“It will be a few nights where there will be a lot of jazz, with songs like All blues and Blue in green. Improvisation will be the protagonist in these presentations. We will make a repertoire with songs that have a lot of potential to do so. They will be intense shows, promises guitarist Scott Henderson during his talk with Clarion, on his new visit to Argentina
Guitarist with agile, fluid phrasing and his inexhaustible quality as an improviser have made him winr a solid reputation as one of the most exciting guitarists of the jazz fusion scene.
Henderson, along with Alejandro Herrera on electric bass and Fernando Martínez on drums, will perform this Thursday, November 25 and Friday, November 26, at 8 p.m. and 10:30 p.m., at the new Bebop in Palermo, Uriarte 1658.
Scott Henderson will be in charge of inaugurating the new Bebop location, with four presentations. Photo Press
It will be a strong inauguration of the new venue, with this musician who He was a member of the Elektric Band, the pianist Chick Corea and the Syndicate, the keyboardist Joe Zawinul and who led the innovative jazz fusion group Tribal Tech in the eighties and nineties, with albums such as Spears (1985), Nomand (1990) and Thick (1999).
Chosen as Best Jazz Guitarist by Guitar World Magazine in 1991, and in 1992 by the prestigious Guitar Player, Henderson is grateful but distances himself from the album covers.
“I have countless influences ranging from Jimmy Page, Hendrix, Albert King, George Benson, John McLaughlin; I know the vocabulary of jazz, rock, blues. They have their nuances, their differences, and I don’t feel like a musician locked into a single form of expression, ”said the artist, one of the first international visits to arrive in the post-pandemic country.
Born in West Palm Beach, Florida, in August 1954, Henderson started playing guitar at age eleven, heavily influenced by rock, especially from bands like Led Zeppelin, Jimi Hendrix Experience, and Deep Purple, but it quickly gravitated towards jazz and jazz fusion, inspired by bands like Weather Report and the Mahavishnu Orchestra.
-He played with Corea, Zawinul and the violinist Jean Luc Ponty but, apparently, he always preferred to make his way. Weren’t you comfortable doing other composers’ music?
-I always wrote music and I was not so interested in staying in those groups.
From Chic Korea, little; by Joe Zawinul, a lot
-What did those experiences leave you with?
–The one from Korea, almost nothing (laughs); from Joe (by Zawinul) I drank a lot; because Zawinul had a very organic way of balancing composition with improvisation. Korea had some periods when he did this, but I was not with him.
The Elektric Band was a very commercial project and I didn’t like it; It was like playing in a Top’s 40 band. Every night we played the same thing. Joe’s music was different every night, he improvised, he could play chords, harmony. Joe was more democratic than Chick, he asked us for opinions, he made us feel part of the group and not just companions.
-Grown up listening to the blues; What does that genre mean to you?
-The blues is the great influence of jazz; great jazz musicians play very good blues. It is where it begins. I am a rock guitarist And I also grew up listening to Jimmy Page, Jimi Hendrix, Jeff Beck and it was through these musicians that I got to the blues, Albert King, Muddy Waters, John Lee Hooker and discovered that important musical root.
When I began to learn the vocabulary of jazz, I realized how much blues had influenced jazz and it helped me understand it more quickly. Throughout the foundation of jazz you can hear a lot of very good blues.
Despite having strong jazz and blues influences, Scott Henderson considers himself a rock guitarist. Photo Press
Far from industry, close to desire
-How do you work with your music while also being your producer?
–Before, it was important to me to work in a way that is more linked to what is expected by the industry; Today I record what interests me, what I like. There was a time when with Tribal Tech I was very far away from the blues. The group was not interested in the blues and that is why in the nineties I released an album like Dog party (1994). Because I missed playing the blues. And later, Tore Down House (nineteen ninety six).
When I record an album, I include compositions that I feel like playing. Record companies have always tried to get us to make homogeneous records, as a matter of marketing, but I’m not from that world. I can record what I want because my records are not sold, but the people who follow me like that there are varied compositions.
-In an interview he pointed out that records like Vibe Station (2015), Well To The Bone (2002) or his latest work People Mover (2019), is music to play live. Can’t all of your music be played live?
-Yes, I think so. I wrote the compositions for those albums thinking about playing them live. There are songs in which I write too much and they cannot be played live as the album sounds because I cannot do the melody and the harmony simultaneously.
I can’t be that kind of rock guitarist who plays simple distorted notes., because … Who plays the chords, then? There are trio records, but they require more than one guitar; then, they are only for the disc. Anyway, I always add layers of sound in the recordings, there are songs that are good to play live.
-How did you experience the pandemic?
-I was busy writing the music for a future album that will come out in 2022. I had time to be able to dedicate myself entirely to these compositions, for which many times, because of the tours, one cannot find the right moment. I also practiced a lot, as long ago and gave some classes, since I still have some students.
Reference from clarin