Joined: 14 May 2004 Posts: 278 Location: Austin, TX
Posted: Sat Jun 05, 2004 2:58 am Post subject: Scott answers your questions - round 1 - 6/6/04
Question:
Well, I would like to know if Scott ever plans on releasing a more swing/standards/wayne shorter kind of album in the future....playing all his own tunes of course (and instrumental)...whereas I'd love to hear him record his fav shorter tunes, I no doubt would expect him to do his own thing...(as always)
Quote:
Sorry to dissappoint, but that's probably never gonna happen. I still like to play standards and occasionally I even do gigs playing them, but if I did an album of standards I wouldn't make any royalty money, and that kind of "real book" songwriting isn't really my thing anyway. Also, too many other jazz guitarists cover that territory already.
Question:
Or.....how about some more instructional material too?? Can't think of anything off the bat...as far as subject...but I'm 100X better because of his books and videos....He's like DOn Mock...They don't make bad or uninformative instrucational material....it's all gold...
Quote:
As far as teaching improvisation, between the two videos that are out already, I'm pretty much taught out! If I did another improv video, it would only be a few seconds long - I would say if you want to learn improvisation, just start transcribing all the great players out there. That's what I did.
Question:
In the June 1999 issue of Guiter Magazine on page 42, Scott listed what he regarded as essential fusion albums. I first became aware of Scott via this great feature on Fusion. I also proceeded to get several of the great albums he listed. Anyway, one album that he listed struck me, he listed Frank Zappa's Shut Up 'N Play Yer Guitar as one of his essential post-fusion picks. I was interested about that. I was always curious to ask Scott what it was that he really likes about that album and why he considers it to be essential. I am a big fan of that album myself, it changed my life in ways, and I would like to hear Scott's opinions, thoughts and musical insights on it basically. Thanks.
Quote:
Oh man, sorry to dissapoint again, but I've never heard that record and it was a misprint in the magazine I guess.... but I do think Frank Zappa's guitar playing was really cool and sadly, kind of overlooked by the guitar community.
Question:
When are you coming back to Chicago?
Quote:
Touring in the states has become really difficult and I can only afford to do it right after I release a new record, because during that time I get label support. Without support from the label I would lose money touring the states - it sucks! I'd love nothing more than to be touring in the US every year.
Question:
What's GIT like now compared to the old days? What classes does he teach? When does he teach? What was his motivation to stay at the school in the 90's when all of the "havoc" between the owners and the teachers happened? I've studied with some amazing players over the last 9+ years...from a "non-promotional viewpoint", would I be better served to attend there or a different school?
Quote:
Of course, MI is a much bigger school than it was in it's older days, and I've heard some people say it's more corporate, but I believe that the principles and attitutes that founded the school are still there. MI is no different than other schools - due to current economy, it's lowered it's requirements for students to attend, so there are more beginning players there than there used to be, and more classes may be geared for their benifit. But there's always guys like me around for open counseling, which is an open class that anyone can attend whenever they want and play and ask questions about whatever they want.
I'd like to know more about his wah. Some wahs sound great clean, but unimpressive dirty. His wah seems great overall, especially on "Thick", one of my favorite tunes. It sounds, well, thicker than most wahs I've tried, those being the Vox, the Dunlop [bottom level I guess], and the old Morley I've had since 1980. I haven't tried the upper-level expensive stuff though. But they need to come out with a Scott Henderson wah. I'd like to know what wah he'd pick if he were buying a new one, one thats totally off-the-shelf stock.
Quote:
My wah is a stock Vox, but it was modified my Martin Golub at Custom Audio. He made it sound like it does, and made it true bypass too.
Question:
Will there be some newer instructional DVD's coming?
Quote:
We were talking about maybe doing one on tone - just a simple video DVD showing how I get my sound live and in the studio, with some examples from Well to the Bone (without backing tracks) and that kind of stuff. I don't know when I'll have time to do it though.
Question:
If not, will the existing VHS ones be available on DVD?
Quote:
That I don't know because the distributor is different than when I did the videos - it's up to them.
