Question Mark... (April 2008)

Key-Oriented vs Changes?

Regardless of genre, when improvising there are almost always two distinct approaches, key-oriented and changes-oriented. The goal should be to become adept at either soloing approach, and with the understanding that the methods can be mixed to any degree on the fly once you have the core language under your belt. Most of my past mentors were able to seamlessly blend these elements, and were also rich in using major blues as the basis for key-oriented playing, a concept that still eludes many players and students who base their thinking on scales instead of powerful core language.

Question Mark... (March 2008)

Why Audio Over Video?

Despite the rising emphasis on video as the ultimate learning tool for guitar education, the reality is that intense listening is still the best way to learn, and that time-proven method accounts for 99% or more of what I play and teach related to jazz and blues improvisation. Although the guitar is most certainly a visual instrument and it's nice to have that aid as an option, many students nowadays rely on it heavily and become too lazy to use their ear and imagination. Most great players, regardless of instrument, learned the language by ear. Remember that you don't have to see an artist to learn from them.

Question Mark... (February 2008)

Any New Amp Suggestions?

Several years ago I discussed good amplifiers for jazz based on my past experience, and cited Fenders, Rolands, and Polytones. Since then I've picked up an Acoustic Image top with a Raezer's Edge bottom, a combination that has been very popular among jazz guitarists for several years now. While I'm quite pleased with the sound, I've also been impressed lately with the new series of JazzKat amps. Small size for their basic model, which is an attractive feature to me, and amazing warmth from just an eight-inch speaker. Check one out if you get the opportunity. I think you'll like it.

Question Mark... (January 2008)

The Ultimate "One-Two" Punch?

To me, the ultimate one-two punch is when the soulful feeling and phrasing emanating from the blues is skillfully blended with the more melodic elements of jazz language. How much of one vs the other is a personal call, but in my book players like George Benson and the recently departed Oscar Peterson are about as good as it gets with regards to eliciting those "Yeah, man!" moments when you hear their work, and therefore that's what I continually strive for as a player and composer. The blues crosses all genres and resonates with the vast majority of listeners, so I go to that card as often as possible.

Question Mark... (December 2007)

Favorite Recording Software?

I've easily received more compliments regarding my recordings during the past couple of years than at any point in my career, but ironically I've used the simplest and most affordable program ever, Apple's "Garage Band." The epitome of "plug 'n play" with just one USB cable and a high fun factor without scratching your head over manuals and configurations, I can't say enough great things about it. Of course, the proof in recording is how everything sounds to the listener, and that gets right back to the volume of praise and kind words from my pro colleagues, students, and fans. Recommended!

Question Mark... (November 2007)

Advantages of "Sound" Thinking?

As a music composer, improviser, educator, and student, I base everything I do nowadays on sounds. It's an all-encompassing point of view that succeeds in keeping things as simple and effective as possible. It also makes great sense, because in the end the listener relates mainly to the sound of what they're hearing. First I classify sounds relative to the three primary chord groups: major, minor, and dominant. Each group contains three additional sound personalities: inside (melodic), outside (dissonant), and blues. Every melody, lick, solo, bass line, scale, mode, etc, is covered by "sound" thinking.

Question Mark... (October 2007)

When Do You Play At Your Best?

There are many factors that determine when we are playing at our optimum level. Obviously, experience, preparation, and the ability to focus and concentrate are key elements, regardless of what we are attempting to play. However, how you resonate with whatever you choose to perform or record is just as significant. As an example, I'm usually at the top of my game when I'm playing something that I've composed, because there's a deeply personal and emotional inner connection with the music itself. In that context I feel as though I was destined to be the main messenger, which brings out the best in me.

Question Mark... (September 2007)

What Is "True" Credibility?

Credibility is an issue everywhere you turn nowadays, and not just in the music field. How can you actually believe what you read or hear, even if it's from a supposedly credible source? Well, the answer is that you really have to think for yourself and consider that source, because it's so easy to just parrot the opinions and thoughts of others. Even if a player or teacher has great reviews, a record or endorsement deal, glossy-covered books in print, videos on the market or degrees hanging on the wall, it's all meaningless if they can't back up the talk when it comes to their genuine skill as an artist.

Question Mark... (August 2007)

The Value In "Personal" Transcribing?

While it's great to study from a teacher or author who has already done the transcribing work for you, there's absolutely no question in my mind that doing it yourself is the optimum path. Remember that it's not just about licks and solos, but all of the subtle nuances that stem from playing along with your chosen mentors. Your touch, your phrasing, and the way you just squeeze a note are all things that often defy description on paper. And last but not least, you'll get far more out of what others have transcribed if you have a superior ear, and that comes directly from doing it yourself. Trust me.

Question Mark... (July 2007)

What Is Your Primary Goal?

General question, but for me the answer is simple. My primary goal as a player, composer, and educator is to emotionally connect with listeners and to inspire anyone I meet, ideally moving them to a higher place. It's not a "mind thing" whatsoever, but something that they can relate to and feel. This is one of the main reasons why the blues lies at the very core of what I appreciate in others and what I am driven to do as an artist, because I feel the same need to be moved emotionally. I see inspiration as a two-way street.

Question Mark... (June 2007)

Does the "Major Blues Scale" Exist?

No. Whenever I refer to major blues terminology, and especially with a new student, it is often misconstrued as a scale reference. Nothing could be further from the truth. There is no scale or mode that I know of that explains the essence of the major blues "sound." The basic definition consists of motion between the minor and major thirds (Eb to E in the key of C), and no sevenths. Anything else is legal, therefore any attempt to define it in scale terms falls short. It's one of the most powerful, flexible sounds, yet it still eludes many players.

Question Mark... (May 2007)

How Many Licks Should I Know?

As many as possible, because once you can play with any degree of feeling and intensity, the only thing left is how broad a speaking vocabulary you have under your belt. Make sure that any licks you learn are of the highest quality with every note counting and no fluff, because they will then become your future seeds of creativity and spawn countless variations related to the original statement. For me, after the quality was firmly established it became a numbers game with regards to learning brand new licks or creating strong derivatives. Conclusion? You can never have enough licks!

Question Mark... (April 2007)

Does Practice Always Make Perfect?

Sorry to pop anyone's bubble, but definitely not. While it's fine to walk around saying "Practice makes perfect" in a general sense, the reality is that what you are doing with your time is absolutely critical to reaching your goals, and therefore the most important issue. Only when you've achieved optimum quality in practice can you expect to see perfection. I'll even go so far as to say that if you are on the wrong path, every hour that you study can be like taking a step backwards. That's why one person who practices 30 minutes a day can progress more than another practicing 4 hours a day.

Question Mark... (March 2007)

How Do You Evaluate A Player?

There are three essential traits that I look for in any musician. First and foremost is feeling, usually stemming from a genuine affinity for the blues. I have to be emotionally moved to even get interested. Next up is the intensity of that feeling. All of my favorite artists and influences, regardless of genre, are capable of making a powerful statement with just one or two notes, and that takes a high level of passion and conviction. Harmonic and rhythmic creativity are third on the list, and when the imagination well is deep and combined with the first two ingredients, you have true mastery. The full package.

Question Mark... (February 2007)

Greatest Strength As A Musician?

Despite the fact that I don't subscribe to natural talent per se,we each have inherent strengths that represent untapped potential if we recognize them and labor hard to achieve our goals. As for me, I've always had a knack or "vision" for seeing how things can creatively work together, whether it be in a literary article, composing a tune, or taking a solo. However, it wasn't until I had spent years and years paying dues to acquire valuable knowledge stemming from real world language that I had anything memorable to write or to play. So I still maintain that your greatest strength comes down to your work ethic.

Question Mark... (January 2007)

What About Personal Expectations?

This is a fascinating subject to me, both as an evolving artist and as a music coach who is constantly observing the psychological forces that can drive or hold back a student's progress. It's amazing how much we can stop ourselves with self-imposed hurdles based upon unrealistic personal expectations, or those of our friends, family members, teachers, bandmates, and so on. As you assess your present ability and look ahead with regards to achieving goals, my best advice is to simply ask yourself if you've done everything you can in giving your best effort today? That's all you can really expect.

