NEW LOCATION OF SITE...

JUST IN CASE you didn't know, 22nd CENTURY GUITARIST is at another (hopefully perm) location at: www.freewebs.com/22ndcenturyguitarist ...give it a visit.

Sorry folks, no luck with this formatting stuff...I'm looking for another site. Microsoft "Live" wants a cred card (oh well)...if you know of another resource let me know at guyd3.1@juno.com Thanks. In the meantime, go to www.myspace.com/metalwoodtensionrelease -Guy

Interview with Terry Syrek

Terry Syrek Interview “Shred is Not Dead”. That’s guitarist Terry Syrek’s warning to music fans everywhere and victory cry to future generations of axemen. And he’s right on target. The 2nd Millennium is witnessing resurgence in virtuoso guitar playing with chops that rival that of Becker and Lane. With numerous recordings under his belt including his latest CD, “Aum” (2005), Terry has proven that determination and relentless persistence will overcome crucial limitations. Like a 2nd Milennium Django Reinhardt, Terry’s skills are jaw-dropping without considering his ailment, let alone with them. Suffering from focal dystonia in the third and fourth fingers of his fret-hand, Terry has gone on to produce cutting edge virtuoso guitar playing in spite of that fact. A Berkelee alumnus (1993), he has worked/performed with many of the world’s finest: Paul Gilbert, Vinnie Moore, and John Petrucci, to name some. He can be heard on the Becker tribute, “Warmth in the Wilderness, Vol II” and “The Alchemists” (I and II), and is also the author of the “Shred is Not Dead” instructional series (Alfred) among others. Hold your “shred” banner up high as we attempt to catch up with…Terry Syrek. GD- When you started out as a musician, what was your original artistic vision? TS- Basically, i wanted to be the best guitarist i could be. There was some force that drove me to practice insane amounts of time and an overwhelming need to fine tune my craft to the deepest level i could. Particularly in the technical realm. Virtuosos on any instrument always excited me. Outside of that, i imagined what any other teenage boy in the 80's did for the future... chicks, cars and a castle in Europe as a house. GD- As you’ve matured, have you needed to alter that vision? TS- Very much. The focal dystonia problem with my hand has put an end to the virtuoso path, i've learned that most women are inherently evil and i don't make a fraction of the amount of cash i'd need for the castle in Europe, hehe. In all seriousness, though, despite the other things, i feel i've grown as a musician and person, so i've found myself more interested in other, what i feel are deeper ,aspects of music over the years. GD- How do you view your role as an artist in society? TS- It's interesting. i feel that artists of all types (music, painting, dance, etc) are supremely important to holding the fabric of society together. i truly believe without art, the entire thing would fall to the ground. We all literally need it. And yet... society views us as non-desirables. There is little or no respect. A lawyer that partied his way through high school and college, used and uses people every day of his life, lies, cheats and steals, can secure a good job that is high paying and instantly have the respect of most of society, for example. While a musician/ artist that has a clear vision of what he wants to do from an early age, strives every day to better himself at his art and gives up much in life to master it, later produces things that influence people and change the way they think and feel... is looked upon as an underachieving loser. Despite this, we continue to forge ahead of the rest of the sheep into creative thinking and bring back the deepest form of communication there is.. music, to them. Bit of a Prometheus vibe, i suppose. GD- With the many real-life struggles commonly faced by artists, how have you adapted so as to simultaneously create and survive? TS- i'm still working on that one, Guy, hehe. In the meantime, i teach. That is the main source of income for me. GD- Out of the artistic community, musicians and dancers are frequently linked to things spiritual, while writers are not- why do you think this is? TS- Interesting question. Personally i think writing can be a very spiritual medium. Just read poetry by T.S. Elliot or Yeats, for example. To me, it brings my consciousness to a higher level. However, i think music and dance are thought of in a more spiritual light because there's no tangible translation like there is with words on a page. GD- Do you think artists are more fine-tuned to spiritual things? TS- As a generalization, yeah. It's more common because of the personality type that is required to be in this field. But it's really about people. Some people are more spiritual and some of them happen to be in the arts. GD- Do you think musicians serve as spiritual guides for others in any way? For example, fans of the legendary jazz saxophonist John Coltrane actually built a church in his honor which included a “divine” image of the jazzman. As an artist yourself, what do you think about this? TS- That supports my earlier point of how much an artist can affect people. Yeah, i think we can be spiritual guides, but again, it comes down to people. Sometimes people want to look at a particular artist as a spiritual guide just because they are so enamored with his ability. And maybe the musician in question is not the best person to hold as a role model or guide. i know i wouldn't be looking to Zakk Wilde, for example, to show me the path to my higher self, hehe. GD- How has 9-11 affected your creativity? Have you been more dedicated to your art since that event? TS- i don't know that it's affected it directly. But to me, music is just a facet of a person. Everything starts with the person, themselves, so in that respect, i suppose it has made a change in my music on some level. i know when it happened i was definitely affected as a person. It's just overwhelmingly sad to me that humans can do the sort of thing that happened to each other. As the lyrics to a Tool song go..."Monkey killing monkey killing monkey. Over pieces of the ground. Silly monkeys give them thumbs. They make a club. And beat their brother, down. How they survive so misguided is a mystery." GD- What would you say to the following: "Regarding technique, mastery of the electric guitar today requires at least the three-fold approach of alternate