“Never Say Goodbye-Variations on Layla” by Bill Connors. I remember, back in the day, that this track was included as a “sound sheet” record in Guitar Player Magazine.
Bill Connors is a formidable guitarist and one that’s often left out of the conversation.
As always, fearlessly approach the interpretation of “sacred” themes then click pause on the music player located in the side bar to your left before playing the YouTube.
I was just over at the Guitar Player Magazine site reading this nice Allan Holdsworth interview. Allan is 62 years old and he’s still learning, still practicing; looking forward. As I sit here, I’m trying to think of another player came up with a totally different physical technique and a totally different cerebral approach. Nobody really comes to mind. Physically, he is able to execute left hand finger stretches that are impossible to most. On the mind side, he’s got a unique way of thinking harmonically. Listen to the chords he plays, everybody talks about the solos but, he has these great chord voicings; the solos are an extension of that, I think.
He said some interesting stuff about improv.
Usually the beginning of a solo is easy, because I’ve got an unlimited selection of different things that I can play for the first note. But once I’ve made that choice, then it goes to an unconscious place, and I’m not really thinking about it at all. I’m hearing this note, and then I hear the harmony, and sometimes I see the chords. It’s like looking at a Rolodex or an abacus. I can recognize distances between intervals. Then it’s just a matter of navigating from one place to another and squeezing in lines in interesting ways. All this stuff is just happening in real time, like instant composition…
Of course, we can all get trapped, and when that happens to me, then I don’t feel so good about playing. But sometimes I get loose of all the chains, and it seems like almost anything is possible.
That little bit at the end is similar to things I’ve heard a lot of great improvisers express. Miles talked about “playing over your head”. That’s why you do it. You want to get to the place where you are loose of all the chains and anything is possible.
Smooth jazz. Those guys need to grow a beard, man. There’s a five-o-clock shadow on that stuff.
That’s funny, good one AH.
If you don’t know Holdsworth, and you like music, check him out. His music transcends guitar; guitar is just the vehicle. And, while your at at it, grow a beard.
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