Zitat des Tages über Solos:
It would be a dream come true if I could just go from studio to studio and play solos.
What about that Dave Brubeck live album, with a version of 'Like Someone in Love' on it, and long sax solos by Paul Desmond? That's what got me hooked on jazz.
It was by listening to Goodman's band, that I began to notice the guitarist Charlie Christian, who was one of the first musicians to play solos in a big band set-up.
Every time I listen back to solos of mine I'll hear something I like and then another phrase that I can't stand. You have to live with what you play. And the recording medium puts that on us. When I play live gigs I don't think so much like that.
My solos are more tastefully conceived now. But I still get going in places. It's just that I build up to it now. I don't race off on a solo. I take my time.
You can go crazy and play solos in the right place, and that's great because it can intensify and bring an emotional lift. But the thing is you don't want to get in the way of the song.
I don't like drum solos, to be honest with you, but if anybody ever told me he didn't like Buddy Rich I'd right away say go and see him, at least the once.
I've always done very 'composed' music and worked-out solos. But sometimes it's fun not knowing where you're going.
That's the exact concept behind the music: to take that kind of, I guess whatever you want to call it, jazz sensibility - but not have it be about solos.
I'm not into solos, I'm into lyrics.
With Zeppelin, I tried to play something different every night in my solos. I'd play for 20 minutes but the longest ever was 30 minutes. It's a long time, but whenI was playing it seemed to fly by.
I would have to say I'm bored with the standard rock, guitar solos, but I've done it for five albums now, and this time I wanted to go in a completely different direction. I wasn't interested in showing off any more.
I write most of my songs to beats. I play around on guitar, but not enough to where I can compose my own stuff or play solos. I can accompany myself 'cause most songs are, like, four chords.
I am not comparing myself to great artists, but when you see conceptual artists at work, on some level it's reassuring to know they can paint figuratively. Likewise, when you listen to the '50s jazz people who do these vast solos, you buy into it more if they open by playing a tune.
I try to look at most of my solos as a musical piece within the song, not, say, showing off.
I'd be very honored to be the ambassador to drum solos.
Most jazz players work out their solos, at least to the extent that they have a very specific vocabulary.
He was very much concerned with logic and function, he always worked his solos out before playing them.
It's quite similar to guitar solos, only with programming you have to use your brain. The most important thing is that it should have some emotional effect on me, rather than just, 'Oh, that's really clever.'
With solos, I don't like to be too prepared going in - I like to surprise myself.
Nowadays I get complaints about long drum solos, but in those days they wanted me to keep on going so they could go over to the bar and have a drink.
I didn't want to take the guitar solos down note-for-note, but more or less use them as a map, and keep all the hooks from the guitar playing, and let myself come through.
I don't like piano solos.
Everyone knows deep in their hearts that the drums are the coolest instrument, and that a band is only as good as its drummer. So I'm all for drum solos. I'm all for drummers hamming it up. I'm all for drummers standing up and kicking over the kit.
On 'Metallica,' I recorded six or seven different guitar solos for almost every song, took the best aspects of each solo, mapped out a master solo and made a composite. Then I learned how to play the composite solo, tightened it up and replayed it for the final version.
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again and there's a certain musical virtuosity involved in it.
In high school, I was Mr. Choir Boy. I had solos, I was helping out the tenors with their parts and our choir teacher would ask me what songs we should do.
I'll get up there and I'll do my guitar solos in one of those space outfits.
World Play is very '70s arena rock, very raw and in your face, and that's what we wanted. We recorded it in a very off-the-cuff manner and didn't really plan out how we were going to play. My solos are first takes.
Guitar solos, to me, should be a really articulate way to make fun of guitar solos.
I don't dictate the solos and I don't dictate the vocal harmonies.
I love classical music; I love the way it's worked... all those chord sequences so I often use that sort of effect in my solos.
Everything from the lyrics to the production, solos to the writing - it's all democratic. At the end of the day, you know, when you're all done with the grind - which it is always an incredible grind for us to write records - I think it makes it that much more special to hear the final product.
If you're playing with a number of people, there are all sorts of textures, all kinds of possibilities you can get into. So why just play a theme together and then take solos?
I'm sure if Shakespeare were alive today, he'd be doing classic guitar solos on YouTube.
Music can be useful during training to help get you psyched, and I still listen to music on easy climbs or in the gym. But during cutting-edge solos or really hard climbs, I unplug. There shouldn't be a need for extra motivation on big days, be it music or anything else. It should come from within.
