jazz guitar life - jazz guitar interview with Gary Tu

JGL: How long have you been playing guitar for and at what age did you first get into guitar playing?

JGL: Were you interested in jazz from the beginning or were there other musical interests before jazz?

GT: Being a child of the 80's, I wanted to play hard rock at first and was the lead singer in a few bands in HS.

JGL: Can you recall that particular moment that first excited you about jazz guitar or jazz in general? The one that made you say "that's what I want to do"!

GT: I remember checking out Bright Size Life at the recommendation of my private lesson teacher and becoming aware of Miles Davis' role in changing the face of music. Jazz was something I wasn't familiar with but I knew I wanted to figure out what those guys were doing. Later when I realized that they were improvising, I was hooked to find out exactly how they were doing it.

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

GT: At first, my parents were just entertaining my wishes by buying the guitar that I begged for, but I think they had mixed feelings about it when they saw how serious I was. I think part of it was that they wanted to encourage me but at the same time had some trepidation about me choosing music as a career. Ultimately, they were and still are very supportive.

GT: My first guitar was a Cort that we bought at the local music store. It was totally an 80's guitar with a sparkly, crackle finish and locking tremolo. I remember breaking my high E string many times because I had wound it too tight. Now, my main instrument is a Gibson ES-175.

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?

GT: Initially, the biggest influences on my playing were Jim Hall and Pat Metheny. Jim Hall's solo on "I've Got You Under My Skin" (from Bill Evans & Jim Hall Intermodulation) was the first solo I transcribed. I then started listening to Wes Montgomery, Kenny Burrell, Charlie Christian, Grant Green, John Scofield, Mike Stern, and John Abercrombie just to name a few. At some point, I was heavily immersed in Wes Montgomery and all the guitarists from the Jim Hall branch of guitar playing.

GT: Today, I still listen to guitarists and well as non-guitarists. Right now I have Wayne Shorter, lots of 60's Blue Note, Charlie Parker, Monk, Herbie, Coltrane, Wes Montgomery, Miles, Joe Henderson, Charles Mingus, and Ornette on my iPod. I also like Kurt Rosenwinkel's pianistic approach and his earlier records with Mark Turner and Brad Mehldau.

GT: That's a tough one to answer. In short, I am inspired by the work ethic of John Coltrane and the rhythmic/melodic concepts of Wes Montgomery and Pat Metheny, as well as my overall desire to get better at music.

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?

GT: I had decided that music was going to be a career choice for me by the age of 15. When I was 17, I had begun an obsessive practicing regiment. Everyday when I would come home after school and try to practice, I was so tired that I'd fall asleep at my desk with my guitar in my hands. So I changed my sleeping scheduele to: going to bed at 6:00PM right after school and waking up at 2:00AM so that I could be fresh and clear minded to practice. I would then practice from 2:00AM to 6:00AM and then go to school after that.

JGL: You arrived in the United States when you were eight years old and as you mention in your bio, didn’t speak a word of English. How challenging was it “to fit in” to the cultural homogeneity that is the melting pot of the United States?

GT: It was and still is challenging to be an immigrant in the US. Even as a naturalized US citizen, in many ways I still feel like I don't "fit in." As a kid, learning English wasn't hard but as I got older, I definitely felt the pressure of cultural assimilation. Dealing with racism as an adolescent was also tough since that's the time when one begins to discover himself; I experienced my share of racism and had conflicting feelings about whether I was more American or Chinese. It's ironic because when I visit Taiwan, people there tell me that they see me as an American. And that's in a country that I consider my homeland, where people look like me and speak my language. So in some ways I feel like I don't "fit in" here or there.

JGL: You mention in your bio that early on, one of your favorite groups was Motley Crue. How did you go from Crue to where you are now and were their any other “big hair” bands you liked? Do you listen to any of that style of music these days? (I was and still am partial to Warren DeMartini of RATT and to the original Guns and Roses...:)

GT: I was just a kid trying to emulate guitar players that I saw on TV, and it just so happens that MTV only showed rock bands with guitars. Looking back, it seems like a natural progression from rock to jazz as I became interested in the inner workings of music in general. Although I no longer aspire to be a rockstar, I still enjoy listening to rock music on occasion and can appreciate it more.

JGL: You also mention in your bio that you sang in choirs and musicals in grade school and high school and even went so far as to perform “...Le Nozze di Figaro and exerpts from Carmen and Don Giovanni” and then continued singing into your freshman year of college. You even did a double major of voice and Jazz Guitar performance. That’s quite a lot of singing. Do you still sing to this day and have you brought your voice onto the stage...or any plans to do so?

