdsworth in fact turn down the gig? Do you know if Corea and Holdsworth EVER played together?
When Jean-Luc Ponty was looking for a guitarist for a tour, he asked Allan first and Allan recommended me, so it's a true story but wrong band leader. If that also happened with Chick, I never heard about it. I doubt if Chick asked Allan to play with him because Allan is famous for his beer drinking - the first thing Chick asked me was "do you drink or smoke pot?" I said no but should have said not that much.
We didn't get along well on the road and I was fired after two tours. On a personal level, I don't like organized religion and that certainly includes Scientology, so my lifestyle and beliefs were in direct conflict with Chick and his crew. I'd heard about some of the things he'd asked of previous musicians so I was expecting to have to deal with some Scientologyisms, but I was surprised when he told me not to have sex with girls in the audience after the gig because it degrades the music. I thought that anyone who would say something like that must be completely nuts, regardless of how well they play. I don't actually believe that Scientologists are crazy, just brainwashed in a creepy Ned Flanders kind of way.
On a working level we didn't get along either. At that time I was using a stereo rig and was used to standing in the middle of it to get my tone. When I soloed, Chick insisted that I walk out 20 feet to the front of the stage to strut for the audience, which I took to be a Vegas mentality. I told him that I couldn't hear myself up there and that I don't play as well when I'm not in control of my sound - he responded by saying "your perception of how you sound isn't as important as how the band looks to the audience." After that I just couldn't take his band concepts seriously anymore. I heard they were doing dance steps after I left the band....As many of Chick's fans know, he has a commercial side, no doubt another influence of Scientology, and during that time period I guess it was that side of him I was working for. After awhile I just refused to cooperate and was eventually fired. But regardless of how I feel about Chick as a Scientologist band leader, I still have great respect for him as an extremely talented musician. I'm glad our troubles weren't about music, because I know he liked my playing even if he didn't like my attitude. On a funny note, when I told Jean-Luc Ponty that I was going to take the gig with Chick, he laughed out loud and said "you??" and walked away. I didn't understand at the time what he thought was so funny - apparently he knew that I was a Scientologist's nightmare. Chick hired me a couple years later to play on a movie score he was doing and it was nice that there didn't seem to be any hard feelings or anything. I certainly don't have any - but I wouldn't allow myself to get into another situation where I can't be myself.
One final question, and this may have been asked before, but if you were stuck in a situation where you didn't have access to your OD-100 and all your effects, and were only allowed to select from a combo amp and a handful of effects totalling no more that $1000 to perform in front of an audience, with your trio or Tribal Tech, what would you select to give you the most flexible rig given the cost constraints?
I only ask for all us guys who can't afford, let alone try out boutique amps and every effect out there.
I like some of the Fender combo amps, but I don't know if they're under 1000 dollars.
Hey Scott....Was Wes Montgomery ever an influence on you? I've been transcribing a lot of his solos lately and I hear lines that I could almost hear you play too. I was just wondering if any of your stuff ever came from him.
He wasn't one of the first jazz guitarists I listened to, but when I went to GIT I started listening to him. Joe Diorio talked about him a lot and I think they were friends. Wes was such a great player and an important influence for guitarists - I never tried to get that tone, but I've studied his lines for sure.
Hi Scott i´m Nicolás and i´m from Chile (South America), i have a question...can you explain us in which way you face the "outside" when you play???
thankyou very much.. i hope you can visit Chile sometime soon.. bye
I stand on the right side of the stage and I always try to face the nearest exit because if there's a fire in the building I want to get outside as fast as I can.
I read in the last round of answers that Chris was sending you some Kinman pickups to try. I was wondering if you had got them yet, and if so, what did you think?
I haven't had the chance to hear them yet because I'm mixing the live record and the day we're finished I leave for Japan until Nov 24. As soon as I get back I'm planning to make a trip to John Suhr's and have him put them on a pickguard for me.
I had a dream to learn guitar from my childhood. But after my study, my father taught me how to write resumes from the help of the http://www.resumesservicesreview.com/ site. Now I am a professional resume writer. But my dream of learning guitar has not been realized yet. So I am so sad.
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