picking, "legato", and sweep-picking. In other words, with mastery of these three techniques, the electric (and acoustic) guitarist can handle nearly whatever is required of him (or her) musically." TS- i think it all depends on what you're into and how you play. i mean, tell that to Stanley Jordan, for example. The main technique he uses would obviously be a tapping approach and i'd certainly say he's no slouch at the instrument. Really i think players get too caught up in the tools and not enough in the actual craft. "How's his alternate picking?" and "Can he sweep like Jason Becker?" etc... when really it should be all about the music. It's like someone seeing a work by DaVinci and saying.. "wow, his paintbrush is very advanced". i read an interview with Michael Hedges in which they we're pressing him about his technique and all this stuff and he said he actually arrived at the techniques as a vehicle to execute what he heard in his head first. Frankly, he towers above anyone in his genre and that statement explains why. That always stuck with me. GD- World-famous classical guitarist David Leisner has said that “technique in the guitar world is maybe just past the infant stage.” As a shredder -one who by nature of style focuses intensely on technical aspects- do you share this view? TS- i can't speak for classical guitar but as far as rock.. i'd say, no. It will continue to advance, no doubt, but it got to the point by the late 80's that it was really like 'how much faster can you really get?'. You'll notice a lot of guys that were known for the chops thing haven't gotten 'faster', they went into other directions. i.e Greg Howe, Tony MacAlpine, Vinnie Moore. Those guys were like the pinnacle of the genre, but you can only play so fast before you realize first of all, you've hit the wall, and secondly, there's way more to a good player than trying to do Yngwie's thing faster than him. GD- Let’s talk about “focal dystonia”. What exactly is it, and when did you realize you yourself were affected by it? Provide link to focal dystonia TS- It's a remapping of the path from your brain to the affected area. A degenerative neurological condition. It happens because of fast repetitive motions (i.e. practicing chops 12 hours a day) plus, you have to have a genetic disposition for it. At least, that's what the doctors say. GD- As far as you know, can it be avoided? How? TS- i'm not really sure. The doctors don't know much about it, either. They say you have to have the genetic disposition for it first, then the repetition of fast patterns brings it out. GD- Exactly which digits are affected in your case? TS- It started with my pinky on my left (fretboard) hand. It's progressed into my 3rd finger as well. GD- What would you suggest to younger, less experienced players regarding FD (focal dyst.)? [Interviewer’s note: anyone wanting to investigate this condition should read about David Leisner and his struggle with DF: http://www.davidleisner.com/inwitdavleis.html AND/OR http://www.davidleisner.com/jourofdisbyc.html Please note that, unlike Terry, David‘s focal dystonia is in his right hand] TS- Not sure really. i always stress warming up and working into things gradually with my students. This, at least, will help with many other problems such as tendonitis and carpal tunnel. Though all the years i've played in a pretty technique - oriented manner, i've thankfully never had any problems because i believe i warmed up and took my time. The FD thing is just some wildcard thing. i don't think anything i did, in specific, "caused" it. Provide links to tendonitis and carpal tunnel. GD- What's most difficult about your technique? TS- Right now, everything. Because of the FD, i can't even play up and down a scale without doing certain things. GD- What have you concentrated most on, technically. TS- In the past, for maybe the first 5 years or so, it was all the usual techniques, but i really took an interest in alternate picking. Now, it's ways to keep playing and working around the FD. GD- If you had three weeks to learn a very difficult, medium-sized piece, say, before a performance, how would you go about learning it? TS- i'd probably listen to it all the time, if possible. Then play through the entire thing a few times. Then go back and work on small sections, one by one. If there are any tougher passages, i'd then concentrate on those, specifically. Then when all the speed bumps are smoothed out, i'd go back and practice it again, from start to finish. GD- Should a serious beginner on the electric guitar spend the bulk of his or her practice time standing or sitting while practicing? TS- Good question, because as we all know (any of us that have performed in a rock band, for example) it's a totally different thing when you have to stand to play. i'd say start by sitting. Then after some level of comfortability sets in with the instrument, practice a bit, standing. GD- What advice do you typically give students to improve their sweep-picking? TS- i'd say practice one arpeggio shape slowly and repetitively to really get the feel of the technique into your hands. Try to control the rhythm, as well. Practice with a metronome. GD- What advice do you typically give students to improve their legato-based technique? TS- Well, i hate to say it, but kinda the same thing here too. Practice slowly and repetitively. Clarity is the most important thing. The inherent slurry nature of legato type playing can get really non - articulate, so try to make each hammer and pull have an almost like percussive sound to it. This happens by mainly working on the technique slowly and getting great strength. Listen to Allan Holdswoth on that album he did with Gordon Beck and you'll hear what i'm talking about. GD- It’s been more than 10 years since you’ve graduated from the Berkelee College of Music in Boston. In hindsight, what’s the most important life-lesson learned during your sojourn there? TS- Ah, too many things to really go into in any great detail. i'd say there's a lot of negative stuff that happens in the guitar community, especially when you have 1000 guitarists in the same place. Such as talking behind people's backs, attitudes, etc. i learned that we are first and foremost people, and after that, guitarists. i don't equate anyone's level of importance by their abilities on the instrument. i don't like to talk about other players in a negative light. i