Joined: 14 May 2004 Posts: 278 Location: Austin, TX
Posted: Tue Jun 24, 2008 10:25 pm Post subject: Scott answers your questions - round 42 - 6/24/08
I have a problem with longer improvised solos. The middle section flags and I make more clams as I feel my way into that part. I seem to be reasonable on beginnings and endings. How do you deal with the middle parts of your extended playing?
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I don't think of it that way. When I improvise, I'm thinking about interacting with the band and playing motific phrases so that it's more of a band solo than a guitar solo. If I'm too self-absorbed and too much of my attention is on the fingerboard, I'm more likely to play things I've played a million times before, and to get discouraged when I make mistakes. It seems to me like the less attention I pay to myself, the better and more creative I play.
BTW I found this on Trev Wilkinson's 'Fret King Bitz' website re the VSVG trem unit:-
"VSVG
The design challenge of the VSVG was to give the performance of a VS100 with a more vintage feel. This required a complete re-think of the classic bent-steel saddle and the 6-hole knife edge.
Replicating the size, weight & materials of the original '54 Leo Fender design was a prime objective, and acheived quite easily. Getting the bridge to return to the same position after use was another matter. The major problem with the original design was that the 6 holes and 6 screws can bind, creating poor tuning stability. By making 5 of the front holes into slots it is impossible for the bridge to bind, ensuring a smooth 'return to zero' like the VS100. The 6th hole is retained so that lateral position on the guitar is preserved.
Special bent steel saddles replicate vintage 'sparkle' & tone perfectly, and their unique shape allows the height adjustment screws to be recessed to give the smoothest possible feel. A further aid to tuning stability is the unique string hole pattern in the block. Strings are staggered to achieve a more consistent angle over the saddles intonation point, alleviating problems inherent in the original design.
As with all Wilkinson designs, the saddles lock to optimise the transfer of energy to the guitar, maximising 'tone transfer' and sustain. Finished in vintage Nickel.
Available to order in Gold, Black & Violet Chrome at extra cost."
I've met him a few times and I know his design principle is to not rely on string pressure to keep the parts in place so the bridge pieces are screwed down. IIRC the VSVG has the metal curled round and under so the lower part can be screwed down for intonation setting but the upper part can be udjusted conventionally for string height. I don't know how the materials 'sound' compared to the '54 though.
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I've never tried that bridge but Trev is a smart guy and knows what he's doing. Sooner or later I'll check it out.
Hi Scott, curious if you own a suhr classic T, and if so can you tell us how you like it compared to your classics-I've never actually seen you with it in any pics or live. If you do have one, how is it specd? (specifically wood combo, neck profile, pups and electronics(is tone bypassed like your classics)?
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I have one and it sounds great, but I live in LA so it hums like crazy - I got it before the SSC system was invented. I'm having one built now with the SSC system and the specs are pretty much the same as the one I have. It's not a traditional Tele, because the ash ones are too bright for me, even the ones with maple necks. Mine is alder with Indian rosewood, same as my classics. It has John's standard single coil Tele pickups, and the tone control is wired to the treble pickup only.
Also, if I'm not mistaken you're removing the cap/res. from your guitar's volume pot-if so, how is it affecting your tone?
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I've never used the volume pot electronics, which are only needed if your guitar cable is long. I use a four foot cable to my first pedal, so when I turn down the volume there's very little treble loss.
What model Vox wah are you using- the 487,847 etc..?
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I don't know the model. I'm not sure it's important because Martin Golub modded it and he told me any version of a Vox wah would sound the same after his mod.
And here is the geek question of the month
(sorry but too curious) what would be your target weight for a strat? I've heard around 7.5 lbs (lightweight option?)is desirable but do realize that this is subjective and that there are many other variables involved besides body weight that contribute to the overall tone.
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Around seven and a half pounds is good - that's the average weight of the old ones.