Question Mark... (December 2006)

Are Chord Grids Still Useful?

Long before tablature became the mainstay for guitar notation, chord grids were used in abundance. I'm not referring to the generic variety found in most piano/vocal/guitar songbooks, but the custom symbols that provide a visual aid for guitarists. To me, they remain as valuable as they were years ago, when I created all of my solo guitar arrangements using them. In fact, they are often superior to tab when it comes to creative possibilities. Tablature forces the arranger or author into suggesting that you always do things one way, but the grid approach keeps things more open-ended on the artistic front.

Question Mark... (November 2006)

What About "Fusion" In Jazz?

The very definition of jazz music is highly subjective. Some will vehemently argue that almost anything can qualify as a legitimate part of the genre. Others, myself included, feel that you have to be grounded in traditional language roots before attempting to stretch the creative envelope. After all, how you can you expand on something that you don't possess in the first place? While my favorite players and mentors certainly fit the latter category, the case can be made that jazz has always been a fusing of different elements. But as far as I'm concerned, "it don't mean a thing if it ain't got that swing!"

Question Mark... (October 2006)

Who's Carrying the Wes Torch?

When it comes to jazz guitarists who are obvious disciples of the great Wes Montgomery, two guitarists spring to mind for me. One is George Benson, a player whom many consider the heir apparent to the Montgomery throne, and a major influence on me. The other is his very good friend from Chicago, Henry Johnson. Both have a solid blues background and exhibit the traits associated with Wes, especially with regards to the use of octaves and chord solos. However, If I had to choose just one of them based on present jazz recordings and performances, my nod would have to go to HJ.

Question Mark... (September 2006)

Most Important Jazz Turnaround?

First of all, and in case your not certain about the terminology, a "turnaround" in a jazz progression is generally a series of four chords that occur at the end of a verse. Since most tunes begin on a I chord (C in the key of C), it's usually referred to as a "Turnaround to One." An exception would be a tune that begins on the II chord (e.g. Dm7 in the key of C). The most common formula is the I-VI-II-V, typically Cmaj7, A7, Dm7, and G7. However, there are numerous possibilities when it comes to chord personalities, alterations, and substitutions for the primary chords in the turnaround, so observe and experiment.

Question Mark... (August 2006)

How Often Should I Record?

Recording yourself is one of the most important things you can do as an evolving player, and it's a critical member of what I consider the three most important musical pursuits: Arranging, Recording, and Transcribing (A.R.T.). Most players, myself included, are guilty of not recording as much as they should, for any number of reasons. But make no mistake about it. You have everything to gain and nothing to lose by recording on a frequent basis. So how often? I'd say at least once a week, although like arranging and transcribing, there's much to be gained by recording for even a few minutes every day.

Question Mark... (July 2006)

What Should I Play for Someone?

This is a deceptively simple question, but one that truly bears a lot of thought. Even if you're not on stage with a set agenda and list of tunes, at some point you will be in a position to show someone what you can play, and how well you perform will say a great deal about how others perceive your ability. Obviously this means that your choice should be something meaningful to both you and to your audience. My advice, especially if you know quite a few tunes, is to always have a few of your favorites ready to play regardless of the situation. That way there's no indecision, just a solid performance.

Question Mark... (June 2006)

Can You Ever "Copy" Too Much?

Definitely not! Oh, you want more? Sure thing. Despite the myths typically perpetuated by educators and those who can talk but can't play, history clearly proves that those who obsessively copied their mentors achieved the highest level of creative originality. In jazz it was BIrd, Wes, Benson, Corea, etc. In rock it was Hendrix, Clapton, SRV, and so on. The truth of the matter is that the language itself doesn't belong to any one artist, so we borrow it and use it in our own way when we improvise and compose. Therefore you can't copy too much, because you can never have enough language.

Question Mark... (May 2006)

How About Quality vs Quantity?

This is a subject that I talk about frequently, especially when I start working with a new student. The first goal should always be to establish a very high level of quality, both regards to what you are learning and how you spend your precious study time. Once that is established, quantity takes on a powerful role in how you set your goals, because you can't get enough of a good thing. However, if you don't achieve the quality first, then it's like eating bad food and compounding it by eating more of the same. Get my point? Quality practice allows you to accomplish far more in far less time.

Question Mark... (April 2006)

Favorite Fingerstyle Guitarist?

There have been many fine fingerstyle guitarists I've admired over the years, but when it comes to virtuosity mixed with an eclectic background and a charismatic sense of humor that won't quit, I have to go with Australia's Tommy Emmanuel. An obvious disciple of the Atkins school of playing, TE is more like Chet on steroids, as what he does in performance transcends the instrument itself. And what he does percussively on the instrument is simply second to none. Check out his "Live At Sheldon Hall" DVD and prepare to become a believer as well as his next fan. An amazing artist, period.

Question Mark... (March 2006)

Transcribing vs Learning by Ear?

Despite the fact that transcribing often conjures up the image of a musician writing out solos or licks from a recording, I prefer a broader definition. To me and many of my respected colleagues, transcribing is learning music by ear, in the spirit of Wes, George Benson, Charlie Parker, B.B. King, and countless others. The main goal is to imitate influences and assimilate the language, so whether it is written in standard notation or not is an artistic option. Of course, being an educator and someone fascinated by phrasing and rhythm, I do document what I learn. I highly recommend that you do, too.

Question Mark... (February 2006)

Any Chord-Melody Arranging Tips?

First of all, if you're not arranging music for guitar on a daily basis, you're missing out on one of the most critically-important areas when it comes to improving your ability, vocabulary, ear, and knowledge of theory. Start with any tune you like, but ballads are ideal. Find the vocal melody on the upper two strings and build the proper chord, using any songbook or fakebook as a guide, making sure that the melody is the highest note. Aim for chords with a root bass, on beats one and three, adding single-note melodies in between. There are no hard and fast rules. If it sounds good, you're doing the right thing.

Question Mark... (January 2006)

Best Tuner for Archtop Guitars?

I've bought more than my share of tuners over the years, but I recent purchased the Intellitouch PT1 contact tuner from Onboard Research Corporation, and it is hands down the best unit I've ever used for tuning archtop guitars. Like the Sabine AX-2000 that I use for my acoustic guitars, the PTI reads the surface vibration of the instrument, in this case by temporarily clamping onto the headstock. It's deadly accurate, with a large LCD readout that's backlit for night time or onstage use. Archtop guitars are traditionally temperamental when it comes to conventional tuners. The Intellitouch is the ticket.

Question Mark... (December 2005)

Favorite Christmas Guitar Recording?

There are many fine holiday guitar recordings I can cite, but my favorite will always be the classic "Have Yourself A Soulful Merry Christmas" by Kenny Burrell. Recorded originally in the mid-sixties on Cadet, it went out of print for many years, but became available once again on CD not too long ago. The feel on this release captures Kenny at his best, playing both acoustic and electric guitars, and doing traditionals as well as his smoking version of "My Favorite Things," or the classic slow blues, "Merry Christmas Baby," which indirectly influenced the version I just recorded. Highly recommended.

Question Mark... (November 2005)

Top Author for Guitar Books?

This is an easy one for me. Although I may be personally biased and my good friend is far too humble to accept the praise, I believe that Wolf Marshall is the greatest guitar author and historian of our time, hands down. When you consider the fact that his prolific output spans so many genres, including blues, rock, and jazz, then combine that with his great attention to accuracy and detail, not to mention his pure passion and obsession for preserving the legacy of artists and helping aspiring guitarists to evolve? Well, have I left anything out? Trust me, Wolf Marshall has worked hard to be the best. It shows.

Question Mark... (October 2005)

What About the II-V Progression?

