Tao Guitar: Gabriel Marin

Tao Guitar: Gabriel Marin 

Consider the Source’s music is an eclectic mix of ’70s fusion, traditional Middle Eastern and Central Asian styles, prog weirdness, and metal intensity. Guitarist Gabriel Marin boasts insane chops, impeccable time, mastery of diverse traditional scales, rare fretless guitar fluency, and a gift for manipulating effects. He’s also a hardcore gear junkie who tours with three pedalboards, 17 pedals, two guitar synthesizers, two amps, and a well-worn Jim Kozel custom doubleneck.

 

 

New York native Marin started on piano and picked up guitar at 16. A year-and-a-half later he was playing Yngwie licks. He earned a bachelor’s degree in classic music from Hunter College, is a disciple of Indian master musician Debashish Bhattacharya, and studied with David Fiuczynski. “I saw a video of [Dave’s] band Kif,” Marin told Premier Guitar. “And I said, ‘That. I need to get with that guy.’” Marin also plays an assortment of traditional acoustic instruments including ba?lama saz, kamancheh, dombra, dutar, tanbour, ?àn b?u, etc.

 

When I started off I was more into the rock thing, but I was always into different world stuff too. At first my influences were grunge guys and shredders. Jerry Cantrell and Billy Corgan were the grunge guys. I also liked Yngwie [Malmsteen], John Petrucci, and Steve Vai when I was a teenager. It gave me a lot of chops learning to play like that. I was 17, I’d been playing guitar like a year-and-a-half, and I could play Yngwie’s “Far Beyond the Sun.” I was like, “Oh, I can play anything!” [Laughs]. But then I heard [John Coltrane’s]A Love Supreme and John McLaughlin within a two-month period, and it totally changed my music. The chops were so there, but it seemed to mean more. When Coltrane was playing fast lines, it wasn’t, “Look at me playing this fast line.” It was just a spiritual explosion of notes. I thought, “Okay, that’s what I want to do.” I was always uncomfortable with the shredders who put on a show—they would make faces and hold their guitar funny and stuff like that. That didn’t speak to me. And then I heard McLaughlin and Coltrane, and they were playing so well. They meant every note and there was no bullshit, even though they were playing super fast.

 

When I started off I was more into the rock thing, but I was always into different world stuff too. At first my influences were grunge guys and shredders. Jerry Cantrell and Billy Corgan were the grunge guys. I also liked Yngwie [Malmsteen], John Petrucci, and Steve Vai when I was a teenager. It gave me a lot of chops learning to play like that. I was 17, I’d been playing guitar like a year-and-a-half, and I could play Yngwie’s “Far Beyond the Sun.” I was like, “Oh, I can play anything!” [Laughs]. But then I heard [John Coltrane’s]A Love Supreme and John McLaughlin within a two-month period, and it totally changed my music. The chops were so there, but it seemed to mean more. When Coltrane was playing fast lines, it wasn’t, “Look at me playing this fast line.” It was just a spiritual explosion of notes. I thought, “Okay, that’s what I want to do.” I was always uncomfortable with the shredders who put on a show—they would make faces and hold their guitar funny and stuff like that. That didn’t speak to me. And then I heard McLaughlin and Coltrane, and they were playing so well. They meant every note and there was no bullshit, even though they were playing super fast.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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