GT: Yeah, it's funny to think about how I used to sing opera. My voice teacher once encouraged me to audition for a chorus part in various productions but I just couldn't see myself making a living as an opera singer. Plus, I was a horrible actor. Since then, my singing has put on the back burner. I don't have plans to bringing my singing into the jazz idiom although I really like what Kurt Rosenwinkel is doing.

JGL: You did three semesters at the University of Miami. Back in the day you might have bumped into Steve Morse, Pat Metheny or Jaco Pastorius in the hallways. What was it like attending a high profile music school like U of Miami?

GT: I have very mixed feelings about University of Miami. First off, it is a very competitive music program. I learned a lot from being there and from playing with very talented musicians. One the other hand, the faculty was not very supportive. In fact, I was eventually forced out of the program even though I was practicing my ass off all the time! I was 2 years into my heavy practicing routine by then; I also only went to the beach twice the whole time I lived Miami. So I couldn't understand why my professor were unwilling to help me improve given all the effort I was putting forth. They always brushed me off but were very nice to the students they liked. The only guy that gave me encouragment was guitarist Stan Samole. I think he could see I was having a hard time and pulled me aside to tell me I had potential. That really meant a lot to me. Later on, I found out that the faculty would have meetings to decide which students they liked and which they didn't like. I guess I was on the second list.

JGL: I only know you as a leader, but you had mentioned that you also worked/work as a sideman. Who have you played with and which role do you prefer: leader or sideman?

GT: Besides leading my own group I am also a member of Pete Carney and Orange Alert. It's an acid-jazz group that's played a few festivals like Jazz Aberdeen and Rochester Jazz Festival. I also freelance around Chicago with various musicians. I can't say that I prefer being leader or sideman although the leader role is slightly more demanding. For example, if the band sounds good then everybody can take some credit, but when something goes wrong the finger usually gets pointed at the leader. That said, however, I do take a lot of pride being the leader especially when my band is really our "A" game.

JGL: So far, I have only heard you play in a trio setting. Is there a type of musical situation or group format that you enjoy the most or does it matter?

GT: I do enjoy the trio format. It is the most open in terms of the rhythmic and harmonic canvas. I also work as a duo with just bass and recently started working with a vocalist as well. Generally, I like to play in all types of musical settings especially when it is something new; those are the experiences where I feel like I can grow the most and learn as a musician.

JGL: What was the Jazz scene like in Chicago when you were coming up as a player and has it changed much?

GT: When I was just starting out there were just as many great musicians as there are now. I think the main difference now is that there is more of an emphasis on bands rather than individuals. I used to go to jam sessions as a minor to hear local greats like Lin Halliday (who had a brief stint with Miles Davis in the 50's or 60's). I remember asking him if I could sit in and he asked me how old I was. I told him my age (19 at the time) and he said, "Kid, I'm 65 years old and every bone in my body hurts." He then got up and played "In Your Own Sweet Way" like I'd never heard before.

JGL: Would you recommend Chicago as an alternative to New York or LA as a town to plant some roots as a Jazz Guitar player? Have you ever thought about moving to NY or LA?

GT: Chicago is a great town for music. I can't say about NY or LA since I've only lived there as a kid. I've definitely thought about moving to NY but that's a hard decision to make since I have a family to support. I would recommend Chicago as a music city because there are some phenomenal guitar players here in Chicago like Bobby Broom, Jeff Parker, John McLean, and John Moulder who are all equally great but different types of players. I think the key is to find your niche and the market you're playing to.

JGL: How difficult do you find it making a living as a jazz guitar player, or have you found it to be relatively easy? What type of promotion do you do to get gigs?

GT: It's very difficult to make a living as a jazz guitarist. To supplement my income I take gigs that aren't always jazz gigs. It's good to be versatile because I can learn something new each time and also open doors to more opportunities. Self promotion is the hardest part. That's all about spending time on the phone and doing research on the internet. I don't want to sound like an expert because I definitely am not, but with technology like email and the internet it's a lot easier to do things that you would have needed an agent or manager to do for you not too long ago.

JGL: You did a successful tour of the UK. How did this come about and what kind of work went into getting the tour off the ground?

GT: I was fortunate enough to play a few gigs in the UK with Pete Carney and Orange Alert. The Aberdeen Jazz Festival in Scotland was the main stop for us but we also played in Edinburgh and London. Pete had sent our press kit to Aberdeen in 2006, which they liked but didn't have the funds to bring us over. So this year we just kept in contact with them and they offered us two slots in the festival. When that gig was confirmed, then we went to work booking other gigs around Jazz Aberdeen and managed to build a small tour around it. This is another instance where technology made it easier for us.