Just as an understanding of the I-IV-V progression is essential for blues and popular music, it is critical for an aspiring jazz musician to master the II-V progression. It provides the doorway to improvising over changes, because it is found in so many swing blues, bebop, and standard tunes. It's not about scales and modes, and it's not about limiting yourself to just the II-V in any one given key, due to the many modulations and potential chord substitutions that exist in these styles. The knowledge of the language associated with II-Vs opens harmonic doors across other genres, too. Keep that in mind.

Question Mark... (September 2005)

Can Frustration Be Avoided?

Frustration is an inherent part of music evolution, due simply to the fact that there is a degree of challenge involved in facing our weak areas and reaching our goals. As one of my students recently reminded me, referring to something I had written long ago, you have to learn to love the frustration in order to grow. This means accepting the fact that success lies right around the corner whenever you feel a sense of frustration. That's when you have to really summon up the courage to work the hardest. The only frustration that can be avoided stems from being on the wrong path, with no success on the horizon.

Question Mark... (August 2005)

What Should I Transcribe?

This question assumes that you wish to learn something by ear, and perhaps attempt to write out what you've heard. First of all, give yourself a BIG pat on the back for making that decision in the first place, because the majority of players fail to understand how critical it is to transcribe. In my mind, once you've made that commitment, success is a foregone conclusion. You can transcribe anything you wish, because in essence you are like "a kid in a candy store" when it comes to the potential knowledge that awaits you. Learn some cool licks, melodies, bass lines, solos, etc. You can't lose. It's all good!

Question Mark... (July 2005)

Is Memorization All That Important?

Getting your repertoire into long-term memory is absolutely critical for a guitarist, in order to complete the learning process and possess something tangible to show for your work. The reason memorization is so essential from a performance standpoint should be obvious to anyone, because what are you going to do when someone asks you to play something for them? If you can't play what you know by heart, then you really don't know it, and can't truly put your heart and soul into the piece. Memorization comes easier to some than it does to others, but like anything else, you get better at it the more you try.

Question Mark... (June 2005)

How Critical Are Your Influences?

Since music is a language, and since you will be judged by how well you speak it, choosing the right influence is essential for you to make systematic progress towards that goal. Of course, the decision of whom to select is personal and subjective, so what is right for you isn't necessarily right for another. If there's anything that I remain ultimately grateful for, it's the fact that I chose my influences wisely, because the knowledge that they passed down to me is responsible for my success as a player and as a music coach. Sure, I had to do the work, but without their influence I'd have nothing to say.

Question Mark... (May 2005)

Do You Have "Bad" Music Days?

Everyone has bad days when it comes to music performance. Sometimes you can be distracted and have trouble concentrating. Perhaps your bio-rhythm is just off, but there can be any number of reasons why you're not "on your game" that particular day. What I can tell you is that the best players in the world have bad days, too. The difference is that they are so good that no one else notices. I can also promise you one thing. As you evolve and become a better player, your bad days will become better than your good days used to be, so my advice is to keep working as hard as you possibly can.

Question Mark... (April 2005)

What About "First Take" Recordings?

As much as I love the digital domain, and the ease with which you can create perfect recorded performances through seamless punches and editing, there's a lot to be said for traditional, first take recordings. I often compare the art of nailing a one-take recording with being an athlete, or perhaps an actor, who rises to the occasion to deliver a knockout performance. Of course, just as it was in the old days prior to all of this cool technology, you have to be well-rehearsed and "on your game" to really deliver a perfect take, but I relish that challenge, because it's a true indicator of your actual ability as a player.

Question Mark... (March 2005)

How Can I Achieve Harmonic Strength?

This has been a critical issue for me for most of my career. It stems from many years of transcribing great players, where looking for a single bad note is like trying to find a needle in a haystack. As I've said many a time, you become what you practice, and strength generates strength. Study and emulate players who are always saying something significant. Record yourself and listen objectively. Anything you hear that lacks harmonic power is something that you should strive to eliminate. If you simply don't hear anything strong at the moment, heed my late father's advice and "take a breath!"

Question Mark... (February 2005)

Suggestions Prior to Recording?

Yes, practice! This is the best piece of advice I can give anyone preparing to record. You really want to be on top of your game and showcase your acquired talent when you start to lay down tracks. Unfortunately, I haven't always heeded this advice, and am quite fortunate that my skill was good enough to get satisfactory results and impress others. However, there's little question that the greatest recordings are those reflective of players who are very familiar with their material, usually through many gigs and rehearsals. Be sure to give yourself some time to really nail your project before recording.

Question Mark... (January 2005)

How Many Lessons Should I Take?

This isn't an easy question to answer, because there are several factors involved. Does your instructor have a deep well of information to offer? Is the teacher effective in communicating it? Is it what you sincerely wish to learn? Do you have faith in the direction? Are you having fun? If you answer yes to all of the above, then a long stay is in order. If not, you owe it to yourself to consider other alternatives. The important thing is to look inside and to recognize when you've found the right coach. My best advice is to heavily weigh the criteria above in making a short or long-term decision regarding lessons.

Question Mark... (December 2004)

When Should I Write My First Song?

Right now! Or should I say "write" now? Seriously, you're never too young or too old to compose, and you don't need a degree in music to write a simple tune and express yourself. Truthfully, I wish that I had started before my mid-thirties. My late father, as I've often mentioned, didn't compose until his early fifties. On the other hand, our youngest daughter, Gina, is now composing originals at only 10-years-old. Lyrics and music, and although a father can tend to be a bit biased, I'm really impressed with her creativity. It's inspiring, and that's exactly how you'll feel if you do likewise. Trust me.

Question Mark... (November 2004)

Should I Take My Guitar On Vacation?

For many players, this is a relatively easy question to answer. Most of my students have day jobs, so even though studying an instrument requires significant effort, the relaxation aspect of music is a factor that weighs heavily in a decision to include your instrument in your travel plans. Now, whether you would actually practice or not is another issue, because you may just want to play some nice music during your getaway. My situation is understandably different, due to the fact that I am surrounded by music and the guitar around the clock, so getting away from it during vacation recharges my batteries.

Question Mark... (October 2004)

Thoughts On Teaching Beginners?

Regardless of whether you make your living teaching music or not, if you can play guitar, at some point you will be in a position to teach someone something that you know. If that person is in their first year or a total beginner, my attitude is identical to that of working with an intermediate or an advanced musician. The mission is simply to inspire the student with a direction that hinges on having fun while learning. It doesn't make one bit of difference how young or old the student happens to be, or how much experience they may or may not possess. It's all about fun and inspiration. Nothing else matters.

Question Mark... (September 2004)

First Step In Composing?

Recently a student asked me some questions about composing music, specifically how I begin creating a new original. Nine times out of ten I start with a chord progression, or even a single chord, which can lead to the progression itself. The melody comes after the fact for me. I almost consider the melody a simple, improvised solo, in which case there are countless possibilities. The chord progression needs to be rock solid, establishing the tune's foundation. You can also consider using an existing, proven chord progression, just waiting for an original melody or a bass line. At least that's what works for me.

Question Mark... (August 2004)

Acoustic or Electric Guitar?

I am frequently asked whether I recommend an acoustic or electric instrument for beginning guitarists, or for that matter which I prefer to play. This is a very tough question for me, because there are strong advantages to each type of guitar, and I'd hate to have to decide between the two of them. Acoustic obviously wins for portability and the fact that you don't need an amplifier, while electric is the obvious choice for any kind of ensemble playing when volume is an issue. It also depends on technique and genre. I prefer acoustic for fingerstyle work, classical, latin, etc. I prefer electric for jazz & blues. Play both!

Question Mark... (July 2004)

How Many Left-Hand Fingers?

I've always found the topic of how many fingers used by various guitarists a fascinating one. We can cite a player like Django who, due to physical limitations, only used two fingers for single-line work. Jose Feliciano is another artist cut from that cloth. Rock and blues guitarists have always been noted for ignoring their fourth (baby) finger, yet that's also true of jazz guitarists like Wes Montgomery and George Benson. Of course, classical players use all four fingers. Sometimes I will purposely improvise with one finger alone, just to illustrate the value of phrasing. Conclusion? Use whatever it takes.

Question Mark... (June 2004)

How Loud Should I Play?

