Carl Amundson is a very busy working guitarist out of Florida who talks about his love for the masters of jazz guitar as well as how he formed the Modern Guitar Quintet and more. A great read.

JazzGuitarLife.com Interview with Carl Amundson: This interview was conducted via email March, 2005. Check out his website at www.modernguitarquintet.com

JGL: How old are you?

CA: 34.

JGL: What geographical area do you live in?

CA: I live in the Tampa Bay area of Florida.

JGL: How long have you been playing guitar for?

CA: It depends what you consider playing. I started when I was 15, but I didn't get serious about it until I was 19. I guess it’s been 19 years now.

JGL: What was your first guitar and what are you playing now?

CA: My first guitar was a nylon string Univox. I got it for $30 from a friend. I played that for many years until I could afford something better. Now I play a Guild X-700. That’s my primary guitar. I also have a nylon string electric that I play, but not as much.

JGL: At what age did you first get into guitar playing and were you interested in jazz from the beginning or were there other musical interests before jazz?

CA: I didn’t even know jazz existed when I started playing guitar. I started in a rock and blues background. I did that for several years before I got bored with that and started looking for something else to play and listen to. I heard some jazz-rock and thought it was ok, but wasn’t really satisfied with it. I finally was introduced to jazz when I took guitar lessons in college from Frank Mullen. He made me some tapes and said “listen to this”. I found it to be overwhelming and confusing. I told Frank this and he told me to keep listening. I did and started to hear what was really happening. It just took off after that.

JGL: What excited you about jazz guitar or jazz in general when you were young?

CA: There were a few things. I first connected with guys that had a lot of “drive”, like Kessel and Farlow. That was my first connection. They had a certain physicality to their playing, plus the speed and complexity of their lines. After I could hear what they were doing, I started to enjoy other players like Wes and Jim Hall, but it was that initial intense playing that really knocked me out.

JGL: Who were your influences on jazz guitar when you were beginning, and have they stayed the same or have they changed over the years?

CA: I was more of a “purist”, so I went for Kessel, Farlow, Rainey. These type of players. Really, there are so many. Every other day I would hear a guitarist who I’d never heard before who I thought was the greatest player I’d ever heard. I remember getting the Jim Hall/Paul Desmond recordings and just listening to them every day. Kessel was probably the biggest for me though.

JGL: Who are you listening to today (guitarists or non-guitarists)?

CA: I’ve been listing to Jack Wilkins and Louis Stewart. I’ve listened to Wilkins for years and just got some new stuff of his. Louis is a new find for me. I had a friend play one of his CDs and I was floored. He’s been around for a long time, but he’s never gotten the recognition he’s deserved.

JGL: Who has been most influential in your life as a Jazz Guitarist and why?

CA: It would have to be Frank Mullen. He’s the one who introduced me to jazz and he’s helped me ever since. Besides lessons, he’s really mentored me. He’s given pointers and constructive criticism. Oh, the constructive criticism! But I think that is the most important part. It takes a second to say “that part of the ad-lib is good” but it takes a while to get down to the problems young players have. You can’t fix something if you don’t know it’s broke and why it’s broke and what you need to do to correct it.

JGL: How difficult do you find it making a living as a jazz guitar player? Or have you found it to be relatively easy?

CA: The only thing easy is playing. I like playing. I even like practicing. But that’s the only easy thing. I’m not good at selling myself. You know, if you can sell yourself, you’ll always work, even if your playing is remedial. If you can play and sell yourself, then nothing can stop you.

JGL: Did you know early on that music was something you wanted to do as a career choice and if so, what were some of the things you did to make this choice work for you?

CA: I’ve always been drawn to music. It’s something I’ve always wanted to do. There never was much of a choice.

JGL: Were your parent(s) and family members supportive of your musical career choice?

CA: No. They thought it was a waste of time. In a sense, they’re right. If I think of the amount of time I’ve put into music and the money I’ve got from it, then I’ve been underpaid. The thing is, I’ve received much more benefit than just money. So the way I see it, it’s not a waste at all.

JGL: What was your practice routine like when you were beginning? And how has it developed over the years?

CA: In the beginning my practice schedule was pathetic. I should have practiced a lot more. Then when I got serious, I practiced relentlessly. I needed to get my chops up and learn to ad lib. Now, my practice sessions are about musical ideas. It’s about opening up and expanding my ideas. I’m not trying to learn new licks, because that ties you down to the series of notes you just memorized, I’m trying to “hear” new ideas.

JGL: Could you describe some of your best musical situations or experiences and the worst?

CA: That’s hard to narrow down. My best situations are when the band is cooking and I’m hearing well. I had a gig Saturday that was great. In these moments, I am in the zone and feel like everything is perfect. Bad experiences are when a band isn’t together. Then it’s hard work.

JGL: This may be an obvious question given the context of many of your recordings but What type of musical situation do you enjoy the most (ie: trio, quartet, duo, solo, etc.)

CA: I really don’t have a favorite. I love my group, the Modern Guitar Quintet, but I enjoy the freedom that a trio gives. I used to do a lot of solo guitar, which was great, but there are limits to that as well. There are benefits and limits to each one. A mixture is great.

JGL: How did your Modern Guitar Quintet come about?

