"Guitar Master" Steve Massa Interview
Interview by Roger Zee (02/12/21)
Roger Zee: Who inspired you to play guitar?
Steve Massa: I first heard Eddie Van Halen at age twelve on the "Van Halen" record playing Eruption and all his amazing guitar solos, fat, grooving, swinging Funk rhythms, and those great songs and arrangements. That hooked me! One or two years earlier, at the age of 10 or 11, I already knew that I wanted to pursue music as a guitarist. I ended up so horrible at playing sports that my Little League team didn't want me back after one or two seasons. I needed to start over with a whole new plan and an activity that I could do well, LOL!
Totally into Kiss and really admiring Ace Frehley as far back as 1980, I just loved the sound of his electric guitar. But when I saw and heard Eddie, that did it, game over! Only a matter of time before I took action and got moving on it. Eddie Van Halen became my superhero and remains so to this day. Found his energy, style, phrasing, stage presence, and that famous "brown sound" just awe-inspiring. And his rhythms and numerous innovations fascinated me just as much as his melodic and fiery guitar solos.
During my first few years of studying music, I entirely flipped over Randy Rhoads. Obviously unique just like Eddie, his Baroque Classical influence and very own brand of Rock guitar really caught my ear. By the time I began studying Randy's style, I had already played the instrument for three years. Put myself knee deep in studying music theory with my instructor and developing my ear. That gave me a basic handle on what Randy could do. So I took a nosedive into his guitar arrangements.
Several years into the guitar, I grew proficient playing Van Halen, Ozzy, and other Hard Rock cover songs note for note. Then Neal Schon gave me a swift kick in the ass and became a huge influence. He's one of the most amazing guitarists on the planet -- melodic and sharp, with incredible tone, brilliant hooks and melodies while articulately shredding and burning up the fretboard. What young 80's guitar player didn't want to learn the guitar solos in "Any Way You Want It" and "Stone in Love?"
As time went on, I developed an ear and appreciation for Blues, Jazz, R&B, and other musical styles. At sixteen, I started gigging with my first band and began working my way around some Stevie Ray Vaughan, Carlos Santana, and some light Jazz guitar and fingerstyle. Along the way, I discovered Jimi Hendrix and Steve Lukather. And that gave me yet two more guitar heroes to look up to. Because I learned the instrument the right way by intensively studying theory, technique, and practicing hard for hours and days on end, a lot of it came easier to me than some. But to this day, I'm not half the guitar player I want to become.
I spent over eight years studying with guitar instructor John Olin down in North Jersey. I learned from the very best teacher for a serious guitar student between 12 and 20 in the 80's. John taught me most, if not all, of what I needed to develop the well-rounded skills to work as a professional guitarist and musician. With deep study, I could fluently read music and charts at 16 years old. Not one triad, 7th chord, 11th or 13th chord, scale, arpeggio, chord progression, Diatonic sharp or flat key that I didn't get down in my head and in my fingers. As homework, I hand-wrote harmonized Harmonic and Melodic Minor scales in all keys in full music staff notation.
I worked through Jazz standards and chord melody versions of "Misty," "My Funny Valentine," and others while continuing to work on the Blues, R&B, Rock, and Metal guitar chops. Then we threw in a few Classical guitar pieces from the Aaron Shearer book. Though at times tedious and exhausting, I received the best training I could ever get. I'm glad that I grew up in that generation where we had to learn everything manually, the long and hard way without internet, YouTube, software programs and file sharing, etc. Four years into playing, I began teaching the instrument.
I do not sing and if you asked me to, I could easily clear out a room. So don't ask. I don't play any other instruments. I always wanted to simply focus on becoming the best guitarist that I could become without the distraction of other instruments on my to-do list.
RZ: Talk about some of the people and groups you've worked with.
SM: I play everything! Wedding gigs and upscale private events with a horn section require a skill set over and above that of a "soloist" and "Rock shredder." I also work with cover and tribute acts where the styles range from R&B, Motown, Dance, to Classic Rock and Metal -- usually described as "guitar" gigs. I even play Portuguese weddings. When you immerse yourself in ethnic music after getting called for that type of gig, you learn a lot as the melodies and cycling chord progressions structure differently than in North American music.
For the last five years, I worked with Charli LaToven, an incredibly jaw dropping and talented, bilingual vocalist and performer who needs no introduction in Westchester County and the Hudson Valley. Charli's dynamic and amazing show features her four-octave vocal range and impressive production complete with synced audio-visuals and laser lights. We play private events, festivals and clubs both locally and out of the area. She can belt out Whitney Houston, Celine Dion, Aretha Franklin. and the legendary greats like no tomorrow, then switch gears and then throw down a killer, slamming version of AC/DC's "Highway to Hell" like you've never heard.