GT: Playing in the UK was a great experience. There's nothing like travelling abroad and playing music for a new audience. We were treated very well and people seemed to enjoy the music. I can't wait to do it again!

JGL: Do you teach privately and if so, how does one go about studying with you? Is there a particular level of student you are looking for?

GT: Yes, I do teach privately. I can be reached through my website or via email. I would be happy to teach students of any level.

JGL: When you were developing as a Jazz Guitarist what kind of studies did you work on?

GT: Back in the days of heavy practicing, I would create a weekly scheduele of things to practice. It would consist of at least one hour per day (sometimes more) for each of the following: chords, scales, arpeggios, improvisation, repertoire, critical listening, sight reading, and transcribing. I also worked on Bach's Sonatas and Partitas for Solo Violin as well as The Cello Suites.

JGL: What is your practice routine like these days? Do you work on specific things or just play tunes?

GT: My current practice routine is mostly spent composing. That is by far the hardest thing to do because it takes so much time. I also work on improvisation; like applying different concepts over tunes I already know.

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

GT: The best musical situation I can recall has to be playing with my trio on any given night and being in that zone. During those moments I feel like I can play anything and the rhythm section is right there to support me. The worst situation has to have been, when I was still in college, showing up to a wedding gig with my hollowbody and no effects pedals. I don't know what I was thinking. Needless to say, that band never called me back. Also, I sat in at a jam session and had to play a tune by ear. Those two are some of the best learning experiences I had.

JGL: Checking out your guestbook one finds a lot of very positive entries from appreciative fans and well-wishers. This may seem like a weird question but...and all modesty aside, why do you think you are as popular as you are? Is it the man or the music or both?

GT: I hope it's both! But seriously, I feel like if the music is good then everything else will fall into place. I have been lucky to connect with those who like my music.

JGL: Your debut CD as a leader, “Look East”, is a wonderful record of roughly half originals and half standards. Was there a reason you didn’t go totally original on the CD?

GT: Well, like I mentioned earlier, it's hard to write music. I just didn't have enough time to more tunes. Also, my trio had been playing those non-originals quite a bit on our gigs so I thought it was fitting that we document those tunes in the studio.

JGL: How did “Look East” come about and how is it doing commercially? What type of marketing are you doing to get the record out to the people?

GT: The record was an idea in my head ever since I started to work regularly with my trio. Unfortunately, I am still sitting on boxes of my CD's at home. LOL! I did hire a publicist to help market my CD, but it's still impossible to move any quantities of product without a major distributor. I am just selling them at my gigs and on CDBaby right now.

JGL: “Look East” appears to be on the play lists of a bunch of radio stations. How did you make this happen and how has this worked to your advantage, if at all?

GT: Radio airplay is an essential part of CD marketing. I basically did all the work myself including contacting radio stations or DJ's, mailing out press kits, and doing follow-up emails/phone calls. The biggest advantage of radio airplay is in being able to get more gigs due to the exposure.

JGL: As mentioned in my review of your CD, there is a definite Pat Metheny influence to your playing, which is cool in my book. How, if at all, has Pat shaped or influenced your playing?

GT: Pat Metheny is definitely a big influence on my playing. "Question And Answer" is still my favorite guitar trio album of all time. I heard Pat say once that the difference between men and boys is "time" and he couldn't be more right about that. His time and feel is so good that he can literally play anything and have it sound hip. I had the pleasure of seeing Pat at the 1997 Montreal Jazz Festival with Roy Haynes and Marc Johnson and it blew me away.

GT: I am actively trying to write new material for the next project but nothing has been planned so far.

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

GT: So many greats to choose from...but it would have to be the Miles Davis Quintet from the 60's. Between Wayne Shorter's writing and Tony Williams' playing that group had a sound and energy that was so unique. Not to mention Miles Davis...

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?

GT: The only expectation I had in deciding to become a musician is to have a close and intimate relationship with music, in terms of understanding it and playing it. And like any relationship, it has to be nurtured for it to be fruitful.

JGL: How would you like to see your life unfold musically in the coming years and what do you think would be needed to get you there?

GT: I hope to continue to grow musically and keep learning from my experiences. Of course I want to make more recordings but I also need to practice more and to compile a larger body of work.

GT: I would like to see jazz guitar continue down it's path but also go somewhere no one has taken it before.

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

GT: My advice would be to follow your musical instincts and don't let anyone tell you you can't do it.

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.

GT: I am happy to say that I've never had any second thought regarding music as a career; it's also because I'm no good at anything else. LOL!

GT: I used to play video games for fun but now I just spend time with my son. That's more fun than anything else!

JGL: Thank you Gary for participating in jazzguitarlife.com. It is most appreciated and I wish you great success in your career.