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Jazz Guitar/Classical Guitar: a Symbiotic Relationship by Dr Jazz Guitar/Classical Guitar: A Symbiotic Relationship By Dr. Steven Kinigstein Part I Bucky Pizzarelli, jazz guitarist extraordinaire, informed me that he had recently gotten a Ramirez clas - sical guitar. More than thirty years earlier, Mike Gari was proudly showing me his newly acquired Contreras. These two great jazz guitarists are not the only ones I’ve known who have sustained a serious and devoted involvement with the classical guitar. Look at the voice Bill Wurtzel Steve Kinigstein, Gene Bertoncini and Mike Gari leading in any chord-melody by Howard Morgen, where SK: If you’re playing your archtop, and a classical the depth of his study of the classical guitar most obvi - tune is called, do you use a pick? ously displays its influence. The manner in which the BW: Just fingerstyle. voices move is completely logical; yet they sacrifice neither warmth nor beauty. I could go on citing exam - SK: Gene, what’s your primary guitar? ples of major jazz guitarists who play the classical gui - GB: I play a lot of solo guitar, so I use a classical guitar tar or classical guitar repertoire, but that falls short of made by John Buscarino. (It’s amplified, as well.) the point of this article. Moreover, there are many clas - sical guitarists who have made an enduring commitment SK: Does it have a built-in pickup? to jazz. (The comments of two of them, David Burgess GB: Yes. and David Richter will be seen in Part II of this article.) Clearly, elements exist in each of these genres that have SK: Do you ever use a guitar that does not have a managed to attract players of one to the other. built-in pickup? (Certainly, the benefits to be had from the understanding GB: Yes, a Velasquez. of voice leading on the classical instrument, though great, cannot be the sole reason for involvement on the SK: That brings up another question: Do you find part of jazz guitarists.) In order to get an idea, at least in that the question of amplification influences your part, of what is at the root of this reciprocal attraction technique? Do you play a piece differently on the (and if there might be, indeed, a symbiosis), I assembled Velasquez from the way you would play it on the a group of virtuoso guitarists from each of these two Buscarino? genres. The guitarists participating in this article, which GB: Sometimes there’s a different feel. There’s a differ - will be presented in two parts, are (listed alphabetical - ent kind of fulfillment when you are making all the ly): Roni Ben-Hur, Gene Bertoncini, David Burgess, sound yourself. I feel a little better when all the sound is Mike Gari, Howard Morgen, Bucky Pizzarelli, David created just by the guitar. It’s impossible to work that Richter, Bill Wurtzel, and Jimmy Wyble. In the first seg - way in most situations – when you’re playing with other ment of Part I, which took place on August 6, 2008, we musicians, or in a large concert hall. Even with that, will hear from Gene, Mike, and Bill. sometimes it’s a joy to play with just a microphone and a guitar. I’ve gotten so used to playing on the Buscarino; SK: Am I correct in assuming that all three of you I feel more at home on it. All my latest recordings have consider yourselves to be primarily jazz guitarists? been done with just a microphone and the Buscarino. All: Yes. SK: What about you, Mike? SK: When you are playing classical repertoire, do MG: (Laughing) I’ve sort of gotten into a bastardized you use a classical guitar or an archtop? version of classical and jazz. So at this stage, I use a BW: I can use an archtop; but when it’s going to be a lot pick, and fingers, and I use that technique on any guitar. of classical pieces, I use a nylon-strung Bellido or an I’m not going to get the nuances that I would with a amplified Takamine. classical guitar; but somehow I’m able to make myself I Just Jazz Guitar February 2009 Page 89 happy, and sometimes I’m able to convey that feelingf SK: Gene, what attracted you to classical guitar? when I’m playing for people. Did you start out playing jazz on a classical guitar? GB: No. I always had an archtop, a D’Aquisto. When I was studying with Chuck Wayne- in my college days, he told me to listen to this recording of Julian Bream. It was called “The Art of Julian Bream.” I’ll never forget that record; it just changed