Robert Popescu is a very busy working Jazz Guitarist out of Arizona who shares with us his background, his time with the Modern Guitar Quintet and his love for Bop Horn players. An insightful read.

JazzGuitarLife.com Interview with Robert Popescu: This interview was conducted via email November, 2007. Check out his website at www.robertpopescujazz.com

JGL: Hi Robert and thanks for taking the time to chat with Jazz Guitar Life. First off, what geographical area do you live in?

RP: I live in Scottsdale, Arizona.

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

RP: I began my guitar odyssey when I was 12 yrs old but didn’t make a serious commitment until I was 18. I studied Saxophone and Piano during my youth as well.

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

RP: Jazz was always lingering in my soul since I can remember. After hearing my grandfather strumming Autumn Leaves on his guitar when I was a child, I knew Jazz was in my future.

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"!

RP: I was given the opportunity to study guitar with Frank Mullen in St Petersburg Florida. At first I planned to take classical lessons to improve my technique, because before that point I was self taught, but he had different plans for me. He must have seen it in my eyes, because he had me deep into the jazz idiom within months.

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

RP: My Mother has always had my back in whatever I chose to do in my life.

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

RP: My first guitar was an old acoustic I bought from a pawn shop with money I saved from chores I did around the house. Can’t remember the model, but it wasn’t anything special. Now I play an Eastman Uptown 905CE.

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?

RP: In the beginning I was really into Barney Kessel and Herb Ellis. Now I have broadened my tastes a little. I am really into trumpet players to be honest. Freddie Hubbard and Clifford Brown are gods to me. I model my approach around their bop style.

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

RP: I listen to Chops, Joe Pass and NHOP. Love that album! Russell Malone, Freddie Hubbard’s - Open Sesame, Peter Bernstein’s - Earth Tones.

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

RP: The most influential person would have to be Frank Mullen, my first guitar instructor. He helped me construct a jazz vision with clarity and organization.

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?

RP: Yes. Ever since I caught the music bug it’s been my passion. I wake up thinking about music and go to sleep the same.

JGL: Your live version of Roxanne, the classic Police tune, on your Myspace page is a cool interpretation that features some nice guitar playing. At one point during your solo you do an Al Dimeola style muting thing that accentuates your speed across the fret board. First off, how did you come to re-interpret Roxanne and was Dimeola an influence on your guitar playing early on?

RP: Well the band you’re referring to was created by my Drummer, Martin Diamond, and myself to re-interpret Pop tunes in a way that crosses the boundaries of pop music and allows for a modern melodic and improvisational outlet in the jazz/fusion idiom. The muted line I play was something I felt gave my solo dynamics and style difference. I do like Al Dimeola and his playing, but I would say that this particular line was more me trying to sound like a percussion instrument.

JGL: You have played with the Modern Guitar Quintet and are a featured performer on the Back to Business CD. What was that experience like? With three guitar players playing tight melodic and harmonic arrangements did you find that to be a challenge or was it smooth sailing?

RP: That band, in my eyes, prepped me to be a professional guitar player. The leader of the group, Carl Amundson, wrote and arranged very difficult charts that really improved my sight reading as well as harmonic knowledge. I was a 19 yrs old and Carl gave me a chance to play hip jazz music and it paid off.  I would say my abilities overall increased tenfold in the 3 yrs I was a part of that group.

JGL: Have you been playing with the Modern Guitar Quintet regularly or was it a one-off thing?

RP: I played with that group for 3 yrs. Actually I subbed on upright bass just to be a part of it until one member had to leave the group. Yes I taught myself to play upright.

JGL: You play in a variety of musical groupings, everything from duo Bass and Guitar, Guitar and Flute to a Trio and a Quartet. Is there a type of musical situation you enjoy the most or does it matter?

RP: I’ll play with most any assortment of instruments, as long as I dig the members and the music.

JGL: You seem to play many styles of Jazz, from BeBop to Latin and Fusion. Is there any one style you feel particularly strong in and what prompted you to explore these genres?

RP: I am really into bebop and the players that lead that front in the 40’s, 50’s and 60’s. I like to play 8th and 16th note lines, because that’s what I hear in my head. I guess that’s from listening to Freddie Hubbard and Diz so much.

JGL: Your performance calendar is quite full. 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?

RP: I am quite busy. I have worked really hard to make a name for myself. I practice hard and don’t take no for an answer. In the beginning I hit the streets and put my name out there, eventually leading to gigs. I now have an agent that helps take that load off. Southwest Artist Management took me on as one of there elite jazz players and have assisted in my success.

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?

RP: I do teach privately. Recently I have reduced my student intake because I am gigging 4-5 times a week.

JGL: How did you learn your craft? Did you study privately or did you go to school?

RP: I was self taught until I began taking private lessons with Frank Mullen. I have since studied with Mark Elf, Chris Champion and Bill Moio. Master classes with Luke Gillespie, Joey Defrancesco, Tony Mallaby, Dick Oates, and Mike Kocour.  I am currently finishing a graduate degree at Arizona State University in Jazz performance.

JGL: When you were developing as a Jazz Guitarist what kind of studies did you work on and did you find that one thing worked better over another?

RP: I began just getting my facility on the guitar and learning the fret board. I have played in numerous jazz lab bands my instructor put together. That really helped a lot in the understanding of jazz theory and history. Then I just transcribed a lot of solos, not just on guitar players but plenty of horn players. The one thing that helped me the most was playing with others.

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

RP: I have 3 labs consisting of voicing’s, scales/chord relationships, tune memorization, major/minor ii V’s etc. I also transcribe a solo or 2 a week if I have time. I organize my major, minor and dominant licks and mix and match to keep them fresh in my mind.

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

RP: The best musical situations have been the phenomenal players I have had the opportunity to play with. Unfortunately with the good comes the bad. I feel a lot of musicians in this town (PHX) look down on my success. Possibly due to our (myself and the jazz musician melting pot of PHX) age difference and my ability to work consistently.

JGL: Apart from your playing and recording with the Modern Guitar Quintet, are there any other recordings that you have been involved with?

RP: I have recently cut 2 albums; 1 with my jazz fusion group POP Fusion and the other with a bebop trio. They are still in the works but should be released by Jan of next yr.

JGL: Do you plan on coming out with your own CD one day and if so, will it feature originals, standards or a mix of both?

RP: I have 2 CD’s being mixed and processed with a mix of standards and popular tunes of the 20th and 21st centuries. I am currently writing and recording a Smooth Jazz album. This is more of a test of my ability to cross into more universal styles of jazz. My drummer and I are committed to making this happen.

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

RP: It would have to be Art Blakey and the Jazz Messengers, the second lineup with Freddie Hubbard and Curtis Fuller.

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?

RP: It’s never what you expect. I just strive to become the best, whether that’s in my mind or universal.

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?

RP: I would to take the next step and start touring in the jazz festival circuit. I would also like to finish my smooth jazz album just to see if I can push my way into that genre. To fulfill my goals I will have to keep working hard and playing hard.

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

RP: I'd like to see it break away from the rock/fusion feel and go back to the roots of bebop.

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

RP: Unless you are willing to give up your leisure time and weekends, basically your life, don’t do it. If you wake up each and every day thinking and living music as if it were some type of addiction, then I’ll probably see you around.

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.

RP: I have, but I never got that far into thought. The music always takes over.

JGL: Apart from music, what else do you like to do for fun?

RP: I like to play basketball and soccer, paint, run………..

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