Steve Vai headlines electric day at Guitar Town at Copper Mountain |

Steve Vai headlines electric day at Guitar Town at Copper Mountain

Steve Vai will headline the second day of Guitar Town at Copper Mountain Resort on Sunday, Aug. 9.
Larry DiMarzio / Special to the Daily |

Guitar Town at Copper Mountain schedule

Sunday, Aug. 9: Electric

10:30 a.m. — Guitar workshop: Electric, Conference Center, lower level

1 p.m. — Guitar workshop: Learn to play guitar in a day, Conference Center, lower level

Noon to 6 p.m. — Guitar Town Main Stage: Steve Vai, Robben Ford, Sonny Landreth, John Jorgenson Electric Band with special guests Chris Casello and Stig Mathisen and Matt Schofield

About 5:45-6 p.m. — All-Star Electric Jam (two or three songs), Main Stage

6:30 p.m. — ArtGuitar Gallery and Presentation, West Lake Stage

7 p.m. — Movie: “Stillness in Motion: Vai Live in L.A.,” Conference Center, lower level

Close — Guitar Town after-party, Center Village restaurants and bars

All events are free and open to the public. Visit to learn more.

The second day of Guitar Town at Copper Mountain Resort, Sunday, Aug. 9, is dedicated to all things pedal stomping and solo rifting, as the festival pays homage to the electric guitar. Headlining the day of free concert sets and workshops is guitar legend and three-time Grammy winner Steve Vai.

We caught up with Vai to learn what made him first fall in love with the guitar and how it’s carried him through his career from sideman to solo artist to producer.

SUMMIT DAILY NEWS: What made you originally fall in love with the guitar?

STEVE VAI: My immediate visceral, first visceral, response to the instrument was, I was 6 years old, 7 years old, and I walked into the auditorium of my school and there was a boy who was 10 years old — and when you’re 6 someone who is 10 is like a god — and he was playing the guitar. He was really playing it. The moment I saw it, I had an epiphany, one of those moments of clarity where everything stands still and you become very, very present, and it was the most beautiful thing I ever saw. The way it was slug on his body, the sound it was making, the way that it looked — it was my first love affair with the instrument. It was a quiet love affair, though. All those years I fantasized about the guitar, I never felt worthy of playing it; I was afraid or something.

Growing up, I was interested in composition. I learned to compose music — I was fascinated with the little black dots, so to speak. My parents were listening to “West Side Story,” and that had an impact on me — the intense music, the melody, the drama, the story. But then my sister was listening to Led Zeppelin, and once I heard that, it was all over. I had to play the guitar. I was about 12 years old when I decided I wanted to play the guitar. I had a friend who had a guitar on his wall in his lonely teenage Long Island bedroom. He never played it. I thought it was beautiful. It was this cheap Teisco Del Rey guitar with all these pick-ups and this whammy bar. He said, I don’t want to play it; I’ll sell it to you for $5, and that’s when my world changed.

SDN: What keeps the instrument relevant for you?

SV: The realization that the creation of music on the instrument is infinite and will never not be fresh and new. It’s a playground for your imagination constantly. And whenever I pick up the instrument, I see the infiniteness of its potential, and that just is a lovely thing because whenever you’re engaged in something, in a creative way, that gives you that feeling of enthusiasm for what you’re creating, it makes every day like Christmas. And it’s like that for me, every time. It’s never been any other way. Sure, there’s ruts that you can get into and dry spells, so to speak, but even through the dry spells, I feel that my inspirational army is gathering all of its tools together for another attack.

SDN: What was the evolution like from being a sideman to solo artist to audio producer? What do have you enjoyed about each of these aspects of your career?

SV: I was always fortunate in that, the majority of the time, I’ve engaged myself in things that I found to be very enjoyable. If I was, say, a musician hired by Frank Zappa, I found great joy in learning his music the way he wanted it performed. And then when something like the opportunity to play in “Crossroads,” the movie, came along, I saw how I could contribute in an effective way, so that made that interesting and exciting. And then when I was a sideman in those big rock bands in the ’90s — The David Lee Roth Band, Whitesnake — they were fantastic opportunities to get on a stage with a large audience and learn how to permeate that audience with my ego, so to speak.

