Salut à tous,

Nous avons le plaisir de vous présenter la première cover Satriani-fr, accompagnée de sa vidéo pédagogique !

Alors, sans plus tarder…

Theme

La partition originale que l’on peut trouver dans le songbook n’est pas tout le temps juste, je vous recommande plutôt de vous fier à la tablature que j’ai faite (disponible très prochainement).
N’oubliez pas bien regarder la fin de la vidéo pédago, au moment où on s’est focalisé sur la main droite pour que vous voyez en détail dans quel sens attaquer les cordes avec le médiator. C’est super important, le morceau ne sonne carrément plus pareil si on attaque suivant par le haut ou par le bas.

Solo

Si certains plans reviennent à chaque fois, Satch ne joue jamais le même Satch Boogie, vous pouvez l’entendre en écoutant ses versions lives !
Il y a dans le morceau une certaine part d’improvisation qui existe, par exemple à 0’58″ ou encore à 1’14″ où l’on peut phraser librement, toujours dans l’esprit, sur entre autres du dorien et/ou la penta blues.
Je vous ai détaillé quelques-uns de mes propres plans dans la vidéo, et une fois que vous les aurez dans les doigts rien ne vous empêchera de créer les vôtres !

Bridge Tapping

Il n’aura pas échappé à votre sagacité qu’en plus d’avoir ralenti ce pont en tapping, j’ai aussi simplifié le rythme initial :

Notez bien à 6’15″ , la petite extension que je fais n’est pas celle de Joe, trouvez les vôtres, vous n’êtes dans ce cas là pas obligés de vous en tenir stricto sensu à la partoche.
Le meilleur conseil que je puisse vous donner pour jouer correctement toute la partie tapping, c’est de vous entraîner d’abord sur le rythme simplifié, puis ensuite d’y mettre le vrai rythme en ayant à l’esprit que l’index de la main droite va avoir à jouer ceci :

Si vous bossez ce passage très doucement en prenant bien soin d’être régulier tout se passera bien, ensuite seulement vous pourrez l’accélérer, jusqu’à en venir à vous occuper du rythme, puis du groove, et pour ça, n’oubliez pas de bien écouter ce que fait la batterie pendant que vous jouez !

En conclusion…

Comme je l’ai fait remarquer dans la vidéo, j’insiste, le plus important (de loin !) est de faire groover le morceau, et pour ça il n’y a qu’un secret : écoutez ce que fait Joe !!

C’est « Satch » Boogie, ne l’oubliez pas…

Satriani-fr.com

On attendait des nouvelles, nous voilà servi : les dates sont officielles et les ventes de tickets sont disponibles! Le live Satchurated sera diffusé dans une bonne trentaine de cinémas américains le 1er et le 8 Mars. Il sera également diffusé dans une trentaine de cinémas anglais et une petite poignée de cinémas irlandais mais seulement le 6 Mars, et dans certains cinémas australien le 7 Mars.

Et puisqu’une bonne nouvelle n’arrive jamais seule, nous pouvons d’ores et déjà précommander l’édition Double CD du live pour 10,99£ (13€) ou encore l’édition BlueRay pour la somme de 12,59£ (15€) sur le site Amazon UK, qui prévoit une sortie pour le 9 Avril! Il n’y a pour l’instant aucune nouvelle pour une sortie de DVD « standard » ni une date de sortie en France.

Liste des dates pour les Etats Unis
Liste des dates pour le Royaume Uni
Liste des dates pour l’Australie
Précommander « Satchurated » sur Amazon UK

Satriani-fr.com

Musicians Institute was proud to present legendary guitarist Joe Satriani with an Honorary Doctor of Music Degree at our Fall commencement ceremonies at the Wiltern Theater. In acceptance of the degree, Joe said, “Wow, this is really something. I gotta say, I’ve never actually held one of these before because I was too much of an ornery rock n’ roll kid to attend my high school graduation and I never lasted more than a semester and a half at college. So this is like I’m finally legitimate. Thank you.” Truly a game-changer in the world of guitar, we were happy to be able to honor the career of such an icon whose achievements have legitimized him as a master in the eyes of so many.

After accepting the degree, Joe continued with an inspiring message that drew from his own personal journey as a musician which began when he was nine years old. “I started out as a drummer,” Joe said. “As a nine year old kid I loved music, I knew I wanted to be a musician, I had the fire to go out and there and try to figure out what was the secret to music.”

Joe related to the audience of graduating musicians the first of three incredibly important lessons, which he learned from his father, and has carried with him throughout his varied career.