mean i have my opinions, as does everyone, and likes and dislikes, but we're all riding in the same boat in life, you know? GD- Has guitardom changed considerably since the early/mid 1990’s or not? TS- Sorta. I think the 90's brought us a decline in 'showy' things in general, and so, guitar solos left the usual slot in songs. As a result, many young guitarists grew up concentrating on other things. Today, music is wide open. There's a bit of everything, and not really any particular style that's popular. So we've seen some of that mentality of the 80s come back for the people that are into it, and we still have the vibe of the 90's and many other things as well. The internet has changed much about guitar and music. Information is very easy to get now. GD- What, in your estimation, is the state of modern rock guitar today? Please relate your answer to the music industry, as well as current trends, anti-trends, and the reasons for these. TS- Well, i think this question kinda goes along with the previous. As far as the style i grew up with, i'd say it's very alive and well, just underground. In general, i think we're seeing slightly more musicianship in popular rock music. And in the newer metal, particularly the kind coming out of Europe and Scandinavia, the musicianship is high. As for trends, i think it's getting harder and harder. As i said before, things are so wide open and there's a world wide forum for people hearing music, now. i think little fires get started, like a band will come out and have a hit and the industry wants to jump on this 'trend' like they used to, but it doesn't work so well anymore. People have access to so much now, it seems like nothing really sticks. GD- Regarding modern guitarists, whose technique do you admire the most today? TS- Honestly, i'm so burned out on the 'chops' oriented thing, i don't really listen to much. i don't hate chops, just haven't really heard many people use it musically. 9 times outta 10 it's some guy playing revamped Yngwie licks a little beyond his abilities over a powerchord vamp with a drum machine. Not trying to be negative, it's just that music means a great deal to me, way more than how fast can someone play, so i tend to gravitate towards things that move me emotionally. TS- There's people like Holdsworth, that still blow me away, because the chops rarely overshadow what he's actually hearing musically. i've always been a huge Michael Hedges fan because of that, too. GD- Regarding modern guitarists, whose compositions do you admire the most today? TS- Hmm… tough one. Hedges, definitely. i like alot of bands, but i don’t know that [the] guitar player in each is directly responsible for the songs, by himself. GD- Who is your favorite classical composer, and why? TS- Chopin. Why? There's so much, haha. i like the Romantic period because it's a great balance of interesting harmonic techniques (i.e. chromaticism, use of tension, etc) and beautiful melodies. His use of dynamics is just beautiful, too. The only thing i really miss is the use of rhythm. It's tough for my ears to 'hear' newer classical music in the same way. i'm just not a huge fan of atonality. Although, some Stravinsky and Bartok kick my [bum] for different reasons. i realize these guys aren't so modern either, though, hehe. GD- What other name comes to mind? TS- i mean, all the usuals are still amazing to me... Bach, Beethoven, Mozart, and maybe some not quite as usual like Debussy. Then there's specific pieces i think are cool.. i mean how can you not like Orff's “Carmina Burana” or Holst's “Mars the Bringer of War” if you were a metalhead in the 80s? hehe. GD- Who is your favorite classical performer? TS- Well, Itzhak Perlman is obviously a genius on his instrument. i saw him in Boston and it was like magic to behold someone so skilled. It was supernatural. i also really enjoyed Elliot Fisk, just because he was like the Yngwie of classical guitar. He'd do the big fast runs then end them with enormous hand gestures and flourishes. Very dramatic, haha. i was waiting for him to do a few deep knee bends and jump kicks, too. GD- Who is your favorite jazz musician, and why? TS- I Love Wayne Krantz because his band is incredible and he has such a great sense of time. Good rhythm is one of my favorite things and that guy has incredible groove. John Mclaughlin, though some may not consider him jazz, simply for the Shakti stuff. Some of my favorite music. Let alone all the cool Mahavishnu stuff. GD- If you had a choice of one musician or one group with whom to make a CD and tour with, who would that be? TS- Man, that's not fair! Just one?! i would love to do it with Neil and Geddy from Rush, or L Shankar and Zakir from Shakti fame, or take Malcolm's place in AC/DC or Fredrik's place in Meshuggah, or be the guitarist for Tool, or play with Andreas Vollenwieder or collaborate with Lisa Dalbello or Steve Walsh from Kansas or Peter Gabriel... oops, that's not really one, huh? GD- That’s cool. One’s probably a little strict. Terry, what type of lyrics do you admire in non-instrumental music? If it's not already here and you don't see it on the horizon, do you plan on working with vocalist(s) to make these lyrics a reality? TS- i like lyrics that are not so obvious, intelligent without being pretentious, and most importantly affect you emotionally. Yeah, i plan on continuing to attempt to write something even remotely in that ballpark and then singing it, myself. Working on a CD of that, now. GD- How do you typically start a song: chord progression first, or melody first (or other)? TS- Usually, it's a musical idea. Could be a chord progression, could be a lick, but mainly it comes from me sitting with the guitar. GD- What (individual, concept, or otherwise) is a current inspiration to you? TS- i mainly write about struggle. That's a word that has pretty much summed up my life, so it's what i know best. i think i also write about it because it feel like it's a beacon for others who struggle. i'm not saying i have any answers as to how to gain peace, just that it's good to put the beacon out and have someone else come back and say "i feel like that too". GD- What's the basic concept behind Aum? Do the inverted (if that’s the correct term) linear notes answer this question? TS- Not really any concept, per se. i feel like there's sort of a spiritual thing that kinda drifts in and out of it, though. The first track, Aum, was