Hey Scott,
Just wanted to thank you again for being so open and available to your fans. I think you are among the top guitarists out there right now and you definitely have a tone and technique that is quickly recognizable. I also think it's really great that you are so honest about your gear choices and reasoning behind them. I recently picked up an older Scott Henderson model Suhr guitar and LOVE it. It needs a fret level and re-crown but I really dig the extra meat on the neck profile and the flatter radius is perfect for bending. Next step is to put some FL's in the guitar.
I saw recently that MXR has a new analog delay pedal and wondered if you have tried it yet?
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I saw the ad for it in GP and it looks cool. I don't use delay pedals live because they like to see a -10 signal. I like delay in the amp loop, not before the preamp, because that can sound muddy with high gain tones. When we were mixing Well To The Bone, Mike Landau showed me a cool box in his studio which takes the +4 signal from the track and converts it into a -10 signal so we could use analog delay pedals, then raises the signal back to +4. That's the only way I've used delay pedals.
I am also curious about the time you spent playing with Joe Z. How much of his music during a show was improvised? I have a dvd of Weather Report back in the 60's and it looked like there was good amount of improv with certain cues for going to the next section of the song. Some of the cues actually looked pretty subtle, what were the musical cues when you played with him? Hope that makes sense...
Take care Scott, your cd's continue to be a source of inspiration and enjoyment.
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That makes perfect sense and that's exactly how Joe liked to play. He didn't care much for "arrangements", where there's a set number of bars between sections. He liked to just give visual or musical cues on the fly when he was ready to move on to another part of the tune. That's how I like to play a lot of my tunes on stage too, because if you're playing different stuff every night, counting bars is annoying - a set bar amount might not fit with what's actually happening. True story - a lot of those 6 to 8 minute Weather Report tunes began as 15 minute "play until the tape runs out" jams. Then Joe would splice it all together and produce it until it's what you hear on the record.
Hi Scott!
I'm Geri from Hungary, and I'm a big fan of you!
Sorry for my bad english.
My gear questions:
1, I have an Musicman Rd50 110 amp, and I'd like to know what do you think about it. As i know it was designed by Leo Fender in the '80. It has a solid state preamp with a tube power amp.
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Sorry I've never heard one.
2, Do you think I should change it for a "fulltube" Fender? If yes which combo would you recommend? (little money of course)
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Sorry again but I don't know enough about Fender's current amp lineup to answer your question. My favorite Fender amps are the old Deluxe and Super Reverb, but old ones aren't that cheap.
3,Do you think a Ts-9 would sound well with it? (Because of the solid state preamp)
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Usually solid state preamps with pedals sound kind of cold, but there are some older blues players that always used solid state amps and got cool tones from them.
4,What do you think about Graph Tech saddles? Does it change the tone in a wrong way?
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From what I've heard, yes.
5, Do you use Schaller Guitar Strap Locks? or anything like that?
Thanks for the answers!
Best wishes from Hungary!
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Yes I've always used Schallers.
Hi Scott,
for a very long time you have a been a very big influence for me. You were the guy that made me (as a Rock player) listen to Jazz 10 years ago. Thanks alot for that.
Since I am a bit bored by my playing at the moment I started analyzing peoples solos again. I transcribed the licks I liked from your solos on youtube you played over Standards like All Blues, Mr. PC or Giant Steps and this gave me alot new ideas.
I know you won't release a Jazz standards album and you are not really happy about people releasing your stuff on youtube (which I totally can understand). But for me (and many other guys) it would be a big help and joy to have more recordings of you playing standards.
Is there any chance you could release something like that? Maybe as an instructional book or something like that?
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Sorry, I love playing standards but as you know there's no money to be made by recording them, and instructional videos and books aren't paying what they used to. I've got to concentrate on original music to make a living, and that's what I love doing the most anyway.
If during a performance the bandleader said to you we are going to play this tune that has a lot of changes and I know you never head it before and I have no chart for you; all your going to do is solo over it. Do you feel confident that you could pull it off? How would you go about it?
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I could pull it off, but there might be wrong notes here and there, especially if I didn't know when the chords were going to change. Most musicians with good relative pitch have no problem hearing what to play over a chord, but if they're changing fast or in weird places, that's hard. I'd leave plenty of space, listen, and jump in when I'm sure I'm right. I wouldn't do it by playing a bunch of chromatic crap and hope for a good percentage.