“One of the best lessons I learned from that period didn’t come from my drum teacher, it came from my dad. He came home from work very late one night, around eleven o’clock and found out from one of my older siblings that I hadn’t practiced the drums that day. So he woke me up, marched me down to the basement in my pajamas and made me practice the entire lesson. He went over it with me very carefully and listened to everything I had played and when I could barely stay awake any longer, he said – ‘Joe, if you want to be a professional musician, you have to practice every day.’

Now I know that sounds really simple, but that is the strongest and most elegant piece of advice I ever got from anybody that has sustained me through all those moments in a career where you’re wondering ‘What should I do now? What should I do next?’ Now my father wasn’t a musician, he wasn’t talking about practicing your rudiments every day, or your scales, what he meant was to ‘practice being a musician every day.’ That has stuck with me.”

Joe’s second lesson for the graduates came from a reality check he received from his Advanced Music Theory teacher in high school. “He gave us a lesson one day, a very interesting lesson. He said, ‘I want you guys to spend a half hour every day with some manuscript paper and write music away from your instrument.’ Of course, being the rock n’ roll kid I was, I said, ‘Now why would I want to do that? I just want to play my guitar.’

At that, he took me aside and with all respect he said, ‘You know Joe, when you turn 20, 22, 25 it may turn out that you’re not such a good guitar player after all.’ This was great advice. He went on to crystallize it by saying, ‘The musician in your head and in your heart really is limitless, it knows no bounds. You can continually improve that musician throughout your life no matter what happens to your body.’ That became my second mantra, which I condensed into always improving the musician in your head and in your heart and in your body.”

After high school, Joe took lessons while he was living in New York from Lennie Tristano, the father of cool jazz. “He was the first musician to compose, to perform, to record free-form jazz. He was probably the greatest musician I’ve ever met in my life. He gave me a lesson that is perhaps one of the most profound I’ve ever learned. It came from a day where he had asked me to do some improvising. He came back and asked me what I thought of what I had played. So I gave him a little critique of what I thought and he got a little fired up about it.

“He said, ‘The problem with you kids from the suburbs is that you’ve got the subjunctive disease. You’re always worried about what you would’ve played or what you could’ve played or what you should’ve played, and you never play what you want to play.’

“Only play the notes that you want to play, the notes that come from inside. Lennie wanted everything to be fresh, alive, and straight from the heart, he wanted the real Joe to come out. That became one of those lessons that you never stop working on, I don’t know if you ever accomplish it, but it’s one I put with the other two: practice every day and never stop learning, develop the musician in your head your heart and in your fingers, and only play what you want to play.”

Joe described how those three lessons have carried him throughout his career. A career of successes, of failures and of the unexpected. “Things happen in your life and they’re just going to be so random. They just sort of arrive at your doorstep and it’s how you deal with them that really makes the difference.” Joe shared several stories about unexpected occurrences in his life where he had to stop and wonder about what step he should take next. When Joe received a call asking him to audition for Mick Jagger’s solo band, he said he had doubts like anyone else would, but that didn’t stop him from achieving what he knew in his heart he had the ability to do.

“Now, this was one of those moments, it may happen to you, where you get a challenge that’s also an opportunity and you ask yourself ‘Can I do this?’ And of course you know that there may be doubts you might have, but back when I was a kid I figured the only thing you can do is to always answer in the affirmative, so I started to train myself to always answer to myself with a ‘Yeah, I can do this.’”

Throughout the many unexpected challenges and opportunities Joe has encountered in his career, he said that he managed to always remember to counter any doubts with an affirmation of his ability and his aspirations. He encouraged the graduating class to do the same.

“All these challenges you know, they will make you better, they will make you stronger and I wouldn’t worry about failure because sometimes failure is a good option. I think you can learn a lot more from a fantastic and wonderful failure that you would ever have learned from a string of a few minor successes.”

He reminded the graduating musicians to always play from the head and the heart. “It’s so that people can hear who you are. If you don’t play what you want to play, no one will actually hear you. They’ll just hear somebody like you playing what everyone else plays, so think about those lessons and remember when that little voice in your head asks you, ‘Can I do this?’ You have to train yourself to say ‘Yeah, I can do this.’ I bet you can, as a matter of fact, I’m looking out at you guys right now, here at this theater where I’ve played so many times, and its extra exciting just to be here and to be able to talk about how strange my career has been, how lucky I’ve been, but most importantly about all the preparation.

But I’m wondering what unique challenges and opportunities are going to come your way and what are you going to say when you ask yourself ‘Can I do this?’ — I’m hoping that you’re going to say ‘Yeah … I can do this.’ I know you can.”

Source : Musicians Institute

Satriani-fr.com

« Not being nominated, it’s a travesty! » says Joe Satriani. No, it’s not the lack of Grammy love that is ruffling the guitar legend’s feathers. Rather, he’s still smarting over the the fact that the Academy of Motion Picture Arts and Sciences has ignored his dramatic, five-second-long portrayal of Joe Satriani in the film Moneyball. The picture that was nominated in six categories including Best Picture and Best Actor (for Brad Pitt), but as for Satch…nothing.

