13 QUESTION METHOD: STEVE CARDENAS
Having started his musical career in Kansas City, Steve Cárdenas is now an integral part of the jazz community in New York City. He has backed up such greats as Eddie Harris, Marilyn Maye, Jay McShann, and Slide Hampton. In recent years, he has performed with such diverse artists as Maria Muldaur, Paul McCandless (of the group Oregon), trumpeter/composer Mark Isham, bassist Marc Johnson, and vocalist Norah Jones.
He is currently a member of the Paul Motian Electric Bebop Band, Charlie Haden's New Liberation Music Orchestra, as well as a quartet led by drummer Joey Baron, called Killer Joey. In addition, he leads his own group, performing at various venues around Manhattan. Just released is Steve's new CD, Panoramic. As on his previous recording, Shebang, this CD features Larry Grenadier on bass and Kenny Wollesen on drums, with Tony Malaby added on tenor saxophone.

1. Which was the first record you bought with your own money?
I don't remember exactly the first record I bought with my own money, but I remember the first few 45s I bought when I was a kid. One I remember being excited to get was "All Day and All of the Night," by the Kinks. I hadn't started playing guitar yet at the time, but listening back to it now, it sure has a rockin' guitar solo.

2. Which was the last record you bought with your own money?
I don't remember. (I think there may be several “I don't remember” answers coming up.). I couldn't make an accurate guess.

3. What was the first solo you learned from a record — and can you still play it?
I probably learned some rock solos verbatim way back in the day, but I'd be hard pressed to remember specifically which those were. I do remember, however, when I first got into playing jazz in high school, I was given Miles Davis' Milestones record. The opening phrase of Cannonball Adderley's on "Milestones" blew me away, not to mention the rest of his solo. And not to mention Miles' and Coltrane's solos. So I had to learn that opening phrase of Cannonball's. I also remember at some point learning George Harrison's solo on "Something," just because I thought it was one of the most beautiful guitar solos ever. I still do.

4. Which recording of your own (or as a sideman) are you most proud of, and why?
There are some recordings I'm on that I like, not so much for my playing, but for the music that's on them. But off the top, if I thought in terms of recordings representing my playing in a broader sense, I like the last few records of Paul Motian's EBBB — particularly Holiday for Strings, as well as one we've recorded for ECM that isn't out yet. There are moments in various records. Actually, bassist Arthur Kell has a new one coming out that I feel represents my playing well.

5. What's the difference between playing live and playing in a studio?
There's a lot of difference, and it is as broad as the logistical and psychological. I think it would take up too much space to go into detail, but suffice it to say that, for the most part, whatever the advantages are in playing live are reversed in the studio. There are times when it can feel good in the studio, almost like playing live. It's very circumstantial though.

6. What's the difference between a good gig and a bad gig?
Girl-to-guy ratio. No, no, just kidding — it’s the money. No, no, again kidding. The real answer is, there's no difference, just my head getting in the way when I'm perceiving it as a bad gig. Another answer is, there are times when a whole band may be in agreement as to it being an "off" night. It happens, sometimes it's not noticeable to an audience. Who knows. The important thing to remember is music at it's best is a reflection of life, which inevitably has it's ups and downs. Seems like if you keep it in mind to always do your best, that will be the usual outcome.

7. What's the difference between a good guitar and a bad guitar?
What a good guitar is to one person may be a bad guitar to another and vice versa. I don’t mean to be evasive at all, but I think that's it.

8. You play electric and acoustic. Do you approach the two differently?
If I do, it's not out of a conscious thought but rather that the instruments themselves have different qualities that naturally cause you to play different kinds of things. Mostly, I just try to play something I'm hearing that works for the music and get it to speak through whatever instrument it is.

9. Do you sound more like yourself on acoustic or electric?
I used to think I sounded more like myself on acoustic, but for a while now I think it has evened out.

10. Do you sound like yourself on other people's guitars?
I would say so, and I've noticed it to be true most of time with about anyone I've heard.

11. Which living artist (music, or other arts) would you like to collaborate with?
That's tough, because as soon as I mention someone, I'll wish I'd said about 40 other people.

12. What dead artist (music, or other arts) would you like to have collaborated with?
Same answer.

13. What's your latest project about?
I have a record that came out last year, Panoramic, for the Fresh Sound New Talent label out of Barcelona. I'm thinking about recording something new possibly next year. Not sure what I'm going to do, but I have two completely different ideas. Aside from my own stuff, I've mostly been in sideman mode, playing with varying bands and artists, all of whom I feel very fortunate to be playing with.

Web site: http://www.stevecardenasmusic.com/