While loud volume is comonly associated with rock and blues guitar, it is a subject worth discussing. When it comes to guitar and bass in those genres, the goal is typically to make the instrument sustain and achieve power, which is understandable, given the overall volume of a band in a large concert or club setting. The only concern and advice I have deals with dynamics, because if you play loud all of the time, you lose the balance and impact of playing softly. I've always maintained that you should be able to move a listener with the barest volume possible. Aim for a broad range of dynamics.

Question Mark... (May 2004)

Tips for Improving "Position" Skill?

Whether you subscribe to the school of shifting versus position playing with regards to your fretting hand, it's important to become familiar with every area on the fingerboard. "Position Prison" is a method that I've used successfully in the past, strictly as a means to an end. For instance, if you're confident improvising in the traditional bar position (8th fret in the key of C), deliberately put yourself in the 5th position for a week or longer, until you can play as good a solo as you can in the stronger position. Then try another position, like the 10th, for a week. Eventually you'll have all bases covered.

Question Mark... (April 2004)

Should Every Note Mean Something?

Definitely. Whether something is "meaningful" or not may be a subjective issue, but my goal as a player, composer, and arranger, is to make sure that every single note carries significant weight. Otherwise, I'd prefer to follow in my father's footsteps and "take a breath" instead, as any good horn player does. This goal may seem far-fetched, but I've long believed that strength generates strength. If you choose your influences wisely, and if they are "on the money" 99% of the time, logic dictates that you will carry that same torch. Remember that you'll always be a reflection of your influences.

Question Mark... (March 2004)

Does "Non-Physical" Practice Count?

Many players, myself included in years past, often fall into a mental trap when it comes to what defines real practice, thinking that the only thing that really counts is whether you're actively playing your instrument during study or not. This is a huge mistake, because some of the most creative pursuits, such as arranging, composing, and transcribing, have little to do with a physical workout, yet yield results that cannot be attained without steady attention to these all-important areas. I learned long ago to treasure the non-physical side of playing. In the long run, you simply become a superior musician.

Question Mark... (February 2004)

How Can I Improve My Phrasing?

I consider phrasing one of the most critically important ingredients, an essential trait that separates great players from marginal players. The best way to generate improvement in this area is to carefully choose your influences according to the way that they phrase, then transcribe and imitate them as much as possible. All of my primary mentors, both as improvisers and composers, have a great deal of rhythmic imagination, and I've always been fascinated by the subtle timing factors with each artist I've studied. Analyzing the time really helps to better understand your own phrasing, so keep that in mind.

Question Mark... (January 2004)

What Style of Music Should I Learn?

Frequently I hear the comment, "If I could play (fill in the genre, but usually jazz or classical), then I could play anything." This is a real misnomer, because in truth the best style for each of us is the style that we wish to play. While it may be true that everything can be viewed as a "means to an end," there's ample evidence that being able to play one style doesn't automatically guarantee skill in another style. As a matter of fact, classical musicians are often very weak as improvisers, and it's rare to find a jazz player who is truly competent at handling rock 'n roll. Your heart has to be in it to achieve success.

Question Mark... (December 2003)

Who Makes the Best Strings?

This is a highly subjective question, because there are numerous string manufacturers, and artists differ when it comes to what they prefer in a guitar or a bass string. Those who know me are always asking about those strange, black strings on my archtop guitar. Well, years ago I fell in love with tapewound strings, and continue to use La Bella 800s. They have a great sound overall, are more pliable than conventional flatwound strings, and have unmatched longevity. I also recommend Thomastik-Infelds for jazz, and still find D'Addarios to be dependable for both nylon-string guitar and electric bass.

Question Mark... (November 2003)

How About Playing In All Keys?

Much has been made of the necessity, especially in jazz music, to be able to play a song in as many keys as possible. I disagree with that philosophy. Theoretically it sounds impressive and like a good idea, but reality dictates otherwise. Simply put, the majority of the musicians you will meet in your lifetime play standards in the key associated with that composition. There are exceptions, especially when accompanying vocalists, but I'd much rather spend my time learning a dozen great tunes, as opposed to learning one song in a dozen keys. Unless you have no choice, work with the concert key.

Question Mark... (October 2003)

Any Good Fingernail Tips?

While I'm not as obsessed about fingernails as my classical guitar colleagues, I can certainly share some basic thoughts with you. First, never use nail clippers on either hand, something I haven't done even once in over 30 years. Get used to a nail file. Keep the left-hand (fretting) fingernails very short, so they don't interfere with the neck. Right-hand fingernail length has been a controversial subject for centuries, some favoring extremely short nails, others very long. I keep mine on the shorter side, so that the tip of the fingernail doesn't exceed the tip of the finger itself. Just enough to enhance the tone.

Question Mark... (September 2003)

Best Jazz Guitarist In History?

While there have been many legends of jazz guitar, dating back to Charlie Christian and earlier, in my mind the best ever will always be Wes Montgomery, the man who broke the mold in setting a trend for the instrument that's been imitated, but never surpassed. Wes' combination of blues and jazz language, coupled with his innovative use of "call & response" octave and chord solos, succeeded in underlining the percussive nature of the instrument. This is something that many professional and aspiring jazz guitarists comprehend, yet somehow still fail to employ in their own work. Wes was the "man!"

Question Mark... (August 2003)

Can You Define "Improvisation?"

Easy question, right? Not exactly, despite years and years of soloing in a variety of genres. After logging countless hours acquiring the language of music through transcribing great artists and arranging classic tunes, I've found a distinct relationship between the learning process and the creative act of expressing yourself on the fly. Nowadays, I think of improvisation as spontaneously transcribing and arranging what you hear. If what you hear, on the basis of the same pursuits, is powerful, what you play while improvising will be equally as powerful. Think about it.

Question Mark... (July 2003)

Most "Essential" Jazz Progression?

I'll always consider the blues the foundation of jazz, and therefore a critical progression to develop your ability in this genre. Beyond the blues, however, one progression has historically stood out from all others, the classic "Rhythm Changes" by George Gershwin. For years, this uptempo, 32-bar, AABA progression (typically in the key of Bb) has been the measuring stick for jazzers, regardless of their instrument. There have also been numerous compositions by Bird, Miles, Sonny Rollins, and many others, all using this time-honored progression. Next to blues, play "Rhythm Changes" every day!

Question Mark... (June 2003)

Any "Personal Favorite" Guitar Videos?

More and more live concert footage on DVD is surfacing all the time, and if you like virtuoso guitar performances, there are three titles that I can't recommend enough. Definitely pick up George Benson's "Absolutely Live" video, recorded in Ireland and available in VHS and DVD formats. It captures GB at his best. If you've never seen the amazing Stevie Ray Vaughan, get his "Live from Austin, Texas" DVD, a spellbinding dynamic performance from the late guitarist. If fingerstyle mastery is your cup of tea, you just have to check out Muriel Anderson's "All-Star Guitar Night - 2000" release. 5-Stars!

Question Mark... (May 2003)

What's A Good, Portable Recorder?

In this day of affordable digital audio recording, both hardware and software, there are simply many great choices. Being fascinated by the technology itself, I almost collect systems like I used to collect baseball cards as a kid. Current favorite? The Tascam Pocketstudio 5. Very small, it stores audio and either midi or mp3 backup tracks for accompaniment, has its own tone and rhythm generator, great built-in effects for guitar, bass, and vocals, writes to compact flash cards, connects to your PC via USB, mixes down to mp3 format, etc. Great for jamming, and you can record on 4 tracks at the push of a button!

Question Mark... (April 2003)

What Truly Defines A "Beginner?"

How players view their level of experience has always been a source of interest to me. Of course, the easy reply to "What truly defines a beginner?" is "a total lack of experience." Perhaps you can extend that definition for awhile, but once you can play a few notes or a chord, you're really no longer a beginner. I'm always amused when a new student says "Treat me like a beginner." There's a natural tendency for each of us to believe that we should have much more to show for our invested time than we do. The reality is that we just aren't as skilled in some areas, but there's always a tomorrow!