alot like that. Kinda turn out the lights and went to another place. The liner notes are a cool quote from a cool guy. GD- What is the relation between the two vocal songs on Aum, “Mine to Leave Behind” and “Every Breath”? I believe the latter even quotes the first. TS- Well, not much relation, actually. Other than the titles got switched on the CD case, haha. But i guess, there's a similar theme, lyrically. Both are a bit about something having control over you. GD- You use some non-standard scales on Aum. This is particularly evident in the harmonized guitar melodies. What are some of the scales used? TS- i use them all, haha. Alot of the stuff is from the world of Melodic minor (i.e. Lydian b7, Mixo b6, Altered). Some, are one note variations of these. i just love the sound of some of that stuff. GD- Aum also features many a rapid-fire arpeggio that is atypical melodically. Do you have a particular concept behind arpeggios, like patterns you intentionally avoid, etc.? TS- Many things i play are determined by my hand condition. i have a hard time doing what everyone else does, so i have to make up my own. Other than that, i try to avoid playing random finger patterns as fast as i can. It always has to make some sense… at least to me, i guess. GD- What are your plans for the new CD? Additional promotion? Touring? TS- i would love to put something together to play, at least locally. Just don't really know anyone in my area ,anymore. i've pitched the CD to a few labels, but no interest so i continue to sell it, myself, from the Guitar9.com website. Meanwhile, i'll continue working on the next one. GD- What would you recommend to aspiring young guitarists with their "whole lives ahead of them"? TS- Man, go out and live life. Have the most amazing time you can. Do your practicing, but make life the priority. Be very into being the best you can be, but find the balance. Don't think that because you put in 20 hours a day practicing that you're gonna be owed something. And don't ever let negative thoughts chew away at you. Many of us, as artistic people, have that tendency [had to put this in bold. –Interviewer] . GD- What would you recommend to aspiring older guitarists with "life-sized" responsibilities (work/family/etc.)? TS- Do what you gotta do to pay the bills and take care of business, but always be happy that you have this other thing in your life that many don't. Even if you gotta work a 'real' job during the days, as long as you have that guitar in your hands, you're more than most people. You're a guitarist. Just have a good time with it. GD- As an educator and author, what do you think of the guitar method books out today for beginners/intermediate/advanced players? Do they mostly miss the point, or are they basically on target? TS- There's alot of great stuff. The only gripe i have is that the beginning books usually involve [a lot of] sight reading, because that's what's been held as the traditional way to teach guitar. And usually the material in those books, i.e. the songs, are pretty bad. i do use some of them for basic reading and my students all cringe. GD- What improvements, if any, would you suggest? TS- i'd say, cooler material that people actually like. i teach songs almost immediately. And while everyone is not a Led Zep fan... it beats the hell outta the dumbed down version of Little Brown Jug. GD- In general, would you say the typical guitarist is as knowledgeable as any other instrumentalist regarding theoretical concepts, or that we are behind the pack? TS- Somewhat behind. Because of the nature of the instrument and also [because] in rock, at least, most of the icons don't preach about learning fundamentals, we tend to learn by ear and skip a lot of the theory. GD- If you wrote a guitar method book, what issues would it address most? TS- i think i would probably just want to make it fun. So many people drop out of music early because they aren't having fun. We're so locked into the traditional way [of teaching] things, teachers (and parents) often completely neglect the fact [that] students want to play because it should be fun for them. The stuff that's harder to digest can be introduced gradually (i.e. theory and sight reading) and i find, if the student has fun, they practice. If they practice they progress. If they progress, they're always looking for new things to make them better and eventually come around to actually wanting to learn theory and all that on their own. GD- What, in your estimation, is the future of rock guitar? TS- i'm not really sure, but i think it will always be around in some way. i think every genre of rock is still represented and will continue to be. i like to think that players are becoming less focused on chops and more on musicality. GD- What would you like to leave as your legacy for guitarists and others in the years to come? TS- Tough one.. i guess, just that i mattered to people. i helped people. For me, i understand what it's like to struggle greatly, and i know alot of other people out there going through that too. i just want to reach those people and tell them to keep going; anything is possible. Don't let the negative thoughts get a hold on you. Guess i'd just like to shine a little beacon of hope out to anyone that has a hard time with things. For me, guitar and music have always been a struggle. Didn't come very naturally. But i clawed my way tooth and nail to where i am now, not that it's all that much, but still… when you have nothing to start with...[no editing, folks. The interview ends here] GD- Terry, thanks much for the time spent with us and for the thought put in to of your responses. I wish you the best regarding Aum and The Alchemists, II, as well as any other projects. It goes without saying that you truly are an inspiration not only to guitarists but to aspiring human beings everywhere. It’s been a pleasure. To find out more about Terry Syrek, click here: www.myspace.com/terrysyrek and www.terrysyrek.com Guy Daniels, 2007. About the interviewer: Guy Daniels is a fretboard navigator as well as husband and father. He believes strongly in cultivating creativity and in artists supporting each other, as the life…well, it aint easy!THANKS for stopping by to read this interview. NEXT UP'S: 1. TONY SMOTHERMAN 2. DAVID BISHEA (INSTRUMENTALCASE.COM) THE ABOVE TWO INTERVIEWS ARE CURRENTLY AT www.myspace.com/metalwoodtensionrelease : chk 'em ouutttt