All of the time through all the years, I had two things in my favor that I think were great strengths, that I didn’t even know I was employing. One was my ability to visualize, and the other was my comfortable desire for independence. I’ve always been independent, and when I finally released my own “Passion and Warfare,” my first huge solo record, that gave me the opportunity to be much more independent than I was before. It was a beautiful kind of evolution of independence.

SDN: The 25th anniversary release of that album is coming up next year, right?

SV: It’s this year, but I don’t think the package for it is going to come out until next year. I came up with some ideas that are taking a lot more time than I would have expected. I kept saying, “Hey let’s try this, hey let’s try this.” It’s due tomorrow. “Let’s push the deadline.”

SDN: Of all the people you’ve collaborated with and/or toured with, who was the most out there and why?

SV: There was an out there-ness to all of them. Frank Zappa had his unique, creative imagination, and some may consider that out there, so there was some pretty fun, far out, out there kinds of things with Frank. Everything else in comparison, that I’ve done, had its opportunity for moving outside the circle a bit, being a little out there, which was inexorable for me because I’m not really comfortable unless I’m a little left of center. Most of those were in relatively conventional settings.

But with Frank, it was anything, anytime, anywhere, as long as it’s interesting and funny and enthusiastic. Frank created a forum where you can express your potential in ways that you didn’t even realized you had, and that was one of the geniuses of Frank Zappa. … He had a knowingness of your potential beyond your knowingness. I know that sounds odd, but Frank was able to look at you and feel you and know what your potential was and would give you an opportunity to exaggerate your potential.

That’s why musicians who have worked with Frank many times have a reputation of being these elite, top musicians. It was really Frank pulling it out of you, but he did it in a really organic way. He’d never ask me to sing a song the way Ike Willis or Ray White would sing it, and he’d never ask me to play something on the guitar that he knew was not really intuitive to me, but he saw an opportunity in me to have somebody play particular bizarre melodies that never belonged on the instrument. So I jumped into those kinds of things and found myself doing things that I never thought I’d be able to do.

SDN: You’ve been nominated for 15 Grammys and won three, along with quite a few other prestigious awards throughout your career. Do you put any stock into those types of accolades? What makes them important or not so important?

SV: On one level, yes, it’s a great honor to be recognized for our contributions because a lot of times musicians put their head down and just grind away. It’s nice when someone taps you on the shoulder and says, guess what, you’re doing pretty good. Those kinds of awards are sort of inspirational, but I honor them for what they are.

On another level, whether they were there or not, I don’t think it would have changed my enthusiasm for writing a piece of music or for continuing to try to find innovative things to do on the instrument. They’re good on one level, but the challenge arises when you start creating an identity for yourself based on your accolades. The trap is in starting to create an image of yourself of being the one who has 15 Grammy nominations, three Grammy awards, all these awards here, magazine covers. It’s not hard to start creating a concept of yourself of being one of the great ones and then that can easily overpower or overshadow, for a period at least, your connection with your true inspiration. Your place in the world becomes more important and you start reaching for things to hold on to your cache. And that stuff all comes and goes all the time anyway.

I’ve gotten trapped in the ego coming in the back door, so to speak, from all of those accolades, but at the end of the day, you realize the vital thing is the quality of your inspiration, and that’s based on the quality of your consciousness, which is based on the quality of the thoughts that you choose to think in your head. Negative types of thoughts usually result in negative experiences, and once you start realizing that, you start to see the infrastructure of your own ego, and if you’re really lucky, you can address it.

But a lot of times, it’s unconscious. What I mean is our attention to things that are less important than the quality if our inspiration become more important, and then you’re fucked.

SDN: Your CD-DVD set “Stillness in Motion” came out in April and the film will be screened at Guitar Town. What was the catalyst for that project, and how has it been received?