[quote] Wow. All I can say to the parents of those kids is that I'm deeply deeply sorry. Hopefully they're also doing Weather Report and Steely Dan covers.
Hey Scott,
Huge fan from Israel, been wanting to ask you about the life of a musician in general, is it a good life ? it sure sounds fun and exciting, but overall, would you change if you had the chance ?
I'm asking because i just finished my military service and got back to playing guitar, i'm thinking about applying to berklee to get a formal musical education, i'm in a crossroads right now where i should choose between a steady career (that is, if everything goes right and i finish my studies in school) or a musicians career, just wanted your input because you seem like a very down to earth logical person.
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I don't want to be the guy responsible for ruining your life.... many musicians have it rough because it's a competitive business and it seems like there are more musicians than there is work. But on the positive side, if you develop real talent, or in some cases just happen to be at the right place at the right time and get enough work to support yourself, I'd say it's a great way to make a living and I feel lucky to be able to do it.
Hey Scott:
Just a couple quick questions for ya?
Thoughts on RTF touring this summer? If Al couldn't make it and you knew the tunes, would you step in and fill his shoes if they asked?
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I wouldn't want to be within a hundred miles of that Scientology shitfest. Read answers #29.
Also, I was hoping you could share another memory of Joe Z? When these great legends of jazz/fusion die, these stories help keep them alive...
Take care Scott, you continue to be a huge inspiration in your playing and tone.
All the best...
Chris
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Every time I think about Joe I can't help but smile. Not just because he was a really funny guy who could have easily been a great comedian, but because he threw down so much bad ass music, about 100 times more than most people who live as long as him. I watched him sit at the piano and re-harmonize standards in ways that were just fucking unearthly. I'd ask him what led him to those chords and he'd say "I really don't know, but those are some bad ass chords." I think Joe was just one of those blessed people that come along every hundred years or so. All those great tunes he wrote were improvisations right on the spot. He told me he never once asked himself a question like, should I use Am7 or FMA7? Once it was played, it was done. Most of us compose partly from things we hear and partly from the process of elimination. Joe never had to use the latter.
Hi Scott,
1. Saw you in Dresden and it was sick! The whole band was amazing, even though I think the PA was kinda bad.
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Sounded good on stage but I remember our sound man Gec didn't look too happy that night. He's great at what he does (also a killer piano player), but I don't see him get that exited about most of the sound systems we run into on the road. He has real high quality gear in his studio so using some of the gear we see on the road has to be a letdown for him sometimes.
2. Is touring work or fun for you? I mean you gig almost every day, so do you get tired of it after some gigs in a row?
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I love playing every night even though I wish I had more new tunes. The only part I hate is flying because it fucks up my ears and just sucks in general. When you add up the playing hours vs. the travel, setting up/tearing down hours, it does sometimes feel more like the moving and storage business, but a great night on stage more than makes up for the hassle and I feel like I'm lucky to do what I do.
3. Would you play as a sideman for major pop-acts even though the music sucks (like Greg Howe did with N'sync and Enrique Iglesias...)?
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No.
4. Only new songs on the next album or also standards you play live like All Blues and Chelsea Bridge?
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Only new songs.
I still wonder if there are any video or audio recordings of the benefit gig you did with Satriani and Vai...
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I doubt it - security was screening people for recorders.
...and do you agree that Simpsons started to suck after season 9??
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What I heard was that they were using the A team writers for the movie and the B team for the show, but now that the movie is over, I've seen it get a little better. Still not as good as the classics though...
how many "fusion" standards do you know?
I mean things like Actual proof, Havona, Humpty Dumpty...can you please name a few that you think are interesting and fun to play?
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I can think of more than a few, if you're like me and consider about 50 Weather Report tunes as great fusion standards. You can find a lot of them in various Real Books.
Then....Let's say you are in a jam session, and the other players are Jazz/rock/fusion players....which songs do you suggest?
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I wouldn't play songs, I'd just jam.
