Lyle Robinson is the owner and designer of JGL, as well as being a jazz guitar fan, he's also a jazz player and is slowly working his way into the ranks of the working jazz guitarist. Plus he's a cool guy. Some good reading here.

JazzGuitarLife.com Interview with Lyle Robinson: owner, and designer of www.jazzguitarlife.com

JGL: How old are you?

Lyle: I'm 43.

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? What was the motivating experience to get you involved in this particular music and instrument?

Lyle: I first got excited about the guitar when I was 13. A friend of mine at the time (hey Alex G.) showed me the first few bass notes on guitar for the Purple tune "Smoke On The Water". It was really quite exciting because one moment I never even touched a guitar then the next moment I'm playing a very popular song of the day. I quickly ran home and begged my mom for a guitar which I did get eventually but had to wait about 8 months until Christmas...then it was all down hill from there..lol. So jazz wasn't my first love on guitar. Actually I got into heavy metal and fusion before I got into straight ahead jazz. So this was when I was around 14. Then a few years later I bought an album by Al Dimeola titled Elegant Gypsy. I had remembered reading a Guitar Player magazine interview with him on the cover (which I still have btw) and so when I saw the album I thought what the heck...and boy did that turn me around. It was incredible. His playing was so impressive, especially to a guitar hungry 16 year old and I quickly started getting into other fusion stuff like the Brecker Brothers, Return To Forever, Steve Khan's early fusion(ish) stuff, and more. Then that led me to other more mainstream jazzers like Joe Pass, Tal Farlow, who I met in the early eighties, and of course my huge fav George Benson. I loved his playing and still do to this day. He's a monster on guitar and there are many guitar players out there who pretty much owe their musical existence to George Benson. Which is a good thing...:)

JGL: Could you talk a little about your meeting Tal farlow?

Lyle: Sure...actually it was rather cool and also a little sad. I met him when he played the now defunct Montreal jazz club the Jazz Bar...at least I think that was the name, it was quite a while ago. Anyway, I was sitting at a table in the club and in walks this tall guy with a guitar case. I immediatley recognized him as being Tal Farlow and I watched him as he slowly made his way into the back of the club where he sat down and had a coffee. It took me a while to get the guts to walk over to him but I did. I mentioned that I was a big fan and that it was really nice to meet him. We shook hands and then I asked him if he wouldn't mind autographing my newly purchased "Real Book". He was quite obliging and then we chatted for a few minutes about, what else, the weather, then I went back to my table. Twenty minutes later or so, he played his first set and it was mind boggling. The music that he made was so inspirational and everything I read about him like how big his hands were, and how fast he could play came to life that very night. It was magical. So that was the cool part. The sad part of this tale was that there were maybe 10 people in the club that whole night. That was my first taste of how it must feel to be a wold class act and not be a popular draw. Now of course they may have been other factors involved with so little a turn out but it was still disapointing. Although I wasn't there for the enxt nights performance so maybe there were more people...who knows.

JGL: What kind, if any, formal training do you have (ie: lessons, schooling, that sort of thing). And how did these experiences help you get where you are today?

Lyle: Well I have very little formal training. I have only taken lessons a couple of times when I was stuck on something that I couldn't figure out. But pretty much it's been listening, watching, reading, and generally trying to emulate the style and personality of jazz. This also goes for my rock playing as well. In that I am definitely self-taught. That being said, I did do two years at the University level in Jazz studies (Concordia University) but I found that while I enjoyed some of the classes I didn't really learn that much more than I already was aware of. Could also have been because I am a lazy student and work only when inspired...I don't know. I think I tend to work better when either under pressure to get something done, or when something inspires me to figure it out. I'm not a very good role model I guess for those kids coming up...lol. But I did like meeting different people in University, and networking...that was super important and I would reccomend it to anyone looking to play in different situations.

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

Lyle: My first guitar had no name but it did have six pickups which made it very cool to look at...lol. I went through a bunch of guitars when I was younger. I owned a Gibson SG, Yamaha SG2000, Gibson Explorer (which I regret to this day selling), Washburn electric something or other, a nice old Fender Tele, which was ripped off from me a week after buying it. Nowadays I play a Gibson ES125 and a Gibson ES175, plus I have a 68 Strat and a Peavey Tele model which is just amazing in my opinion for all the rock stuff I do.

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

Lyle: Well like I mentioned, Al Dimeola was a huge influence when I was getting into jazz guitar stuff...then when I heard George Benson, that nailed it for me for the straight ahead stuff. Then I was into the usual jazzers, Joe Pass, Pat Martino, Tal Farlow, Steve Khan, Barney Kessel and a whole list of others. Basically anyone who is good on their instrument gets my attention. These days, I am listening to Mike Stern, Wes Montgomery (who I am rediscovering), Pat Metheny, Joe Cohn does some really nice playing on some Buddy DeFranco albums. And of course I can't forget Kenny Burrell and Russel Malone. These two cats for me are the Ying and Yang of the jazz guitar world. Kenny for his cool bluesy playing and sublime approach to the instrument, and Russel for his tone, technique, and what is now becoming his trademark sound, his way of playing "out" while still within the harmonic intentions of the tune. If you could, combine both of these players into one guitarist I believe you would have the ultimate jazz guitar dude. Just my opinion.

