12 Oktober 2010

Guitar Player Magazine

How many guitarists could go playing stadium rock with the band deemed loudest in the world by the Guinness Book of Records, to swinging through “Sweet Georgia Brown” in a small club? One of that select few is former Dixie Dregs leader Steve Morse

On a recent Monday night, Morse capped off a weekend with his rocking trio at New York’s Iridium by sitting in with the Les Paul Trio, augmented by SNL drummer Shawn Pelton. The lucky audience was treated to a rendition of “Somewhere Over the Rainbow” played with false harmonics, a two-step that launched some Dregs style twang, pedal-steel emulations on the Les Paul Mary Ford classic “Via Con Dios,” and a solo on a funky “Sweet Georgia Brown” that honored the melody while displaying the famous Morse chops.

We sat down with the veteran guitar hero to find out what it was like going from shredding to standards.

What is the difference between the way you play with Deep Purple and with your own band?
With my trio there is a lot more pressure because I am playing melodies and lots of difficult parts and changes. If it is a simple melody I try to enhance it by rolling in the right amount of synth or delay, or changing the pickup or tone setting. During difficult melodies, like “On the Pipe,” I have to adjust the balance between the wet amp and dry amp, then there is not even an eighth-note between the melody and playing this rising chord part, and I have to turn the synth on, go to a different pickup, etc. With my band the solos are really a chance to relax. With Purple we have a keyboard and melodies coming from the vocals. The only time I am in there crucially is during the solos.

Tonight you are playing with the Les Paul Trio. What was your relationship to Les Paul?
I have met him, but unfortunately never got to know him. I am very honored, because I love everything I know from listening to him play, and clips from his TV show. I love his inventiveness, his willingness to say, “This is the way it is always done, why don’t I try something different anyway.” That is the attitude that pushes any combination of science and art forward. And besides being a great player he was such a great performer.

How did you feel playing with his trio?
It was amazing. Every once in a while I get to do one-off gigs with incredible people. In this genre they are world-class players, doing this thing and dragging me along with them. I’m trying so hard to just remember what keys the song is in.

You sounded very comfortable playing through the chord changes. Do you have a background in jazz?
Yes. At the University of Miami I was technically a jazz major. But I wasn’t really because I studied classical guitar and did the music that became the Dregs—it was jazz-rock at best. The jazz guys tolerated me though they knew I wasn’t a jazz player. But being around all those players you can’t help but pick up the basics of playing over changes. A lot of the music that I personally love is played over changes. With rockabilly stuff it is possible to play like a jazz player and it fits perfectly in the style—the same with bluegrass. Because of that I am comfortable playing over changes—if I can remember them [laughs].

Swing and country seem very close.
Thank you for mentioning that because a lot of people think that there are these divisions between styles and as a player it almost comes down to what hat you are wearing and what kind of guitar you are playing—the note choices are all the same. I love to combine styles. I feel less comfortable defining a particular style. How can you leave out some things that are a part of you?

Tidak ada komentar:

Formasi VIII (2002-saat ini)

Formasi VIII (2002-saat ini)
Ian Paice, Roger Glover, Ian Gillan, Don Airey & Steve Morse

Formasi VII (1994-2002)

Formasi VII (1994-2002)
Steve Morse, Roger Glover, Jon Lord, Ian Gillan, Ian Paice

Formasi VI (1993-1994)

Formasi VI (1993-1994)
Ian Gillan, Ian Paice, Joe Satriani, Roger Glover, Jon Lord

Formasi II-c (1992-1993)

Formasi V (1990-1992)

Formasi V (1990-1992)
Roger Glover, Jon Lord, Ritchie Blackmore, Joe Lynn Turner & Ian Paice

Formasi II-b (1984-1990)

Formasi II-b (1984-1990)
Ritchie Blackmore, Ian Paice, Jon Lord, Roger Glover & Ian Gillan

Formasi IV (1975-1976)

Formasi IV (1975-1976)
David Coverdale, Jon Lord, Tommy Bolin, Ian Paice & Glenn Hughes

Formasi III (1973-1975)

Formasi III (1973-1975)
Jon Lord, Ritchie Blackmore, Ian Paice, Glenn Hughes & David Coverdale

Formasi II-a (1969-1973)

Formasi II-a (1969-1973)
Roger Glover, Ian Paice, Ian Gillan, Ritchie Blackmore & Jon Lord

Formasi I (1968-1969)

Formasi I (1968-1969)
Rod Evans, Jon Lord, Ritchie Blackmore, Ian Paice dan Nick Simper

Pengikut

1967-1969

Salah satu pelopor musik Hard Rock kemudian berkembang menjadi Heavy Metal ini pada awal berdirinya merupakan ide dari bintang pop tahun 1960-an dan telah memperoleh kebesaran dengan band-nya, THE SEARCHER, dialah Christopher Crummy atau yang dikenal dengan nama Chris Curtis (Oldham, Lancs, tgl. 26 Agustus 1941).

