Russ DeFilippis is a wonderful Jazz guitarist out of New York who shares with us his Berklee years, his RD3 Trio, and his association with guitarists George Benson and John Tropea plus much more. A truly great read.

JazzGuitarLife.com Interview with Russ DeFilippis: This interview was conducted via email October, 2004. Check out his website at www.rd3jazz.com

JGL: How old are you?

RD: I was born on October 10, 1952. Which makes me the ripe old age of 52

JGL: What geographical area do you live in?

RD: I live 30 miles north of NYC in a town call Stony Point, NY in Rockland County. I was raised in Fort Lee, NJ, which is just on the other side of the George Washington Bridge from NYC.

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?

RD: Even at a young age I was drawn towards music. Growing up it was always in my home. My Mom sang semi-professionally and my Dad was a master of radio station surfing and record player spinning, choosing the superstars of the day; Sinatra, Tony Bennett, Mario Lonza, Glenn Miller, Tommy Dorsey. He even loved those "Sing Along with Mitch" Miller records. However, at the age of nine the guitar started haunting me. From watching Elvis play in his movies to Ricky Nelson singing "Travelin Man" "Mary Lou." In his show "The Adventures of Ozzie and Harriet." I just had to have one. So after minimal badgering my foks took me to Sears where I lad down $29 of my hard earned paper route money to purchase my first real guitar. Of course, there were the earlier Eminee plastic guitar look-a-likes but this time it was a real Silvertone six string made off wood.

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

RD: After studying with some local teachers; Joe Amplo & Al Faraldi. I met some other budding musicians and started putting together groups. My early groups played the Junior and Senior High School dances. We played most of the pop material of the time (Young Rascals, Beatles, Mitch Ryder, Sam Cooke, Cream, etc.) When bluesy band such as the Yardbirds, The Blues Project and Paul Butterfield came along, we decided to change the musical focus of our band and head in that direction. After hearing me solo a friend's uncle suggested I might want to give a listen to jazz. He recommended "The Dynamic Duo" recording of Wes Montgomery & Jimmy Smith the single of "Misty" by Groove Holms, some Charlie Parker and this young up and coming guitarist playing with Jack McDuff, young George Benson.The way he played guitar blew me away. Up until then, I could hear and figure out what most of the groups were playing but this jazz thing open my ears to a new type of improvisation. I was hooked. The teachers I mentioned earlier guided me in preparing for the next leg of my musical journey. In 1970, I enrolled at Berklee College of Music in Boston. I graduated in 1975, earning a Bachelors Degree in Applied Performance.

JGL: Would you talk a bit about your experiences at The Berklee College of Music and what it was like studying with William Leavitt, Mark French and Mick Goodrick?

RD: My experiences at Berklee were some of the best times of my life. I was surrounded with wonderful fellow students, who are now the "who's who" of the guitar community. John Scofield, Mike Stern, my close buddy Richie Hart a.k.a Richie Hohenburger, Jeff Golub,Chuck Loeb, Jamie Glazer ,Jay Azzolia and the late Emily Remler. We were all walking the halls trying to get our chops together. During my years at Berklee I had the good fortune to study with three very dedicated but distinctively different guitar instructors. The first was Mark French who had patience, helping me navigate through the requirements to earn my Bachelors of Music In Applied Performance. Mark also has a gift for making students think out of the box. I recall a lesson when he asked me to get out my Berklee Modern Method for Guitar Book One, which I had been through extensively years early and was sure I was thoroughly done with. But when he asked me to turn to the reading study on page 64-64 and turn the book literally upside down and read it, I knew that you are never really done with anything as long as you keep thinking out of the box. So what I was face to face with was now middle C had become A first ledger line above the staff. And if you were to super impose a different key signature, well now that's a horse of a completely different color. Heck of a great drill! Mick Goodrick on the other hand had a different approach. More of a Zen master. He also had the gift of patience, but he would like to plant the seeds of creativity and let you reap the harvest if you tended to the field properly. For instance I once asked him how might I comp bass lines and changes like a piano player would. His response was "guide tones" and sent me on my way. I went back to my dorm room and contemplated that, trying all different things til I made some wonderful discoveries. Now the grand dad of the Berklee experience was William Leavitt, who I affectionately and respectfully called Uncle Bill. His organization and guidance not only helped me but helped all of us who went through his system. He helped us rise to the highest level of proficiency and professionalism. His educational contribution definitely lifted the integrity of guitar in today's landscape. You can witness his dedication by the volume of educational materials he had published.