JGL: Cool. I gotta agree with you on all counts. So...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?

Lyle: Yes...I felt that when I was younger I would have a career in music. That has yet to work itself out but I am working on it.

JGL: What has happend to keep you from that dream?

Lyle: Well, I have never really applied myself to working as a musician until recently. I had been taught from an early age that it was better to have a typical 9-5 job that had the continual security of a steady paycheck than not. So when I first began to think about music as a career choice, my mom, never outright said "no", but she did instill in me the aforementioned 9-5 steady pay check feeling. And if I wanted to I could play music on the weekends. Well, this lasted until I was forty. Then one day I woke up and realized that I needed to do what I needed to do. And my mother had since passed away a few years before that so the only person I felt responsible to now was myself. Which is why I enrolled in Jazz Studies at University. However, I have a BA and a MA in Sociology and I also have a small website design business so it's not like I needed to worry about how to make a living while I attempted to "make a living" in the jazz world. Actually, I feel that having waited until I was older, probably helped in my realizing that to be a working musician was something not to be taken to lightly and is, in my opinion, a privilidge that few can afford. Also, not having a wife or children helps in choosing to now become a working musician. If it works out, then great, and if it doesn't, then I am mature enough to figure out why it's not working and will hopefully able to do something about it.

JGL: When you were younger what was your band experiences like? Did you have any friends who were involved in music as well? Did you have to search for people to play with.

Lyle: When I was younger I was very much into hard rock and heavy metal so that was the music I seeked out in other musicians as well. I played in a lot of bands and had a fun time with all of them. My thing though was that I kept on improving on my instrument and would notice that the other guys weren't. It seemd like they had more fun pretending to be rock stars and getting chicks than they did when it came time to take care of business and practice. So I was always joining and then soon quitting bands left and right. Which pissed a lot of people off in my early years, but hey, I needed to play with people who were my equal or better and it just wasn't hapenning with some of those bands. Nowadays it's not an issue because I try and make sure to stay true to my inner voice and not get itno sitautions that I don't enjoy. As an example, I love playing jazz but I also love rocking out, so I joined a 70's guitar rock band and I am loving it. It's funny because we are all around the same age, and to look at us you wouldn't give us a second glance on the bandstand until we started playing. Then the looks and hair don't matter as people groove to the music. But I still can't get into a decent pair of tight leather pants...lol.

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

Lyle: As mentioned, my mother was very supportive of my being involved in music but as long as it meant I wasn't going to starve in some one room apartment with no heat or running water. To her, a steady paycheck and honest work were essential for a happy and healthy life. And to some extent I agreed with her. But it was only later on life that I realized that working for someone else really stifled my creative process and that I needed to be my own boss whether it be in music or some other line of work, which is why I am quite happy and content doing what I am doing now which is webdesign and music.

JGL: What was your practice routine like when you were beginning and what is it like now? Are there specific areas that you work on or do you just play through tunes?

Lyle: Sheesh...I'm really not the guy to ask about practice routines...lol. I guess in all fairness to myself, when I was younger I listened to a heck of a lot of music constantly. In the beginning I was just trying to learn songs off of records and work my ear. Although I remember having to go for one lesson when I first began to learn how to tune a guitar. I used to hink that to tune a guitar all you had to do was to tighten the strings as much as possible until they couldn't tghten no more. Well, needless to say I broke a lot of strings...lol. I then realized that I should learn how to at least tune my guitar first and foremost. So I found a guy who showed me how to tune and that was it for lessons at that stage of my music development. All I did was listen to records and try and get a feel for what was going on inside the tune. Meaning that I wouldn't copy a solo note for note, but I would try and capture the quality of that solo. I always wanted to be able to work a solo like the pros did and I figured if I just copied a solo then I wasn't really learning how to create and I really wanted to create. Ironically enough, this philosophy seems to permeate into other areas of my life but that's an interview for another day...lol. Nowadays though, I find myself working on tunes and of course working the changes. Yet again though, I tend to shy away form the usual vocabulary of jazz improv and instead am attempting to instill my own "voice" into my playing. That's why I am attracted (musically that is) to cats like Pat Metheny, Mike Stern, Michael Brecker, Pat Martino, and other unique players. All you need is to hear one note from their respective instruments and you know for sure who's playing. That's a gift really and I am trying to find that in my own playing. It hasn't happened yet but somedays I can almost get there and then it falls apart. Although I am confident that one day it will arrive unannounced...lol. So until then I work on tunes and instinctive playing. Which basically means that while I know the theoritical avenues of jazz improv, I don't want to think of what I am going to play, but rather just play with a clean slate and hopefully I have practiced enough so I won't fall flat on my face...lol.

