In this latest installment of the Play Better Guitar series we’ve decided to look into the lives of a couple of seasoned professional guitarists to see how they got to where they are as working musicians today.
In this article we spend some time with Michael Bester who plays for Mango Groove and Loyiso Bala, as well as performing at various freelance engagements and studio sessions. It is inspiring to listen to the stories of those who have carved out a career in the world of music; we can all learn from the professionals…
Tell us about your earliest memories of music; where you grew up and where it all started…
I grew up in Pretoria and had music lessons as a youngster, mainly piano lessons, but I gave up on it when I was about 10. Then I picked up the guitar when I was about 17 and never looked back!
Where did your passion for guitar come from and how did you start?
My dad bought an acoustic guitar and I started messing around with it. My friend taught me how to play one or two Nirvana songs, which blew my mind and I started working out all their songs by ear. Then that same guy got an electric guitar and from the first moment that I played on that, and felt that sound coming out of an amp turned up nice and loud, I was hooked! I got quite serious about practicing and writing songs pretty much straight away, and have worked hard since then, but I guess it all goes back to that moment!
Is it important to study music?
That is a tricky question! I certainly benefited from formal music studies, but I don’t think it’s for everyone and I think that you have to be pretty clear on what you want to get out of it if you decide to study music formally. Nobody can teach you how to be musical, or be creative, but I have always wanted to have command of the theoretical side of music, it’s just how I’m wired, so doing a music degree was important to me.
What have you studied?
I have a BMus in jazz studies from UCT. I also enjoy teaching so I did a teaching qualification (PGCE) through UNISA a few years ago. Other than that I did a jazz guitar summer course at NYU in New York, focusing on modern jazz improvisation, and I’ve also done a sound engineering course, which has come in handy.
Tell us a bit about the gear you use.
I have lots of different gear for different situations. For session work, and most pop/rock/urban gigs I use my Fender Stratocaster mainly. It’s a stock US Standard Stratocaster, nothing fancy, but I love how versatile it is! For jazz gigs I use either my 1960 Epiphone Broadway, which is a big fat arch top, or my newish Tokai 335 copy, which is also a very versatile guitar. I have a 1995 Gibson Les Paul and a newish Fender Telecaster, both of which mostly come out of their cases for recording sessions.
And in terms of acoustic work, I have a Martin Jumbo 10 series, which I’ve had for a few years and just sounds amazing live or in studio, and a cheapish Yamaha classical guitar with a pickup for any nylon work.
In terms of amps I have been playing a Fender Hot Rod Deluxe for years now and I’m really happy with that for almost any application and then I’ve recently acquired a MESA-BOOGIE Transatlantic TA-30 combo. For small gigs I use a Laney Cub 12.
Although you studied jazz you’ve avoided being pigeon-holed as a jazz musician. How do you think you achieved this?
The only answer I can really give you is that I genuinely love so many different styles of music and have worked quite hard to be able to play many styles with the right tones and feel, so I guess I was never going to be a true specialist. Even when I was a student at UCT, and was pretty obsessed with jazz, I knew that I wasn’t content playing any one style all the time. The challenge that has always appealed to me the most in music is being able to play any style authentically.
I have my strengths and weaknesses like any other player, but I guess I have enough of a blend of rock, pop, blues and jazz in my taste and my playing to be able to hold down gigs in any of those worlds.
What do you think are some of the most important skills to have as a working guitarist?
Broad knowledge of styles, good time (rhythm), good tone, good reliable gear and you either have to have incredible ears and memory, or be able to read well, preferably both!
Are there any technical exercises you can share with us that you feel has been important in your growth as a musician?
I think the most important things I have practiced have been related to fret board knowledge and aural skills.
Examples would be:
1) A Joe Satriani exercise from an old edition of Guitar Player, outlining a great way to get to know the fret board. Basically you set your metronome very slowly, pick any note and play it, in time, in every available position on your sixth string, then the same on the 5th, 4th etc. all the way up to the 1st string and back. Also, say the name aloud every time you play a note, and don’t skip a beat! Then, move on to the next key, moving through the circle of fourths, which will ensure that you know all keys equally well after a while!
E.g.
2) Transcribing different solos in different styles, and by different instruments, off the CD, NOT using tabs!
3) Transposing music at sight, even if it’s VERY slow, will improve your fret board knowledge and aural skills like nothing else!
4) Singing a phrase, playing it on your instrument and then playing it in every conceivable position and with every fingering you can think of
Your thoughts on reading and aural training?
Reading is critical if you want to be a session player. Good aural skills are critical everywhere! You can’t join a conversation if you can’t hear or understand what anybody’s saying!
Wise words indeed by one of South Africa’s leading professional musicians; Michael Bester.
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