Interview with Aleksi Glick: A little bit more about playing to audiences rather just for oneself: Video

Interview with guitarist Aleksi Glick. An interview by email in writing. 

JazzBluesNews.com: – First, let’s start out with where you grew up, and what got you interested in music.  How exactly did your adventure take off? When did you realize that this was a passion you could make a living out of?

Aleksi Glick: – I grew up in New York City. My dad is a full time musician too and has played with many folk, jazz and world music greats. So good music was always around me even at a young age. I started on piano when I was 5 but I didn’t truly develop my passion till I switched to guitar when I was about thirteen. As far as making a living playing music, I just figured that as long as I worked my butt off I’d be alright.

JBN: – How has your sound evolved over time? What have you been doing to find and develop your own sound?

AG: – When I first picked up the guitar I was really into classic rock, the blues and soul. I loved acts like Jimi Hendrix, Cream, The Who, AC/DC, Stevie Wonder, Pearl Jam and Led Zeppelin. Over time once I discovered jazz I became a jazz purest and when I was in my early 20s was almost exclusively playing Bebop, Hard Bop, some blues and a little bit of funk. But as I got a little older and my sound matured I went back to my roots and started to incorporate a lot of t he different kinds of music I grew up listening to into my sound as well as some newer kinds of music I was starting to check out. Many of my favorite jazz guitarists such as John Scofield, Paul Bollenback, Vic Juris and Peter Bernstein all do that to a certain extent so I figured it could only help my playing.

JBN: – What routine practices or exercises have you developed to maintain and improve your current musical proficiency, in terms of both rhythm and harmony? 

AG: – I’m a big fan of transcription, recording yourself and working with a metronome daily. In terms of my harmonic development. A lot of that has come from learning thousands of songs and really trying to understand the purpose of how and why the harmony is moving in the way it is.

JBN: – Have you changed through the years? Any charges or overall evolution? And if so why?

AG: – Yes, I’d like to think I’ve become more open to new styles of music and collaborations. I think this is just a product of being around so many great musicians of all styles and genres in NYC. Also, my back is also way worse from lugging my amp on the subway constantly.

JBN: – In your opinion, what’s the balance in music between intellect and soul?

AG: – Hmm that’s a good question. I’m gonna say 40 percent intellect and 60 percent soul.

JBN: – There’s a two-way relationship between audience and artist; are you okay with delivering people the emotion they long for?

AG: – Personally I think connecting with the audience is incredibly important. Making people feel good and creating a connection with the audience are two of the biggest reasons I play music.

JBN: – How can we get young people interested in jazz when most of standard tunes are half a century old?

AG: – I think by caring a little bit more about playing to audiences rather just for oneself, and making sure that we are rehearsed and putting on a bit of show. Also, of course we want to keep all the wonderful classic standards we have in our repertoire. But also adding some newer and more modern classics to the rep think would help. I’ll always try to throw in a Stevie Wonder, Michael Jackson or some other more contemporary jazz arrangement each set. I think we have a big opportunity to turn many of the great popular tunes of the  last 50 years into standards and in doing so reach a wider audience.

JBN: – John Coltrane once said that music was his spirit. How do you perceive the spirit and the meaning of life?

AG: – For it’s to add meaning to life and for me music is my meaning and purpose. It helps me make meaningful connections, build communities and improve peoples lives.

JBN: – If you could change one single thing in the musical world and that would become reality, what would that be?

AG: – Definitely for musicians to be more fairly compensated.

JBN: – And judgmental idiots like you, whose place is as far away from jazz as possible 🙂 🙂 🙂

JBN: – Whom do you find yourself listening to these days?

AG: – These days I find myself listening a lot to John Scofield, Julian Lage, Yebba, Wes Montgomery, Peter Bernstein, Vulfpeck, Joe Pass and Tedeschi Trucks Band.

JBN: – Let’s take a trip with a time machine: where and why would you really want to go?

AG: – Probably 1968, although ancient Egypt would be pretty cool too.

JBN: – So far, it’s been me asking you questions, now may I have a question from yourself…

AG: – Where do you see jazz going in the next 10-15 years?

JBN: – A wonderful place, but without you and your kind.

Interview by Simon Sargsyan

Note: You can express your consent and join our association, which will give you the opportunity to perform at our Jazz and Blues festivals in Europe and Boston, naturally receiving an appropriate royalty. We cover all expenses. The objectives of the interview are: How to introduce yourself, your activities, thoughts and intellect, and make new discoveries for our US/EU Jazz & Blues Association, which organizes festivals, concerts and meetings in Boston and various European countries, why not for you too!! You can read more about the association here. https://jazzbluesnews.com/2022/11/19/us-eu-jba/