Steve Vai: Capture the Dream
‘An aching hunger comes alive’

by Edwin Van Hoof
Staff Writer

He is without doubt the most renewing guitar wizard of the last two decades. Moulded by the magical and mysterious genius Frank Zappa at an early age, Steve Vai crystallized his unique sound and playing, exploring the very edges of his own musical universe with key involvements with such greats as Alcatrazz, David Lee Roth Band and the mighty Whitesnake. Ask a guitar fan and he will tell you about the high priest of guitar, as Vai is called so often. When you get a chance to meet up with this remarkable personality, you don’t have to think twice. When Vai speaks, you hear music all over!

 

However, when I meet up with the master, he speaks of this one great passion he has been working towards for many, many years….

“This goes as far back as my childhood and high school days. As a teenager, I wanted only one thing: to become a composer! Vai puts up his hand as high as five feet and continues: “I literally have written this much music scores over the years. I love writing music. I wrote my first one in high school, believe it or not. For a musician like me, it is just prohibitively expensive to embark on a project like this. If it wasn’t for Co de Kloet, this would never have happened.”

This is the first time the name of Co de Kloet comes to call. De Kloet is one of the key directors of Dutch national radio (NPS) and the producer of many likewise shows with the Dutch Metropole Orchestra. Not only does he have the gift to find renewing and perfect matches, he also has the contacts to make it all happen. He and Steve go back as long as his Zappa days, and remained friends ever since.

“When I first released my solo record, in 1984 I believe, I had to find people willing to distribute it. We knew each other from the time when I played with Zappa. Co offered me his expertise which I gladly accepted. As we both evolved in our careers we always stayed in touch. Holland has a cultural jewel in that man! He has been producing shows of the Orchestra with Terry Bozzio, Bruce Fowler and George Duke; all of Zappa fame. He felt that I also had the potential to bring a project like this to live. That was the most glorious feeling ever to me!” Steve’s eyes light up with fire from behind his sun glasses, as he continues: “See, I feel bad for contemporary composers in a way. There is a circuit of people, that orchestra mentality, where they accept you and take your efforts serious. Steve Vai the rock guitar player is probably the last person they are gonna expect to see as a composer in those fields. Co has the cultural overview to create those projects and bring something special to the table. He’s the reason why I am here.”

“I’m not a workaholic by choice, but when it rains it pours.”

Realizing this long cherished dream, Vai came across some obstacles along the way. Being as busy touring and recording, how does a workaholic fit this in a tight schedule. Vai smiles enthusiastically: “I’m not a workaholic by choice, but when it rains it pours. See, I call it work, because it gives me a sense of responsibility. But it’s all joy! You know, there are things that are challenging like this…. I came in one week after they started rehearsals, and the members of the orchestra were very enthusiastic. It gave me a warm feeling. And sure; you feel the anxiety! I wrote some very challenging stuff for some of these people. Go talk to the contra bass clarinet player and ask him about the Cadenza in “Frangelica.” This reflects directly how well Vai has organized his work for this particular project. Like a true Bach or Beethoven, he has been writing most of the music for every single member of the orchestra.

“The body of work that is represented with this show was done by me. Out of a 100% of it, I scored probably 60 to 70 percent. Out of time constrains, I simply couldn’t do it all. There’s a piece called “The Murder,” where I took a tape player and recorded myself telling the orchestra what to do and where to do it. “For the Love of God,” I didn’t have time to orchestrate at all. I started working with two very talented young musicians, Chris Opperman and Tom Trapp. Tom orchestrated “Answers,” tweaked it, added some parts and put some nice flavours in it. Chris for instance started from scratch with “For the Love of God,” “Ballerina,” a piece called “Reflections” and “Memories of a Silent Rose.” They did a wonderful job.”

A fan needs only half of the lines above to know how Vai’s music will sound after this classical injection. Songs like “Answers” and “For the Love of God” are easily pictured when performed by a massive orchestra. It is however hard to imagine how Vai himself will be fitting in on those performances. He is best known as an axe swinger extravaganza, and a performer who comes to live on stage …

“I’m not even playing for half of the concert! I will just be sitting there and listening. I will enter about half way through. That sounds odd to you? You see me as a guitar player only?” There you have it! I quickly steer away from this trap by adding that I see him as a born performer and maybe even a one man band! The friendly smile returns on his face again as he continues, “In this particular circumstance, being a fan of my music, you will definitely get to hear a different side of me. A lot of things coming in; big chords and melodies, nothing related to my regular music.” He clearly enjoys the remark, and gets deeper into the event.

