Meet Emiel van Egdom:
Emiel van Egdom is a musician equally at home in high energy electric jazz or fusion as in romantic classical and contemporary acoustic solo guitar arrangements. With major worldwide releases, he's a highly talented guitarist who has demonstrated the highest levels of musical achievement—Alma Berklee, Jim Hall Jazz Award, USA.

His albums and concerts read like a who's who in contemporary music and jazz, having worked wih artists including Bobby Militello Bobby Militello
b.1950
sax, alto , Bob Sheppard Bob Sheppard
, Eric Gale Eric Gale
1938 - 1994
guitar, electric , Bob Berg Bob Berg
1951 - 2002
saxophone , John Patitucci John Patitucci
b.1959
bass , Brian Bromberg Brian Bromberg
b.1960
bass , Tom Brigandi, Steve Curry Steve Curry
, Joel Taylor Joel Taylor
, Alex Acuna Alex Acuna
, Peter Gordon, Michael Pedicin Jr., Jan Knooren, Ron van Stratum Ron van Stratum

drums , Bart Rademakers, Consuelo Candelaria, Demetrios Papas, Corey Allen, Cheryl Bentyne Cheryl Bentyne
b.1954
vocal , Tony Galla, Bob Leatherbarrow and Bob Jones.

Instrument(s):
Guitar.

Teachers and/or influences?
Al DeFino, Hans Lutz Niessen, Wim Halmans, Frank Gambale Frank Gambale
b.1958
guitar , John Scofield John Scofield
b.1951
guitar , Antoine Dresens, Corey Allen, Peter Gordon, Bart Rademakers, Jan Knooren, Ron van Stratum, John Patitucci, Bob Berg, Eric Gale, Brian Bromberg, Mike Mainieri Mike Mainieri
b.1938
vibraphone , Joel Taylor, Bob MIlitello, Tom McCauley, Bill Cantos, Cheryl Bentyne, Bob Sheppard, Michael Pedicin, Chico Huff, Alex Acuna, Demetrios Papas, Marcel Graus, Leo Janssen, Gian Prince.

I knew I wanted to be a musician when...
For as long as I remember, since childhood. Then.....when I saw the original Return to Forever Return to Forever

band/orchestra I knew also what direction I was heading for.

Your sound and approach to music:
Having a God-given talent, I do music in its purest, all encompassing form, but I do love the guitar—I like to believe for its sound. I'm still in love with the sound and the instrument as I was day one.

Your teaching approach:
I do not teach style, I teach music—the craft, the art, the philosophy, the poetics—and build on study, practice, craftsmanship and professionalism.

Your dream band:
I already did, have and am still doing it. For over 30 years, many concerts and many sessions, with many musicians.

Road story: Your best or worst experience:
My best story is the one where I feel blessed to be allowed to do this and to be naturally able to for as long add I do and still be growing, learning and blessed—every day.

Favorite venue:
The Baked Potato in Los Angeles.

Your favorite recording in your discography and why?
I can't say I do have a favorite; or it has to be the one I'm working on at any given time.

The first Jazz album I bought was:
I think it was Lee Morgan Lee Morgan
1938 - 1972
trumpet 's Sidewinder or Kenny Burrell Kenny Burrell
b.1931
guitar 's Blue Lights.

What do you think is the most important thing you are contributing musically?
The gift I was given of moving people with my playing and composing.

Did you know...
I'm a sword master and Maitre d'Escrime in 7 styles.

CDs you are listening to now:
RTF4;
J.S. Bach/ Sviatoslav Richter, Das Wohltemperierte Klavier;
Bob Sheppard, Close Your Eyes;
Chick Corea Chick Corea
b.1941
piano /Return To Forever, Returns;
Andres Segovia The Complete Early Recordings.

Desert Island picks:
Bill Evans Bill Evans
1929 - 1980
piano /Tony Bennett Tony Bennett
b.1926
vocal , Tony Bennett Bill Evans Album;
Return to Forever feat. Chick Corea, Hymn of the Seventh Galaxy;
Mark Murphy Mark Murphy
b.1932
vocal , Song for the Geese;
Glenn Gould/Johann S. Bachm, The Well Tempered Clavier;
John Coltrane John Coltrane
1926 - 1967
saxophone : any album.

How would you describe the state of jazz today?
Depends on which part of the world you work, it's too complicated a situation. But, there's too much talking, too much moaning, and too much non-jazz being called jazz. Too many "writers" "writing" that have no clue, and too many governments not getting it.

What are some of the essential requirements to keep jazz alive and growing?
That's beyond me. Fighting against staggering odds, but for some reason I want to believe that the real thing will survive anyhow.

What is in the near future?
Tours, recording/writing/composing/teaching.

By Day:
Woodshed.

If I weren't a jazz musician, I would be a:
classical musician.

Photo Credit
Rob Oostwegel

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