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?

RD: In my early years, ages 11 thru 15 like most kids I did whatever it took to prepare for my weekly lessons which required at least an hour's practice daily. But with my sights set on Berklee, I increased my practice time daily to two to here hours. Once at Berklee I spent most of the day practicing my instrument, writing out arrangments, or working on ear training. I can recall being in competititon with my roommates over who could put in the most practice time each day in the wood shed. Now I am a morning person, I like to get up early, workout in my home gym and then go in my studio with a clear mind, and but some quality time in practicing on my guitar. I usually work on tunes, and experiment with different approaches. I try to write two originals per month. As my schedule allows I imagine I put in about 2 hours in the morning, but I play the guitar all day always In search of new things. In fact, even when I am in my office at CBS News, where I hold down my day gig, I have a nylon string guitar next to my desk. And as soon as there's some downtime in the newsroom, I'm practicing away. My philosophy has always been, "the more you put into something, the more you will get out of it." And following that credo never disappoints me. I just keep searching, and great things constantly reveal themselves to me. There is no doubt I am happiest when I'm playing my guitar.

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 these days (guitarists or non-guitarists)?

RD: I think that I've been influenced by each of the musicians I've listened to. I appreciate all styles of music. But if we are just speaking of the great world of jazz guitarists, Wes Montgomery, George Benson, Pat Martino, Lenny Breau, Grant Green, Joe Pass, are the players who inspired me early on in my musical career, and still do to this day. As far as my listening today, I still listen to the names previously mentioned and also all the masters Bird, Coltrane, Nat King Cole, and some R&B greats like Sam Cooke, Jackie Wilson, Stevie Wonder or even the honky tonk man Delbert McClinton Or even some Jeff Beck. If it hits me as real honest heartfelt music, then it has my attention (and my ears).

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?

RD: I think I was 13 years old on my first paying gig at the American Legion Hall in Cliffside Park, NJ. It paid big bucks, to me, a whopping $3.50. I was psyched back then and still am to this day. I am amazed that I get paid for doing what I love to do, play my guitar. Through the years I've kept an open mind about music.I've tried to keep all musical doors open by playing at any and all gigs I'm offered. I also did my share of arranging music and have taught it as well.

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

RD: As I mentioned earlier, my first was a Sears Silvertone acoustic that I installed a DeArmond sound hole pickup. Since then, I have had the pleasure of owning no less than 100 different guitars ranging form Fender telecasters to D'Angelicos to Ramirez. Currently my main instrument is a Gibson 1947 L5P. Along with that I have in my collection 2 custom-made Mark Campellone guitars, a Campellone 17" Special and a 15 1/2" Custom Deluxe also a 1979 Gibson ES347, Two Fender guitars, a 1968 Telecaster and 1956 Closet Classic Stratocaster, a Martin M36. I've also ordered a custom made guitar, a nylon string being built by Kirk Sand of California.

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

RD: Like most young musicians I sought out other players my age to jam with. Most of our rehearsals took place in each other's garages. I also became active in the school stage band programs. Which was the only band program that accepted guitar players? As I moved on to high school most of my close friends were fellow musicians and many of them have remained in the field of music.

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

RD: Although my folks were not professional musicians, they both had a great love for music. Being an only child, I always received unconditional love and support in all my endeavors, especially with my choice of a career in music.

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

RD: Making a living as a jazz guitarist has never been easy. Early on I was just happy making a living with my guitar, trying to do as many jazz gigs as possible but sometimes when a jazz gig paid $100 on a Saturday and a wedding gig would pay me $450 I would be forced to play the wedding gig and get the mortgage paid. But the last 10 years have been financially stable for me, so money does not play a part in my music decisions. It's a great feeling to just play the music. After all it was the music that calls to me to us. Having said that, if any of my sidemen get a call for a better paying gig on a night that I have him booked, I have no problem with that as long as they can point me in the direction of a substitute musician.

JGL: How do you go about searching for gigs? And what have you found in your experience that makes looking for gigs easier?

