Album Description
A collection of Steves finest work from his Magna Carta sessions Bonus: 11 minute video interview with Steve. Steve Morse performing with Terry Bozzio, Dave LaRue, James Murphy, Mike Portnoy, John Petrucci, Van Romaine, Jordan Rudess, Billy Sheehan and Mark Wood.
Take almost anything Morse does on these compositions, whether its the ever-darting, constantly modulating ostinato on "Heightened Awareness", or the thematic line from "Busybodies", or perhaps the dense layers of "Wooden Music". You will notice that melody always takes precedence. Mind you, you ll also get a good dose of speed and heightened articulation: Perhaps this is what happens when a left-handed player turns the guitar around and plays it the "right" way. It places his stronger hand on the neck, promoting dexterityand adding a certain "meat" to the tone. Morses lines dont whither or trail off. Of course, this is very much a conscious effort and has much to do with his right hand picking virtually every notenot a lot of slurring going on! Also key to his unique sound is the design of his instrument, one that has evolved from the early years when he employed multiple pickups to catch every string nuance.
Steve wears his southern influences on his sleeve. While his tone speaks of the blues greats, it also twangs of the country. Listen to the way he handles the Yes standard, "The Clap". No question, Morse can hang with the likes of Albert Lee any day.
Aside from deep country and that Dixie funk, Morse exhibits a huge variety of guitar influences, from Steve Howe to John McLaughlin, the latter who seemed to define for a generation the proper ratio of jazz to rock. Then theres this pervasive baroque thing, almost Mozart like in its staccato phrases and Bach like in its serenityevidence, perhaps, of Steves classical studies in Florida (check out "Air on a 6-String" or the figure that begins around 00.50 on "Prognosis"). No wonder he used to typify his work as "modern chamber music"!