Which ones if they are traditional jazz players?
I want to study some cool new songs....
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If you want cool new songs, check out every Wayne Shorter tune in the Real Book. They're all great.
Hey again Scott
Two things. What say you about the Foxrox retrofit for wah's. I dont know if you've tried it. But if you have, did you find the tone to change at all or is it 100% benefitial?
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I've never tried it.
and also. What do you think about the Paradox TZF?
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I have one and I love it. I think it's the best flanger ever.
Are there any tube combos you recommend? I know you're a stack person at heart but just wanted to hear your thoughts. I'm looking for something versatile and easy to take around. Thanks in advance.
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Sorry I'm the wrong guy to ask about combos. I haven't played through one in years, except for an old Deluxe and John Suhr's old Super Reverb which sounds great.
Hi..
Do you have any experience with T-Rex stompboxes?
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No.
Do you own a lot of Maxon Pedals or just the Od's and Sd?
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I have the VOP-9 which is my main distortion pedal, SD-9 which I use with humbuckers, OD-9 which is a Tube Screamer, PT9Pro+ Phaser, AD9Pro Analog Delay, and CP9Pro+ Compressor. The only one I use live is the VOP-9, the others I use for recording.
Any experience with the Empress Super Delay?
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No.
Hello Scott!
What do you mean about Evidence audio Lyric HG cables?
Thank you
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Never tried that particular one, but no cable I've tried sounds as good to me as Mogomi 2524.
Hi Scott, have been admiring your music for years and your latest live CD and the trio settings are just fantastic. In music I've always strived for originality and your music is alway honest and going new directions, which is truly inspiring.
I've notice that in your European tour there are no dates at all in the UK? Do you have any plans or just you do not get the offers?
I bought the Xotic RC after having seen you using it and the video on you tube; Jeez, that pedal has made my life, I still sound pretty shitty, but it's definitely better shit than previously. I must sell the Mark III sooner or later... Thanks, Mauro
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The UK has always been tough for us because the offers from clubs there are really low, compared to the rest of Europe. I don't decide where I play, my agent does, and he bases his decisions on money alone. We played in London last year at Queen Elizabeth Hall for a guitar festival, and we had the biggest crowd in the history of the festival, so I know we have fans there, but I have no explanation of why the offers from clubs there are so low.
Hey Scott!
Just passing by to say hello to one of the most brillant and influent musician i know.We met years ago in nice (south france) during SK GROUP tour with novak, garrison..And i was so surprised when you told me you knew and liked my album called VIRTUALIST.I'll never forget this moment as i learnt to play by ear on your stuff...! We went on talking about ways of composing during dinner, and it was really cool.Anyway, don't know if you remember that but, again, thank's for all the beautiful things you "say" with your guitar.Your contribution to Music is simply vital.
respect!
Marc G.
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Hi Marc, good to hear from you! That was a fun night getting to hang with you at dinner and later with John McLaughlin at the gig. There was an odd moment that night when a fan came up and asked me for an autograph with John standing right next to me and I said to the guy - do you know who this is?? Anyway, I'm a fan of your playing and music and hope you're gigging a lot and having fun! Hope to see you next time in Nice!
cott...
Hi. Any news on 10 inch speakers? How did you like the celestions? Have you tried any of the ones Weber makes? They have a couple of JBL and Jensen clones.
Thanks man.
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I tried the Greenback 10's and they sounded good but I still like my Kendrick Blackframes better, and I should qualify that because I'm a Celestion endorser. The Blackframes are unusually dark and sound like crap with the distortion pedals I use with 12" Greenbacks. But I have an old DOD 250 Overdrive pedal which is really bright and sounds amazing with the Blackframes. I used that combination a lot on Well To The Bone and want to keep that tone. I also tried a Jensen P10Q Vintage Series speaker that I didn't like at all.
Hi Scott!
This is Daisuke from Japan.
let me ask some questions,
1. Have you ever played Carr amp?If you had, would you tell me what you thought?
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A friend of mine brought a Carr combo over to my house and I thought it sounded really good.