SV: Every time an artist goes out on tour, there’s always some kind of evolution in their performance, their stage presence, their technique. And I like to document that each tour. So on the last tour, I wanted to go out on a very long, extensive tour, so I could really focus on getting deeper into the note, so to speak. So I had this tour that had us through 253 engagements in 52 countries — it took two years — and I visited places I had never gone and that I was told no American artist had ever played.

I spent a month in Russia; we played through Siberia and all the way through Kiev when the war was on. There was one show here in L.A. that AXS, a cable TV station, wanted to film and broadcast live to about 35 million homes. So as part of the deal, I got all of the tapes for that. I received this beautiful nine-camera shoot of this show at the Nokia in L.A. and thought, let’s make this a DVD.

That was simple enough, but it wasn’t enough for me. I wanted to have something that was different and unique, so I came up with this idea to create this bonus footage that is sort of a chronological tour diary, that has some kind of photo or video, on or offstage, form every place that we went. So you can imagine the massive undertaking because I had them collect all sorts of media from fans, crew, the band, my wife, myself, the Internet, and then put it in chronological order

That’s “The Space Between the Notes,” the 3 hours and 40 minutes of bonus footage. I feel that it’s one of my greatest achievements. It’s so interesting to watch how this band traversed the globe, twice, and what it’s like to be on tour. And what you notice is how happy we are. There’s no drama in my band, we love each other, and we love doing what we’re doing, and we’re constantly feeling gratitude. We cultivate the feeling of gratitude, and that’s extraordinarily powerful. It makes for a wonderful life experience. You can get some of that from watching “The Space Between the Notes.”

SDN: What advice would you give to those coming to Guitar Town who have always wanted to pick up the guitar but find it intimidating?

SV: They have an attraction to the instrument, for one reason or another, but in their head they’ve disallowed themselves to embrace it. My advice would be, you’re worthy of playing it, and it’s a great friend. You don’t have to impress anybody, and it’s our birthright to be able to play an instrument. It’s an incredible freedom and liberation. If you can allow yourself, your insecure self, to step aside for a moment, embrace an instrument and just enjoy it because it really is fulfilling to be able to pick up a guitar and just play a chord.

SDN: What was it like to collaborate with John “Johnny Rotten” Lydon, of Sex Pistols fame, on the Public Image Ltd. “Album” released in the mid-’80s?

SV: That was a great experience. I didn’t really collaborate with him, though. Bill Laswell was the producer, and he had a vision with Lydon for this record and they called me in. I was happy to do it; it went very quickly. I did all of the guitars in one day, and Lydon came in after it and listened to it and just looked at me and said, “It’s looking great, mon.” That was my collaboration.

Then we went out for dinner in the Village and that was an extraordinary experience because walking through Greenwich Village, it’s like Moses parting the Red Sea, all the freaks come out, he’s such an interesting guy. It was one of my favorite projects, really. I didn’t really have any responsibility. I just had to do anything I wanted, which is my favorite way to work. To this day, it’s one of my favorite albums that I’ve ever contributed to.

SDN: What’s your favorite or most memorable application of one of your songs (film, video game, sports franchise)?

SV: Years ago, this marching band from some high school or college did a huge arrangement of a piece of mine called the “Fire Garden Suite,” and it was really clever and inventive. I never thought anybody would do anything like that. It was a real thrill because it was obvious that they didn’t just take a piece of music. There was a tremendous amount of thought and work that went into it. It was an honor to see them do it.

And I did get a big kick out of I think it was Guitar Hero used one of my songs, for the love of god, and my kids didn’t know. And when they got the game, because they were pretty much addicted to it like a lot of kids at the time, and my song came up and I played against them in the game and they kicked my ass. You need a lot of brain muscle to get through that, one that I don’t have.

SDN: If you weren’t playing guitar, what would you be doing right now?

SV: I love composing. That’s what I would be doing. I do it a lot, but if I couldn’t play the guitar for one reason or anther, I would spend my time composing, probably.

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