RD: When I was doing all types of gigs I was mostly getting calls from agents, promoters or producers. But now with my musical focus on jazz, the majority of my gigs come through my network of musician friends and acquaintances. At this stage of my career, I have a good reputation in the musical world. When I sense things may be slowing down I am proactive, phoning restaurants and clubs, looking for someplace to play. It could be a jazz joint or a restaurant or even a beer and shot bar. I need to play, it's part of my makeup. It helps me to be me. Performing is different from practicing and we all need to be out in front of an audience, sharing the music with the people.

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

RD: I enjoy the trio format the best. It allows me the melodic and harmonic freedom while enjoying conversing with bass and drums.

JGL: What type of guitar/amp sound do you prefer, or does it change from one situation to the next?

RD: The music I make comes from a 1947 Gibson L5 Premiere or a Campellone Special teamed up with either a 1962 Fender Vibrolux-Reverb amp, which is 2x10's 40 watts or a Penn Pennilizer which is 20 watts 1x12, which was made by custom amp builder Billy Penn. And when I use a nylon string guitar I play it through a Roland AC60, which is designed for acoustic pickups. But when using my archtops I get the best sound when I roll the volume down on my guitar to about 3 and raise the amp up higher and boost the treble on the amp. I find that it gives me an acoustic sound enhancing the wood tones of my guitar and it also helps limit the feedback.

JGL: You have worked with many top name entertainers like Bob Hope, Dick Clark, Joey Bishop, Martha Reeves, Chuck Berry, Bo Diddley, Little Anthony, Bobby Rydell, Lou Christie, The Drifters and many more I am sure. How have you been able to handle such varied artists and musical styles?

RD: Working in such an eclectic environment was a great education. Having listened to all these artists during my life, I was acquainted with there work. My approach with each of them was the same. I listened, I did what was expected and appropriate, and then put myself in the mix. I always admired the great drummer Steve Gadd for that. Whether he was with Eric Clapton, Paul Simon, James Taylor, Chick Corea or Micheal Brecker, he covered the chair and added himself to the mix, always with the greatest of taste.

JGL: You must have a ton of wonderful memories and cool stories from your days of being a busy sideman. Would you recount some of your best musical situations or experiences and the worst?

RD: Looking back I had made a lot of wonderful friends and had the opportunity to play large arenas like Nassau Coliseum, Westbury Music Fair, venues that for me were bigger than life and these gigs only came my way because I was a sideman. My biggest thrill came in 1989 when I received a 2 AM phone call from one of my good friends and guitar hero George Benson. He woke me up to ask if I would consider being his assistant in the studio while he recorded with Ron Carter, McCoy Tyner,Al Foster, Louis Hayes. Of course responded with resounding "yes!" This recording became the "Tenderly Album" later I went on to assist with the 'Big Boss Band" and "Love Remembers" albums. What a great experience, that was! It was magical and just to be a part of it is something I will never forget. George is one of the last guitar players, who actually grew up along side Wes Montgomery, Grant Green, and Kenny Burrell, not to mention all the other great musicians of his generation. Now for the other side of the coin. I was hired as guitarist and music director for the late Roy Radin. Roy produced traveling shows for the Police Benevolent Society. He would have me assemble a 15 piece band and we would be loaded onto a bus with an array of acts, including the Drifters, Coasters comics, Jan Murray, Joey Bishop, some entertainment for children like Zippy the Chimp, and the one and only Tiny Tim. All of us squeezed in a Trailways bus with equipment, and luggage too. Than we hit the road, doing a month of one nighters., leaving from NYC and ending up in Salt Lake City. Some acts had charts but most did not. So I would have to write arrangements for those who were not prepared. As for Tiny Tim, I would constantly have to sneak his uke out of his shopping bag so he would be in tune. But when he hit the stage you never knew what he was going to do. There were nights you pulled out all the stops trying to avoid having 15 musician involved in a musical train wreck. I can laugh now, But back than it was all about making the bills.

JGL: Which do you prefer: working as a side man, or working as a leader? And if you could comment on the pros and cons of both.

