My musical journey has been stamped by being a multi-instrumentalist immersed in diverse sounds and textures. Unsurprisingly, I am most inspired by the "fusion era" - 1967-1976, as it was truly a time when experimenters showed the world what was possible when pushing creative boundaries defined by critics and record label execs who eventually realized the value in giving audiences what they actually craved. The music kept redefining itself, during this time, and the technology progressed alongside the artistic ambitions. The synthetic production styles of the 1980s and beyond represent continuing regression, as few artists represent themselves in natural-sounding settings. This is an advantage my recordings have possessed over many, as my productions do not sound anchored within any specific identifiable time period. I cite Norman Whitfield, Phil Spector, and the Wilson trio - Brian, Frank, and Tom - as my main focal points for how I approach the process of presentation, with a special spotlight placed upon Spector not for his reputation, but for his audacity to venture into territories previously undefined and under-explored. However, each man has been instrumental in turning our contemporary musical lexicon into pure art.
While jazz legends Miles Davis and John Coltrane are guiding lights for most improvisers, regarding guitar, I cite George Benson, Wes Montgomery, and Charlie Christian as most important. Christian scripted the modern improv techniques for the instrument, Wes added melody, dexterity, and accessibility, and Benson took these innovations to the next level by adding rock and roll, R&B, and funk to the future's textbook. In rock, I have spent many hours studying Wes devotee Gary Duncan of Quicksilver Messenger Service, former Rolling Stone Mick Taylor (whose grasp of melodicism has always been extraordinary), Terry Kath of Chicago, and Jerry Garcia. Garcia and Kath, specifically, exhibit fewer conservatory-based jazz chops within their recorded output, but their commitment to experimenting with harmonics and shaping them into individualized signature riffs stands out most. Recently, I have tried to incorporate the influence of Glen Campbell, whose playing is best described as whiplash-inducing finger stretching, but this is a newer activity for me that promises to open up even more imaginative aural doors.
A common thread that runs through the careers of everyone I have mentioned here is the fact that their catalogs contain many examples of their talents, and how they shifted and were shaped by their surroundings and the times. In order to learn from them, one can simply dive in anywhere to become acquainted with something new. This is a beautiful aspect of career longevity and prolificness that I love.
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