Curtis melihat semakin berkembangnya musik Rock Progressive sehingga terbentuk suatu ide bersama rekannya di bisnis musik yang bersedia menolongnya.

Curtis mulai mendiskusikannya dengan Tony Edwards, yang bekerja di bisnis textile milik keluarganya di West End, London. Mereka pun diperkenalkan ke Vicki Wickham, seorang asisten produser acara TV : Ready, Steady, Go Pop Show.

Setelah setahun berjalan, secara formal Curtis lalu meminta pertolongan manajemen dan Edwards pun menghubungi teman bisnisnya, John Colletta, yang saat itu memiliki agen periklanan diatas perusahaan textile milik Edwards. Mereka lalu membuat keputusan untuk menggabungkan bisnis mereka dengan melakukan promosi band yang akan dibentuk Curtis.

Seiring dengan waktu, mereka sadar bahwa Curtis hanya memiliki mimpi besar yang hanya berisikan gagasan dan gagasan belaka. Sedangkan bagian yang paling nyata terletak kepada keberadaan teman Curtis yang juga musisi yang tinggal satu flat (Fulham's Gunter Grove) dengan Curtis, dialah Jon Lord.

Curtis pun masih bersemangat untuk membicarakan proyeknya tersebut dengan menampilkan kumpulan musisi terbaik. Salah satu musisi yang sangat diinginkan Curtis adalah Ritchie Blackmore, gitaris terkenal di Reeperbahn dan saat ini bermukim di Hamburg bersama kekasihnya, Babs.

Saat itu band telah terbentuk dengan formasi : Ritchie Blackmore (gitar), Jon Lord (organ), Chris Curtis (vokal), Dave Curtis (bass) dan Bobby Woodman Clarke (drum). Clarke merupakan referensi dari Blackmore berdasarkan promosi Melody Maker yang dibayar 25 Pound setiap minggunya. Sedangkan Dave Curtis tidak ada hubungannya dengan Chris Curtis.

Setelah melakukan jam, Blackmore melihat kelemahan Band terletak pada diri Chris Curtis sendiri, sehingga (sangat ironis) akhirnya Chris Curtis harus keluar dari Band disusul oleh Dave Curtis, sehingga Band hanya terdiri dari Blackmore, Lord dan Clarke saja.

Tak lama berselang, rekan Jon Lord semasa di The Flowerpot Men, Nick Simper (bass) ikut bergabung. Sedangkan untuk posisi vokal, Band telah melihat nama Ashley Holt, Rod Stewart dan Terry Raid.

Dari sekian pelamar, harapan terbesar terletak pada diri Mick Angus. Inkarnasi embrio ini ditambah lagi dengan saran Simper dan Lord untuk memilih Ian Gillan. Saat itu terjadi dilema apabila Gillan masuk ke dalam Band, sedangkan saat itu Gillan masih bergabung dengan EPISODE SIX.

Setelah kembali ke Slough dengan saat itu telah diberikan kepercayaan oleh Band, Angus mereferensikan teman akrabnya, Rod Evans.

Entah mengapa justru Rod Evans (ex. The Maze) bersama rekannya Ian Paice masuk kedalam Band. Dengan masuknya Paicey otomatis Clarke harus keluar dari Band.

Begitu banyak nama Band diusulkan seperti Orpheus dan Concrete God, namun Management mengusulkan nama Roundabout dan nama ini dipakai dalam tour.

Dalam tour di Tastrup, Denmark tgl. 20 April 1968, nama Band pun berubah menjadi DEEP PURPLE, yang diambil dari nama sebuah lagu favorit dari Neneknya Ritchie Blackmore.

Debut album Deep Purple, Shades Of Deep Purple direkam di bulan Mei 1968. Dalam relatif sangat singkat, hit single Deep Purple, Hush (dirilis bulan Juli 1968) menembus tangga lagu Amerika, dengan menduduki posisi no. 4.