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/
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