Here is a mini interview that I'm conducting with various jazz guitarists that are listed on this site. Some of the same questions are presented to every guitarist.

Joe Giglio

(Bio from Joe's site) Jazz Guitarist/Vocalist Joe Giglio has led his own trio for many years performing in Jazz clubs, concerts and on radio and television. His first CD "Inside Out" has recently been released on Zinnia Records receiving excellent reviews. A prolific composer, Joe Giglio has written many Jazz compositions, Pop and R&B songs. He is currently working on a series of "Jazz Etudes" which will be the source material for a book on "Jazz Improvisation", and a series of "solo transcriptions" for "Jazz Guitar". He has appeared with "Jazz Greats" Houston Person, Jack Wilkins, Howard Alden, Vic Juris, Carmen Leggio, Ralph Lalama, Yoron Israel, John Purcell, Bucky Pizzarelli, Joe Puma, Eddie Bert, Ted Brown, Frank Vignola, Harvie Swartz, Bill Crow, Lynn Christie, Gerry Hemingway, and with "Pop Legend" Bobby Rydell, "Broadway Star" Melba Joyce, and "Jazz Divas" Judy Niemack and Carla White, among others.

Giglio is a member of the Jazz Faculty at the Music Conservatory of Westchester; and the adjunct faculties of Purchase, Mercy, and Concordia Colleges; has been a guest lecturer on Jazz Improvisation at New York University; and has an MFA in Jazz Performance from Purchase College. Giglio was recently invited to join the faculty of www.visionmusic.com, and was their "Featured Teacher" in April 2001.

He has studied with "Jazz Legends" Sal Mosca, Jack Wilkins, and Jimmy Heath, as well as "Classical Guitar Master" David Tanenbaum. He is endorsed by Takamine Guitars, WD Music Products, Polytone Amplifiers, Raezer's Edge Speaker Cabinets, LaBella Strings and Alessandro Amplifiers.

Giglio recently performed at the "Classic American Guitar Show" at the "Vanderbilt" in Plainview, N.Y., and at the "Philadelphia Guitar Show", receiving rave reviews. "Just Jazz Guitar" magazine has deemed him "One of tomorrow's stars", he was picked as "Jazz Performer of the Year" by "Rhythm and News" magazine, and Jim Fisch in "20th Century Guitar Magazine" described him as "an artist whose time is now".

He was recently profiled on the cable television show "Cross Section"; performed in concerts with legendary Jazz Guitarist Bucky Pizzarelli and "Jazz Guitar Great" Howard Alden (of "Sweet and Lowdown" fame); and performs weekly at Manhattan's "107 West" night spot. A review of a recent performance there, praised his "vibrant comping", and his "solo that was as fresh as any response to Django's masterpiece we've heard". He is also the host of a popular "Web Site": www.joegiglio.com.

The Interview (May 2004)

(JazzGuitarResources) As a Jazz guitarist who where your early  influences?

(Joe G.) My earliest influence was my alto saxophonist older cousin, who turned me on to Jazz. He played me records by John Coltrane, Miles Davis, Art Blakey, Charles Lloyd, etc. One of my early favorites was "Ascension" by John Coltrane, some very 'out - free' music.

Not surprisingly, my current playing while 'standards' based, employs 'free' sections & 'deconstructing' the tunes.

I asked my cousin for the name of a great jazz guitarist and he mentioned Jim Hall, one of my favorites, and a major influence to this day.

I was also fortunate to have a jazz based guitar teacher Gus DeGazio, who instilled in me many important values and concepts early on.

From there I went into a period of playing rock/folk/blues based music, and wrote a lot of songs.

During college I re-discovered jazz in a big way. At that point I began to study with some great musicians like Joe Puma, Lou Stein, Jimmy Heath, and most importantly pianist Sal Mosca. Sal shaped my playing and direction more than anyone, other than myself.

Sal is all about improvising, and is playing better than ever at age 77. My college was in a town where jazz thrived, and I played with many great musicians from Jack DeJonette's "Creative Music Studio". An unknown great who influenced my playing back then was guitarist Steve Geraci. We played many gigs together, and were always jamming. He is a great player and currently lives and performs in Austin,Texas. I later studied with Jack Wilkins who helped me a great deal with reading, comping, and reality.