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

Lyle: Like I mentioned earlier, I really haven't ventured out into the working world of the jazz guitarist but I have sat in on a few club dates and I have played solo at a dear friend's wedding, which went extremely well, so who knows, maybe I will attempt more gigs like that. But for now I am just practicing and feeling the waters as it were. Plus I have begun to meet a number of local musicians so my goal at the moment is to network more than anything and then hopefully some work will come out of those associations. If not, I'll have to hustle some work.

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

Lyle: There are two best musical sitautions that come to mind. The first was a gig I played on New Year's Eve 2001. It was a quartet situation with piano, upright bass, vocals, and myself on guitar. It was a very casual gig in the sense that we had only one prior rehearsal and we were basically reading off of charts for the vocal tunes. Different arrangements of standards and stuff like that. But it was so cool. The band was swinging, and the listening audience seemed to quite enjoy us, even though it was a restuarant and people came to chat more than listen, but that was cool. Also, the gig for me was a freebie because all I wanted to do was to play and I didn't care if I was getting paid or not. I did however get a wonderful dinner of rabbit and vege's so I wasn't complaining. I told the leader who is a friend of mine that I wanted to do this gig with the group and I didn't care about money I just wanted to play. He agreed and we were both happy that it went down the way it did. I had a great time and it was one of those moments when I thought "Yeah baby, I could do this jazz thing"...lol. The second best musical situation was when I played at my close friend Janes' wedding. I played solo and it was really enjoyable. Plus it made my involvement with Jane's wedding much deeper than just attending, which is what I wanted to do. It was also my wedding present to them which made it that much more special to play for them and their guests. The worst situation I have been in was when I was playing in a Gospel group with a really good friend of mine who played bass, Glen Luzsko. We were told that the gig would be at a certain time at a local hotel. So to kill time we both went walking arounbd the hotel and returned about 10 minutes before the show was to start. Lo and behold when we walked inside the conference room, the singer we were supposed to be backing up was already on stage signing acapella. Obviously we freaked and pretty much ran to the stage to grab our instruments. We waited on the side of the stage and when the song was done we walked on stage and picked up our guitars and bass. I whispered tot he singer where the charts were to play along with her. She then laughed a little and siad "there are no charts" just follow my voice. HUH?! I couuldn't believe it. Not only did we not have any charts, but this was the first time I was playing with her. I didn't even know any of the tunes she was doing. So I faked my way through the gig and actually, it came out ok and the audience loved it. But it was very nerve wracking because I was never in this situation before. Boy did my ears get a work out that evening but we all pulled it off.

JGL: What type of musical sitaution do you enjoy the most(ie: trio, quartet, duo, solo, etc.)

Lyle: I love the traditional quartet of piano, bass, drums, and guitar. I really enjoy having the harmonic richness a piano player can provide and I find that I am sometimes lost without it. Although I also quite enjoy the guitar duo and all the fun you can have in this type of forrnat.

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

Lyle: To be honest, I am not sure. I like where it is now and where it has been in the past. I am not one for trends or fads and as long as the music is good and the playing is good then I am happy. I realize that there are some more modern type players entering the jazz guitar arena, guys like Ulf Walkernius, Sylvain Luc, Charlie Hunter, and others, but I am a simple man really...lol...and I like my jazz bluesy and straight in the harmonic pocket. Not that I don't dig the modern slant of jazz guitar, but for my sheer playing and listening pleasure, I like the middle of the road type of players. Give me Wes, Kenny, and George any day.

JGL: Do you like performing more as a sideman or as a leader?

Lyle: I enjoy both, but to be honest I think I prefer playing as a sideman. I am not one for the spotlight and while you can really stretch out as a leader I like the creative process that comes with having to satisfy both the leader you are working with and your own musical voice. If you can bring both those elements into play then you are going to have a wonderful musical experience. Plus, you may get called again for more work...lol.

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

Lyle: Sure...to coin a phrase...just do it. Find your own path for learning either through the mentor process of a local teacher or school or the do it yourself avenue. But stick with it. And don't worry about others talents or how better some one is, just keep on believing in yourself and keep on developing your craft. Find people to play with who are on your level or better and listen, read, and listen some more. And when you are old enough, go check out live players in clubs. Watch how they play and how they listen. Pick up on things that have become instinctual in other playes, like interplay amongst band members and sensitivity to the audience and your surroundings. And oh yeah...stay in school and don't do drugs...seriously, being a musician is a gift and it should be nurtured without artificial substance. And be humble. Confident, but humble.

JGL: Thanks for doing this interview Lyle. It is really appreciated.

Lyle: My pleasure. Thanks for having me.