RD: Overall I prefer the roll as leader, it affords me the opportunity to push my limits and expand the band's musical boundaries. But when asked to be a sideman I take a different approach. My focus is to support the leader, the singer, or the soloist, until called upon to step out. Both scenarios offer wonderful opportunities to grow as a musician. As a leader you put yourself out there to sink or swim. As a sideman you try to be always prepared to step up to the plate for the team regardless what the leader might ask of you i.e. tunes, keys, etc.

JGL: How many CD's have you released as a leader?

RD: "Calculations" is my first cd as a leader. It was along time coming and not for any one particular reason. Perhaps my own procrastination. But with the encouragement of two good friends and fine guitarist in their on right Richie Hart and John Tropea I finally got myself in the studio and had a ball.

JGL: What was the motivation to release your own CD? And what was your experience as such getting that first CD out (from the initial idea to the final product)? Do you have any plans for future projects and if so, will there be more original compositions on it or do you prefer playing standards?

RD: My motivation was and is to have fun. If I gave it more thought than that I would find myself getting "option anxiety." Therefore, I just plugged in and we played. We performed each tune 2 or 3 times and chose the take that felt the best. There was no editing or over dubs, it is what it is. I hope to get back in the studio again before the first of the year. I will again take the same approach just plug in and play. If I were to guess, I'm sure I will play some standards and offer a few more original compositions to the listener.

JGL: It seems like whenever I read an interview with popular Jazz guitarists, jazz pianist and educator Charles Banacos' name always pops up. Then on your site you mention you have studied with him. So I guess this begs the question, what was it like studying with Charles Banacos and how has he influenced your life as a musician?

RD: Charlie Banacos is the most influential teacher I have had the honor to study under. He is a great musician, educator, and human. As a teacher he is demanding without making you feel pressured, He continually inspires his students and also has the patience of a saint, especially when dealing with young players who are being bombarded with music education from all sides. He helped me cut to the chase and put it all in order. He has developed unique ear training studies as well as a thorough approach to melodic and harmonic resolutions he helped me make the connection of ear, head, heart, hands. I remember one of my lessons with him, we were working on ear training and at the time I thought I had a ok ear. I had been doing well in my Berklee ear training class and had gotten good grades in solfeggio, but I was to have an ear opening experience. Charlie sat at the piano and just arpeggiated a chord than scuffed his foot on the floor and asked me what note that was. I looked at him thinking he was joking. But he wasn't, he did it again, and again and finally through the grit of the sole of his shoe and the friction of the floor out came a B natural which of course was major 7 in the key of C that he was arpeggiating.This of course was not perfect pitch, but it was getting my relative pitch together. His method left no room for guessing and eliminated the hurdles you tend to put in your way, He just taught you how to listen and recognize. I really enjoyed my years studying with him and he will always be considered my mentor. He pulled it all together for me. After I moved back to New York I would travel up to Boston once a week and meet with him, but after getting too busy we started doing lessons through correspondence. After doing that for some time Charlie suggested I travel down to Philly and studying with the famed Dennis Sandole. Whose name is always associated with John Coltrane and Pat Martino. So off to Philly I went and had a wonderful association with Dennis. Dennis was another great teacher, very organized, dividing up the months lessons into 4 separate categories. A week, B week, C week, D week, and then it would repeat expanding of the four separate topics each month i.e. compositional devices, reharmonizing, ear training,soloing,etc.Dennis always emphasized finding your own voice.

JGL: In your bio you mention that you worked with George Benson on three of his Warner Brothers Records releases, "Tenderly," "Big Boss Band," and "Love Remembers." This must have been an amazing experience to work so closely with one of the biggest names in Jazz and Popular music. Please talk a bit about how your association with George came about and in what capacity were you working with him. And of course, how has this experience influenced you professionally and personally?

RD: Big bad George Benson has been a guitar hero since I was in my early teens.When I was attending Berklee I would go see him at the Jazz Workshop a jazz club on Boylston St.Like all of the young Berklee guitar players I was mezmorized with his playing, he's a natural. He hears it and plays it. After I graduated I came back to the New York area and moved back to my home town of Fort Lee N.J. At that time G.B. moved to a neighboring town and we started running into each other at music stores and restaurants. In the late 80's George's son Robert (sax player) was getting ready to attend Berklee. George was told by the school to contact me so I could get Robert ready for his admittance to the school. So G.B.gave me a call,came by my place and we set up Robert to have 2 lessons per week with me. With all this intense study Robert was able to get himself advanced placement when he finally was enrolled in the school. It was during this time our families shared time together, hanging out, going for dinner, having parties and barbeques,etc. developing a treasured friendship. The Bensons will always be part of my extended family. Earlier I mentioned my wonderful experience working along George as his assistant but as great as that was it pales in comparison to sitting across from him on the living room couch playing guitar together. Just when you think you've heard everything. BAM!!!! he kicks it up a notch. He is BAD!!!!