(JGR) What about jazz drew you to the form?

(Joe G.) Improvisation! I think of what I do as being improvisation first, jazz second. That said one would never mistake my playing for anything other than jazz, but I am most interested in maintaining a high level of improvising above all else. While I love all good music, and spend quite a bit of time listening to classical music, my thrills come from creating in the moment.

(JGR) Do you see any commercial potential in jazz?

(Joe G.) Not for real jazz/improvised music, at least not in these materialistic times, in this country which ignores it's national artistic treasures. I spend a fair amount of time visiting art museums and studying the treasures within. In so doing I have begun to see the continuum of creativity throughout the centuries. I hope that our society begins to recognize and embrace the riches inherant in jazz music and accord it the respect and position is deserves. Only then will current and future generations benefit from the creative thread that runs through, and ties this music to, the fabric of society.

(JGR) For all the guitarists with GAS out there what is you current gigging setup?

(Joe G.) I just received a new 'chambered' solid-body from luthier Chris Forshage ( www.forshage.com ). It was the hit of the recent "Classic American Guitar Show", among both the luthiers and the fans. My main guitar has been an extensively modified 1969 Gibson ES-330 'Longneck'. I rarely if ever use effects, including reverb. My amps are either: "Clarus + Raezer's Edge", or a Polytone "Mega Brute", which along with my guitar in a gig bag, allow me to hop into a cab and get to gigs around Manhattan with relative ease.

I also use Takamine nylon & steel string acoustic/electric guitars & "La Bella" strings. Other than the ES-330, all my instruments, amps & strings are endorsements. I am fortunate to be involved with companies that make high quality gear that I would use anyway, and who at the same time believe in me, and support my endeavors.

(JGR) Do you do much composing and is there a relationship to your improvising?

(Joe G.) Composing is my other musical passion. I think of it as controlled improvisation. I enjoy writing modern be-bop type lines over standards and original changes many of which have been published in "Just Jazz Guitar", and also compose more serious pieces in the "New Music" category. I just finished a solo guitar piece dedicated to my favorite guitarist/composer James Emery (www.james-emery.com ). It will appear in the August 2004 issue of "Just Jazz Guitar".

(JGR) What are you involved with currently in terms of music and career?

(Joe G.) I am fortunate to have a steady gig here in New York City, which is a rarity. It is a duo format, and I mostly play with another guitarist, and occasionally a bassist. Some of my playing partners have included Howard Alden, Jack Wilkins, Peter Bernstein, John Stowell, Joe Diorio, Carl Barry, Joe Beck, Mimi Fox, Paul Bollenback, John Hart, Randy Johnston, bassists Ron McClure, Murray Wall, and many others. I also play concerts here and out of town, and try to play as many 'corporate' jazz gigs as possible, as they are usually very lucrative.

I am currently working on a new CD, which will be a mix of standards & original compositions. As voice is my other instrument, I will be singing a number of tunes. My approach to the vocal tunes will be the same as my approach to instrumentals. The only difference will be that the melodies will be sung rather than played. Improvisation will remain the focus.

I am also teaching a number of talented jazz guitar students, which I enjoy greatly as it is a constant reiteration of the musical concepts I believe in.

(JGR) How do you feel the internet adds to jazz guitar? I for one have gotten a lot of value from it for my jazzguitarresources.com site and my personal site. Also, allows one to interact with lots of great jazz guitarists.

(Joe G.) I have benefited greatly from my presence on the internet. Through this great medium my music and name have been spread throughout the world. I have fans in Europe, Asia, North and South America, Africa and Australia, etc. They order CD's and occassionally take lessons when visiting New York City. Also this type of familiarity leads to touring abroad, which is something that I am interested in. I have met many wonderful musicians in person as a result of internet contact.

It is uplifting to see how much this music means to so many diverse groups of people. I am continually moved by this phenomenon.

Thanks for your time.

Curt Sheller