Question Mark... (March 2003)

The "Main Goal" In Composing?

Besides the obvious goal of creatively expressing your feelings and emotionally moving the listener, the thing I try most to achieve in writing original songs is to succeed purely on the "instrumental" front. This is especially true with popular compositions that are normally associated with vocals and lyrics. I know that if one of my tunes holds a listener's interest and moves them before lyrics are added, than I've really got something special. In my book, anything beyond that is "frosting on the cake," because the primary goal has already been accomplished. So take those melodies, bass lines, and chord progressions seriously!

Question Mark... (February 2003)

Is Having Patience In Music Critical?

What do you think? "Patience is a virtue" is how the old saying goes, and never is that more obvious than in the field of music, when you can labor hard for long periods of time without making a visible breakthrough. Outside of the arts, you can practically point to the calendar and predict precisely when certain achievements will take place. Music pursuit takes lots of courage, perseverance, and patience, and not just on the part of the individual player. Teachers must remain patient with their students, band leaders with band members, and so on. Yes, being patient in music is critical!

Question Mark... (January 2003)

When Is Technique A "Problem?"

First of all, let's be clear on one thing. Technique should never be measured by how fast or how strong a player happens to be. Hand speed and power mean zero if not coordinated with the message that the artist is attempting to deliver. Balance is everything when you assess a player's physical ability. For instance, B.B. King is a master guitarist because his technique, while viewed by some as simple, is perfectly balanced with what he hears. Many play fast yet say nothing. Others have something to say but fail technically. If you can smoothly play what you hear, relax. You have no problem!

Question Mark... (December 2002)

Is One Key Better than Another?

The question of preferred keys is extremely subjective, because it depends mightily on the instrument, the genre of music, and the task at hand. Guitar is very well-suited to sharp keys, like E, A, D, and G, due to the textural possibilities involving open strings. Jazz music tends to favor flat keys, like F, Bb, Eb, and Ab, because of the ease in which horn players can operate with their instruments. The simplest key for piano, and for overall comprehension on any other instrument, is the key of C, with no sharps or flats. And naturally, if vocals are part of the equation, that takes precedence over all else.

Question Mark... (November 2002)

Should A Guitarist Take Up Bass?

This is a ridiculously easy question for me to answer. How many ways can I spell the word "Y-E-S?" Guitarists tend to take their close cousin for granted, but they really have no idea just how powerful an impact even marginal bass skill can have on them as players and composers. And if you like jazz and creative improvisation, there's really nothing quite like the bass, where you get to do it all: play the melodies, improvise walks within the rhythm section, or take solos. No one likes bass solos? Not so in jazz, where they're not only expected but appreciated. Regardless of style, the bass rules!

Question Mark... (October 2002)

How Important Is Scale Practice?

Not one-tenth as important as many educators and fellow players would have you believe. Contrary to a prevailing myth that has no substantiation whatsoever, scales, modes, and arpeggios are often a hindrance more than a help. This is especially true if you forego the study and learning of "real-world" language (tunes, melodies, solos, licks, bass lines, etc), which is precisely what many choose to do in their misguided quest for creative expression. I have yet to meet one scale-based player who rings my bell, and until I do I'd recommend a very lean diet of scales. Don't ignore them, but don't worship them!

Question Mark... (September 2002)

What's the Best Transcribing Software?

Transcribe! No, I'm not giving you a directive. "Transcribe!" is the name of a program designed by Andy Robinson of Seventh String Software (UK), that's both affordable and quite simply the best product I've ever encountered for learning music by ear. Unlike most digital transcribing hardware or software, this program retains superb audio fidelity while allowing the user to slow down difficult passages almost as much as you wish. It has many features, but perhaps the best one is that it allows you to use your MP3 files for learning, and nowadays who doesn't have plenty of those? Check it out!

Question Mark... (August 2002)

Throughout the many years I've studied, played, and taught both guitar and bass, the two most enjoyable ways of exploring positions and notes on the fingerboard have both involved "real world" music. It doesn't hurt to practice basic scales in all playing locations for a starting point, but once that's done I'd highly advise that you spend time each day playing melodies, solos, licks, and bass lines in as many different positions as possible. Even moving simple blues ideas around can really open up some new doors. Guitarists should get involved with chord-melody arranging to visualize chord tones.

Question Mark... (July 2002)

Of course, the answer to this question is obvious, because hypothetically anyone can write an original song. However, I find that many players, especially students of music, are often reluctant to take a stab at composition. I believe that the reason for this stems from the fact that musicians often feel that they need a much higher level of knowledge first, just as aspiring teachers sometimes feel inadequate if they don't have a degree in music behind them. But while the quest for knowledge is to be respected, you simply don't need to put restrictions on your creativity. Advice? Write on...

Question Mark... (June 2002)

Call me a traditionalist if you must (I've been called worse), but I still favor the 4-string bass, and continue to recommend it, at least for a "first" bass purchase. Despite the obvious attraction of extending the register of the bass, or guitar for that matter, all of my mentors did the marvelous things that they did using conventional instruments, and never once have I sensed that they were "missing something" in the way of range. It's a personal call, however. For my bass work I sometimes crave higher range, not lower, so I just pick up the guitar instead. For guitar it's the opposite, so I reach for the bass.

Question Mark... (May 2002)

Relativity is everything in music, in studying, in performing, in composing, and in teaching. Issues like technique and theory are completely secondary and sometimes meaningless if not related to the goal of the individual. Many of us are guilty of losing sight of this fact. And it can become a real problem, especially in the educational field, when a student places full confidence in a path that's often not related closely enough to their desired destination. My advice to players is to consider where they're going and what they're doing to get there. A good teacher should do likewise in creating the path.

Question Mark... (April 2002)

Even though, like most instructors, I'm a proponent of alternate picking (down & up) or rotating the index and middle fingers if playing bass or fingerstyle guitar, there's a huge misconception that exists among students and many players alike. This lies in the belief that you should "always" alternate, which is not only incorrect but can result in wreaking havoc on both your phrasing and the sound you achieve. You only alternate if the stylistic situation calls for it. For instance, in rock, funk, or latin music alternating begins with 16th notes. For jazz or shuffle blues, it's the 8th note. Think about it!

Question Mark... (March 2002)

This is an interesting question, because composing is usually associated with writing original works, while arranging is connected with manipulating existing works. In my book, however, the actual distinction between the two areas is thin. Composing as well as improvising are really extensions of arranging, because in essence you're assembling pieces of musical language (melodies, bass lines, chord progressions, etc), either deliberately or spontaneously. I also firmly believe that skilled arrangers make the best composers and improvisers, simply due to the language acquired through arranging.

Question Mark... (February 2002)

When I think of an improvised solo, I draw the comparison to a public speech, ideally an inspired, creative one. What makes each improviser (or "speaker") unique is how the licks (or "words") are assembled spontaneously, with a story being told along the way. With that in mind, it's important for the student to both acquire the tools as well as witness their use by a skilled player. Keep in mind the fact that certain styles, like jazz, are more harmonically complex, which makes a good case for learning a solo note-for-note in order to observe transitions. In a simpler style, you can just "hunt" for ideas.

Question Mark... (January 2002)

Though many of us pride ourselves in being open-minded with regards to the music we hear, the true test of how inspired we are can simply be measured by our attention span. "Inspired" listening, to me, is when a recorded performance moves us to the degree that we can listen to it over and over again, almost never tiring of it. We can profess to appreciate all styles of music, but how often or how long we will listen to something, no matter what the genre, is another matter entirely. After all, there's a big difference between "enjoying" something for years, as opposed to "tolerating" it for five minutes!

Question Mark... (December 2001)

Time. Now, I'm not just talking about a good sense of rhythm, although you could make the argument that timing is the singular most important element in a musician's tool box. No, I'm referring to what I believe is our most precious commodity, and that's having the time itself to fulfill our dreams. We tend to occupy our days with activity, much of which is out of necessity, but that also leads to a great deal of stress and then filling the remainder of our available time with meaningless activity, just to relieve that stress. Ever hear the phrase "time is money?" Trust me. Time is much more important than money!

