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Each time I play it I`m in the seventh sky. I think there is a really good mood. I especially like when it goes from the cool soft jazz intro to this big riff. The second melody part is quite interesting, in fact, it is almost a jazz chord melody with chords changes and diminished stuff played with a big distorted sounds and heavy rhythm guitar parts behind it so it keeps the power. It is not the flashier stuff, but I think that you do not hear that kind of parts really often. You have an interesting interlude with a harmonised whole tone motif and the solo is (like most of the solos from this record) improvised and for this one a first take (Sometimes we are lucky …).
Nice tune to start the show.
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The main melody of this tune try to express the feeling I had a few years ago when I did not know where I wanted to go in my life, but I did know where I did not want to be. Musically you have a heavy groove in 7/4 played over a 4/4 backbeat which is still a pleasant effect, two solos sections with a clean solo and an heavy one, and the ending with a big #11 chord, a drum solo and a few more guitars.
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Well.., I named this tune "Well, Well, Well" because when I am listening to it I just think well, well, well (in an English/gentleman way). For me, it`s a happy sixteenth note swing tune that put a smile on my face (especially the melody, which reminds me a little bit of the great Miles Davis). The solo is worked out. I really like when the wah-wah comes in because it is in the middle of the line. After the solo section, when the main riff comes back, you have a fast lick who is played twice (to get it stereo), but I did not play the exact same line. You have to listen to it through headphones, it sounds really funny. What else… a wonderful drum solo by Alex Brun who I think is a very gifted drummer, and some cool funky clean guitars underneath the main melody.
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This an interesting tune because you don`t have a classic structure like riff, melody A, melody B. etc. Instead it keeps evolving from beginning to end. You have two bass solos, and almost three guitar solos. The last one was an intention to recreate some of the stuff I`m doing live. It`s a four minute solo over an E Spanish vamp. The problem was that my home studio only has 8 inputs so I wasn`t able to play it with the band, so I had to overdub it (it`s strange when you don`t have the whole band with you). When I played this solo, at a moment I thought I messed up, but I had fun playing, so I did it until the end. I left the studio, and the day after I listened back and I realised that since I thought I would not keep it, I played some stuff I did not know I was able to do, so I kept it.
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A nice tune with a good grooving riff and a first guitar solo (this one is a first take too) over an almost disco beat. A funny part where we play in unison with the bass player (The bass player called this the Zappa part…. well I`m very honoured). At first the second solo should have been only rhythm parts, but I felt something was missing. It is interesting because the harmony keeps moving every bar (yes, this solo took a few tries…).
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I think this is one of the most powerful melody I wrote. The B section is similar to "Club 22", kind of jazzy chord melody with big distorted guitars. The solo section is in half time, it is so cool to play over this one.
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This song has a lot of different parts. It goes from heavy to reggae to jazz-rock to ???. The second solo is a kind of a duo between me and myself. At first I wanted to play it with another guitar player, but nobody was free at this time so I did it all by myself. The first solo section has chord changes in it but once again it is played with the big distorted tone. I`m not a bebop player that can play on incredible harmonics changes, but I think that to have a bit of harmonic movement is really cool. In the reggae section you have some cool clean harmonics counterpoint that really add a lot to the overall feel of the section. Very powerful song.
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This one is for Scott Henderson. During the year I was at GIT, a friend of mine came from Switzerland to visit me. He was a guitar player, so of course I invited him to visit the school. It was the day where Scott was here, so I said to my friend "Hey man, look, Scott Henderson is here and as a show-off I said I am going to play with him. Well, it was one day where Scott was not in a good mood (and the only day I saw him like that, because Scott is a really cool guy and a great teacher), so we start playing a kind of Latin type standard (501 miles high), at this point you have to know that Scott got a drum machine pattern for this kind of music where it is almost impossible to know where the one is. So, after we played a couple of bars, Scott stopped me and told me "You are not on the one" (the first beat of the measure), so I said "OK … but where`s the one" and then we have Scott looking at me and telling me "ONE, two, three, four". Well it has continued for maybe three minutes like this, and after three minutes who seemed to be hours for me, Scott says I think it`s better if we change the drum pattern…At this point I thought it was better for me to disappear from the universe. So this is why you can hear me speaking in this tune. Except that, you have a nice counterpoint to the melody that`s done with controlled feedback. Nice powerful song too.
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This is the ballad. It is for my wife and my daughters, with all my love.
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This one is nice too to use as an opener for the live shows. In the melody you have some interesting clean chords behind it. The solo is quiet cool, I almost did not pick any note in this one. Everything is done really close to the amp to get feedback. Lots of power in this tune. It really sounds like a wave…no???
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You have a little interlude before it goes to the solo section that I really like. If I could I would love to play a whole tune like this. Then in the solo I just play with the drums, I love to do that live. Like in the "Detune", it was a little bit hard to recreate the feeling as I was overdubbing.
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I really love this tune. I think it is so powerful that like "Club 22" it takes me to the seventh sky. Musically, the main riff is Lydian, and normally you associate more that kind of riff with minor. The melody is just an extension of the riff. There are so many parts that I can not describe each of them. The solo is quit interesting because the basic guitar pattern is in 7/8 time but the drummer and bass player played it as a 7/4 and you have some chord changes so you can`t just flow over the time, you have to play in time in order to match the changes. This took me more than a few tries to do the solo. I think that the title shows in a good way what is the feeling of the tune. On top of all that, it has a section where I play some odd meters over a 4/4 beat that sounds quite … out of order.
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CD Information
