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.

Ted Vieira

Jazz recording artist, Ted Vieira creates from a wide palette, combining the traditions of this rich genre with the best elements of contemporary jazz. His overall style reflects a strong influence from the playing of such legendary guitarists as George Benson, Wes Montgomery and Joe Pass.

In his musical education, Ted includes having had the fortune of studying guitar with Tommy Thompson (student of Johnny Smith) and jazz guitarist, John Stowell.

While playing jazz for over twenty years, Ted has performed in every venue imaginable, ranging from small intimate clubs; to working in pit orchestras; to being in front of a big band; to being a featured performer at international jazz festivals. Along with many of the wonderful musicians that Ted has had the opportunity to share the stage with, he has performed in jazz clinics with artists such as saxophonist, Pete Christlieb (Steely Dan/The Tonight Show Band/Quincy Jones) and trumpet player, Bobby Shew (Tommy Dorsey Orchestra/Art Pepper/Buddy Rich).

Ted has written, recorded and produced the music for three instrumental jazz CDs: Vacation, Perfect Night and Quiet Places. Vacation and Perfect Night contain several chart-topping selections, featuring Ted's rich jazz guitar playing over smooth Latin sounds and cool grooves. Quiet Places is a collection of solo jazz guitar arrangements of classic jazz standards, and is a favorite among traditional jazz fans.

Along with performing and recording, Ted is also a jazz educator and is the author of three books on guitar instruction. He has taught at college level, as well as providing online guitar instruction from his website.

Currently, Ted enjoys living in the Reno/Tahoe area of Northern Nevada where he performs and teaches.

The Interview (April 2003)

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

TV I can really attribute my decision to be a jazz guitarist from watching a show on the local PBS station when I was 15. It was a taped concert of "The Great Guitars;" Charlie Byrd, Herb Ellis and Barney Kessell. Up until that point I'd been playing pop and rock, but once I saw and heard these guys, I knew that's what I wanted to do. Later that year Herb Ellis did a couple shows in Anchorage, AK, where I was living then. I went to both performances, got a chance to meet Herb, and from then on I was definitely hooked. After that I started listening to George Benson, and I would think to myself “Man, that's the way a guitar should sound!” Other guys around that time that really got me interested in the direction of jazz were Lee Ritenour and eventually Joe Pass and Ed Bickert.

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

(TV) I think the main thing I really love about jazz is it's concept of freedom with a strong sense of discipline. The more you know and the stronger your abilities, the more freedom you have. That's kind of the way I look at it anyway.

I really love the open feel of jazz; the subtleties; the tension and release. I appreciate jazz as an open canvas in which it's OK for you to add as much, or as little “color” as you want. Other forms of music are not quite as open to that. For example, if you're playing a CCR tune and add too much “color,” you may enjoy it, but it might not be the most appropriate thing to do for the given setting. Hence the strange and irritated looks?

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

(TV) I think that because of it's association with art and sophistication, jazz can always have a certain commercial appeal. However, I doubt many would ever look at jazz as a vehicle to fame and wealth. Much of the music that I write would probably be considered pretty commercial, or accessible as far as jazz goes. That was not part of my thought process while I was writing it. I just wanted to write music that I enjoyed and I thought that others could enjoy as well. However, my favorite playing experiences come from those performances in which I'm on a stage with wonderful players, playing straight ahead stuff knowing that the performances were musical, creative and would never be played the same again, with no thought of commercialism anywhere in the room.

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

(TV) I like to keep things pretty simple. I've got two main guitars that I use. My favorite is my blonde Ibanez L-5 (1978). My other guitar is a Paul Reed Smith, McCarty model with a beautiful natural flame top. I use a Line6 POD for my preamp. The POD is not the end-all to the search for perfect tone, but it's made my life incredibly easy with all the convenience it provides. Then I will either run the POD straight to the P.A. or through my Mesa Boogie 50/50 tube power amp. For most gigs I use a Marshall 4x10 cabinet (not exactly what you would expect to see on a jazz stage - but this cabinet sounds rich and warm!). Another cabinet that I'll use every once in a while is a Mesa 1x12. I like the Marshall better, but for a 1x12, the Mesa sounds pretty big and warm.

(JGR)(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.

(TV)I really love the internet. I think it's one of the most exciting things that has happened in a long time. From being online, I've met fantastic jazz musicians from all over the world. I've heard their music, had discussions with them. It's not likely that I would've met many of these players without the internet.

One of the other fantastic aspects of the internet is that it gives all players an opportunity to promote themselves and their music to the rest of the world without having to belong to the select few, chosen by large record companies. It levels the playing field, and puts more control back into the hands of the artist. It's a powerful tool. I've received a lot of valuable exposure and contacts through being able to provide and promote my music and information on my website.

The last thing I'd like to mention about the internet is what a valuable learning resource it is! There is so much helpful information for jazz guitarists through online lessons, articles, discussion groups, and websites such as yours and others like it. I'm hoping the internet will help the growth and development of this amazing field of music and it's players.