Greg Clayton is a well renowned and respected working Jazz Guitar player and educator In Montreal, Quebec. In this Part one of a two part interview, Greg shares with us his thoughts on his early musical influences, his associations with Tal Farlow and Jimmy Raney, and his views on life as a Jazz Guitarist. A very interesting read indeed.

JazzGuitarLife.com Interview with Greg Clayton: This interview was conducted at my home July, 2005. Check out his website at www.gregclayton.com

JGL: In addition to yourself Canada has many wonderful jazz guitarists like Ed Bickert, Lorne Lofsky, Reg Schwagger, and the list goes on. What do think of the Canadian jazz guitar scene in general and is there a different mentality or approach that Canadian artists offer?

GC: I'm not sure there is another mentality as we are all North Americans but each area has it's players and I guess we all reflect our locations somewhat. In my case as I said my guitar models were the usual suspects and I'd certainly include Ed Bickert in the group with Wes, Raney, et al. More "local influences were mainly Nelson Symonds and Ivan Symonds around Montreal, then a bit later Peter Leitch and Sonny Greenwich although I was pretty well on my path by the time I heard and or met Sonny and Peter. These guys were all encouraging as were the more well known guys I met such as Joe Pass, Tal Farlow , Jimmy Raney and I try to be a cheering section for the young people coming up and in fact I feel it's part of the social contract for us to pass information on to the next generation. This is very strong in the larger jazz artist community as well and as I said I'm in full accord with the idea.

JGL: What type of musical situation do you enjoy the most (ie: trio, quartet, duo, solo, etc.)

GC: I love harmony so solo guitar is fun to do on my own but it's not something I go after because for me the joy is playing with others. I do prefer to be the only chord instrument as it's free harmonically but I can dig any situation where the players are working together and listening to each other.

JGL: Do you think that improvisation can be taught or is it an intrinsic thing?

GC: Music comes from the soul and the heart so I guess it's intrinsic but of course we all learn and techniques can be taught and learned. I know it's spiritual energy though.

JGL: Could you describe some of your best musical situations or experiences and the worst?

GC: Leaving out the worst I've been lucky to work with quite a number of wonderful artists[most not famous] and I'm open to learning from them all. Most recently was a gig with Shelia Jordan which was mind blowing for reasons too numerous to go into but suffice to say Shelia is a deep, soulful artist. Some others that have had a positive effect have been Fred Henke (a longtime friend), Hank Marr, Billy Higgins, Richard Parris and in fact just about any of my musical confreres here. The whole "name game" thing never gives the real picture as it's a technique more related to business and publicity/credibility rather than music.

JGL: Getting a little personal...you have been very fortunate in your chosen career...you work practically every night, you teach at an internationally recognized University (McGill), you have recorded both as a leader and sideman, and you have played with and been associated with some major players. Do you feel that you have reached the pinnacle of your career and are satisfied with your current situation as a player or is there something that you still feel the need to reach out for?

GC: Just to play better and perhaps get some better work. I tell my students to forget fame then see if you really want to continue. I think if you asked most jazz players the question re recognition they'd all pretty much agree that whether in the NYC "big time" or locally, recognition is just a tool to get more work. And, if one wants to continue in music, one must work.

JGL: Have you written any original material and if so, do you plan on ever getting those tunes out on record?

GC: I recorded an original called "Misdemeanor" on my trio CD Live at Boomers and back in the 80's performed some original material at Place des Arts during the Montreal Jazz Festival. A few years back I did a set of my tunes for a TV pilot which was never released.

JGL: Do you have any plans to follow-up "Live at Boomers"?

GC: Yes. I have a colleague here who says he wants to produce a new CD for me this summer and if it pans out I will include some of my own things on it. I'd like to do it and am keeping my fingers crossed!

JGL: You played at the Smithsonian in Washington DC. How did the gig come about and what was the experience like?

GC: John Labelle and I have been friends with Leslie Whipkey for quite a few years now and John and I had both worked in Washington DC separately but ended up having a gig together in DC so the Smithsonian offered us the gig since we were to be in town. Randall Kremer is a great guy and a real supporter of jazz guitar and I hope to go back and fill an invitation to play there with my trio in the not too distant future.

JGL: Thanks Greg for taking the time to speak with Jazz Guitar Life.

Click here for part one of Greg Calyton's interview with Jazz Guitar.