During my interview you start to understand just how badly Torn wanted to expand his knowledge of all music and just how deep his passion for creativity and individuality runs. Torn knows the rules of music well and has done an amazing job of breaking them. At one moment he’s using his trem bar to make swoopy, stuttering sounds and the next he is methodically practicing traditional oud scales. It sounds diverse, but it makes perfect sense when you hear his music.

David Torn spends much of his time scoring films and consulting with companies about music gear. The man has “ears” and knows innovative sounds. He was even a little concerned that his playing on this interview was not captured on a more professional format. So please be aware that I recorded his playing with the shotgun microphone on my Canon consumer camcorder. I do this on all my videos. Nothing fancy. but it gets the job done without much fuss and allows me to concentrate on other things.

Playing a prototype maple-neck gold D’Pergo strat-style guitar made from ancient swamp ash through a variety of vintage and modern effects amplified through two prototype Fryette amps he stood there like a sorcerer conjuring auditory daydreams and nightmares (often in the same musical phrase).

We may all be looking at the same picture, but some of us see it differently. David Torn is that kind of musician. Don’t just watch him play, listen to his thought process and philosophy about music-making. This guy is open-minded and unafraid to push the envelope. Prepare to be inspired.

This guy is not just playing pentatonic blues scales…who does he sound like? David Torn.

David Torn – Interview 1

Torn’s Los Angeles-area home studio showing effects rack, pedalboard, Fryette amps he is consulting on and more. Click on picture to enlarge.

The wizard’s work station. Click on picture to enlarge.

David Torn – Interview 2

One of Torn’s racks containing a looper and Lexicons used to create other-worldly tones. Click to enlarge.

David Torn – Interview 3
Demonstrating some of his unique approach to guitar on a prototype D’Pergo made of ancient swamp ash.

The newest amp from Fryette that David is consulting on. He had two and was comparing speakers with them. They sounded great clean or distorted.

David Torn – Interview 4

David Torn – Interview 5

Torn playing his Oud.

Notice the exceptional craftsmanship and highly figured woodgrain. The guitars come in maple and mahogany. They sound as good as they look. Clearly a great deal of planning went into these before production. The truss rod cover is a wood strip with magnets that allow the player to make quick adjustments without requiring a screwdriver to remove it. Very clever.

CLICK ANY IMAGE TO ENLARGE

(click image to enlarge)

What if your accomplishments could have included one of the following experiences?:

• Playing guitar with Benny Goodman
• Playing at The White House
• Playing for the Queen of England
• Playing a show on the same billing as The Beatles (and hanging out with them)
• Playing with Herb Ellis, Joe Pass, George Van Eps (to barely scratch the surface).
• Play with Herb Alpert or Sergio Mendes on tons of top records
• Perform in a filmed concert at the legendary Olympia Theater in Paris, France with Diana Krall
• Have a high-end signature guitar designed to your specifications

Any one of those would be worthy of extreme pride. Jazz guitarist John Pisano has done all of those and much, much more in his six decades as a professional guitarist. Not content to rest on his laurels, John keeps performing at his weekly gig hosting Spazio’s Guitar Night, teaching at Cal State Northridge (Los Angeles, CA), while pushing himself to play using new guitar techniques and continually learning and evolving as a player.

John told me he considers himself to be a “good player who has played with some great players.” An understatement the size of Los Angeles. The remark underscores his humility. Clearly this guy keeps on giving of himself and has always been in the game for all the right reasons. I just does not get any more hip than that.

You know I only interview amazing players and people that make the very best gear and John Pisano is a perfect example of what it means to be at the top of your game. Listening to his experiences gives you a slice of American history and an introspective view of an important part of American musical culture. Not surprising was the fact this guy is also a gentleman and one heck of nice guy too. You might want to try out a hand-carved Eastman John Pisano signature guitar. Sweeeeet!

Please be sure to visit www.JohnPisano.com and look at his extensive discography.

by David Caris

This is part 1 of the interview series. Please make sure you view this in the best resolution.

