The principle element in a performance is risk, and if you're losing interest then by scaring yourself to death the audience will feel it and boy it'll wake them up.
Musically, I am still hooked and just hypnotized by the sound of the guitar itself. I mean, a guitar sounds good if you drop it on the floor.
I am evidence that you don't have to sell a lot of records or succeed in the usual way to have a big audience and a job.
I had been playing single note instruments and I wanted to hear a guitar played as a piano.
When a record company looks at me I'm very hard to market, I don't really fit anywhere, It's hard to get me on the air, and I'm hard to demography, but! because of that I'm not subject to trends like you pointed out.
All bad jazz sounds like Woody Woodpecker.
I have always thought of myself as a performer first and way down the line as a recording artist.
The first music I was exposed to was Stravinsky and I loved it but I don't remember it.
I think that open tunings are a trap really because it's really hard not to sound like an open tuning when your using one and that gets old as well as what you learn in one open tuning is going to stay there.
It is not a mystical thing, however, it is obvious and practical and I think that what the performer does is to try to get to that point with every choice you make from the phrasing in a tune to the choice of tunes.
It's true that the more you put in the more you get out and that has to be there I think, If you aren't really hooked on your instrument this job would be a hell on earth but if you are, it's the best.
I think if you are writing an instrumental you are dealing with more of an aesthetic in a sense but a lyric is more of a putting yourself on the line and a much more expensive exercise.
I would say that if you don't feel like talking to the crowd something is wrong and if you force yourself to talk to them things will happen and to that extent things aren't choreographed.
The bulk of my set is instrumental and you have to give yourself and the audience some relief because a performance is not about great guitar playing it's really about entertainment.
With all these great (guitar teachers) around here, don't cop their licks, COP THEIR ATTITUDE.
You can't really tell what the audience wants but you can tell what will keep everybody's attention in the same place.
When the audience is awful you can still have a great night and people will walk out thinking they had a great time even though there was loads of loudmouths and the sound was terrible.
I do have a library of events I can talk about and I always expect to find a different point of view on it so even if I talk about the same event in the same town it's fresh.
I was required by Capital to release one every six months and the fastest I could do with all my touring was every nine months, and it would spook me every time because I never had what I needed and I really didn't want to do covers.
I was taking a nose dive somewhere between eleven and twelve because my sister had died and I was practicing something that siblings do which is follow in their footsteps and die as well.
I don't spend a lot of time thinking of what they'll do musically, I try to imagine being locked into a windowless room with this person for twelve hours at a time. If you can look at that and think it might be fun then maybe you've got the right musician.
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