HIGHER GROUND

LIKE SO MANY Red Hot Chili Peppers fans there at the beginning, I first heard John Frusciante on his debut album with the group, 1989’s Mother’s Milk. John was just 18 at the time of its recording, a fact unknown to me at the time. Listening to his muscular, confident playing on tracks like “Knock Me Down,” “Pretty Little Ditty” and the covers “Higher Ground” and “Fire,” I was sure the Chilis had snagged a guitarist a good 10 years older. But it was his work on the group’s followup, 1991’s Blood Sugar Sex Magik, that blew me away, just as it did every other fan. It was immediately clear that Mother’s Milk had barely scratched the surface of his talent, that there was so much more to come — and John was not one to rest on his laurels.

Which is why I find this issue’s interview with him so fulfilling. More than 30 years after those albums, John continues to push himself and his talents toward virtuosity — not the kind of performative perfection we typically associate with the term, but a wholeness with his art and his fellow musicians. Consider John’s view of music theory: “For me, the purpose of knowing the theory is to have an understanding of why I’m feeling a particular emotion,” he explains. Or his place in the band’s musical arrangements: “Because Flea plays in such an interesting way, I think of intervals not only as the relationship between two notes on my instrument but as the relationship between what I’m doing and what he’s doing.”

For that matter, consider John’s daily guitar regimen, revealed in eight steps on page 48. It seems intense. It is intense. But John approaches is with such pleasure that it seems to be as replenishing as meditation. I’m thrilled to bring an artist of his craft and introspection to these pages, and I hope you find our interview with him as inspiring and thought-provoking as I do.

I give great thanks to Laura Swanson, EVP Media at Warner Records, who helped bring these stories to our pages. I also thank Elana Radin at RHCP management and Narci Martinez, the band’s tour manager, for their graciousness and assistance. Much helpful information was also provided by John’s current guitar tech, Henry Trejo, and former tech Dave Lee.

And, of course, great thanks go to Richard Bienstock, who interviewed John, Henry and Dave for this issue’s stories. Rich has spoken with John on several other occasions, and I’m always impressed by the connection he’s forged with him. This issue’s features are the best interviews with John that I’ve read.

I also thank Eleanor Jane, our remarkable collections photographer, who captured the images of John’s guitars featured in this issue’s galleries.

Finally, I thank John for being so generous with his time and giving of himself to us, to music and to guitar.