JGL: Even with all the people you have worked with over the years, you still had to find a day gig to keep things going. Are you still working for CBS as as a news editor for The Early Show and Saturday Early Show? And if so, how do you find the division of careers between your day gig and your Jazz pursuits?

RD: Yes I'm still working at CBS Early Show. It's a good and reasonably high profiled day gig, it is lucrative and does not interfere with my music schedule, in fact it often gets me and the trio exposure and is greatly supported by the folks here including the anchors which is a great plus when they show up at the gigs. And here have been times when correspondent Dave Price played my music on the air while doing the weather segments, which I greatly appreciated. We all know how important that kind of exposure is and what it could lead to. Prior to my position at CBS I had taught at Berklee back from 1975-77, then, like most musicians, I played, taught and worked on and off at different music stores, but in 1990 I started taking freelance work as a audio editor and then expanded my skills to included video editing and camera work. I would fill in my open dates taking on broadcast work. Then in 1998 I received a call from CBS and was offered a steady position at the Broadcast center in NYC, which I accepted. In a years time I made the decision to eliminate my teaching schedule, and I became far more selective with the type of gigs I accepted, staying only with jazz and original projects. I felt at this time in my career I have the best of both worlds. An avocation that can support my artistic vocation. Don't think I don't have my demons when I find myself having to drive to work in the morning like the rest of the world but there are many great players that have tougher day gigs. Even the late great Tal Farlow worked a day gig as a sign painter in South Jersey.

JGL: You are obviously, and with good reason, very proud of your new group RD3 with Bassist Mike Richmond and Drummer Paul Undersinger. The CD sounds great by the way...:) How did this wonderful union come together and what plans do you have for continuing the success of this group?

RD: I have a great time playing with my trio, who's name came about because I just got tired calling it the Russ DeFilippis trio. Folks had trouble spelling it, saying it, and after awhile even I got tired instructing people on how to spell it so.I renamed the trio rd3. This way it is not a mouthful and perhaps it might be easy to remember. As for the members on the CD, the bass chair was filled by Camerron Brown, but live you might find Cameron or Mike Richmond, Linc Milliman Nicki Parrot, Bill Moring, Jay Leonhart covering it. As for drums my sidekick Paul Undersinger has it covered. As for the future, I have scheduled some more time in the studio with Mike and Paul to start our next project, and we continue to play in the NYC area.

JGL: You also mention a musical union between yourself and fellow New Yorker and guitarist John Tropea, who by the way, is a guitarist I used to listen to constantly back in the early to mid eighties but then lost track of what he was doing after that. How did this union come about and are you both still working together?

RD: John Tropea and I grew up in Fort Lee, New Jersey. He is 6 years older than me, so as a youngster I seemed to be always in his shadow. When I was in grammar school playing guitar, he was the high school guitar player. When I got to high school, he was the guitar player who went to Berklee. When I got to Berklee, he had left Berklee and went with Deodato. Then when I got back to the New York area he was running his jingle company and tied up in the studio. Always saying we wanted to hook up. Well, we finally did and put together some shows with bassist Nicki Parrot. It is a nice combination 2 guitars and bass.Tropea and I have a good time together and both coming from the same neighborhood, It's like I have a big brother. We will be doing some more things together when our schedule permits.

JGL: On "Calculations", the latest rd3 CD, it sounds like you are playing totally fingerstyle. Are you? And if so, is this how you have always played or was there a time when you decided "no more pick"?