Interview with Brett Garsed

Brett Garsed is a household name among elite fretboard navigators. Permanently placed in the ears and minds of state-of-the-art guitar devotees since the release of “Centrifugal Funk” (1991), the shred/fusion classic featuring Frank Gambale and the late, great Shawn Lane, Brett has since gone on to record numerous projects with fellow axeman extraordinaire, T.J. Helmerich. Brett’s latest release, Big Sky, is his long-awaited debut as composer and performer. In the following interview which took place late last month, Brett discusses life as an artist, creativity vs. popularity, as well as a host of other topics.

GD- How do you view your role as an artist in society? BG- Don't know if my artistic contribution is much of a blip on the radar! Hopefully that may change but at least I'm doing what I love to do. That makes me a happier person and we need more of them in society and the world in general. GD- What (individual, concept, or otherwise) is a current inspiration to you? BG- My wife and family. GD- With the many real-life struggles commonly faced by artists, how have you adapted so as to simultaneously create and survive? BG- I really just wanted to be a member of a band but now I do sessions and sideman work so the variety of work is great although it's very different from what I thought I'd be doing. I suppose diversity is a big plus, especially if you enjoy most types of music, which I do. To me, the ultimate goal is to play my own music exclusively. So until that happens I have to be open to doing sessions and sideman work, but I enjoy that too so it's all good. GD- How has 9-11 affected your creativity? Have you been more dedicated to your art since that event? BG- That event and a family tragedy made me value the time I have here a lot more. I try to be more in the moment and enjoy each day as much as I can. I have a tendency to constantly look to the future and what's coming up next which is better than living in the past, but I also want to make sure I enjoy life as it's happening. GD- What would you say to the following: " Regarding technique, mastery of the electric guitar today requires at least the three- fold approach of alternate picking, ‘legato‘, and sweep-picking. In other words, with mastery of these three techniques, the electric (and acoustic) guitarist can handle nearly whatever is required of him (or her) musically.” BG- I'd say it probably has less to do with the techniques than with the musical applications of them. If you have a good musical imagination and can play creatively then you don't need a lot of technique. Then again, you can have a ton of chops and not really be able to play anything musical, so it requires a good balance of those two things. At least, that's what I've found. I suppose it'd be different if you were required to play pre-written material rather than coming up with your own parts…. The more chops and techniques you have the better, but only if it's balanced with musicality. GD- What is (if I may classify your electric technique as primarily legato-based) the most challenging aspect of legato-based technique? BG- Good time and groove at slow to moderate tempos. What people don't seem to understand is that I pick 80% of everything I play, which is how I get the accents into my lines. It's just that it's not strict alternate picking so I suppose most people assume that I don't pick anything [from the man himself. Did you catch that?]. GD- How do you typically start a song: chord progression first, or melody first (or other)? BG- I try both ways and it's good to mix it up. Songs seem to turn out very differently depending on which approach I use. GD- Definitely. And if the bass or drums start the song, that will also influence the result as well. This topic can certainly be elaborated upon. Speaking of songs, if you had three weeks to learn a very difficult, medium-sized piece, say, before a performance, how would you go about learning it? BG- I'd learn it section by section and examine exactly how I was going to play it in the technical sense. Then it's just a case of memorizing it so I'd return to it at regular intervals during each day and try to play it from memory. If it's learning a specific part to play with an ensemble I find it helps to practice it alone so I really know the arrangement without relying on cues from the other musicians. GD- When you started out as a musician, what were your goals? Are you still working towards some of them now (for example: writing an electric symphony, or leading a 15-piece band)? BG- Just to be able to play music and be able to express myself as a unique individual. I'm still working on it as I'm sure I will for the rest of my life. GD- What was your original artistic vision? BG- To be the member of a band that writes, records and tours. GD- As you have matured, have you needed to alter that vision? BG- ...I've learned a lot from being pushed out of my comfort zone and diversifying as a musician so maybe it was meant to be. I have a great time doing a wide variety of gigs so I have no complaints at all. GD- What, in your estimation, is the state of modern rock guitar today? Please relate your answer to the music industry, as well as current trends, anti-trends, and the reasons for these. BG- Everything seems to be good. There's more loud guitars in pop music today than ever and young musicians seem to be inspired to learn more about music and various ways to approach playing the instrument. I'm a bit concerned about the trend to copy other people's ideas and regurgitate them so the emphasis is on technical ability rather than original thought. I hope young musicians give time to their own ideas as well as learning other people's licks and lines verbatim. GD- Regarding modern guitarists, whose technique do you admire the most today? BG- Allan Holdsworth. GD- Regarding modern guitarists, whose compositions do you admire the most today? BG- Scott Henderson. GD- Of today's rising rock virtuosos, who is your favorite and why? BG- Derek Trucks. GD- Why? BG- Individuality. GD- Who is your favorite jazz musician? BG- Allan Holdsworth. GD- Why? BG- Again, individuality. GD- I see individuality is high on your list. All too often, it is what’s missing, even among the more talented players. With that said, if you had a choice of one musician with whom to make a CD and tour with, who would that be? BG- That's too tough to answer! There's a lot of them. GD- What, in your estimation, is the future of rock guitar? BG- Louder and probably faster. Hopefully, musical as well although I can't guarantee that. I've got a feeling the first two are a sure bet though! GD- What is the future of (post Scofield/Metheny) jazz guitar? BG- I'm probably not qualified to answer that, but if the future jazzers are anywhere near as good as Scofield and Metheny we're in good hands. GD- T.J. Helmerich. What does that name mean to you? As a friend and fellow composer. BG- T.J. Helmerich is the most talented person I know [http://www.tjhelmerich.com/]. He is without a doubt the best two-hand style player in the world and I'm just shocked that more people aren't aware of that. All these people poking around with one finger basically just regurgitating what EVH [Eddie Van Halen] did 20 years ago and TJ is largely ignored despite having released plenty of albums showcasing his technique and above all, his musicality. Then you take into account he's a world class vocalist, songwriter and engineer. I've never met anyone else like him and I'm honored to call him a friend. GD- The late Shawn Lane [http://www.shawnlane.com/]. What does that name mean to you?

