Max Light: Harmonic Relationships, Metal Guitar & Shifting Subdivisions | Interview w/ Joel Harrison
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- Опубликовано: 7 фев 2025
- Max Light joins Joel Harrison for an insightful conversation on his approach to improvisation, composition, and the unique ways he navigates harmonic and rhythmic challenges. In this podcast, Max shares how his background in metal shaped his guitar technique and how influences from jazz and musicians like Kurt Rosenwinkel have helped him create his own voice. He delves into his latest album Chaotic Neutral and explores the creative process behind his complex use of time signatures, shifting subdivisions, and the role of gear like the POG in shaping his sound.
Key Topics:
• Improvisation & Composition: Max discusses how improvisation shapes his compositions and his exploration of unique harmonic choices, like shared tones and voice leading.
• Artistic Identity: Max reflects on blending metal and jazz influences to define his own musical voice.
• Shifting Subdivisions: Max explains how irregular time signatures and triplets in Chaotic Neutral allow for creative rhythmic expression, drawing from Damon Reed's rhythmic and microtonal influences.
• Gear & Sound: Max shares how the POG helps him create a fluid sound, inspired by Kurt Rosenwinkel’s gear-driven style.
• The Creative Process: Max discusses his evolving compositional language and collaboration with Brooklyn musicians on his new record.
• Jazz Standards & Modal Superimpositions: Max talks about how Coltrane’s modal harmonic relationships influence his standards playing.
About the Series:
This interview is part of a larger series showcasing conversations with some of the most talented and influential musicians of our time. Each discussion dives into the personal and professional stories behind their artistry.
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#MaxLight #JazzGuitar #JoelHarrison #Improvisation #Composition #KurtRosenwinkel #GuitarTechnique #CreativeProcess #PolyphonicOctaveGenerator #MusicPhilosophy #MusicIdentity
What a wonderful player with beautiful tone in his hands. Anyone that speaks in the Holdsworth/Rosenwinkel vein is okay with me.,love it! Thanks for this interview!🙏🏻🎶✌🏻🌍
Thanks for this conversation, Joel & Max.
Such a great interview , series of interviews and channel thank you. Wow… he has articulated something I haven’t heard before … about articulation at a few points in this interview . During the section discussing ( alternate /economy) picking and also POG and Kurt . Yes , Pat martino ( or even George benson … and as he discusses later in the pog section when saying that if the priority is high articulation with an immediate decay and how that is a signifier of “ archtop “ vibe )- this is só well said . I understand this … no disrespect to any player or sub genre ( while knowing that I vacillate in what I crave and imposing a value judgment that also shifts regarding these things ), when I hear the Wes martino benson vibe ( although Wes is more dynamic as his chordal work is an added variable ) there is this immediate sense of “ tradition “ and “jazz guitar “. A sense of rhythmic phrasing and the architecture of the line as supreme over “ tone “ considerations … lines that share something w horns and piano , intellectually . But things are timbrally more dead and not what we today know a guitar can do . There is a flat wound dead bassy sound that is supreme. A post Hendrix post Van Halen post Holdsworth world yields sustain , legato , horn like liquidity … distortion has played a part in achieving this … also less of an orthodoxy of picking every note … but also things can get unruly , wildly sensitive and the attention almost gets drawn back to the picking hand . This is fascinating
My fave guitar player atm
Awesome interviews man!
Thank you very much for putting out such great content! Would absolutely love to see more of these, specifically one with Lage Lund, Julian Lage, or even Kurt himself!
Cheers from Portugal 🎸
I will work on doing it with all of the above
@@alternativeguitarsummit Mike Moreno and Jonathan Kreisberg!
Incredible interview! Loved the ii V discussion and examples
I'm a New England guy transplanted to the South. Southern charm is a wonderful thing. I think I became a better guitarist as soon as I got off the plane. Racial hatred and disrespect for our Contitutional values of Life, Liberty, and The Pursuit of Happiness are not necessarily regional problems. They're everywhere, and are antithetical to everything that makes us human... including music.
yeah man
Play some 2 5, anyone can relate to
Max: 8:25
Awesome guy
Would love a class on the diminished line concepts he was talking about.
interesting player 👍👍👍👍👍👍
I don't like, if players use effects, to make the guitar easier to play, as this seemingly is the case with Max Light. Other than that, he is a really interesting player, with lots of cool ideas, but when I play the instrument, I wanna deal with it as it is, without beeing dependent on effects, to make my playing better or easier. For me, that's cheating. Kurt Rosenwinkel does that too... That's why he is also a rather less likable guitarist for me.
Man, I need all the help I can get, the guitar is SO HARD!
This doasen't make much sense tò me,,if you like the natural clean sound of guitar I get It, but to say you don t like because It makes It easier,,what? Have you heard how much stronger Is the sound of one note on a tenor sax? Or how much richer can be a chord on a piano?
Are these instrument cheating as well for you?
@@malachia8590 I think you misunderstood me...I love all sounds on the guitar, not kidding. For me, I try to get as many as possible.
@@alternativeguitarsummit i think you misunderstood,,I agree with you 100%,,i was answering yo the guy above that was saying that effects on Guitar Is cheating,,i could not disagree more with him