The unique LaToven gig calls for me to play Dance, R&B, Motown, Funk, Soul and Classic Rock all in one night. She gives me the freedom to add more guitars in some arrangements over and above what the original featured -- if it fits and it's appropriate for the vibe, style and feel of the song. We've done Demi Lavato's "Sorry Not Sorry." Because of its bad-ass groove and attitude, I play heavy, chunky Hard Rock power chords and riffs in the chorus sections and add melodic solos in the middle and outro. And it works. I do the same with J Lo's "Let's Get Loud," throwing in some Latin guitar lines and a shredding outro solo. I even create my own guitar arrangements in songs with no guitar!
It's fun, different, unique, and at times challenging as it's not your standard cookie-cutter guitar gig. Charli and I always feel an amazing musical chemistry that ignites into down right explosive energy. The seasoned musicians in her LaToven Band lineup contain wildly talented pros with real touring experience and a multitude of projects and gigs that make them so impressive.
Some years ago, I played lead guitar at clubs and theaters with solo artist Ted Poley, the voice of Danger Danger. On this tons of fun gig, we worked shows up and down the East Coast with Quiet Riot, Firehouse, and other national acts. Though very time consuming to learn this material, it's got to come out right when you play the Danger Danger hits which originally featured the work of guitar great Andy Timmons. All out 80's arena rock shred guitar. I would love to play a gig or two with Ted again at some point.
When Covid-19 hit, I found myself in the middle of a second run with The Mix after playing in the band back in 2013. This very popular six-piece Classic Rock cover act worked out in New Haven County, CT. A great bunch of talented guys, awesome fun, always playing to a very loyal and enthusiastic following. The material ranged from Van Halen to Ozzy, The Scorpions, Deep Purple, Boston, Journey, Kansas, and to Styx. Dueling guitars and layered vocal harmonies. The perfect cover gig for a Rock guitar player.
Over the years, I've played so many different types of gigs with so many musicians. Everything from one-offs, contract gigs, to longer-term band member. Worked in bars, clubs, catering hall, country clubs, to concert and festival stages. It would take forever to list them all. But I learned something valuable from them all. I enjoyed a great time playing music with each one of the talented musicians I worked with.
RZ: What guitars, strings, and amplifiers do you currently use?
SM: For my solid body electrics, since 1993 I play three DC model Carvin guitars. Two DC400C models with neck through design, Rock Maple and Koa woods, active/passive electronics and recessed Floyd Rose tremolo. My 1993 model's emerald green and my 2012 model's deep red wine. Both came with a translucent finish, 24 frets, abalone block mother of pearl inlays, and quilted woodgrain. My third Carvin's a 2013 DC135 with a fixed bridge and two-tone Hawaiian Koa wood. I love the feel and sound of Carvin guitars and haven't played any other type of solid body electric in over 25 year! I string them with Elixer Nanoweb gauge 009-042. The rebranded company now goes under the name Kiesel Guitars.
For years, I used a variety of stereo combo amps. But recently I put together a new rig and upgraded to the Fractal Audio Axe-FX 3, quite an elaborate and mind-blowing piece of technology to say the least. It's a powerful and robust preamp, processor and amp modeler with thousands of tonal possibilities along with countless EQ and effects programming capabilities and configurations. Over a thousand presets available at my fingertips with tons of digital effects configurations and cabinet simulators all in one unit. No limitations for this totally customizable guitar studio/stage rig irregardless of gig, musical style, and genre.
Finally, when I gig again post-Covid, I'll no longer use traditional amps with mic'd speaker cabinets. No more dealing with fluctuations in room acoustics from one gig to another. This direct-processing type of rig delivers consistency. I will run the Axe processor straight to the house mains with a stereo signal, while running two Headrush 12' FRFR 2,000 watt powered monitors onstage. I'll also run a Furman Power Conditioner. And that's all I need, except for my Fractal foot controller and expression pedal. Though I haven't used this rig on a gig yet, I will break it all in once the world returns to normal, hopefully later this year. In the meantime, I keep busy with the Fractal's steep learning curve.
RZ: Tell me about your teaching practice.
SM: I taught guitar part-time privately for many years and full time now for the past 12 or 13 years. I've consistently kept 30-35 plus students on my schedule for the past nine years and find myself busier than ever. Feeling extremely fortunate and grateful that as my students keep me busy working for a living to a greater extent than bands and gigs do, especially right smack in the middle of a global Pandemic where none of us can gig. I decided a long time ago to position myself as the "textbook" guitar instructor and offer theory and technique in a systematic manner within the style that each student wants to pursue. I also go over the technical aspects of the instrument that I find many guitarists lack an understanding of. This as opposed to only sitting with beginner guitarists or simply goes over cover tunes with students.
Over time, I've attracted those students who really want to dig in and learn the intellectual side of the instrument. I customize the lessons to the individual and we set goals. It would surprise you how many players come to me and say I DO NOT want to learn even one cover song for quite a while. They really want to take a year or more to fully understand the complexity of the fretboard, train their ears, study Augmented, Diminished and Altered Dominant, Major, and Minor chords and learn how to play over them. I teach chord construction, harmony, modes, scales, arpeggios, improvisation, and concepts that provide a foundation and a pathway to other styles such as Latin, Blues, Jazz and Fusion.