Here is John playing some melodic improv on his signature Eastman guitar. He did not know the camera was on, but it was so inspired I had to post it.

This is part 2 of the interview series. Please make sure you view this in the best resolution.

This is part 3 of the interview series. Please make sure you view this in the best resolution.

Here is another installment from my interview last week with ace studio guitarist Tim May. Get some more insight into what goes on behind the scenes in the world of the first-call studio musician and how that has changed over the years.

This third interview segment deals with what guitars Tim May owns and plays. He also details how he acquired a vintage Epiphone once owned by jazz great Howard Roberts. Tim also talks to David Caris about his new CD which features Abe Laboriel and Bob Zimmitti. I heard the pre-release version of this and it is definitely worth getting. There is some great composing and performances on it.

Tim and I were talking about how songs seem to pour out of certain instruments. Then he spoke about the creative process and had some very inspiring things to say that every guitarist should hear.

Tim playing an Epiphone once owned by the late, great guitarist/educator Howard Roberts (click to enlarge)

A closer view of the front. By the way, this axe has been tweaked by John Carruthers and “plays like butta” with great articulate tone.

The bookmatched maple back of the Guild Artist Award. Sweet. Now stop drooling!

A late 30′s Gibson Tim bought at Sam Ash. Funny story: the clerk said it was real old…probably from the 70′s. What does that make me? I guess I am an antique too.

-David Caris

The back and sides of Howard Roberts personal Epiphone is walnut. (click to enlarge)

I’ve met so many musicians over the years with limited abilities that were puffed up on ego trips. Then I meet Tim May and he is the antithesis of an egocentric player. He’s poised and confident and a really warm person. Let’s face it, the guy has nothing to prove, his accomplishments speak for themselves. I was in his him home for ten minutes and he made me feel like an old friend, not unlike Carl Verheyen did when I visited him. Of course, why wouldn’t I feel at home surrounded by all those great guitars and a passionate world-class player?

Tim played some great improvised jazz for me on a custom Gibson archtop through a vintage Benson amp. We proceeded to talk about studio work, playing with other musicians and his thoughts on music in general. He then told me about the Tim May Trio which has Abe Laboriel on bass and Bob Zimmitti on Drums and the new CD he has been working on.

In between chats he played some highly-melodic guitar with the kind of sophisticated chord soloing and single string runs that he does so well. There was nothing predictable or generic, just lush chords and evolved melody. It’s almost disturbing to think he can rock out too. Remember Michael J. Fox in Back to the Future when he jumps to his knees playing Chuck Berry riffs and then bursts into a metal-inspired solo? The actual playing was Tim May. I had a lot of fun during the interview. I hope you enjoy it half as much as I did.

-David Caris

Tim playing his 1980 Guild Artist Award

This is the first installment of the interview with Tim May

Here’s Tim doing some great improv playing

Tim in his family room surrounded by awards and vintage guitars. (Click to enlarge)

Click on image to enlarge.

I passed country stores and ranches, hovels and estates and then I got to Carl Verheyen’s lovely house where he ushered me in to his home studio and I set up to do the interview. He had two blackface Princeton Reverbs, shelves of effects pedals, and a beautiful original 1958 Stratocaster that he bought on the recommendation of pickup czar Seymour Duncan.

Carl proceeded to noodle in a way that would have silenced all those kids playing high-gain metal riffs at your local Guitar Center. His tone was pure, clean and magical and was only enhanced by a T-Rex Replica delay. Though he had just returned from a six-week tour of Europe with his own band days ago, he had been busy working on the soundtrack to a Will Ferrell flick.

Thankfully, he took time from his busy schedule to do this interview. There was so much great stuff there I decided to break it into two parts. I also made filmed him playing Goodbye Pork Pie Hat by Charlie Mingus. What a treat. Be sure you register for www.GuitarBandDVD.org and get his video lesson and 10 Minute Blues Bootcamp. His lesson should keep you busy for some time. It is brief, but packed with useful tips.

by David Caris

View Part 1 of the Carl Verheyen Interview here

View Part 2 of the Carl Verheyen Interview here