Question:
Any ETA on the next Tribal Tech recording?
Quote:
That's my most asked question... The label we were on no longer exists, Kinsey's going to be working on Oceans 12 for awhile, Willis lives in Spain now, and I've got a tour of South America and Italy coming up and then hopefully recording a live album in LA..... Tribal Tech seems to be on the back burner right now.
Question:
What other instructional materials does he recommend to do what he has accomplished: - not turn his back on his blues roots, but continue to propel himself in the jazz realm?
Quote:
Not turning your back on your roots is easy, but I wish someone had reminded of that in the 80's... All I can say is get out your Miles Davis records and transcribe, transcribe, transcribe. That's the best instructional material out there.
Question:
Scott, do you use the tip of the Heavy Fender pick or the fat sides?
Quote:
Mike Landau told me about using the fat side when we did a gig together a couple years ago, and I've been doing it ever since - there really is a big difference - more bass with the fat side. I use my fingers a lot too - that's really the best tone.
Question:
Will the Blues Trio or Tribal Tech ever tour the States again?.Specifically the Washington D.C. area?Annapolis (Rams Head Tavern would be cool!!)I've asked this before directly on Scott's site before and on John Humphrey's site but it cant hurt to ask again.I only saw Tribal Tech once live in '92 and after that I missed them a bunch of times.I hope I didn't blow it for all time.I saw the Blues Trio in 2000.Killer show!!I have all the recordings but nothing beats a live show.Thanks again.
Quote:
Sorry but I think the Tribal Tech days in the states are over - it's hard enough with a trio.
Question:
Yo Scott, Will you tell us how you get your great reverb/delay sound out
of the SE-70? Please!
Quote:
That's funny because I was just playing with that stuff last night trying to improve it. I use the Rev & Delay setting. Reverb is 2.5 ms with 50 ms pre delay. Low cut filter is 8k. Reverb level 80. Delay is 400 ms with feedback 15. Low cut filter is 6k. Delay level is 45.
Question:
Scott, I have a bunch of crap to ask you:
How did you get to the point from maybe writing traditional type of "standard" type changes writing, to all of the re-harmed "modern" harmony that you are so well known for on all of your albums? I too studied with Bill Prince, as well as Bunky Green, and some other great teachers/players in college. But I'm trying to take my writing from a typical jazz/bop influenced writing style, up to what I consider to be the "next level". I feel totally confident playing through pretty much any harmony that is thrown at me, but I'm having trouble writing it. Other than transcribing the stuff I dig; is there anything you suggest I check out to get into your type of writing?,
Quote:
To answer your question briefly, I'd have to say that transcribing was my most important tool for learning how to compose. I took theory and composition in college but honestly it didn't do me much good because I write by ear, not by any theory rules. A suggestion would be to try and get away from thinking about harmony in terms of "Am7" and just start playing with sounds - don't try to label anything you're doing. Half the stuff I write, I have to analyze later to make the charts because I'm not thinking about "what the chords are" while I'm writing. Hope that helps.
Question:
Also, aside from Holdsworth, Hendrix, Page, Albert K., and all of the other classic greats who you've mentioned before as influences; are there any players out today who you admire, or who interest you enough to check out their playing, or composition?
Quote:
Kurt Rosenwinkle is a great jazz player who's got some records on the Verve label. Mike Landau is a great player who also writes cool tunes and makes great sounding records. Phil De Gruy is a guitarist from New Orleans who plays mainly solo - a genius.
Question:
Also, what's your favorite composition that you've written?
Joined: 25 May 2004 Posts: 4 Location: The Redneck Riviera
Posted: Sun Jun 06, 2004 12:52 am Post subject: Thanks Scott!
Thanks for the replies from Scott! That's funny that he answered:
What do you play on Dmin? I was just kidding around. Thanks Scott for the Delay/verb settings and for answering my questions.
You rule!
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Oh...and thanks Scott!! 
I was just kidding around. Thanks Scott for the Delay/verb settings and for answering my questions.