In the past week alone, I've taught very detailed student lessons on arrangements for "Little Wing," and note for note solos in "Panama" and "Hot For Teacher." I also just finished a Wes Montgomery style 12 Bar Jazz/Blues guitar piece with another student. But mostly I provide deep theory study in a structured manner. They learn every single triad, 7th chord and their respective inversions, Diatonic/Harmonic Minor modes. And we spend a lot of time improvising over backing tracks in a variety of styles and working on phrasing.
I've helped players become working musicians in cover bands, and I've prepped a handful of students over the past six years for Berklee College of Music even though I myself do not hold a music degree, which sounds ironic. We guitar geeks live and breathe music. We keep working to become better players and enjoy a great time doing it. My students made me a better teacher. And they always keep me on my toes. I strive to mentor them and not just teach guitar.
RZ: How's the Pandemic affected you?
SM: Obviously, I'm not performing on stage, not for the past year. But that will change in time and the music industry will recover after we develop better and safer public health protocols. Especially after most of the population receives the vaccine and we establish a degree of herd immunity. As far as my music business, there's nothing good about this Pandemic. The tragic loss of life and battered economy has tragically devastated so many. Although for me it certainly had it's silver lining in terms of providing an efficient business model for teaching guitar. This time last year, I sat face to face with most of my students in Westchester, Putnam and Rockland Counties. Very busy and away from home sometimes for 10-12 hours a day. At other times, things would slow down for months and then suddenly get busier for an equal stretch.
Now I book heavily more consistently. I work from home, fully remote with almost 40 students in 13 states and all U.S. time zones. I go around the clock six days per week. Twice a week, I start my day at about 9:30A with a little time in between sessions. Then on two week nights, go on and off until 11:30P what with the West Coast three hours behind. Some days I do back to back sessions for five-six hours straight before I take a break. And I need to stay on top of everything with each student because they all deserve to get me at my best. One extremely hard-working student in Philadelphia does anywhere between nine-twelve hours of sessions per month with me as I teach him everything I've learned on the instrument.
Honestly, I never expected this to happen so fast, almost overnight, within six-eight weeks. The Pandemic has entirely changed my business model. While I had planned this type of shift to an extent for a variety of reasons before Covid broke loose, it would've taken much longer to transition to virtual. As one of the most heavily booked guitar instructors I've ever known, I don't take it for granted for one minute. I always wanted to run my own small business,in music if possible. I never did well keeping my mouth shut in the nine to five world with all its head games, bullshit and inequities before I witched to earning a living with my guitar.
Speaking brutally honest, the music biz goes through its ups and downs with a certain level of instability for the average musician. And it's just as cut throat and political as other industries, no matter how nice or talented the guy. I never wanted to entirely rely solely on bands, gigs, booking agents, and venues to make a living. But I love working as a musician and earning my complete living through it. It's hard work, but entirely worth it to play to an audience who really wants to hear it and teach students who want to learn it. Just entirely awesome and I won't do anything else ever again.
RZ: How do you see the future of the music business?
SM: In the post Covid-19 world, a lot of things will stay different for at least a while. No exception with the music business. The economics might change while we enter Pandemic recovery. Live streaming and digital versions of one or two sold out shows should serve as a work around for acts to generate revenue and expand on the fan base if difficulty with finances keeps a band from going out on the road. We already see this trend. Many artists and acts become as much a virtual, internet product as a live group. Some closed venues will reopen and others may not. Not quite sure what things will look like in another year or two. I do believe that after Covid no longer looms as a public threat, everyone will want to get out for a live band show after living stuck at home for so long. The business will continue as predictably unpredictable like always!
RZ: What advice do you give up-and-coming musicians?
SM: Work hard at it. Don't sell a half-assed version of yourself. Learn your instrument. Grow versatile in a variety of styles and genres. Study the business and set goals. Surround yourself with ambitious, talented, knowledgeable, and hard working musicians who share your direction. If it interests you, teach your instrument if you've got the skill set to do so. It will provide additional income and/or a financial cushion for those dry spells, possibly months, between those great paying gigs that you rely on for income. And you will make a difference by helping others become better musicians.
If you need to make money playing music, then do things that will make you money. As a hobbyist, you can play bars for $100 per night and stay in your comfort zone if you want to only play Hard Rock and Metal. Or you can earn $500 and play Dance and Motown while still shredding lead guitar during a portion of the night. Know your worth. Don't act afraid to say no if someone's trying to take advantage of you. Never negotiate from a position of weakness. Don't hit on your drummer's wife and don't drink on the job. You have no idea how many times I've seen immature, knucklehead musicians do that!
Juggle multiple projects. Multi-task. Go out on stage and crush it! Shine as an artist, songwriter, performer, virtuoso guitarist, or whatever your core competency. Run your musical pursuits like a business. But enjoy what you do. Act assertive but not like a jerk. Shine as a team player since quite often your band's not a solo act. Run a fan onstage as it gets hot under the lights, LOL! Appreciate your crowd and audience. Have a great time doing it!
YouTube - Star Spangled Banner (Live) - Steve Massa
©2021 Roger Zee