2. about your phrasing, I really like your Jazz lines with some approach notes. (for example: phrases on G7 from Dolemite) those lines don't sound like 'prepared'.not like Stern or Metheny does, you know. could you tell us any good exacises for approach notes?
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You need to get that information from a good private instructor so you can hear it for yourself. I don't have time to answer that type of question on this forum.
3. about your studio recording, which and how many mics you use for
the guitar part? for your record, how often do you record with your band?
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Just one SM57 right in the middle of the speaker, about an inch away from the grill cloth. Our band will record again when I finish writing enough music for a new record, which is taking forever.
4. last question, any plans to play in Japan soon?
I am always looking forward to see your great playing.
Thank you for sharing your knowledge!
much respect
Daisuke Kunita
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No plans right now, but hopefully again soon.
scott...
regarding the material of the saddles... stainless steel, tusq, or graphite? what have you found the impact of the material to be on the sound and who makes the best replacement saddles for a strat style tremolo.
thanks
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Steel. I've never heard of tusq saddles but I don't think graphite sounds good. I bought a spare Fender vintage bridge in case I need to replace a saddle or other parts.
Hi again Scott,
any advice on getting over the "repetitive playing" at first? Some times (especially live or in a jam) I feel I keep repeating phrases, arpeggios and standards licks-mostly pentatonic funky and bluesy stuff and can't apply some more interesting stuff that seem to work when studying at home. I just keep falling back to blues licks for security.
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When learning new vocabulary, there's a big difference in knowing it and using it musically in your solos. When I learn something new, I try to improvise my way into it and out of it so that it's seamless and becomes a natural thing to do. That can take a long time - usually by the time you're able to do it, you're already sick of it and you're learning something new.
Also I hear many sax players improvising over a one-chord or two-chord groove passing great phrases that make sense (meaning not chromatic stuff with emphasis on b5, 7, harmonic minor like I do), as if there were actual changes. Is it a typical thing? -to imagine the changes I mean..
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Yes, that's a typical thing to do when playing out over a one chord vamp, to play inside over a set of changes - the real trick is to resolve back to the home key in a nice way.
thanks a bunch, hope I manage to get to Cordoba to attend the Masterclass.. I sent a PM to kirk95 about that, hope you got it..
salud!
Panos
Hi!
I've got few questions for You
1.You said that you didn't use any pedals or processors, when you were recording 'tribal tech' records (whose recorded with boogie amps) but you said that you always using distortion from amp AND pedal at the same time. so what kind of distortion was for example on Tribal tech Cd? and what about delays and chorus?
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There are no pedals on that record, just the Boogie Studio preamp - I don't remember which Boogie power amp. The delay was from a rack mount Ibanez delay, I don't remember the model, and the chorus was an ADA STD-1.
2. I have just bought Mesa Boogie Studio and 395 power amp. i know that you don't like it anymore (but i love your tone from TT albums), but could you give me some tips for good setup this gear? (e.g. sth about switching tracks in power amp). And i saw that on concerts you had many more devices in rack. what was that?
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Too long ago - I don't remember.
scott, the book is finally here!!!! yeeey .....BUT, its only 10 songs, what about the rest? any plan for it in the future?? lola fay, sultans boogie, etc, etc, are great songs, you should ask them to put it in the next book
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OK
ok, next question
how do you approach the soloing for "Nite Club"? you play alot and yet its only 3 chord changes
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It's been at least ten years since I've listened to it and I can guarantee it'll be at least that long until I hear it again. I don't listen to my own records.
one important question i forgot. What 2x12 cabinet would you reccomend? i've got mesa studio preamp and 395 power amp, and i had 4x12 marshall cab but i need some smaller and lighter.
thanks!
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Kerry Wright in Fullerton CA makes the best 2x12 cabinet and the best speakers for it are Celestion Heritage 65's.
Hi scott!IŽm a fan from Brasil. I have two problems to resolve.I will by an amp and one guitar.Why do you think :
1.fender hot rod deluxe or peavey classic 30?
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Peavey sucks. Go with the Fender.
