While not a working Jazz Guitarist, Jim Eigo works tirelessly behind the scenes to make sure that those Jazz Guitarist who are working, stay working. In the interview, Jim explains just what it is that he does and what he can do for you. Plus he talks about the origins of his "Tribute to Grant Green". Jim's services, and Jazz promotion, is definitely a large part of jazz guitar life that we cannot do without.

JazzGuitarLife.com Interview with Jim Eigo: This interview was conducted via email August, 2004. Check out his website at www.jazzpromoservices.com

JGL: Welcome to www.jazzguitarlife.com Jim. Your web site (www.jazzpromoservices.com) states that you are "the founder and President of Jazz Promo Services...", and that you "...have learned the music business from the ground floor up wearing many hats over these past nearly thirty years, both in retail, record production, marketing, distribution and publicity, as well as event production". So I guess the first question would be: What exactly does jazz promo services offer and how does one benefit from such services?

JE: Since I've been in the music business for nearly 30 years I've had the opportunity to do many things from managing a major retail jazz department (J&R Music World), to carrying a bag for a distributor (Rounder Records back in the day) to label managing (Dreyfus Jazz). So these various experiences have afforded me a unique perspective on the business side that I am better able to advise my clients. Having said that, Jazz Promo Services offers a number of promotional and publicity campaigns tailored for each individual. We do everything from the simple email gig alert to CD release parties to national press campaigns for new CDs.

JGL: What initially attracted you to work behind the scenes in this particular industry?

JE: Like a lot of folks in this business I'm a frustrated musician (I noodle around with the guitar)...I love the music and I've been fortunate to carve out a niche for myself in a very difficult business.

JGL: Are you strictly a Jazz promoter or do you work in other musical genres?

JE: I've done campaigns for blues and world music releases and some New Age. When I was with Dreyfus one of their main artists was Jean Michel Jarre so I built up some great contacts with the New Age folks.

JGL: How important is it to be living in New York for this kind of work? Do you think you could do this from another part of the planet?

JE: Because of the Internet and email you can be almost any place on the planet and do your work, but you can't beat NYC for the sheer volume of talent that passes through this city every week. It's not called the Jazz Capital of the world for nothing. In the past 30 years I've heard a lot of great music here and can't imagine living anywhere else. My friends who've moved away and still receive my weekly emails are always 'crying-the-blues' when they see who's in town...like Sonny Rollins for free at Lincoln Center out-of-doors....

JGL: You produced a CD titled "A Tribute to Grant Green". Could you talk about this project and how it came about?

JE: I was driving in my car back from the City when a Grant Green cut came on the radio (WKCR). (I love listening to music in the car with no interuptions so I was hanging on every note)...I love Grant's playing, his sound is so strong. I knew it was him from the first note. His playing is so soulful too, you just don't hear that too much anymore. This inspired me to do something. So I called up my good buddy Dave Stryker and asked him if he would be interested in doing a Tribute to Grant and he immediately said yes. So we made up a list of guitarists, and a tune list and I made the rounds of record labels to see if there was any interest. We lucked out with King Records in Japan (Evidence Music-USA release) who gave us a workable budget. At this time Dave was interviewed by Sharony Green for her Grant Green book so we contacted her and she did the notes (Japanese edition only). We had Idris Muhammad on drums so we had that direct link to Grant plus Idriss has great stories too that had us all laughing in the studio. Larry Goldings really nailed that Larry Young organ sound too. All the players nailed their tunes in two takes. In fact all the cuts on the CD were first takes. It was just an amazing session. We were all happy with the way it came out.

JGL: Having worked in this business for a long time you must have some great stories to tell. Are there any ones that pop into your head that you just have to tell everybody you meet?

JE: Like I said above in the 30 years I've been on the scene I've heard a lot music, but here's some highlights:

Sam Cook at the Paramount back in the early 60s...one of the greatest performers I've ever seen...gospel, blues, soul, jazz, you name it Sam had it... plus mesmerizing charisma too!

