Vintage Guitar - March 2018 - open - 64

COLUMN Fretprints
phrasing. There's a wealth
of worthy video online, including a vintage 1986 clip
of "Cockroach" with Chick
Corea's band from The International Jazz Festival of Bern,
a 1990 Tribal Tech rendering
of "Dr. Hee," a more-recent
blues-rock outing with his
trio, various teaching and
interview segments, and
equipment explanations including a rundown of his
signature Suhr.

SOUND
Henderson ha s gone
through a succession of guitars and amps, each representing a step forward in tone
and utility. In the early '70s,
he played a vibrola-equipped
Gibson SG or Les Paul Standard through a 50-watt Marshall stack with 25-watt
Celestion speakers. Later,
he employed a more-reliable
Peavey stack. By Spears, he'd
switched to a basswood Charvel double-cut with Duncan
humbuckers plugged into
a solidstate Peavey Special
130 head as preamp and a
Peavey 100-watt tube power
section into a cabinet with
EV speakers. He began using
a basswood Ibanez on Dr.
Hee. On Nomad, he upgraded
to a modified Boogie Quad
preamp and Boogie 295 power
amp with rack-mounted processors, such as ADA STD-1
delay for chorusing, Ibanez
SDR 1000 delays for echo, an
MXR Pitch Transposer, and
a Roland SRV2000 reverb.
Tribal Tech found him using
a Boogie Studio preamp and
395 power amp. He switched
to an alder Ibanez double-cut
with two humbuckers and
a single-coil middle pickup
and Lee Jackson preamps
with a Boogie 290 power amp
driving Celestion speakers in
the '90s.
On Dog Party, he gravitated
to a bluesier sound and used a
reissue Strat with Lindy Fralin
pickups plugged into a Tube

This high-energy fretboard flight from the solo
in "Elvis at the Hop" depicts Henderson's virtuosic
fusion approach. The white-knuckle ride stands
as a superb example of his marriage of '80s
shred-metal with harmonically-advanced post-bop
jazz - a bit like Eddie Van Halen meeting John
Coltrane. He addresses the chord changes with a
variety of moves, from the aggressive, wide string
bends (shades of Albert King!) and pentatonic
melody of the blues-based opening (measures

VINTAGE GUITAR

64

March 2018

1-2) to the momentum-gathering riff in measure
3, which comes off like a mutated "Eruption" lick
transplanted into a jazz-rock setting. Measures
4-6 contain complex melodies filled with chromaticism, fluid shifting of pentatonic/blues-scale
fragments and suggestions of visited alternate
tonalities. He states a well-known Coltrane motif
of four-note pentatonic cells on beats 1 and 2 of
measure 6 to propel a rising line into a climactic
high string bend to close the proceedings.


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Table of Contents for the Digital Edition of Vintage Guitar - March 2018 - open

Contents
Vintage Guitar - March 2018 - open - Cover
Vintage Guitar - March 2018 - open - IFC
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