Ask John Schaefer Anything: Can A Musician Be Too Virtuosic?

By most anyone’s standards, John Schaefer knows a lot about music. Yet despite his two radio shows and various other music-related projects, we get the feeling he's withholding some of that knowledge. So now's your chance to ask Soundcheck's famously brainy host anything as long as it has something to do with music.

We’ve gotten more questions than we can possibly answer on the air, so from time to time, I’ll be tackling some of them in this space. And since we want even more questions from you, we're taking the series to the web community site Reddit -- for an AMA or...Ask Me Anything. I'll be there, answering whatever questions you can dream up, as long as it has something to do with music: Want recommendations or advice? Or maybe you just want to stump me. Either way, join us on Thursday, Sept. 11, at 1:30 p.m. for a special Ask John Schaefer Anything on Reddit! Follow us on Facebook and Twitter for updates.

Now, back to the mailbag...

In the wake of a recent appearance by Jerry From Queens (a.k.a. my brother Jerry) on the show, I am reluctant to answer another question from a family member, but my cousin Greg’s inquiry actually dovetails nicely with a question from a listener to whom I am not related -- but who seems to be strangely well-informed about my early years.

First, Greg from Oviedo, FL writes: "Do you think it's possible to be too virtuosic? Can you think of examples of music that is technically impressive that leaves you cold? Conversely, can you think of examples of music that is simple that really knocks you out?"

John Schaefer: I will quickly answer the second part: lots of simple music simply knocks me out. The one that springs to mind is the piano music of Erik Satie, especially the famous “Trois Gymnopedies,” written in the 1880's as a reaction to the increasing complexity of classical music. Look at the sheet music and it seems like there’s nothing to it; but listen to it and you’ll find it’s quietly stunning.

Now, here’s Jason from Brooklyn, chiming in: "I believe John is a guitarist who grew up during the 1960's and '70s where a lot of his personal tastes began to form. Therefore, I am curious on his thoughts on the guru-like guitarists like Robert Fripp and John McLaughlin versus more intuitive, expressive players such as Adrian Belew and Lee Ranaldo. My intention is not to trash anyone -- all these guitarists are incredibly skilled and gifted musicians! My own take however is that the former players often come off rather sterile and mechanical (like Pat Metheny) and the latter let their experiments take them to places where music can get messy, ugly, and often more exciting (and emotional)."

JS: It’s true: I am a child of the 1970's. And a fan of all four guitarists you mention, Jason. But to go back to Greg’s question, there are lots of moments from John McLaughlin’s fusion days that seem like technical exercises and bounce right off me. This was a problem I had with quite a lot of that style -- it’s not McLaughlin’s fault. But listen to side two of his album “My Goals Beyond” and you’ll hear an intimate, engaged performance – one musician communicating directly with the listener.

Fripp is one of the most technically proficient guitarists I know – and the creator of some of my all-time favorite guitar solos. Check out his exciting solo on Brian Eno’s “St. Elmo’s Fire,” or his lyrical, sinuous work on “Hammond Song” from the first, self-titled album by The Roches. (Another example of a simple piece of music that blows me away.)

By the way, Belew and Ranaldo are also technically gifted. Interesting side note: for a brief time in the 1980's, both Fripp and Belew were playing guitar synthesizers together in King Crimson, and for me, it was a terrible waste of two distinctly individual “voices.” On their respective guitars, you could always tell who was who -- but I found the synthesizers put both guitarists into the same sonic place, where their personalities weren’t so evident.

I guess what I’m saying is that I will take emotion and excitement over technical expertise any day, but I would not want to divide your four guitarists along those lines. All four have done some pretty showy technical stuff, and all four have made their instruments sing.

Do you have a music-related question you want answered? Leave it in the comments, drop us an email at soundcheck@wnyc.org, leave us a voicemail at 866-939-1612 or tweet @Soundcheck.