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"It's kind of a subtle shift in perspectives," guitar.

That actually opens up things for us


he comments, "but there was a long time to do any style of music you want to hear,
when we were thinking, 'We really need any kind of music we want to play, and
the bass part and we need the horn part.' having it all come out sounding like Tuck
Now, it's more like, 'The bass part and the and Patti. So, unless you necessarilyknew
horn part are colors we could use, but the it was a jimi Hendrix song, or you knew
music doesn't really require that. It doesn't what musical tradition a given song came
require anything in particular."' out of, you'd be just as likely to think that
A combination of Andress' prodigious it's just music. That really turned out to be a
technical prowess on the guitar and the great advantage. Everything comes out
duet milieu he and his wife, Patty Cathcart, sounding like Tuck and Patti.
chose to work in offers Tuck and Patti this "OIten, at a jazz concert, we'1l put a Jimi
latitude. They manage to capture just the Hendrix song right after a classicTad Da-
right blend of intimacy and expansiveness. meron song or Clifford Brown song, and
This carries over to how thev oerform and we'll get these jazz aficionados coming up
what thev perform. later saying, 'That was a very interesting
"We're lircky we chose to focus on one song. Who wrote it? I really liked it.' I say,
voice and one guitar, without any variation Jimi Hendrix,' and their response will be
in the processing," he says. "It always anything from, 'Jimi Hendrix? Really?'to
sounds like the same voice and the same 'Oh, jimi Hendrix. I'll have to investigate '
TU CK AND RE S S

ABC @'lt"_0"SE his catalogue!' And it's not just jazz


purists. We run into purists of all differ-
In many ways, Andress uses the gui-
tar as a personal discipline. His most
ent types. You find a rock'n' roll purist recent solo project points this up. On
leRoland' or a pop purist who is completely unin- the surface of it, Andress has made an
Jhtr"u terestedin jazz. We've gotten the feed-
tr r#,lHH:
album of Christmas music. While this
back many times that people who've may sound like a simple project, it's the
ROCKI{AN" always figured that they didn't like sort of project that becomes rife with
!!iDrgil'ech jazz, but heard that we were kind of ramifications in his hands.
categorized as jazz, have developed an "I'm not thinking about it to evoke
G< bxicon
e:=- interest in jazz and decided to go out the Christmas carols themselves," he
,,n^l,,nof
TASCAM and hear more of it. We'll do a song explains. "I'm thinking of them as a
tr'cle.bodc with a lot of chord changes and a scat departure point. In a way, it's like do-
Fos[o( solo and a sing-along guitar solo as part ing standards.It's wide open. You can
alr"*t^./eb@*frL F** I of our set, and they'll say, 'Hmm, that's do anything you want to on the song.
cool. That must be jazz.I'm going to go Everyone knows the song, so they're
and find out more.'People who've nev- ready to hear whatever direction you
And Tons More er heard of Clifford Brown." go with it. It's not like everyone needs
Name Brand Music Products.
As remarkable as his work with Patti to hear another version of 'Fly Me to

FREE
Music
is, when Tuck does what he does solo,
without even the distraction of her Bil-
lie Holiday cum Rosetta Tharpe vocals,
the Moon,l anv more than anvone
needs to hear another version of Jingle
Bells.' But, in a way, that's the chal-
Equipment it shows the dynamic range he can gen- lenge of it, taking a song like that, like
erate with iust his 1953Gibson L-5 (live recording an album of 'Fly Me to the

