The Song Rules: Guitar God John Platania
by Peter Aaron
Mostly because I’m not cut out for the studio scene—the
play–on–demand part, anyway. I’m a stylist. People
hire me for my “voice,” my particular style and sound I’ve
developed. I’ve lived in L.A. and London, and New York is just
down the road, so to speak. So I’ve dealt with and still deal
with those places, but on my terms. The lucrative studio scene doesn’t
exist anymore, anyway. I’m an upstate country boy, this is my
home, and after all is said and done the Hudson Valley is where I’m
always drawn back to.
Your first instrument was the piano. What made you want to play the
guitar instead? Do you still play piano?
My family couldn’t afford a piano, but the guitar is a different
thing. I don’t play [piano] much—maybe to compose on. But
I love the piano. I listen to as much piano music as I do guitar. I
wish I could really play it. I guess I’m just a one–instrument
guy.
Which contemporary guitarists do you admire? Anyone local?
These days, mostly jazz players like Russell Malone or Pat Martino—don’t
know if Martino would be considered contemporary, but I find myself
listening to him a lot lately. Ditto for the late, great Michael Hedges.
There are players that catch my ear every so often, but I couldn’t
name them right now. Some Nashville guys like Brent Mason and Guthrie
Trapp. Local guys? Tony Di Paolo is a fine player. Bobby Lustgarten,
if he’d come out of hiding (ha ha), and Mike DiMicco is a great
jazz player. He covers rock pretty good as well.
You’ve also made a name for yourself as a producer of your own
records, and, quite successfully, of several by Guy Davis. Which production
credits are you most proud of? Anything new going on for you in that
area? CONTINUE...
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