Take Five With Michael Arlt

Take Five With Michael Arlt
AAJ Staff By

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Meet Michael Arlt:

Appearing on numerous concert tours, festivals and CDs since 1986, guitarist Michael Arlt has been working with an expanding group of international musicians, including Red Holloway, Paquito D'Rivera, Houston Person, Dan Kostelnik & We Three, José Cortijo, Luciano Biondini, Tony Lakatos, Mathias Ruegg, Adrian Mears,Jon Sass, Portinho Trio: Klaus Mueller, Itaiguara Brandao, Portinho.

Touring in France, Belgium, Switzerland, Holland, Italy, Poland, Denmark, Germany and the US, Arlt`s music has been showcased on a variety of radio and tv programs. Michael Arlt is an assistant professor at Hochschule fur Musik in Wurzburg, Germany and taught at a number of jazz workshops/clinics/etc at Berklee College of Music, Boston.



Teachers and/or influences? Important teachers were Mike Metheny (yes, Pat Metheny`s brother—I took improvisation lessons for a few months in 1984 and that helped a lot) and guitarists Wim Overgaauw, Pat Martino and John Scofield.

Before that, I fell in love with the music of Charlie Parker and, apart from that, too many to mention.

I knew I wanted to be a musician when... I discovered pop and rock music in the early '70s.

Your sound and approach to music: My sound in my head is like this: It is full, warm, punchy, dynamic, clear, a distinct center with fluffy edges; equally rhythmic, melodic, harmonic—each takes the lead in turn. Sometimes the phrasing is the center. I like it to be daring or overflowing, with some kind of abandon. There is a strong forward motion or if the mood is mellow, a pulse...

I hope at least some of that reaches other people.

My approach to music is communication: acting, reacting. Being provocative, sometimes; being receptive others. Trying to appeal to the ESP in my fellow musicians and everyone else listening.

Your teaching approach: Know your strengths and weaknesses, and work on them accordingly.

First, I'm listening to the student for general things, positive and negative, that spring up right away, like good rhythmic ideas,too many notes, nice sound, and that seem of relevance to their development at the moment. I make them aware of these things and that often helps to maybe advance their playing a bit right away.

But I'm pretty meticulous about knowing your instrument, so I always set up a route to empower the student in that respect—a short/medium/long term plan. The guitar is too multi-dimensonal not to have a plan in that field.

If you want to improvise, I think it is very important to be aware of the single steps—everything from hearing an idea in your head to the complete performance of that idea on your instrument—and how you can and have to work on each of those steps to become a more complete and eventually a free(r) improviser.

Your dream band:

Well, actually, I just recorded with one of my dream bands: I recorded for my next CD with Portinho Trio—pianist Klaus Mueller, bassist Itaiguara Brandao, and drummer Portinho—which is about as good as it gets when it comes to Brazilian music. Working with these guys on my compositions was something else.

In the past I was lucky to have worked with people that would all be dream band candidates for me, like Red Holloway, Houston Person, Paquito D`Rivera, Keith Copeland, and a few more .

Since I am a fan of the drums—and that connection is very strong and important for me—everything else revolves around drummers. Jimmy Cobb and Charlie Persip are at the top of my list. And Jimmy Wormworth. I think it is too bad that I never had the chance to meet Philly Joe Jones, Art Taylor and Billy Higgins.

Road story: Your best or worst experience:

Well, apart from those rare occasions where I didn`t get paid or I played the last engagement in a venue before it closed down...

At one time during a tour with lots of traveling, we had checked into a hotel early and after some trouble at the reception desk because of a missing reservation, we were looking forward to a relaxed day, a bath and a nap before sound check. It was only hours later that I discovered that I had mixed up the dates: We were expected to play the club there the next day.

We had to get our drummer out of the bathtub and rush to the town where we really were supposed to play that night, went straight to the club and sound checked just in time for the first set.

Favorite venue:

I enjoyed playing at Cecil`s in West Orange, N.J. (drummer Cecil Brooks III`s club) very much. I think Bird`s Eye in Basel, Switzerland is great, and, in Germany, the Birdland in Neuburg, Jazztone in Lorrach, and the Jazzclub in Bielefeld are among my favorites.

Your favorite recording in your discography and why?


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