2. fender stratocaster with 3 singles,or 2 singles and one humbuncking in a bridge position?
Thanks man.
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If you play mostly trio I'd use single coils, if you do a lot of playing with keyboard players I'd get a humbucker.
Uhhhh...when do you think you will get off your lazy ass and respond to these questions?
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When you go fuck yourself, you idiot. And on that note I won't be answering any more questions. By the way, I posted my answers to questions #42 over three weeks ago, so take it up with the webmaster, not me.
For the rest of you it's been fun communicating with you, but due to time limitations and having to answer stupid questions like the last one, this is me signing off.
hey WHAT THE FUCK MAN????????? you stupid A**HOLE!!!! Scott was kind enough to take the time to answer our questions and you have to come up with that shit???
kirk, is there a way to change scott's mind?? I really enjoyed this Q&A.....until that piece of trash ruin it of course
It was just a joke guys....I was just kidding. Obviously Scott was not in the mood to read it that way and didn't get the sarcasm. I have sent an appropriate explanation to Kirk95 and asked him to forward it to Scott for consideration.
Of course it is gracious of Scott to take the time to answer all these questions and I never even thought for a second he would take it seriously...I expected he would either just laugh or say "go transcribe my catalog while you wait!" or whatever....
pas77 - relax, and maybe back off on the coffee or whatever...and then go transcribe Scott's catalog while you wait for him to return...
It's Friday night after a few drinks after a long work week.
Please excuse my English though I have lived in the USA my whole life.
I have read every one of these Q & A's since it started and I want to thank Scott Henderson for sharing his experience/knowledge/raw wit/ear training/and everything else he has revealed to us in his answers!!
I put on "Thick" before I started writing this because I knew with my spell checking every other sentence this would take a while. "Thick" is in my opinion the most entertaining disk of music ever created. I also have every S.H. solo disk both VTT disks and most of the TT stuff and have listened to all of them many many times. I first learned about SH at my year of GIT 1987 to 88. One of the most influential teachers there for me was Gary Willis, he instructed my live play workshop at that time. He pointed out some very important things to me about sound, and I think he saw potential in me so that resonated.
The biggest revelation I experienced with this Q & A was that "Transcribing" could be listening to music and recreating it with my hands and brain instead of paper. I learned to read and write music so I could pass a bunch of tests at UNLV and GIT but music was to be played and experienced with my eyes closed. I read way back when an article by Steve Morse (another big influence for me) to just put the radio on and play along with it. So I started doing that and found it to be big fun and a great learning experience, I could catch as many parts as possible. Most stuff that made it to the radio I could pull off and that was cool so I kept going.
After my divorce in 1992 or so the wife left and the amp came back into the living room so I could learn a bunch of Robben Ford and Gary Moore Music plus many others. KUNV the local jazz station was on constantly. I can look at that time as big learning, just listening and re-creating.
Now I'm 45, been re-married for 10 + years to a very cool chick who could care less if the amp is in the living room.
I don't play to the level of S.H. at all but I have enough experience to know that he is a genius musician. And the only way to pay him off for sharing so much with me is to buy and experience everything that he produces ( puts out ).
Is he the George Carlin of music? maybe?
I have thought of many a dorky comment like beavis actually pressed "submit" on in the past. On Pat Metheny's sight I wrote on a thread titled "what got you to Pat" or something like that what musical experiences was the path to finding Pat Metheny and I said "Jim Neighbors", now that's funny (to me) but the mod. shot it down like Luke skywalker before it hit the air waves.
I hope Scott is just tired of all these questions (I know I get that way answering questions about printing all week) and is just ready to get on with music.
Posted: Wed Aug 06, 2008 11:46 pm Post subject: Big Dog t-shirts
Scott,
Here's the most technical thing anyone's ever gonna ask. What's up with the Big Dog t-shirts? I see you wearing one in lots of pics and vids. Do you own the company, or are they paying you?
Hello Scott can you answer my questions?
Sorry for mistakes but Im from Slovakia:))
1,
Can you tell me how you practise??
Have you some parts??? With metronome, train licks, or scales??? How do you do this.
