guitarist and leader of ALEX SKOLNICK TRIO, Alex Skolnick. A couple of excerpts from the chat follow below. On ALEX SKOLNICK TRIO's 2002 album "Goodbye To Romance: Standards For A New Generation", which caused a stir in several jazz and rock publications because it prominently featured classic tunes by KISS, THE WHO, JUDAS PRIEST and others rearranged as if they were jazz classics: "When we did the first album, we were very determined to do a traditional guitar trio album and keep it within the generally accepted ideas of what that is as far as tones, dynamics and arrangements. The only thing that was different was that we were doing SCORPIONS and KISS jams. There were a few moments of distorted guitar that were unexpected, but it was done in a way that we felt was interesting. We put some confines on it because that was part of the challenge." On ALEX SKOLNICK TRIO being stuck paying some dues that you'd expect to see in a "Spinal Tap" sequel: "We started getting booked on the wrong types of shows. The trio would be on this bill where all the opening bands were shred-prog-metal bands. I would ask the promoters why they would even think to put us on these kinds of bills and they would say things like, 'You played in TESTAMENT.' I would say to them: 'Did you listen to the music? Because we play acoustic jazz. I'm playing through this little amp and I'm supposed to follow guys with arena rock setups?' Most of the time they'd admit that they didn't even listen to our music before they booked us. It's been challenging." On the self-appointed jazz police, who cry foul whenever they perceive a transgression from the true path of jazz: "There's a parallel between the jazz fans and metal fans. It's the whole 'Is it jazz or isn't it jazz?' thing. It's the same with metal — 'Is it metal or isn't it?' It's the same thing with a different look. Then there is the fact that both jazz and metal are constantly written off by the mainstream media, but then every once in a while there is an album that comes out that goes mainstream. These genres keep going no matter how much they are written off and I find that fascinating." On the early success of the new ALEX SKOLNICK TRIO album, "Veritas": "No matter what, that kind of success is something that not a lot of people get to experience. I know musicians who have only played jazz their whole lives who have not been able to experience that. If something like this success would have happened instantly I might have been uncomfortable with it, but it's been so many years. I've paid my dues, and some weird dues too. Yet the music always feels so real and so great."
Showing posts with label Savatage. Show all posts
Showing posts with label Savatage. Show all posts
Saturday, April 9, 2011
TESTAMENT's ALEX SKOLNICK: 'There's A Parallel Between The Jazz Fans And Metal Fans'
Tad Hendrickson of Spinner.com recently conducted an interview with TESTAMENT/ex-SAVATAGE 
guitarist and leader of ALEX SKOLNICK TRIO, Alex Skolnick. A couple of excerpts from the chat follow below. On ALEX SKOLNICK TRIO's 2002 album "Goodbye To Romance: Standards For A New Generation", which caused a stir in several jazz and rock publications because it prominently featured classic tunes by KISS, THE WHO, JUDAS PRIEST and others rearranged as if they were jazz classics: "When we did the first album, we were very determined to do a traditional guitar trio album and keep it within the generally accepted ideas of what that is as far as tones, dynamics and arrangements. The only thing that was different was that we were doing SCORPIONS and KISS jams. There were a few moments of distorted guitar that were unexpected, but it was done in a way that we felt was interesting. We put some confines on it because that was part of the challenge." On ALEX SKOLNICK TRIO being stuck paying some dues that you'd expect to see in a "Spinal Tap" sequel: "We started getting booked on the wrong types of shows. The trio would be on this bill where all the opening bands were shred-prog-metal bands. I would ask the promoters why they would even think to put us on these kinds of bills and they would say things like, 'You played in TESTAMENT.' I would say to them: 'Did you listen to the music? Because we play acoustic jazz. I'm playing through this little amp and I'm supposed to follow guys with arena rock setups?' Most of the time they'd admit that they didn't even listen to our music before they booked us. It's been challenging." On the self-appointed jazz police, who cry foul whenever they perceive a transgression from the true path of jazz: "There's a parallel between the jazz fans and metal fans. It's the whole 'Is it jazz or isn't it jazz?' thing. It's the same with metal — 'Is it metal or isn't it?' It's the same thing with a different look. Then there is the fact that both jazz and metal are constantly written off by the mainstream media, but then every once in a while there is an album that comes out that goes mainstream. These genres keep going no matter how much they are written off and I find that fascinating." On the early success of the new ALEX SKOLNICK TRIO album, "Veritas": "No matter what, that kind of success is something that not a lot of people get to experience. I know musicians who have only played jazz their whole lives who have not been able to experience that. If something like this success would have happened instantly I might have been uncomfortable with it, but it's been so many years. I've paid my dues, and some weird dues too. Yet the music always feels so real and so great."