BG- Absolutely one of the most gifted musicians to ever walk the planet and one of the nicest people as well. His humility was so rare considering the wealth of talent that he had. I believe Shawn was always a devoted "fan" of music and that came across in his compositions and also his attitude. I was just destroyed to hear of his passing and only got to meet him a couple of times. He was very special and thankfully we still have his amazing music.

GD-Are there any jazz saxophonists or pianists who have directly inspired you?

BG- Ric Fierabracci turned me on to a lot of Michael Brecker [recently deceased] and I also listened to a lot of John Coltrane although I'd be the last person to say I really understand what these geniuses are doing. I just let the amazing music wash over me and hope that it'll come through in some small way in my own playing. I've been influenced by guitarists that have been influenced directly by horn players. Scott Henderson and Allan Holdsworth have both had a huge impact on me and I'm pretty sure they've had a lot of inspiration from the great sax players.

GD- Do you listen to any contemporary jazzers, such as Chris Potter, Ravi Coltrane (son of the late John Coltrane and late Alice Coltrane), or Dave Holland?

BG- I'm afraid I'll have to admit my ignorance here but now that you've mentioned them, I'll check them out.

GD- Tell me about your current project, Big Sky.

BG- I was very inspired by Michael Landau's "Tales From The Bulge” album [http://www.bluedesert.dk/michaellandau.html] in that it's very textural if that's the best word to use! I wanted to make an album that was driven by emotion and melody as opposed to a guitar clinic style thing that's more of a technical showcase. I'm confident I'll be able to listen to that album for the rest of my life and it'll never sound dated. I'm glad a lot of people react to it that way when they listen to it. The irony is that it's packed full of songs that would probably be major crossover hits but due to the fact that I don't have label support of any kind I don't get the exposure needed to make that happen. It was the first time I'd ever expressed myself exclusively through my own music and it was a fantastic experience.

GD- What was the motivation for “Undoing Drowning” on Big Sky?

BG- Not sure actually. I was going through a lot of tough stuff during the writing of those tunes and the angst seems to have come out in the songs but that's a good thing. I think musicians are lucky in that they can express a lot of emotions through their art that other people probably bottle up inside them [it might be fair to say that that applies across the board to all artists].

GD- What type of lyrics do you admire in non-instrumental music. If it' s not already here and you don't see it on the horizon, do you plan on working with vocalist(s) to make these lyrics a reality?

BG- I like blues lyrics as they're full of double entendre' and a lot of humor. Either that or they cut straight to your heart. AC/DC [has] some really clever and humorous lyrics and then there's the great Frank Zappa. I really liked Scott Henderson's lyrics for the "Dog Party" album. Human situations from a dog's perspective. Funny as hell [kinda like Tim Allen shredding]!

GD- What do you think of the guitar method books out today for beginners/intermediate/ advanced players? Do they mostly miss the point, or are they basically on target? I'd say they're on target. The information is still pretty much the same as it's been for years so it's just a matter of finding the material that is understandable and relevant to what you're looking for. I suppose rather than only being able to buy a "how to play guitar" book you can now buy material that is specific to a certain technique or subject. That probably accounts for why young musicians are so good.

GD- What improvements, if any, would you suggest?

BG- Less licks, more general concepts that help people create their own unique ideas. Wayne Krantz has a book called "The Improvisers OS" [available for $25.00 at http://www.livekrantz.com] which is amazing in that it gives you the tools but you have to finish the job.

GD- If you wrote a guitar method book, what issues would it address most?

BG- Hmmm…individuality.

GD- (laughs) I was just thinking that would be your answer… Speaking of guitar instruction, should a serious beginner on the electric guitar spend the bulk of his or her practice time standing or sitting while practicing?

BG- If they wear the guitar low they should practice standing up, otherwise it'll be a shock from where the guitar is while they're sitting down. Mind you, if it's not possible to stand up then that shouldn't be used as an excuse to not practice [The interviewer humbly suggests standing/practicing for at least ½ hour at a time in order to get a feel for the right positioning of the instrument, as well as the right strap height].

GD- What would you recommend to aspiring young guitarists (with their "whole lives ahead of them" )?

BG- Make sure you really love to play music regardless of whatever rewards may or may not come of it. If you become rich and famous, great but if you don't, at least you'll have spent your life doing something you enjoy. Whether we like to admit it or not, luck plays a huge role in determining a musicians career so if it's all about the outcome rather than the journey maybe the odds aren't in your favor. If fame and fortune are all you're in it for I'd recommend going to the racetrack and putting all your money on a long shot or humiliating yourself on a stupid reality show [of course, 22nd Century Guitarist does not endorse either activity].

GD- What would you recommend to aspiring older guitarists with responsibilities (work/family/etc.)?