RD: Yes,I've been exclusive a fingerstyle player for the last 20 years.Since my early days, I used both plectrum and fingerstyle. But I always felt closer to the instrument while playing fingerstyle.I also enjoyed the endless possibilities the discipline of fingersytle afforded me . So, I made the decision to become an exclusive fingerstyle player regardless of the gig. At that time I worked a lot of different gigs. I took notice that there were fingerstyle players from Jeff Beck and Mark Knofler(rock players), to Joe Pass,Lenny Breau,Tuck, Martin Taylor just to name few in jazz community.So I threw away the pick for good.

JGL: Are there any pros or cons that you have encountered playing exclusively fingerstyle?

RD: Fingerstyle works great for me, I only see pros for me playing fingerstyle.I can't speak for anyone else. I think the bottom line is whether you play fingerstlye or thumb, like Wes, or with a pick like most, it's a personal thing and the focus should be on connecting with the instrument and the music with whatever discipline works for you. if the phrase be a jazz line, a Chuck Berry lick, a Charlie Parker line, if it's in your ear you will find a way to phase it correctly. After all just take a look at Django and what he did with what he had. Charlie Banacos laid the pearl of wisdom on me " As a infant did your parents physically move your toungue when thay wanted you to say mommy, No, they just kept repeating it for you and you figured it out and repeated it back"

JGL: As I mentioned, I think "Calculations" is a wonderful sounding CD and I enjoyed the combination of both original tunes and Standards that reflect your wide range of musical styles and taste especially your surprising covers of Sting's classic "Field's of Gold" and "The Claw" which of course was made famous by finger-picking legend Jerry Reed. How did these two tunes find their way onto the CD and what has the reaction been from the listening public and fellow guitarists in particular?

RD: I guess seeing Jerry Reed's "The Claw" and Sting's"Fields Of Gold" might seem out of the norm when thinking of a jazz recording. I just enjoyed playing them; they were a lot of fun. And I did try to give them a fresh approach. "Fields Of Gold" seemed to haunt me especially after hearing Eva Cassidy cover it. In addition, the "Claw" I first heard when Lenny Breau played it at Berklee, during a concert back around 1976. Then a few years back I had done a concert with some fingerpickers from Nashville. On the bill was Buster B. Jones who was a killer Jerry Reed type player and he did the "Claw" and tore it up. So that, reacquainted me with the tune I had played so long ago. That gave me the idea to resurrect it my way. I hope both Jerry and Buster enjoyed my jazzed up version. The feedback form other players has been favorable. But I'm sure some jazz purist might have dismissed them as novelty tunes but, they were fun to play nonetheless.

JGL: How important is the audience to you? And how do you handle nights when the club is practically empty or when you are playing your heart out and everyone seems to be blabbing away and not listening to what you're playing?

RD: Like most things in this world we are governed by economics. So if you play and people don't come out to see and hear you then you will probably not be back to that club again. In most of the places I perform I would like to think it is a two way street. Some of the audience I bring in and some come in for the food and or the ambiance of the club. I appreciate the folks that come out to hear me. I keep a current e-mailing list and I try to mix in new tunes every time I play. I have been very fortunate that we have yet to play to an empty club, that's not to say that on some night we were lighter than others, but we always seem to have some kind of an appreciative audience show up.I feel that audience plays a big part in the performance we give, but it is an essential part of any great gig. After all their presence and feedback can only add positive fuel to your performance.

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

RD: I would like to see jazz guitar as well as jazz music become more appreciated by the general public, so perhaps then the great American players won't have go abroad to be appreciated.

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

RD: My advice to any student looking to pursue jazz is to do what calls out to you. It's an artistic discipline, no different from being a painter or sculpture. Your time and study entitles you to nothing but self-fulfillment. I have yet to find a listing in the want ads for "jazz guitar player"

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.

RD: No, I have never had any second thoughts about a career in music. I don't think it was a matter of choice. The music chooses me. It's a calling, a passion, a discipline for life, I guess pre-destined. I could not imagine doing anything else.
But I do joke with fellow musician, saying if we traded all the hours we put into our music we would have probably been brain surgeons or rocket scientists by now.

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

RD: Thank you Lyle for taking an interest in my trio and me.

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Learning to play jazz guitar is different than learning to play on Fender acoustic guitars. Jazz guitar is a complex playing style on just about any guitar, but some guitars, like the Fender Stratocaster, can be more effective. Whether you're practicing your jazz guitar on Fender or Gibson guitars, it will still take you time to master.