Question Mark... (November 2001)

To me, simplicity is the biggest factor in the quality of a song, because if it's over the head of the average listener it's doomed to failure. Now, you could argue that the listening public as a whole lacks taste and is under-educated when it comes to appreciating music of a cerebral nature, but I think the key lies in disguising that complexity. Beyond the general philosophy, however, a great song has a magnetic intro, and ideally a powerful verse, chorus, bridge, ending, etc. My advice to aspiring composers is to learn great tunes from great writers. Strength generates strength!

Question Mark... (October 2001)

You mean does "absence make the heart grow fonder?" Yes, I believe that taking a periodic break from studying and playing can tend to rejuvenate your interest, and give you a different perspective with regards to the way you see your goals. Of course, you never want to abandon your sense of dedication in the process, and taking a break, especially during a week or two of vacation, can often throw you off balance and make it difficult to get "back in the saddle" upon return to your regularly scheduled programming. Still, I find that taking one day off a week, or even several days, can be very beneficial.

Question Mark... (September 2001)

Yes, yes, yes! Take it from someone who years ago thrived only on "first-take" solos and looked down with disdain at the notion of actually writing out an improvisation. But "live and learn" I always say, and I have clearly seen the error of my ways since making an effort to compose model solos. When you think about it, all the greats assembled model solos, whether written or through constant playing, and the really good ones often became standards in the process. It's a highly effective way of focusing on a challenging chord progression while applying your language. Do it regularly. You won't regret it!

Question Mark... (August 2001)

Even though individual goals can differ like night and day, there will always be a superior way to draw a straight line between where you're at and where you wish to be. So what I can do is to reiterate two philosophies that are broad enough to cover any music pursuit: The first is to practice only something that you would perform for someone, to the tune of 95% of your allotted time and energy. Why practice what no one wants to hear, eh? The other tip is to gravitate towards areas of study that utilize all of your senses (i.e. ear, mind, physical, etc), as opposed to isolating just one. Avoid inferiority!

Question Mark... (July 2001)

This is one question that I could spent a lot of time answering, because I firmly believe that most musicians, guitarists in particular, severely lack creative rhythmic imagination. This possibly stems from the fact that guitarists are poor sight-readers to begin with, and timing, though often overlooked, is such a huge part of what makes any piece of music different than another. When I say "any piece of music" I'm referring to the melody of a song, the bass line, riffs in an improvised solo, etc. Tip: as you listen and learn from your musical influences, try to note the creative use of time. You won't regret it!

Question Mark... (June 2001)

Not half as much as many teachers and players would have you believe. For the longest time this has been a pet peeve of mine, and it goes directly against my philosophy and belief that the greatest players in jazz (or other genres) know the "real world" music and the language very well, but didn't acquire it through some theory book or a college classroom. Truth be told, we can learn so much through simple observation of how our influences learned, and by imitating both their path and their musical language. And guess what? You'll be doing exactly what they did! Not too complicated, eh?

Question Mark... (May 2001)

I've owned many amps over the years, and despite all the talk about "amp-modeling" in recently with developments from Line-6 and Roland (among others), nothing impresses me more than the new "Cyber Twin" from Fender. This is a classic tube amplifier actually capable of duplicating the exact schematics of 35 vintage Fender amps with the twist of a dial. In the seconds that it takes for the circuitry to change, the motorized knobs turn on their own! (you have to see and hear this to believe it). Add DSP effects, custom patches, and the ability to build your own amp? Worth checking out!

Question Mark... (April 2001)

Would you prefer a one word reply? Priceless! Of course the question is a subjective one, but since I basically consider myself to be a "blues guy" who enjoys and plays several other styles of music, there's simply no better answer in my book. Jazz or rock that's missing elements of blues never holds my interest, and if you further define blues as playing with "soul" or feeling, the philosophy carries over into classical music or other genres not inherently based in the traditional blues style. My advice to fellow players? Play just a little blues every single day and you'll never look back!

Question Mark... (March 2001)

I get asked about this subject very frequently, understandable because guitarists (and many bassists) have a reputation for being such poor sight-readers who tend to rely on visual aids for learning. Many teachers, especially those in the classical and jazz fields, are adamant about not using aids like tablature at all. Personally I feel that's going too far, because even though I prefer standard notation myself (mainly from the "timing" perspective), in actuality all written music is highly interpretive, and I believe that you still have to "hear" it to really get the true picture. Advice? Be open to all possibilities!

Question Mark... (February 2001)

Talk about a personal guitar question? Well, the choice of your favorite flatpick is an issue that can be debated in all circles by all players, and all that really counts is whether your preference works for you or not. Like many blues (and jazz) guitarists, I've generally favored a smaller than standard, heavy pick for my work. On the other hand, I've recently come across an influence who plays with greater speed than anyone I've ever encountered, does it with an extremely thin pick, and has solid, logical reasons for doing so. Nevertheless, it's a personal call, so experiment if you're inclined!

Question Mark... (January 2001)

I'll bet you thought this was a "theory" question, right? No, it's concerning a much more important issue, that of setting personal goals. Traditionally the new year has always been the most popular time for people to assess themselves and make resolutions, but frankly if I had to wait 12 months to set mine, I'd never get anything done! As you probably know and can see from my own efforts, I'm a highly goal-driven individual, because I believe that setting regular goals is something that anyone can do, regardless of talent level. All that remains is the work to carry them out, and we can all do that too!

Question Mark... (December 2000)

Yes! I'm as guilty of this as anyone, but there's no better way to expose your weaknesses and your strengths than by recording yourself on a regular basis. Many players are intimidated by the thought of recording, often because they feel uncomfortable hearing themselves from an objective standpoint, but therein lies the value. You hear yourself differently "after" the fact, as opposed to playing live. What you truly don't like will stand out, and you'll do everything to eliminate it, and quickly. Conversely, what you do like will shine, reminding you to do more of the same the very next time you play.

Question Mark... (November 2000)

Having two young girls who play guitar, this is an easy one for me, but amazingly many adults and parents still fail to see what should be so obvious. Just ask yourself "what is the one thing that children love to do?" The answer? "Have fun!" It's not coincidental that I end the text on almost every chart I do with that directive, because music without the "F word" is drudgery. The worse thing you can do is to banish a child to their room and force them to study an instrument. The best thing you can do is have them play for you, or better still play with you. We can learn so much from our kids!

Question Mark... (October 2000)

Having played this wonderful instrument for some thirty years, this is an easy one for me. Read my lips: the bass is the singular most important musical instrument in any group setting, regardless of style! It projects rhythm while defining the harmony and personality of a song. As a matter of fact, many a hit tune owes its success to a memorable bass line, and it doesn't make any difference whether the part is a simple one in a basic rock, pop, or country cover, or a highly creative, complex one in a jazz or fusion piece. A note to guitarists: take up the bass as a second axe and improve your musicianship!

Question Mark... (September 2000)

There are many different schools of thought regarding the use of a flatpick (plectrum), and the approaches range from highly scientific and technical to almost no thought at all. For most situations, I'm still a firm believer that you should "alternate" (pick down and up), always keeping the rhythm of the music in mind. Of course there are times when the most efficient and "musical" way to handle a passage will involve "rake" (or "sweep") picking, but as an overall philosophy I feel uncomfortable picking down when the beat is up, or vice versa. My best advice is to remain open-minded and experiment!

Question Mark... (August 2000)

I think that everyone's first response to this question would be sight-reading, because guitarists are notoriously bad readers. And don't beat your chest if you play the bass, because bassists run a close second in that department. With all of that said, however, I truly believe that the weakest area among guitarists in general lies in their inability to really comprehend chords, from construction to their use. Why? Because guitarists typically don't involve themselves in the types of study pursuits that spawn chordal thinking and growth, like arranging, for instance. Okay, you've got your clue. Go for it!