“You know, “Answers” and “For the Love…” sound really nice now. “Is it over yet”, “Frangelica,” and “Hellios Investa” actually were written 24 years ago. They just have been waiting, and waiting. When you finally get the chance to hear them be played by an orchestra of more than 60 musicians, it moves you. It is all just going so well, that we are already considering a follow up to this project. I did already write some tracks that we simply didn’t have the time for now. We will be recording those in studio, yes. Probably do another show, though I don’t like the pressure. I can’t wait to return to Holland. That is also what I like so much in my work, meeting with all these different cultures. There’s no place that I don’t like to go. I tour through Eastern Europe and Russia, everywhere is an audience. From northern Europe, Bulgaria to Japan, Asia, Honk Kong, Korea and Australia. There actually aren’t many countries I haven’t played in yet. I would love to play in Africa though.”

“I’m not even playing for half of the concert! I will just be sitting there and listening.”

Being such a world citizen, Vai has always found a way to smoothly blend in those cultural elements in his songs, without losing his very unique style or drifting apart to much from the grand design or his rock-being. “All those different cultures I believe are built on their music, and vice versa. When you borrow the characteristic tonality of a culture, you can create that atmosphere in your own music. Ever listened to my live record “Alive in an Ultra World”? When you listen to it, to the best of my ability, I tried to build in the cultural flavours within a rock band context. Take Japan for instance. There is a six note scale, and if you use that to create your harmonies, melodies and your chords, it will have a somewhat of Japanese sound. Same goes for Bulgarian music. I love Bulgarian wedding music! Take Ivo Papasov! Their concept of melody, their feeling for time, their articulation and phrasing; it’s unique!”

Not tough to see that this man is living music in the widest possible manner. But can he truly enjoy music and listen to it like we do, or is his brain constantly breaking every note and tone down to see a blueprint of the song? When he talks about composing, his hands and eyes tell you the story without the need of listening to his wise words. “No, no … I listen to a song and enjoy it! I do! But that is what an effective musician knows how to do. You listen, and you know how to create a certain atmosphere. You are creating an overall texture, an overall sentiment. Whether it’s aggressive, mellifluous, tender or angry, musicians approach that concept differently. I happen to approach it unlike a lot of other musicians, where I can hear something and identify with it in a theoretical manner. But when it comes to the time that I start composing; I picture the sentiment first which I want to create. Then I go to my technical mind and know instinctively that I need to do this, or a certain part would be best there. When I play that Japanese part, I won’t be going up and down that Japanese scale; I will try to make that scale speak!”

So that must be the part that makes him so unique? He has a special way of composing.

“Well, it happens differently all the time. Some might have a typical standard way of writing songs. It just not works with me. Most of the time, it happens best when I visualize the entire thing, in an instance. (Snaps his fingers) And when that happens; it is torture! I see the entire picture enrolling in front of me. There’s a song on my new record called “Freak Show Extravaganza”, which is completely over the top. It is seven minutes of just going and going and going, and it has some of that beautiful Bulgarian phrasing in it. It is beautiful, but also really going over the top.”

“I do something that is more left of center.”

Vai mentions it often, his wide taste for music: From Bulgarian wedding music to Japanese cultural songs. Even some new pop songs and artists catch his attention. “I don’t dislike stuff played on the radio. I mean, the new Britney Spears song “Toxic” is great! I really love it! There‘s some good quality rap out there from creative and gifted artists. The thing that disturbs me: that it isn’t free. You don’t hear great artists on American radio. We hear what record companies are paying for. Media conglomerates are buying the stations to play their own music now, in a central location. There was a time that DJ’s ruled the airwaves. They played the music they like. You got to hear a whole new range of music. If they liked the new Tom Waits record, they’d play it! That does not exist anymore. (Sighs)

When I bring up the fact that Steve is not played on Dutch radio either, he doesn’t look for excuses. "I do something that is more left of center. I have certain abilities to create music that is different, somewhat eclectic, that I can put my personality into. And … maybe I’m out of my mind; I like my music. I really do! It pushes my buttons. It moves me… indeed; that is the reason for being a musician. I know guys that make music and then they never listen to it, where I listen to my music all the time. I want to grow old and listen to my songs, look back and enjoy them. To my great surprise and honour, there is a group of people that responds to it. But I am well kept secret! (laughs) I will say that in all humility, but I believe my music would be appreciated by a lot more people if they can only hear it."

And by God; how right he is!

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