Wow! Torrey, such a profound compliment.
We could probably have a good back and forth about McLaughlin and two schools of thought on improvisation: melodists versus formalists Wes was the supreme melodist. Each phrase was a beautifully shaped, coherent, melodic idea pointing to the next idea. You could sing Wes's solos. He coudln't read and certainly didn't know much about modes and exotic scales. Basically, his mental map of the instrument was so perfect that he just used it as another voice to sing with. This leaves out all the other original things about the guy: the thumb, the octaves, the impossible chord solos. Even with the thumb Wes could go fast when he wanted too.
But not nearly as fast as McLaughlin, formalist supreme. By my definition, formalists rely much more on scales, modes, geometric patterns on the guitar, graphs drawn in the circle of fifths and other devices that may or may not translate into melodic ideas. If I'm right on this, McLaughlin himself shouldn't know how his playing will sound until after he plays it. When you can play that fast it almost doesn't matter, either a note is right or is an approach note to something right. What really needs to be right is the setup of the larger geometric blocks or other structures riding on the changes.
Pat Martino, probably my favorite of all time, plays both sides. He uses formal patterns which turn out the baadest licks ever heard on the instrument.
Somehow or other you're supposed to find the right combination that brings out your own unique voice. Yeah, right. No one tells you that finding this voice is a sure thing, or might take two lifetimes or you might find it and - surprise1 - you don't like it! Bummer. I've found my own voice at least 47 times. So I know what those "into the case, then into the fireplace" moments are like.
I didn't expect this to be so long, but you mentioned McLaughin and paid me a deep compliment. Thank you. I hope 2018 finds your voice honed to just the way you like it.
Last edited by aleck rand; 01/01/18 09:23 AM.