Jackie Wilson at the Brooklyn Fox in the early 60s...Jackie had an enormous vocal range, like an operatic soul singer, and he had these incredible dance moves too...he was called Mr. Excitement...I've never forgotten those shows from when I was a kid and this was before the British invasion...

Jimi Hendix at Woodstock...yes, I stayed until Monday and stood in 4 feet of mud to hear him and the Band of Gypsies...

The Tony Williams Lifetime at Slugs with Larry Young and John McLaughlin...I was sitting right in front of Tony Williams Hi Hat...man, I've never seen anyone's foot move that fast...Joe Henderson was sitting behind me...after the set, which was amazingly loud (McLaughlin had 8 Baldwin Amps), I asked him what he thought...he said, "They're good, but you have to sit out on Ave. A to listen to them."

JGL: You handle a wide range of talent including some very well known jazz guitar players like Dave Styrker, Dom Minasi, James Silberstein, Fred Fried, Joe Carter, and others. How did you come to represent such individuals? Do they seek you out or do you have to network and do the hard sell?

JE: Since I'm a guitar junkie I guess I naturally gravitate toward guitarists...I met Dave when he was living in Brooklyn and we became fast friends, Fred Fried I met when I was mananging J&R and he was the house guitarist at Windown on the World at the World Trade Center back in the 80s. I also know Joe from the late 80s, early 90s from his Emapthy label. I've been working with Dom Minasi for the past three years although I've been aware of his playing going back to his two Blue Note LPs. I've just started with James Silberstein who was referred to me by the bassist Harvie S.

JGL: In all the various work situations that you have been invloved in, which is the one that has the most rewarding for you in terms of the creative process? Or have they all offered challenging and rewading elements?

JE: I'm fortunate that I love what I do so I try and bring that passion for the music to my promo work. When the opportunities present themselves like going in the studio to produce a session that has it's own rewards as does producing a live event. Two years ago I produced the Legends of the Clarinets bringing together Buddy DeFranco and Tony Scott for a JVC event at the Iridium Jazz Club. This was a great experience and honor to be involved with these legends.

JGL: When you were a kid, did you think this is what you would end up doing as a career, or did you have other plans for your life?

JE: If someone told me then that I'd be doing what I'm doing now I wouldn't believe it. I wanted to be just like my father who was a career sailor, first in the Navy, then the Coast Guard for 30 years. I'm a military brat! I didn't know it then, but looking back now I can see my father's influence. He had all those great Big Band 78s, Benny Goodman, Artie Shaw, Glenn Miller, all that stuff and Frank Sinatra too. His favorite was Johnny Hodges so I heard a lot of Duke Ellington coming out of that old Magnavox turntable.

JGL: When do you feel a musician is ready for the type of services you provide?

JE: It's all in the music. If it's on a certain level I'll hear it and tell them I'll represent it to the press. If they're not ready I'll always be honest with them.

JGL: Are you a musician yourself? If so, what instrument do you play? If not, what instrument would you like to be able to play?

JE: Like I said above I'm a frustrated guitarist. I still like noodling around, but I'm not a professional.

JGL: When you just want to kick back and enjoy things musically what do you most like to do?

JE: I have very eclectic musical tastes so it's not unusual to hear vintage R&B, avant garde classical, field recordings from Africa, novelty music from the 20s...a little side jones of mine is collecting cover versions of Bob Dylan tunes. I've amased quite a collection over the years. One of my favorites is a Buddy Greco version of Like A Rolling Stone. Bill Murray woud love this one....

JGL: Any advice for those young musicians just starting out as jazz guitarists?

JE: Yes, the hardest thing in music, whether you're a guiarist, pianist, vocalist, etc. is to develop you own distinctive sound. Always strive for originality and your own voice.

JGL: Thank you Jim Eigo for taking the time to participate in www.jazzguitarlife.com. It is most appreciated.