The State of Modern Fusion | Tom Quayle Philosophies
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- เผยแพร่เมื่อ 28 เม.ย. 2021
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The State of Modern Fusion is something Tom and I both wax on for ages. Herein, Tom and I talk his philosophies, modern fusion, music school, solo guitar playing and more. This is not your average lesson on legato fusion techniques. Instead, you get to hear some of Tom Quayle's philosophies on a variety of topics. Modern fusion guitar is lucky to have such a great educator as Tom. He told me we'd interview again when Streetwise Guitar makes it to 20k. I can't wait!
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You are killin it with these great interviews
Thanks and there’s still more to come... just be patient 😁
Pt. 3 coming soon!
Fantastic discussion - so helpful to hear an amazing player like Tom normalize the struggles some of us mere mortals face - thanks!!!
"Did school hurt och helped your playing?"A great question.
Jujje! It's the age old questions with 10,000 different answers! Thank you for taking the time to watch this video! I hope you subscribe and check out some of the other videos I've done as I think you'll find them quite interesting!
I appreciate the honesty from Tom Quayle .
Great interview !
Glad you enjoyed it!
Great interview, deserves more views!
Absolutely awesome and spot-on rave from Tom.! All that he said is so true..."going in with hurt feelings, and coming out more hungry"...! Best statement ever.
Thanks for watching!! Please subscribe and hit the notification bell so you don’t miss the next parts of this interview... coming soon 😎
Awesome! Thank you!
You're welcome!
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Thank you for watching this Brian I much appreciate the time the time you took to enjoy this! Please subscribe zero mess anything up coming!
Nice 👍
Thank you! Cheers! There's more to this interview, so be sure to check out the first one and if you subscribe and hit the bell, you'll catch the next parts of this vid
Wow what a cool topic!! Art reflects society hence why there's so much mediocre music because society is just that. Not too much ground breaking music these days. There are a few if you search but to the masses they have no clue! Not sure if that's even what you guys were talking about but that's what I was thinking as I listened to this
"dorian fusion" hmmmm. I guess I missed that lol. Good stuff guys. I am old so when I think about fusion I hear Tribal Tech and Holdsworth...One thing I don't see enough of is young players mixing blues into the prog explosion. I'm sure there are guys doing it. But It's hard to keep up with the planet of guitar these days! So many insane technical players it can be overwhelming for old guys like me!
There are defo so many great players now it’s insane!!!!
@@streetwiseguitar5113 Like when I got to GIT, I saw 16 year old Aussies playing with Jeff Berlin and Steve Smith. Before the internet, I didn't know guys like that existed in 1987. I met guys that had talent beyond what I understood at the time. You spoke of the reality that struck you in Miami...I was scared to death for a month or so, then like so many I dug in and joined the competition lol. The new way of things have young players doing things technically that I couldn't do at 30, if at all! All of them, like an army of guitar, using technology to learn.. Amazing world!
I dig what Tom is saying in these interview clips and it’s really cool to hear his perspective. But I really disagree with a couple of statements that he makes here. The first being, that Kreisberg/Rosenwinkel/Ben Eunson are the ‘standard’ before a musician can find any sort of success at the top end of the jazz performance tree, just isn’t true at all.
There are so many great players like Bill Frisell, Jim Hall, Ralph Towner & latterly Peter Bernstein etc. Who all came about during a time that Holdsworth, Scofield, McLaughlin & Metheny were rising to fame. Their style is predicated on their original voice rather than an insane technical facility. There are lots of people who can’t even dig the hyper virtuosic Jazz anyway and it’s important that we don’t get lost in the comparison wormhole where we all end up feeling like shit for what we can’t do.
There’s space for everyone on the scene. But we need original voices rather than more clones of great players already in existence. The history of this music is so much about respecting the culture, history and community around the music and it’s sad that lots of conservatories simply strain this out of students today. It’s not surprising at all that students choose to move into a different career, or simply away from their interest after graduating music school. The music has been passed down, but all the important learnings about socialising, respecting the cultural tradition of the music and what it means to play this great tradition have been lost for some time.
Second point about Jazz being an elitist art form is a wildly inaccurate claim. Jazz school is an elitist institution that standardised Jazz education in a way that no longer resembles the roots of the tradition. But the music itself was never seen as ‘high art’ until the late 20th century. Journalists from the 30’s until the 70’s used to bash the tradition as being ‘low quality’ or a ‘lower class art form’. Bottom line being that in the 21st century, Jazz is largely viewed as ‘elitist high art’ for the culture surrounding it today.
Hey Jack! Thanks for writing all of that. I sincerely appreciate the time that it took to make that contribution. It's not lost on me.
There's a lot I could say about all of it, but I think due to the brief amount of time that I have I will only say that there's a lot of misunderstandings about what music school is supposed to be. Having lived in the ivory tower for more than 30 years, I would say that I have a very clear understanding of what music School is and what it is not.
It's again for taking the time to write all of that. Some good points in there.
It’s weird, I hear these descriptions of what a jazz musician is and of what jazz is is and I don’t recognise myself or my music in it. But I never went to school to learn what one is I suppose.
Many things have changed with new addendums happening every 20yrs or so.
@@streetwiseguitar5113 I deleted a couple of comments that were a bit ranty. Don’t want to stink up your comments section. Keep these interview coming!
Where are the subscribers? C'mon people!
Thank you so much!!!
It's great to hear some more of this one. I have the same problem as Tom, I cannot play unacompanied guitar to save my life!
I wonder where Allan Holdsworth fits into the spectrum. He played over very strange and complex changes with his own original vocabulary. Can he be called jazz, or even fusion?
He was definitely improvising at an extremely high level but not coming from the tradition.
I definitely regard Holdsworth as a very high level jazz musician. I don’t think many have really gone into depth with this side of things like his medium tempo playing is amazing; I suppose it’s tricky because he was so often playing his own music, it’s not like you can extract ‘ten classic Holdsworth ii v I licks’ haha.
As far as unaccompanied goes; no one likes doing that at first! But it gets easier...
@@JazzGuitarScrapbook thanks for your reply. I am a subscriber to your channel!
I also regard Allan as a jazz player. One of his main interests was improvising over changes and he pushed it so far. I am sure we all know he hated to repeat himself so it's hard to pinpoint formulas/licks but Timothy Pedone (#11 transcriptions) has just brought out a great book identifying some patterns/shapes that Allan was find of using.
@@mattdowie92 nice, I’ll check it out!
@@mattdowie92 there’s definitely an Allan approach though; the way he uses the guitar is a big part of it it seems to me...
Full vid?
Just look in my queue of videos. You will find the other parts! Thanks for taking the time to do this and thank you for your interest! Please subscribe hit the notification bell so you don’t miss anything else really cool!
It’s so sad that Covid killed the 55 Bar. That place was amazing - poor wages to the musicians notwithstanding! I thought that surely some rich manhattanite jazz fan would step up and bail it out but it wasn’t to be. It’s bizarre to me that somewhere so iconic was allowed to shutter.
Matt! I couldn’t agree with you more. Sheryl Bailey, who I also interviewed, I know was greatly saddened by the closing of the 55 bar. Thank you for supporting my channel by watching this video! I hope you hit the subscribe and notification bell so you don’t miss anything cool upcoming