guitarist and leader of ALEX SKOLNICK TRIO, Alex Skolnick. A couple of excerpts from the chat follow below. On ALEX SKOLNICK TRIO's 2002 album "Goodbye To Romance: Standards For A New Generation", which caused a stir in several jazz and rock publications because it prominently featured classic tunes by KISS, THE WHO, JUDAS PRIEST and others rearranged as if they were jazz classics: "When we did the first album, we were very determined to do a traditional guitar trio album and keep it within the generally accepted ideas of what that is as far as tones, dynamics and arrangements. The only thing that was different was that we were doing SCORPIONS and KISS jams. There were a few moments of distorted guitar that were unexpected, but it was done in a way that we felt was interesting. We put some confines on it because that was part of the challenge." On ALEX SKOLNICK TRIO being stuck paying some dues that you'd expect to see in a "Spinal Tap" sequel: "We started getting booked on the wrong types of shows. The trio would be on this bill where all the opening bands were shred-prog-metal bands. I would ask the promoters why they would even think to put us on these kinds of bills and they would say things like, 'You played in TESTAMENT.' I would say to them: 'Did you listen to the music? Because we play acoustic jazz. I'm playing through this little amp and I'm supposed to follow guys with arena rock setups?' Most of the time they'd admit that they didn't even listen to our music before they booked us. It's been challenging." On the self-appointed jazz police, who cry foul whenever they perceive a transgression from the true path of jazz: "There's a parallel between the jazz fans and metal fans. It's the whole 'Is it jazz or isn't it jazz?' thing. It's the same with metal — 'Is it metal or isn't it?' It's the same thing with a different look. Then there is the fact that both jazz and metal are constantly written off by the mainstream media, but then every once in a while there is an album that comes out that goes mainstream. These genres keep going no matter how much they are written off and I find that fascinating." On the early success of the new ALEX SKOLNICK TRIO album, "Veritas": "No matter what, that kind of success is something that not a lot of people get to experience. I know musicians who have only played jazz their whole lives who have not been able to experience that. If something like this success would have happened instantly I might have been uncomfortable with it, but it's been so many years. I've paid my dues, and some weird dues too. Yet the music always feels so real and so great."
Wednesday, March 9, 2011
SAVATAGE mastermind Jon Oliva, who co-founded TRANS-SIBERIAN ORCHESTRA with producer/composer Paul O'Neill, has released the following statement:
"As many of you now know, a member of my immediate family was diagnosed with
a serious illness that forced me to leave the TRANS-SIBERIAN ORCHESTRA rehearsals. And while I am still unaware of their complete diagnosis, it is obviously impossible for me to participate in the upcoming European TRANS-SIBERIAN ORCHESTRA tour. My family needs me here, and that is where I too need to be.
"I would also like to express my sincere apologies to all the SAVATAGE fans who were anticipating a SAVATAGE encore at the end of the show. I sincerely wish we could have given that to all of you. But, as usual, life is often beyond one's control.
"And to those out there who have heard ill-gotten 'rumors' about my health...trust me, I am doing quite well, thank you! I do appreciate the genuine concern from those that have asked.
"The Mountain King's got a lot of work left to do...
"Thank you for your prayers and please take care of yourselves and each other!"
Paul O'Neill told Billboard.com a year ago that he and company were re-recording "Gutter Ballet" (also the name of the second record O'Neill did with SAVATAGE) "in its original Broadway format," though there was no firm timetable on when it might go into full production. It's the culmination of a work that O'Neill began in the 1970s. Many of the songs have already had rock versions recorded by SAVATAGE, but will return to their roots for the Broadway show.
"We want to take it back to the original blues, gospel, Motown sound," O'Neill told TheNewsStar.com in a December 2009 interview. "For SAVATAGE, you've got to metal it up."
He added, "Jon and I are kind of psyched to be doing it because Broadway is something we've always wanted to take on."
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