2,
You practise daily?
3, Have you some musi education?
4, Read you books?? Literature, philosophy...
5,
What about your life. Can you exist from money from you concerts??
Or you learn, or what you do???
I mean the situation is very difficult with money in music clubs.
In Europe is better for you, I mean...
Joined: 09 Oct 2005 Posts: 2 Location: Spokane, WA
Posted: Tue Oct 14, 2008 5:54 am Post subject:
Hey, I think Scott was amazingly patient, honest, funny and intelligent. I'm astounded that this whole series of Q&A lasted as long as it did. A great body of knowledge, opinions on playing, gear, lucrative careers in jazz fusion, etc. Big kudos to Scott for his time and to David for creating this board! If someone ever gets around to organizing this thread by topic, it would be a very valuable read.
I think Scott deserves a break from us, as well as a lot of gratitude. Most artists, even the more approachable ones, would never spend as much time with their gear-minded fan base, especially when they have a family at home and a universe of music to explore. (I have yet to see a post from Robben, Mike Landau or Allan Hinds and I'm sure they are all decent guys.) So, kudos to Mr. Henderson... talent, wisdom, technical savvy, taste, patience, humor and he loves dogs, so he's got it all, in my book. I'm thinking about having wrist bands made that say "WWHD" as well as a limited edition version ("WWHP" - "What Would Henderson Play?") Your choice of Dakota Red or Sea Foam Green.
Here's to Scott keeping it all up in the air for several more years.... it's gotta be a juggling act, at times, keeping a music career going. We can support him by buying everything he's ever written, published or recorded .... he certainly deserves that much!
All the best to you, Scott, you are certainly not unappreciated in this world, even if you aren't a household name just yet
Remember to take your vitamins and get to bed early.
Hey, I think Scott was amazingly patient, honest, funny and intelligent. I'm astounded that this whole series of Q&A lasted as long as it did. A great body of knowledge, opinions on playing, gear, lucrative careers in jazz fusion, etc. Big kudos to Scott for his time and to David for creating this board! If someone ever gets around to organizing this thread by topic, it would be a very valuable read.
I think Scott deserves a break from us, as well as a lot of gratitude. Most artists, even the more approachable ones, would never spend as much time with their gear-minded fan base, especially when they have a family at home and a universe of music to explore. (I have yet to see a post from Robben, Mike Landau or Allan Hinds and I'm sure they are all decent guys.) So, kudos to Mr. Henderson... talent, wisdom, technical savvy, taste, patience, humor and he loves dogs, so he's got it all, in my book. I'm thinking about having wrist bands made that say "WWHD" as well as a limited edition version ("WWHP" - "What Would Henderson Play?") Your choice of Dakota Red or Sea Foam Green.
Here's to Scott keeping it all up in the air for several more years.... it's gotta be a juggling act, at times, keeping a music career going. We can support him by buying everything he's ever written, published or recorded .... he certainly deserves that much!
All the best to you, Scott, you are certainly not unappreciated in this world, even if you aren't a household name just yet
Remember to take your vitamins and get to bed early.
I second that motion
Scott is great player, gear junkie and source of info - kudos to ya mate, keep it turned up to 11. _________________ BLANK
YOU SHOULD NOT ANSWER ALL THE QUESTIONS,
not even waste your time on it....
BUT IT WILL BE GREAT I YOU KEEP WITH THIS FORUM
answering some questions
IS THERE ANYONE WHO CAN MODERATE THE QUESTIONS
BEFORE PUBLISHING???? it is a shame....
DOES ANYONE KNOW TO WHOM SHALL I E MAIL TO HAVE PRIVATE LESSONS WITH SCOTT? CAN SOMEONE PLEASE GIVE ME THE PERSONAL E MAIL OF SCOTT or something like that, i would really apreciate that.
PLEASE
THANK YOU
PD: I KNOW HEŽLL BE TOURING SOUTH AMERICA,
is it possible for him to come back to bogota???
Posted: Mon Jan 21, 2019 6:53 pm Post subject: KnowAllThe
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