« I’m going to have to look into this, » Satriani chuckles, making it quite clear that his indignation is mock serious. « No Oscar nod, no Golden Globe nod… I just broke into Hollywood and already I’ve been blackballed. » He thinks for a second, then brightens, « Hey! Maybe I have a chance at winning a Rotten Tomato award or something. OK…there’s still hope! »

Yes, there is, and for fans seeking more than five seconds’ worth of Joe Satriani, that hope is made into reality on 1 March when the concert film Satchurated unspools in the US in both 3D and 2D formats. Shot on 12 December 2010 at the Metropolis Theatre in Montreal, Canada by award-winning filmmakers Pierre and Francois Lamoureux, Satchurated is a riveting document of Satch’s Wormhole Tour which supported his solo album Black Swans And Wormhole Wizards.

« I’m stunned at how the whole thing turned out, » says Satriani. « A lot of the time, you do films and videos and they meet your expectations. This one blew everything I was thinking right out the window. »

MusicRadar sat down with Joe Satriani recently to talk about Satchurated. In addition, we discussed his March G3 tour with Steve Vai and Steve Lukather, along with his 2012 plans for Chickenfoot.

You’ve seen yourself on film and video before, but what’s it like to see yourself in 3D?

« Bizarre, surreal – all things wrapped up into one. I don’t like looking at myself period, and 3D really brought it home. Still, I have to say, 3D is better than 2D. This particular version of 3D is very life-like. It’s not gimmicky in that it looks like 2D until somebody leans nto the camera and then it’s 3D. The technology here is a real leap forward. It makes it look like you’re truly there, right on stage with all of us. And together with the 7.1 sound, it’s very compelling.

« The night we filmed the show was pretty emotional for me. It was a year to the day that my mother had passed away, and I realized that I was still dealing with a lot of issues in my head. I remember thinking to myself before the show, All right, you’ve still got to put out, but how are you going to do this?

« When I look at the film, I see a wounded, vulnerable Joe trying to do his best. Other people don’t see that. People have told me that it’s a very strong, intense and definitive performance, one that the fans will really love. »

Even though you might have been trying to put your mother’s death out of your mind, do you think you might have used it to fuel your playing?

« That’s interesting… Honestly, I felt that I was not in control. I walked off stage thinking, What was that? What did I just do? [laughs] I was kind of shaking my head. It was [keyboardist] Mike Keneally who said to me right afterwards, ‘You may not have accomplished what you set out to, but what you did accomplish is special.’

« At the time he told me that, I wasn’t ready to understand it, but when I saw the film, I finally got what he meant. Something else happened on that stage; I was somewhere else. So the film is me being…somewhere else. [laughs] That’s the best way I can describe it. »

For the Wormhole Tour, you used a four-piece band. How did that change your playing?

« Having that group around me was a blast. I really felt like I was in the middle, which worked out great in the film sound-wise. We didn’t have to stereo chorus my guitar or the rhythm guitar – there were no games being played there.

« Also, on stage, it really brought [rhythm guitarist] Galen [Henson] and Mike out, that whole dynamic. It elevated the sound of the band, the integration of our parts and the ways that we improvised together. The material from Black Swans And Wormhole Wizards was perfect for this kind of interplay.

« The band was terrific – each guy came from different musical walks of life, but we created something unique together. This might be a stretch, but it reminded me of Neil Young with Crazy Horse. It’s a very charismatic band, and what comes out of Neil when he plays with them is very different and unique. »

You, Steve Vai and Steve Lukather are bringing G3 to Australia and New Zealand. How did Luke get in the mix?

« It all started last July, when I was in Europe doing some shows. I shared the bill with Steve on a French guitar festival. Now, Steve and I run into each other all the time on the global circuit, but this was a unique opportunity to watch him play with his solo band. I thought he was great. His playing and singing blew me away. I said to my wife, Rubina, and my manager, Mick, ‘Hey, we should see if he’s into doing G3.’

« I asked him about it, and he said yes, so then I called up Steve Vai – I always go to him first – and as it turned out, he had a window in his recording schedule where it could work, too. So everybody was up for it, and now I’ve got Steve and Steve! [laughs]

« By the way, I saw Steve – Vai, I mean – at NAMM the other day, and he’s got a new hairstyle – very short. I almost didn’t recognize him. It’s a whole new Steve Vai. »

Do you think he’d ever copy your hairstyle?

« What hairstyle? And why would anybody want to do that by choice? » [laughs]

Have you and the two Steves plotted out what you’re going to play on G3?

