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.

Mark Kleinhaut

Mark Kleinhaut has been playing jazz guitar for over twenty-five years, during which time he has developed a highly personal sound and recognizable voice on his instrument. He completed formal music studies at Rutgers University (B.A.1979) under the direction of the late Ted Dunbar. Mark has also studied privately in NYC with guitarist Jack Wilkins and participated in numerous master classes, including sessions with Pat Martino and Jim Hall. Mark currently teaches privately and recently conducted clinics and workshops with Tiger Okoshi at Bowdoin College and Univerity of Maine at Augusta. He was also formerly adjunct faculty at University of Southern Maine.

Mark Kleinhaut has appeared in concerts with nationally recognized jazz artists such as Bobby Watson, Tiger Okoshi, Jerry Bergonzi, Brad Terry, and Alex Foster and also performs regularly with many top local and regional jazz musicians. As leader of the Mark Kleinhaut Trio, with bassist Jim Lyden and drummer Les Harris, Jr., he and the trio have performed a repertoire of his original jazz compositions in a wide variety of venues and concert series ranging from the Key Maine Jazz Festival in Portland Maine to the Museum of Modern Art (MOMA) in New York City. In 2002, the Trio made its first European visit with a six city tour of Germany and the Netherlands.

Mark Kleinhaut is a prolific jazz composer and has released three CDs of all original jazz compositions and is presently completing work on a fourth project that features world renowned sxophonist, Bobby Watson, as well as frequent collaborators Jim Lyden and Les Harris, Jr.

The Interview (April 2003)

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

(MK) It was the mid 1970's when I first heard John McLaughlin's Mahavishnu Orchestra and Chick Correa's Return to Forever, with Al DiMeola. This was the gateway for me into the world of jazz. I had been playing in bands that covered bands like YES and Genesis, but when I heard these fusion groups, including Weather Report, it was the next logical step. It didn't take long to realize that all of these fusion players had common lineage to Mile Davis, so he was the next step, and then from Miles it went to Trane and Bird and so on.

As far as guitar influences, I tried to listen to everything I could get my hands on, but the major early influences, or at least the ones I listened to over and over again were Wes, Hall, Martino, Benson and Pass. Also, this was right around the time I was studying at Rutgers where I found the late Ted Dunbar. He was my teacher/mentor for three years and laid so much stuff on me that I'm still digesting it now, 25 years later.

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

(MK) This music is intelligent, sensitive and meaningful. And there are all of these wonderful balances that you can see in jazz, for example, how individuality is so highly prized amid the extraordinary level of interdependence that takes place between musicians performing together. I love the dynamics between freedom and discipline, between control and letting go and how we make a life-long pursuit of being in 'the moment'. I only wish that more people could come to know the magic of this wondrous art form. There is nothing elitist about it, yet in the grand scheme of things it seems like not to many people really get it.

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

(MK) Sure, just look at Diana Krall, Pat Metheny and George Benson. They are playing music that has mass appeal, and it's kind of pop oriented, but I like to think that they will be someone else's 'gateway' to jazz, like fusion was for me 25 years ago. Also, players like Wayne Shorter, Herbie Hancock and Sonny Rollins are icons of jazz and they are doing well touring. Their marquee value is quite high and they are the superstars.

Most jazz musicians are concerned with just getting by, earning a living and making a life. We can complain endlessly about it, but I think it's like that in all fields of the arts and entertainment business. It's a pyramid basically. There is a lot of money going to the very few guys at the top and very little money for the great numbers of folks at the middle to bottom. But if you think we have it tough, what do you do if your thing is basketball and you can't get a gig in the NBA?

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

(MK) I'm using a PRS Hollowbody. I use D'Addario Chromes (12s) and Fender full size extra heavy picks. I also keep fingernails to classical specs for finger picking. My amp is a Clarus 1R and I use Raezers Edge cabinets; an S12 and an S12ER. I occasionally use a Boss GT6 for effects, though most of the time I'm going for super clean tone.

(JGR) You already have Three CDs as a leader where you have written all of the music. Do you have any new projects in the works?

(MK) Yes, I have a brand new CD on the way. Bobby Watson is my guest on this recording and collaborating with him has been an amazing experience. When I approached Bobby about working together he agreed, but he challenged me to write new compositions especially for him. This was a great offer and he pushed me forward by doing this. Then, when we performed last fall at the Key Maine Jazz Festival, everything clicked immediately. We recorded in January and just finished mixing, so it should be available by June. I'm extremely pleased with how this project turned out and I cant wait for people to hear it.