my life completely. SK: What was the initial action that you took? GB: Well, a bunch of the guys were studying with Albert Valdes-Blaine. Barry Galbraith, Howie Collins – those guys. So I immediately started studying with Albert Valdes-Blaine. He was the one who introduced me to a Velasquez guitar. He used to have a student model there. It had wonderful tone. I just dove into the repertoire and studied. I really started to think about playing some of the repertoire. But I was always a jazz player, and always earning money as a jazz player. Mike Gari and Bucky Pizzarelli Pretty soon, when I was accompanying singers or doing SK: Knowing your playing as well as I do, I am cer - a record date, if it was requested, I would sneak in a tain that your combination of fingers and pick is a classical guitar. Like if I was accompanying Lena matter of choice, rather than anything imposed by Horne, I used to do some solo stuff. Then I started doing limitations. it with just that (classical) guitar. I always had the clas - MG: Actually, I surrendered, I just surrendered! At one sical guitar with me to practice. I got to be known as time I could really play it well that way (with fingers); being able to play it, so I started getting record dates. but I just could not get it to the next level. It wasn’t There were films where they needed a classical guitar, going to happen. I just had to acknowledge it. I said to and Hubert Laws albums used classical guitar. There myself, “I like this stuff. I like hearing it, and I want to were very few guys doing it. Jay Berliner was one. He’s be able to play it for other people too.” This was my a giant! Jay Berliner could sit down and sight-read any - compromise. thing. SK: Bill, what attracted you to the classical guitar? SK: I actually did a session once with Jay Berliner. BW: A friend of mine said that if I wanted to improve He was amazing. my musicianship, it would be a good idea to take a cou - GB: I feel so lucky. First of all, I fell in love with Julian ple of classical lessons. I was lucky to find a great Bream’s playing. Then, all this stuff happened. And at teacher, Yasha Kofman, and was hooked. just about the same time, the bossa nova came to our country, and I became friendly with Joao Gilberto. Joao SK: In what ways do you feel that it improved your used to borrow my Velasquez whenever he had a con - general musicianship? cert. I still have the marks where he used to scotch tape BW: Sound, how to make the guitar sing, how to press the set list. (laughing) That was on my old Velasquez. the strings, reading, familiarity with the fingerboard, the Then I got a new one. Everything that I’ve accom - ability to relax and live in the moment… plished individualistically has been because I started playing classical. SK: Did the benefits of those things that you learned (for example, how to make the guitar sing more) SK: Mike, what attracted you to the classical guitar? carry over to your archtop as well? MG: Well, my first teacher was Howard Morgan, who BW: Definitely. was big on finger style. He was always using his fingers. That got me into it. Then, of course, I was listening to SK: What about when you’re playing your archtop people like Gene, and Chuck Wayne, and they were with a pick? playing great classical. Also, the whole concept of using BW: Yes. Sound above all. A little vibrato goes a long way. your fingers opens up so many things. Even playing I Page 90 Just Jazz Guitar February 2009 jazz. Not only as far as chords; but also single notes, played the Capriccio? climbing up with the fingers instead of with the pick. GB: Marvelous, for an old guy. You hear Jack Wilkins doing that a lot. I just love clas - All: (laughter – lots of it) sical music. I wish I could play it as well as Gene;it BW: Yeah, when I order three minute eggs, they make takes a lot of dedication. It’s made a tremendous differ - me pay in advance. ence in my playing. Having a foot in both jazz and clas - sical music makes you feel so confident. You feel like you can draw from both of them. GB: If I could make a point: I think having studied clas - sical repertoire led me to the whole idea of preparing arrangements. It wasn’t as if I was just using stuff I knew to play a gig. The whole thing is about sitting down and working out something. SK: Voice leading, etc.? GB: Yeah, everything.
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