Question Mark... (July 2000)

This is an interesting question that I get asked all of the time. It's a bit tough to answer nowadays, because the success of the website has changed all the factors involved. Like most instructors, I continue to maintain a private practice, but as the demand and exposure has grown via Vision Music, the number steadily declined and became fixed two years ago. The "Sweet Sixteen" is the name of my local student team. Correspondence membership has been at 80-90 for a long time, for a total private student load of over a hundred. Then there's the thousands that I teach for free on the web. Back to work!

Question Mark... (June 2000)

Yes, you bet you should! One of the greatest things we can ever hope to accomplish as aspiring artists is uniqueness, but the surest way to defeat that dream is by only listening to and being influenced by musicians who play our instrument of choice. It's so important to realize that the message we communicate transcends any individual instrument, but so many players fail to understand this. If you play guitar or bass, imitate and transcribe sax, trumpet, trombone, piano, vocals, etc. When you add up all those influences, the sum total will be powerful and unique. Trust me, I know!

Question Mark... (May 2000)

Nerves are always an interesting subject. Though the best cure for the "jitters" would appear to be adequate preparation, there's often no explanation for why we're more nervous than we should be. As a matter of fact, sometimes too much practice psychologically works against you. Here's my tip: "vibrato". Now, this only affects the "fretting" (normally left) hand, but it will succeed in disguising your nervousness and fooling your audience into thinking that you're just putting more "feeling" into your performance. But guess what? That's exactly what you'll be doing, and I find that it works like a charm!

Question Mark... (April 2000)

Not too long. This is a point to aspiring improvisers that I can't emphasize enough. I always advise players to strive for concise, yet interesting and emotionally charged solos. The odds of achieving and maintaining this goal get drastically reduced if you attempt a long improvisation. Though long solos are a common trademark of amateur musicians, there are a great many examples of well-known players who, in my opinion, stretched their creative solo work so far that the power of the message got lost in the process. Keep your blues solos under 36 bars, and jazz solos under 64 bars. Less is more!

Question Mark... (March 2000)

You might say that I've "worn a lot of hats" in my artistic efforts over the years, but the one area that I'm proudest of is the one I started out with as a young child: writing. My own handwritten neighborhood newspaper at eight, submitting short stories and articles to magazines and publishers as an early teen, editor of the school paper and majoring in journalism during my school years, etc. Of course, I never dreamed back then that I'd fall in love with music, and end up with something special to offer others, both from a literary and a musical composition standpoint. One of the ironies of life, eh?

Question Mark... (February 2000)

Simple! Oh, you want a longer answer? Truth be told, keeping things simple and tasteful when creating accompaniments is my most important goal. Sure, you can add lots and lots of bells and whistles with multiple instruments and complex movement, but unless you're creating an original song I find that the "extras" usually get in the way. With many jam recordings, I'll catch myself wincing in agony every time I hear the band getting too busy, causing the "pocket" to virtually disappear. Even if it's momentary, that can be enough to ruin your solo. Most critical component? A solid, powerful bass part!

Question Mark... (January 2000)

Is this a trick question? Can there really be one musical goal for all players? Or teachers? Absolutely. In my book, the singular most important goal for any player is finding an effective, inspiring path, or finding a coach who has the vision to provide it. Unfortunately, many players are walking a path that's not a straight one, and often it's one that keeps going around and around in circles, despite countless study hours. There's nothing worse than being falsely led astray, yet not being aware of it. So how do you know if you're on the right path? If you're learning, inspired, and having fun, you're there!

Question Mark... (December '99)

Don't you just hate questions like that? Well, there are many guitarists that I greatly admire, of course. But those who know me well would quickly point out that, if I had to single out one player, it would have to be George Benson. In my opinion, no other jazz guitarist has ever played with greater passion and rhythmic imagination, nor has any player so effectively bridged the gap between jazz, rhythm & blues, and pop music. There are many naive critics who will disagree with me, but the truth is that critics are a "dime a dozen", but there is only one George Benson!

Question Mark... (November '99)

Many years ago, despite the number of manufacturers, this would have been an easy question. Fender established itself early in the fifties as the first and best electric bass, with its exceedingly long neck. To this day the Fender Precision and Jazz basses are still among the most popular, but it's a field now dominated by custom builders like Tobias, Padulla, Warwick, and others. Though I've owned many Fenders in my career, currently I have a Padulla fretted and an Ibanez Musician fretless. And if your wallet isn't ready for a custom instrument, Carvin makes an excellent bass for the buck!

Question Mark... (October '99)

I realize that "smooth jazz" is a very touchy subject in the jazz community, but once I get past the political aspects of a national radio rotation that (unfortunately) excludes many deserving artists, there still remains four elements that really appeal to me. First of all, I love anything "blues-related" and "groove-oriented", and most tunes in rotation on smooth jazz stations have those traits. Now, add to that mix the fact that probably 90% of the featured instrumentalists are guitarists and saxophonists (my favorite instruments), well... what's not to like, eh?

Question Mark... (September '99)

Actually, using any regular "time-keeper" while you practice is a pretty good idea. When I was in my early stages of development, there was almost no option for personal practice outside of using a traditional metronome, the most common made by Seth-Thomas. Of course, nowadays there are many makes, models, and sizes, plus other alternatives (i.e. accompaniment software, MIDI devices, etc) that will help you stay "in the groove". If there's an advantage to the metronome, it's in the fact that the exact time is isolated in beats per minute (tempo), allowing you to set goals for technical achievement.

Question Mark... (August '99)

How well do you know the coach? Can you guess who inspired me to want to learn jazz? If you guessed my late father that would be understandable. How about guitarists like George Benson, Wes Montgomery, Kenny Burrell, or Joe Pass? Or maybe a great horn man like Miles Davis, Charlie Parker, or John Coltrane? The answer is "no" on all counts, though all of the above artists have played huge, influential roles in my career. My first love affair was with the blues, and it wasn't until I heard jazz pianist Oscar Peterson that I realized just how soulful jazz could be. The "Big O" was the "man!"

Question Mark... (July '99)

Anyone who knows me can predict this answer, because my entire teaching approach is based on "real-world" language (great tunes, riffs, bass lines, etc), and not the hypothetical "alphabet" (scales, arpeggios). The latter shouldn't be avoided by any means, but too much concentration there at the expense of reality can have disastrous effects, yet teachers and players continue to stress the abstract in their misguided quest to achieve creative "freedom". What's achieved is just the opposite: a "prison" that the best players of our time managed to avoid by speaking the language!

Question Mark... (June '99)

In my opinion, there are actually two of them: resilience and conviction. The former is critical because, even if you do have a solid work ethic, you have to be ready to weather the many storms that musical pursuit presents, and those that have a knack for "hanging in there" will eventually get to where they want to be. The second trait, conviction, can be clearly seen in the intensity that the best musicians seem to have, whether it rears its head in the manner that they attack their goals, or in the way that their performance comes across to others. How do you measure up?

Question Mark... (May '99)

As most of my students and colleagues know, I prefer the nylon-string, "classical" guitar for my acoustic work, regardless of the style of music. Though I began on steel-strings, I quickly fell in love with the romantic sound of the classical, which I personally attribute to the violin-like vibrato possible with this instrument. Prices and quality range enormously, from "junk" at $100-200 to gorgeous handmade models up to $8000. I have a nice handmade, but my main axe is a Takamine EC132SC. Cutaway for upper-range ease, excellent electronics, great acoustic sound, and affordable (under $1000).

Question Mark... (April '99)

A fascinating subject. Nine out of ten great players have one thing in common, and it's not "natural" talent. It's their obsessive work ethic, their almost fanatic devotion to the art, and to being the best that they can be. As a matter of fact, there are many examples of legendary players that were pretty inadequate at one point in their career, contrary to the way that most perceive a great artist. The good news is that we're all born with the capacity and will to set goals and strive for greatness, regardless of whatever "natural" talent we may or may not possess. Enough talk. Let's get to work!

