A painter often uses many strokes to paint a single seemingly simple line.
When I construct a solo, I use the same concept. I don't worry about playing it all in one shot. I only worry that the final complete solo has what I'm looking to convey.
Is it melodic? That's my first priority. If it's not melodic, it probably won't have something to build on, and I need that foundation.
All these questions get answered by us individually when we solo—if we're thinking and caring. Some players are capable of doing all this in one shot. Sometimes I get lucky, inspiration takes my hands and I'm "One Take Zabrocki." But most times it's perspiration—trial and error and tons of cross fading. I usually set up five to six tracks and have at it. Start with something melodic, a foundation, and simply build a solo on that.
Anyway, I hope this helps you in some small way. Don't feel bad if you can't solo in the studio in one take. Most people can't. It's the finished product that counts.
Watch the video and see a solo that exists on various tracks and how much I crossfade to create a seemless statement. Eventually I'll learn the whole thing and be able to play it live. But for now I'll just let it go and move on to the next. This short solo probably took an hour to construct.
I’m a session guitarist from New York, now living in Connecticut. I started playing at age 6, sight reading right off the bat. That’s how I was taught, so I just believed everyone started that way! I could pretty much sight read anything within a few years, and that aided me in becoming a session guy later in life. I took lessons from anyone I could and was fortunate enough to have some wonderful instructors, including John Scofield, Joe Pass and Alan DeMausse. I’ve played many jingle sessions, and even now I not only play them but have written a few. I’ve “ghosted” for a few people that shall remain nameless, but they get the credit and I got the money! I’ve played sessions in every style, from pop to jazz.