Catalog
Check out the Musician'sFriend catalog
he uses a1949).His version of "l Wish"
on T&P's last album, Dream, is truly
remarkable. In one pass, with one ar-
Moon' and 'Misty' and that kind of
thing. What musicians think of as the
most hackneyed, over-played songs
rangement, he captures the horn parts, ever heard. It's a real challenge to do
before buyingyour next guitar, amp, rack the bass, the synth lines, the chords those kind of songs."
effect, or any music product:
and melody. All on the solo guitar. These approachesinclude doing "Si-
o 64 pagesof the latest gear available- Even more amazing when he mentions lent Night" in parallel harmonies, set-
the newestup-to-dateinformation. that he uses virtually no effects to ac- ting "God Rest Ye Merry Gentlemen"
o Detailedphotos, completedescriptions complish it. as an uptempo waltz, and playing 'Jin-
and technicalspecificationson hundreds "I don't use a lot of effects on the gle Bells" like Chet Atkins.
of namebrandproducts. guitar, or a lot of unusual tunings, or, "Really, that's like Tommv Crook,"
for that matter, overdubs," Andress Tuck remarks. "He was my iirst guitut
You get more valueshoppingMusician's
Friend:
maintains. "I hardly tum tone knobs teacher, a real hot licks country player.
during a show, or anything like that. I He does a thing, tuning his last two
o Toll-freeproduct advice,ordering,and only use reverb and a volume pedal. To strings down an octave, using real thick
customerservice. some extent that's an effect. Patti is an pedal steel strings. I think I was envi-
o Extendedshoppinghours in the conven- incredible singer, and she has an in- sioning'Ave Maria' as the Cornell Du-
ience of your own home. credible dynamic range. I found that pree approach," Andress laughs. "In
o SatisfactionGuaranteed. with even the best technique I could my mind, all these things have all these
muster on the guitar, I couldn't even footnotes about what if I were so and
o Full 30-dayreturn privileges. approach her dynamic range. I would so, like how would Cornell Durpree
o Huge selectionof the most sought sound clumsy and too loud on the soft play'Ave Maria?' Very soulfully. I did
after gear,includingtop nameslike parts, and simply be unable to keep up 'Angels We Have Heard on High'with
ART, Digitech,Marshall,Korg, Fostex, on the loud parts. So, rather than cause this thing that, when I'm talking to my-
Tascam,Rockman,Jackson,EV, JBL, her to restrict what is a great musical self, I call'dysfunctional harmony,"' he
Hartke, Gallien Krueger, Lexicon, thing, it made far more sensefor me to expounds. "Dysfunctional harmony
SeymourDuncan, and many more! find a way to turn the volume up and means no chord has anything to do
down on the instrument. Initially I was with any previous chord. They're all
just thinking of it as a mixing tool, but really pleasant to listen to, as opposed
as soon as you've got a foot sitting on a to really dissonant, and in general I
pedal, it's going to start to do all these avoid any kind of referenceto the origi-
other things. I've looked down and nal chord progression, unless I want to
found that I am unconsciously moving make a really intentional reference. A
it all the time in ways that I can't really lot of that I improvise. Ifs kind of an
o
a a pick out. I think I use it like an organ exerciseto me to reharmonize songs in
a
a
a
player does, kind of as an expression a kind of outside way. I have this
a
a
a
a
pedal. I don't even use an amplifier. whole set of rules I was ible to codify to
Name
a
O a
Live, I go straight into a mixer that we describeit at some point. I try to avoid
a
Apt. #
a have onstage, where we do our own having bass lines move by fourths, be-
a a
a a mix. We just have a Yamaha SPX-900 causewe really expect that. I try not to
a
a City State Zip reverb in there. In the studio, the guitar have two chords in the same key in a
:
a
goes direct onto tape, and we just mix row. I avoid really straightforward
a
a Musician's Friend: in various reverbs. There's something chords, Iike maior chords, minor 7th
a
a
P.O. Box 869, Dept. GE : about having a certain tight limitation chords, or chords with a real clear tri-
a
Eagle Point, OR97524 :
that causesme to feel that I have to be tone. I try to avoid those, becausethey
a
aaa aaa aaaa a aaa aaaa a aaaa aaa a a a
more resourceful. I like that feeling." sound like a hole in an otherwise some-
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