Question Mark... (March '99)

This is a tough one for me, because most of what I've learned regarding chord voicings and construction has come by the "school of hard knocks" (slow, but effective). Almost every guitarist or student that I've met has purchased, at one point or other, a huge volume with every chord "flavor" known to the human race, but I've always found those kinds of reference books to be lacking, and a poor substitute for learning chords in a practical manner. One book that I do feel is a brilliant work for the intermediate to advanced player is Ted Greene's "Modern Chord Progressions". Put it on your list!

Question Mark... (February '99)

Because of my jazz background and the association of that genre with the archtop guitar, I get asked this question pretty frequently. Nowadays vintage (or new) Gibsons are very expensive ($3500 and up), as are any handmade instruments. Guild used to represent an inexpensive alternative, but a good one is over $2000 now. If you're like most players with a limited budget, you can still buy a decent jazz guitar for a thousand dollars or less. There are several good Epiphone models to consider, though you may want to replace the pickups. For just a little more, check out the Yamaha AEX1500.

Question Mark... (January '99)

Well, I could recite a number of cliches to answer this common question, but they would all point to the same reply: no! There are so many misconceptions regarding the positives of taking up an instrument at an early age, ideally during childhood, but there are simply too many exceptions to ignore. I didn't start until almost 19 years old, just like jazz guitar pioneers Charlie Christian (17) and Wes Montgomery (19), and I know players who've achieved great success starting much later in life than that. Music is timeless. It's not "when" you get on board the train that counts, just that you do it!

Question Mark... (December '98)

This is a pretty subjective issue, because what rings one person's bell will not necessarily ring another's. But since you asked... Almost anything by Wes Montgomery, but try "Smokin' At the Half-Note" (Verve) for starters. Anything by the late Joe Pass is a safe bet, from his "Virtuoso" solo series (Pablo) to his work with pianist Oscar Peterson and beyond. Don't miss Hank Garland's "Jazz Winds from A New Direction" (Columbia), one of my all-time favorites, or George Benson's terrific compilation "Talking Verve" (Polygram). There are many more, but those are a few to consider.

Question Mark... (November '98)

Well... what about it? I think it's almost a given that, if you take lessons at all, a "good" teacher will immediately tell you to "never drape your left-hand thumb over the neck!" I disagree, but then I've always had a problem with the term "proper" technique. There are just too many examples of great performers that not only break that rule, but use it to a musical advantage. Here's a tip: keep your technique versatile and adaptable. When you need maximum reach and precise fingertip control, plant the thumb behind the neck. For all other situations it's not critical, so judge what's "proper" for yourself!

Question Mark... (October '98)

Very important! The use of right-hand nails versus flesh has been an ongoing debate literally for centuries, with famous teachers and players spending lifetimes of devotion with or without, depending on their technical philosophy. Though nothing's "carved-in-stone", the accepted modern day approach is approximately 75-80% flesh, and 20-25% nail (your mileage may vary). Take good care of your nails. Never clip them. Always file them, first with a steel file, then with fine sandpaper. You can buff them on leather or a cosmetic "wand", which really contributes to a "smooth" sound. Try it!

Question Mark... (September '98)

Sure. Like anything else technically on the guitar (or bass) it's simply a "time and experience" issue. Whether you play octaves with the thumb only (ala Wes) or plucked, the bigger challenge is in the left-hand moving gracefully up and down the fingerboard. Even practicing a basic major or pentatonic scale in octaves can help, but it's a lot more enjoyable to play "heads" (melodies) or riffs. I had a duo several years ago with my wife (Janice), where I made a point of being able to play 75% of our repertoire in octaves. Ballads and latin tunes are perfect for this. Just do it every day!

Question Mark... (August '98)

A good "fakebook" is indispensable, especially if you're drawn to playing jazz and classic standards. It's basically a large collection of lead sheets (melody & chord progressions), which is all a decent jazz musician needs to improvise or "fake" it (hence the name). When I was growing up, there was no such thing as a "legal" fakebook, as copyright was usually ignored by the authors, many of whom ended up being legally penalized. Nowadays most fakebooks are sold "over the counter", with perhaps the most popular currently being "The New Real Book" by bassist Chuck Sher. Buy one!

Question Mark... (July '98)

Since "time & experience" are the biggest factors in how well you do anything in life, and since music is a language, it makes sense to "speak" that language on your instrument as often as possible. It really doesn't make a difference how high your aspirations might be as a contemporary soloist. Improvising spontaneously on a daily basis, even over simple blues, is both a terrific means of creative expression and a springboard to better composing and arranging. It's almost impossible to imagine a day going by without engaging in a creative conversation, so don't let a day go by without improvising!

Question Mark... (June '98)

This is a subjective question, because each of us has different goals. For me personally, versatility is everything, not that I want to be known as a "jack-of-all-trades-master-of-none" artist. I just believe that the sum total of all your parts should accurately reflect your musical interests. Many times in my career I've pondered the notion that, if I had been willing to put all of my apples in one cart, I could have carved a reputation as the next great (fill in the blank). But since I can never be the best in one specific area, it's much more gratifying and challenging to me to blend my interests in a way that's never quite been done. Make sense?

Question Mark... (May '98)

First, let me say that I don't consider myself to be the consummate authority on the subject of guitar amplification. "If it ain't broke, don't fix it" has always been my motto. But since people do ask me, for my jazz work over the years I've used Fenders (twin, deluxe, and Princeton reverbs), Polytones (mini-brutes), and the early Roland Cubes (orange series). Like many jazz guitarists, I like solid-states that somehow manage a warm, rich mid-range sound. Don't ask me how they do it, but the Roland Blues Cube-60 that I recently bought has probably been the best amp that I've ever bought, and its price tag is certainly reasonable. Check it out!

Question Mark... (April '98)

I just couldn't allow one more month to pass without finally addressing one of the most common questions that a music coach is likely to hear. Though no one truly expects "instant gratification" in music pursuit, it bears repeating that this is a timeless art form. As your practice devotion and hours add up, it's quite understandable that your personal expectations rise accordingly. Be patient. What I often tell my students is that the only real cause for frustration is when you lack certainty in the path itself, or faith and trust in the coach that's showing you the way. Take it "one day at a time" (as the saying goes). Trust me. You'll get there!

Question Mark... (March '98)

Many options exist nowadays for recording your creative efforts, something that I highly recommend doing on a regular basis. When I was signed a few years back, it was contingent on doing our own production, so out of necessity I had to buy a system capable of producing CD-quality audio. Mine is PC-based, and for the sheer editing power alone, I can't imagine anything superior. But other high quality choices would include stand alone units like the popular Roland VS880 or the Alesis ADAT. Then there's the new mini-disc recorders (Tascam & Sony), and on the low end you can always buy an inexpensive cassette portastudio.

Question Mark... (February '98)

There are, of course, many good jazz instructional videos on the market, but if you'd like to see some incredible concert footage from the likes of Wes Montgomery, Kenny Burrell, Joe Pass, Barney Kessel, Grant Green, Charlie Byrd, Herb Ellis, etc.., definitely pick up the "Legends of Jazz Guitar" video series from Vestapol. These are vintage performances, from the early sixties to mid-seventies, in three volumes, available (web) at: www.yazoobluesmailorder.com. The clips of Wes alone are easily worth the price of admission. If you like jazz guitar, don't miss these!

Question Mark... (January '98)

Well, I've seen quite a few, but you might have a hard time convincing me that the one I just bought, Roland's Personal Music Assistant (PMA-5), isn't the hippest MIDI thing around. Over 300 samples from Roland's impressive library, 16 drumkits, multiple effects, 8-track sequencer, an amazing "band-in-a-box" arranger with 600 different parts in a hundred different styles (plus storage for 200 of your own), 20-song memory, MIDI & serial ports for transfer to and from your PC, etc.. All this in a light package that's just 7" by 5" by 1.5" - runs on batteries or AC. Powerful, portable, and cool!

Question Mark... (December '97)

Probably so, from what I can see. The question, of course, is not how formally qualified a teacher may be, but how effective he or she is at getting a student from where they're at to where they'd like to be. For instance, there are many instructors who possess a lot of "book" knowledge, but lack the foresight and flexibility to really be effective. And I should mention that the guitar, s