The president I came to know best was George Herbert Walker Bush. No. 41 in your program, No. 1 on your list of fast-playing golfers.
I tried practicing for a few weeks and ended up playing too fast.
I started doing up-and-down strumming, basically to keep time and to play fast. As time went on, I started realizing other guitar players couldn't do it. I always went against the grain.
My ability maps my own writing. I haven't spent a whole lot of time biting licks from the really quick masters. That's why I'm not very good at that sort of super-fast, shreddy sweeping. So I've never considered myself a traditionally good, fast-playing guitarist.
There was a time when fast playing and fretboard pyrotechnics on the bass were important to me and when I am recording a bass track, that is still very important to me.
I grew up listening to Puerto Rican music like everybody else. But when I listened to Charlie Parker for the first time, I said, 'How does this guy play so fast?'
It seems to me that most people are impressed with just three things: how fast you can play, how high you can play, and how loud you can play.
The Chili Peppers do a lot of improvising, but it's within the framework of song structures. The Meatbats is from a purely instrumental standpoint. But when you hear the term 'instrumental music' you think it's real serious stuff and everybody's playing a million notes and it's about playing fast. That's not what we do.
Teaching has made me realize that a lot of my fast playing is the musical equivalent of, 'Umm… umm… uhh...' - it's like when you're trying to think of the next thing to say that actually has meaning, you fill space. 'Umm' has about the same meaning as my fast playing.
Having heard Clifford Brown play all those fast runs, I used to really practice Clarke trumpet exercises all day long so that I could play fast. That's all I wanted to do. I was like a child with a toy.
When I was 20, I didn't give a damn about song construction. I just wanted to make as much noise and play as fast and as loud as possible.
In my early days, I never used finger vibrato at all. I originally carved my reputation as one of the 'fast' guitar players.
When practicing, it's great to break a part down into its different elements, start slowly, and then try to build up the speed until you're playing as fast as you possibly can.
I kind of love opening, because it's easier and kind of just more fun to get up and play fast and furious and have a good time.
My style is a little quirky. I can't play as fast as most professional jazz players.
From the start, I held the pick in an unusual way. I used to bend my thumb way back in order to get a good angle for fast playing. I played that way for 10 years.
