Take Five With Emiel van Egdom

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, Bob Sheppard, Eric Gale, Bob Berg, John Patitucci, Brian Bromberg, Tom Brigandi, Steve Curry, Joel Taylor, Alex Acuña, Peter Gordon, Michael Pedicin Jr., Jan Knooren, Ron van Stratum, Bart Rademakers, Consuelo Candelaria, Demetrios Papas, Corey Allen, Cheryl Bentyne, Tony Galla, Bob Leatherbarrow and Bob Jones.

Instrument(s):
Guitar.

Teachers and/or influences?
Al DeFino, Hans Lutz Niessen, Wim Halmans, Frank Gambale, John Scofield, Antoine Dresens, Corey Allen, Peter Gordon, Bart Rademakers, Jan Knooren, Ron van Stratum, John Patitucci, Bob Berg, Eric Gale, Brian Bromberg, Mike Mainieri, 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 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's Sidewinder or Kenny Burrell'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/Return To Forever, Returns; Andres Segovia The Complete Early Recordings.

Desert Island picks:
Bill Evans/Tony Bennett, Tony Bennett Bill Evans Album; Return to Forever feat. Chick Corea, Hymn of the Seventh Galaxy;
Mark Murphy, Song for the Geese;
Glenn Gould/Johann S. Bachm, The Well Tempered Clavier;
John Coltrane: 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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