BG- Just find a way to fit music into your life without sacrificing the other important things such as family. I don't have kids for the specific reason that I wanted music to be the foremost focus in my life but if I did have children, I'd put them before myself every time. Good parents have my utmost respect and admiration.

GD- What would you like to leave as your legacy for guitarists and others in the years to come?

BG- Some decent tunes and a bit of originality.

GD- Said simply enough. Brett, that’s all I’ve got for now regarding questions. Thanks for taking time out to do this interview. Personally, it’s inspiring to see you honing your craft with the same artistry and momentum that characterized your earlier work. I wish you the best of success regarding Big Sky, and all other endeavors. To find out more about Brett Garsed, click here:

http://www.myspace/brettgarsed and

http://www.brettgarsed.com/

Guy Daniels, 2007.

'About the interviewer: Guy Daniels is a fretboard navigator as well as husband and father. He believes strongly in cultivating creativity and in artists supporting each other, as the life…well, it aint easy!

THANKS for stopping by to read this interview. In the mood for some sounds now? Check out my MySpace page:

www.myspace.com/metalwoodtensionrelease

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Interview with Shane Gibson

If you claim to be a shredder, or at least in the know about all things shredded, Shane Gibson is certainly one name you need to know. A Berkelee graduate (2003) who has won the praise of such shred-royalty as Jason Becker, Ron Thal (A.K.A. Bumblefoot), and Rusty Cooley, Shane's impact in the shredosphere, as well as in guitardom in general has yet to be fully felt. In the following interview which took place earlier this month, Shane shares his thoughts about practicing and composing, as well as the state of guitar today.

Enter: the world and mind of...Shane Gibson.

GD- When you started out as a musician, what were your goals (for example: writing an electric symphony, or leading a 15-piece band)? Are you still working towards some of them now?

SG- When I started out, I wanted to get girls! [But] I'm now taking it step by step. My main goal now is to finish up this Shrapnel album and start touring.

GD- What was your original artistic vision?

SG- I originally wanted to create an acoustic metal band!

GD- As you have matured, have you needed to alter that vision?

SG- Ha ha, well [I] haven't thought about doing the acoustic metal band in a while, but who knows?

GD- How do you view your role as an artist in society?

SG- Hopefully I'm an inspiration to guitarists willing to go the extra few yards to produce interesting concepts that do not intrude on [their] musicality.

GD- With the many real-life struggles commonly faced by artists, how have you adapted so as to simultaneously create and survive?

SG- Unfortunately, the real world forces one to compromise on practice time. I try to get at least 5 hours of sleep, eat right, take supplements if needed, and practice at least 2 hours per day [wisdom spoken here].

GD- Out of the artistic community, musicians and dancers are frequently linked to things spiritual, but not so with writers -why do you think this is?

SG- It's easier to express your feelings with words. In the arts, we seem to actually FEEL what the artist is trying to convey. I think this gives us the notion that we are feeling something spiritual. that's just my opinion.

GD- And if this spirituality is hype, do we believe it ourselves?

SG- Science verses...spirituality; synapses verses miracles...[who's to say?]

GD- Do musicians serve as spiritual guides for others in any way?

SG- You make the call.

GD- How has 9-11 affected your creativity? Have you been more dedicated to your art since that event?

SG- [That] event has done nothing to neither spark nor diminish my creativity.

GD- What would you say to the following: "Regarding technique, mastery of the electric guitar today requires at least the three-fold approach of alternate picking, "legato", and sweep-picking. In other words, with mastery of these three techniques, the electric (and acoustic) guitarist can handle nearly whatever is required of him (or her) musically."

SG- There are still many more aspects that [technique] by [itself] cannot grasp. Mainly feel, character/personality, rhythmic aspects, and others. However, [those three are] certainly a good start.

GD- What's most difficult about your technique?

SG- [The] most complicated [thing] about my technique is staying loose and focusing.

GD- If you had three weeks to learn a very difficult, medium-sized piece, say, before a performance, how would you go about learning it?

SG- Four to sixteen bars at a time at a very slow tempo, then gradually speeding it up [more words of wisdom, people!].

GD- Should a serious beginner on the electric guitar spend the bulk of his or her practice time standing or sitting while practicing?

SG- Both are beneficial, I believe. For electric guitar, it is important to stand from time to time.

GD- What advice do you typically give students to improve their sweep-picking?

SG- [For] improving sweep picking, keep [the] fingers low on the fretboard [and] learn to play arpeggios in many different ways, not just neo-classical style.

GD- What, in your estimation, is the state of modern rock guitar today? Please relate your answer to the music industry, as well as current trends, anti-trends, and the reasons for these.

SG- [I] feel it's getting better. there are bands and musicians that are helping the whole shred/metal/hard rock/progressive movement to not only stay alive, but to become a bit more relevant in somewhat mainstream occurances. [I] believe that the "emo" scene, or whatever...you want to call it, is becoming more and more obnoxious, and people are leaning towards other genres [to hear Shane's explicit feelings towards all things "emo", check out "Emo Village Pillage" on his current CD, Mr. Stork. The full song is currently available for listening at www.myspace.com/shaneshred]

GD- Regarding modern guitarists, whose technique do you admire the most today?

SG- Max Dible, www.myspace.com/maxdiblemusic Rusty Cooley, www.myspace.com/rustycooley and Guthrie Govan. www.myspace.com/guthriegovaneroticcakes

GD- Regarding modern guitarists, whose compositions do you admire the most today?