CA: I was a in a guitar ensemble clinic that Frank had. I was writing for the group and had quite a few charts. Some of the guys were getting together jamming and so I figured I’d see if they wanted to do something. They were into it and it has just grown and evolved since then.

JGL: Your latest CD "Guitarists" is a wonderful tribute to the guitarists you admire. It's unique in that it not only features yourself on guitar but two other notable guitar players: Aaron Watson and Nate Najar playing hip and tight arrangements of tunes like "Walk Don't Run", "Far Wes", and "Bluesette" to name but a few. Please talk about the origins of this project and about how Nate Najar came to be on this recording.

CA: I always liked "You’re the One For Me", a Kessel tune. I took his chord melody and arranged it for 3 guitars. We played it on a gig, which was filled with guitar players, and everyone thought it was really great. So that’s when I got the bright idea of having a jazz guitar group play jazz guitar player’s songs. I made a list of guys that really influenced me when I first started playing and then picked one of their songs that I thought would sound good in a 3 guitar setting. Then I took the ones that worked the best with the group and recorded them.
I’ve known Nate since he first started taking lessons from Frank Mullen. I’ve been mentoring him pretty much ever since. He wanted to be a part of the Modern Guitar Quintet, so when a spot opened up, I invited him to join. I helped him with his playing and his last 2 recordings. This is actually the second CD of mine he’s been on. He was also on "Kinda Cool".

JGL: Did you pick which tunes would be on the CD or was their group discussion first. And how did you end up delegating which guitarist would be featured on which tune?

CA: I picked the tunes. When I had the songs I was going to write up for the group, I tried to pick a song that I thought would suit Aaron and Nate style and gave them a feature on it.

JGL: "Guitarists!" is getting some serious air-play. How have you been able to promote this particular CD to get the response that you are getting compared to the other CD's you have recorded in the past? Or is there no difference at all?

CA: Guitarists! has done really well. I have almost no promotional budget, so the response has been incredible. I did the same promotion on the last CD, but it was not nearly as effective. I think the concept and playing really came together on this one and people really took to it. You have to remember, it was released on an independent label with a very limited budget, and this CD went to #22. Had it been on a label with a real promo budget, it would have been in the top 10. So it’s a big success. I’m really happy with the whole thing and hope this success will open some new opportunities for me and the group.

JGL: How is "Guitarists!" different compared to your past CD's? And was this a conscious effort on your part or just an on-going progression?

CA: You know, I really didn’t do anything different. I remember reading an interview with Kessel where someone was criticizing one of his recordings and he said something like “It was the best I could do at the time. If I could have played better, I would have.” That’s how I feel with each of my recordings. It’s a snapshot of where the group is at that time. There was no conscience choice to play different. The group has progressed since that time and sounds different. Just like the group sounds different on my previous release, Kinda Cool, when you compare it to Guitarists.

JGL: Do you plan on recording another CD any time soon with the same lineup or and/or concept?

CA: I am planning another CD, but I don’t have any details. I have a couple of things in mind. I’m also looking for a bigger label to release the next one. I always have 2 or 3 ideas for another CD, but I only have so much time.

JGL: How did you acquire your considerable arranging chops?

CA: The arranging just came with experience. Frank taught me the basics and I took of from there. I’ve been writing for 15 years. I’ll get guys that decide they want to write for the group. They write their first arrangement and are disappointed that it doesn’t make it into the book. I have to explain that I have stacks of arrangements that I did that aren’t good and will never be played again. I know how to write now, so I don’t have many that don’t work out, but that was after a lot of trial and error. Programs like Finale make it easier because you can hear it as you write, but the biggest problem people have is over arranging. You can suck the life out of a tune by writing too much.

JGL: If you could only pick one individual or group to play with (alive or dead), who would that be and why?

CA: That’s too hard to answer. 10 years ago I probably could have given you an answer, but there’s too many guys I admire. No wait. I just thought of one. The Oscar Peterson trio or quartet. Great groups.

JGL: Has your impressions and experiences of being a Jazz Guitar player been what you had expected when you first decided to become a musician?

CA: Yes and no. I thought it would be hard and rewarding. It’s been much harder and much more rewarding than I could have ever imagined.

JGL: Where would you like to see jazz guitar go in the coming years?

CA: I would like to see it get more spotlight in the general music scene. Jazz is such a small subset in the music world, and it deserves so much more. If it got more promotion, I think it would sell more.

JGL: Any advice for the younger guy or gal who is thinking about playing jazz guitar?

CA: Practice. Find your own voice. I tell every student these things. Wes Montgomery didn’t become great by copying other guitarists. He became great by finding his own voice.

JGL: Apart from music what other pursuits do you enjoy tackling?

CA: I’ve been into computers for the last 8 years or so. Doing web programming. I’ve also built my own recording studio have produced all my records as well as producing Frank Mullen’s CD and assisting Nate Najar in his last 2 recordings. Lately I’ve gotten into real estate a bit. It’s hard to do other things though. Music is all-consuming for me.

JGL: Have you ever had second thoughts about your choice to have music as a career and if so, what other career path do you think you would have followed had you not been a guitar player?

CA: Maybe a social gadfly. Can you get paid for that? I’ve had lots of jobs to earn money, but a music career is all I’ve ever wanted.

JGL: Thank you Carl for participating in jazzguitarlife.com. It is most appreciated.