« No, not really. Everybody’s been too busy. I’ve got four weeks off right now, so I’m going to start thinking about it. But everybody sort of knows the plan. Each guy has his own band and is given pretty much carte blanche to do whatever he wants. We’ll be picking songs that celebrate the guitar in general. Within the next two weeks we’ll probably start e-mailing one another and coming up with songs to do in the jam. »

With something like G3, it’s a friendly kind of musical exchange between the three of you. Nobody is out to blow the other guy off the stage.

« Actually, I’m hoping we will! » [laughs]

Oh, really?

« Sure. For me, G3 is the best kind of competition, where nobody holds back and each guy brings his best. It heightens the experience on stage, and the fans pick up on it. We push each other – and you can only do that with friends; you can’t do it with adversaries.

« The G3 ethic is competition, but it’s sharing, too, and that’s what makes the show really exciting. We want to give the fans something incredible. To do that, you have to be willing to walk out on the ledge. And face it, on any given night, somebody is going to play better. That’s just the way it is. »

Let’s talk Chickenfoot. You guys just did a brief tour of the UK…

« That’s right. And it was really, really a lot of fun. I think that throwing in a few changes can really energize the scene. Here we were, returning to Europe with a new album and a new drummer – the whole thing came together to make for a handful of unbelievably great shows. »

Kenny Aronoff is locking in then?

« We’re totally locked in with Kenny. Every musician has some different stuff about him and how he brings that to a situation. Kenny’s got some cool, different aspects when it comes to laying down a groove and the way he can expand on an improv. He can flip things around, but he’s always solid.

« It’s all very different from what Chad [Smith] did, which makes it a lot of fun for Mike [Anthony] and I to jump on. Playing with a new guy is always cool. It really adds to the excitement level of going out and doing shows. »

Now that you’ve done the road tests, you’ll be doing a full tour?

« That’s right. We’re looking at doing a full month of domestic touring starting in May. After that, we’ll return to Europe to do festivals. I know that they’re working on that right this second. »

Now, what happens if Chickenfoot winds up on the same bill as the Chili Peppers?

« Oh! I thought you were going to say Van Halen. » [laughs]

No…wasn’t going to go there.

« See, I think that would be great. I do! And the Chili Peppers would be great, too. I just saw their new video, and I thought it was really cool. I like how the guys were shot in all of these different rooms. It’s good stuff. The festivals are very interesting. You get a lot of amazing bands, a lot of fun things can happen. I’m excited to see what goes on myself. »

Source : MusicRadar

Satriani-fr.com

Voilà de fraîches nouvelles concernant l’ampli Marshall signature Joe Satriani à venir ! Conçu en étroite collaboration avec les ingénieurs Marshall et basé sur le JVM410, cet ampli reprendra les grands traits de ce modèle devenu une référence pour y apporter quelques modifications…

Il aura toujours quatre canaux, trois modes différents pour chaque canal, et sera extrèmement dynamique et percutant à l’image de son prédécesseur. Ces quatre nouveaux canaux seront conçus pour que les différents sons se marient bien et qu’on puisse naviguer naturellement de l’un à l’autre, ce qui donnera de la cohérence à l’ensemble.

Comme le modèle prototype utilisé actuellement par Joe, chaque canal sera doté d’un Noise Gate attitré, et en ceci réside le gros point fort de cet ampli, les amplis Marshall étant également réputés pour leur souffle très vite présent quand on pousse le gain sur les canaux saturés.

Le canal clair sera pensé autrement que celui du JVM410, déjà lui différent des schémas habituels : l’égalisation du mode vert est placée avant le gain, ce qui ne s’était jamais vu dans les gammes précédentes.

Il conservera ses réverbes indépendantes et ses deux Master volume, très pratiques notament pour réhausser son niveau sonore quand on veut passer en solo, la boucle d’effet a aussi été simplifiée, peut-être en enlevant le Dry/Wet qui permettait de faire le mix entre le son avec et sans boucle d’effet, qui d’une manière générale reste toujours réglé sur Wet.

Joe utilise le prototype de son ampli signature depuis son dernier album « Black Swans and Wormhole Wizards » , et joue bien sûr dessus avec Chickenfoot, sur l’album « III » comme sur la tournée, sans oublier sur son live DVD/BlueRay « Satchurated » , toute l’équipe Satriani-fr attendons avec impatience depuis fin 2010 sa sortie, tellement le retour de Joe chez Marshall a été concluant.

Le JVM410 était déjà une grande réussite, très versatile sans toutefois perdre le côté vintage propre aux amplis Marshall, et est devenu de ce fait un must de la marque. Avec cette signature Joe Satriani à venir, nous avons là la promesse d’un ampli qui s’imposera comme étant incontournable.