SG- Opeth. GD- Of today's rising rock virtuosos, who is your favorite and why?

SG- I'd say I'm liking [Rusty] Cooley's playing. Of course, he rips on guitar. His new compositions are killer, in my opinion.

GD- Who is your favorite classical composer?

SG- [Well,] I like alot of them.

GD- What name comes to mind?

SG- Stravinsky was ridiculous!

GD- Who else?

SG- Bartok, for his amazingly modern...classical music. [And] Mozart, of course.

GD- You seem to still be thinking. Anyone else?

SG- Lots of Gregorian chant as well!

GD- Who is your favorite classical performer?

SG- [I] don't really have one. [Well,] my uncle Richie I guess. He used to tour with [Luciano] Pavoratti [the world renowned opera singer]. He [Richie] was ridiculous as a violinist.

GD- Who is your favorite jazz musician?

SG- Wes Montgomery.

GD- Why?

SG- Amazing feel/phrasing/composition, everything.

GD- If you had a choice of one musician with whom to make a CD and tour with, who would that be?

SG- Jeremy Griffith. www.myspace.com/momentsingrace

GD- What type of lyrics do you admire in non-instrumental music. If it's not already here and you don't see it on the horizon, do you plan on working with vocalist(s) to make these lyrics a reality?

SG- Yes, I will be working with vocalist. Personally, I do not like obvious vocals -vocals that speak about everyday life in a very literal manner. I like lyricists like Maynard from Tool, or Bjork.

GD- How do you typically start a song: chord progression first, or melody first (or other)?

SG- Usually melody. I hear the chords in my head while playing the melodies/themes.

GD- What (individual, concept, or otherwise) is a current inspiration to you?

SG- Tool, Bjork, Meshuggah, [and] Opeth, among others. [As for] concepts...rhythmic manipulation. This has been something I've been into for quite some time.

GD- What's the concept behind Mr. Stork, if there is one?

SG- "Mr. Stork" is usually my alias when doing certain projects, be it studio or other random sessions. It is also the name of my debut album. It's got some kind of weird mystic feel to it, so I still use it here and there I guess.

GD- Mr. Stork has simply awesome tunes and curious titles. Why "Dooosh", and "Ducksinapond", for example?

SG- I don't know. I usually think of random names, then try to make some kind of association with the music. If it fits, I leave it, no matter how [weird] the name sounds.

GD- How is the upcoming Shrapnel recording different from your debut, Mr. Stork?

SG- the shrapnel album will have a singer, and another guitarist. his name is Max [Dible], and he's about the most technically proficient guitarist I've ever seen. [He can be found at] www.myspace.com/maxdible

GD- What would you recommend to aspiring young guitarists (with their "whole lives ahead of them")?

SG- Practice your … off while you are young. When you get out of high school/college, you have to work! Always try something different on guitar. Learn something new everyday.

GD- What would you recommend to aspiring older guitarists with "life-sized" responsibilities (work/family/etc.)?

SG- Always push the envelope. Have a great time, and always remember.....it's about the music, and that's all [more words of wisdom. Applicable to younger six-stringers as well].

GD- What do you think of the guitar method books out today for beginners/intermediate/advanced players? Do they mostly miss the point, or are they basically on target?

SG- The Mel Bay series are a good bet. Also, I am biased, but the Berklee Modern Method books are class acts [a recent Berkelee graduate. Shane is referring to Mel Bay's Modern Guitar Method, Grades 1 to 7, and (Berkelee's) A Modern Method for Guitar, Volumes 1, 2, and 3].

GD- What improvements, if any, would you suggest?

SG- Not many. Just remember, these are traditional studies. None [of these books] can teach you originality.

GD- If you wrote a guitar method book, what issues would it address most?

SG- Creativity, technique, phrasing, and rhythmic aspects. It's fair to assume Shane would include contemporary as well as foundational techniques in his method book. As for "rhythmic manipulation", ie. altering underlying rhythms or creating the illusion of doing so, this too would probably be included.

GD- What, in your estimation, is the future of rock guitar?

SG- Fads come and go. Hopefully in the near future, metal and the like will strive as much or more as it did in the 80's. It's leaning that way [today].

GD- What is the future of (post Scofield/Metheny) jazz guitar?

SG- Hopefully a friend of mine, Ben Litchman. www.benlitchman.com

GD- What would you like to leave as your legacy for guitarists and others in the years to come?

SG- Some albums that would inspire. I also want to be known as a respectable musician.

GD- What question did I miss?

SG- Please, no more!!!

GD- There's absolutely nothing wrong with ending on a humorous note... Well, Shane, that's about it regading questions. Thanks for taking the time to participate in this interview. I think it will bring your current and potential fans closer to you in many ways now that they are more familiar with you as not only a guitarist, but a fellow artist, composer, and instructor as well. I'd like to wish you continued success in guitardom, and many more fans who truly appreciate what you are doing. To find out about all things Shane Gibson, click here:

www.myspace.com/shaneshred

...and look out for the upcoming release on Shrapnel Records.

Guy Daniels, 2007.

About the interviewer: Guy Daniels is a six-stringer

www.myspace.com/metalwoodtensionrelease

as well as husband and father. He believes strongly in cultivating creativity and artists supporting each other, as the life of an artist is, well...not easy!

THANKS for stopping by to read this interview. Up next: Brett Garsed!