- 【ZAPPA】フランク・ザッパ★オンステージ★Vol.23
480 ：名盤さん[sage]：2009/11/10(火) 02:23:52 ID:4e73/n0u - Q:What did you learn from Johnny "Guitar" Watson records? Was it the pentatonic approach?
A:"Well, you know, what Watson was doing was not just pentatonic scales. One of the things I admired about him was
his tone, this wiry, kind of nasty, aggressive and penetrating tone, and another was the fact that the things that
he would play would often come out as rhythmic outbursts over the constant beat of the accompaniment."
Q:Is that something you tried to incorporate into your own playing?
A:"Yes. It seemed to me that was the correct way to approach it, because it was like talking or singing over a background.
There was a speech influence to the rhythm."
http://wiki.killuglyradio.com/wiki/Frank_Zappa%2C_Unholy_Mother
| - 【ZAPPA】フランク・ザッパ★オンステージ★Vol.23
486 ：名盤さん[sage]：2009/11/10(火) 22:01:14 ID:4e73/n0u - Guitar Slim - The Story of My Life
http://www.youtube.com/watch?v=6Nsa_UQjb0g
| - 【ZAPPA】フランク・ザッパ★オンステージ★Vol.23
485 ：名盤さん[sage]：2009/11/10(火) 22:01:14 ID:4e73/n0u - Guitar Slim - The Story of My Life
http://www.youtube.com/watch?v=6Nsa_UQjb0g
| - 【ZAPPA】フランク・ザッパ★オンステージ★Vol.23
487 ：名盤さん[sage]：2009/11/10(火) 22:14:46 ID:4e73/n0u - BM: You've mentioned Johnny Guitar Watson and Gatemouth Brown as major influences.
FZ: I wouldn't say that Gatemouth sounded so blasphemous. Johnny Guitar Watson was an extremely evil-sounding guitar player at the time,
but the smuttiest one I heard was Guitar Slim [Eddie Jones]... just pure smut. The thing that I liked about the two solos I heard
when I was 16 that really intrigued me – the solo on Three Hours Past Midnight and the solo on The Story Of My Life – w
as not just the tone of the instrument but the absolute maniac way that he spewed out these notes in a phrase with little or
no regard to the rest of the meter or what was going on, but still being aware of where the beat was. He was just yellin' it at you.
BM: More like a voice, which is how you think about your own solo playing.
FZ: Yeah, I think that's the most direct way to communicate with somebody, using speech rhythms. That really makes a big difference.
Because, if you listen to a guy playing nice neat scale patterns and things like that, no matter how skillful he is in making his stuff land on the beat,
you always hear it as Music – capital "M" music – lines, chord changes, and stuff like that. Real studied. But if you want to get beyond music into emotional content,
you have to break through that and just talk on your instrument, just make it talk. And if you're gonna make it talk,
you have to be aware that there's a different rhythmic attitude you have to adopt in order to do that.
Frank Zappa: Guitar Player By Bill Milkowski http://www.afka.net/articles/1983-02_Down_Beat.htm
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