This summer while I was covering the Montreal Jazz Festival I had the pleasure to meet again Gilad Hekselman for an in-depth interview about his latest album Homes which was just released this October.
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Free Extract:
Questions asked during the interview
- How does it feel to play the Montréal Jazz festival?
- Is that the occasion to play with other musicians and to jam?
- Last time we met it was in Paris last year, what's new since?
- How come jazz musicians are able to sound good on the first note of the first tune at the soundcheck?
- How do you approach soundcheck? Is it more a work session that actually setting up levels?
- Tell me about your Victor Baker guitar
- I believe it has even more wire than last time in Paris, right?
- I did not see you switch pickup, are you always on the neck position?
- Album « Homes » available this September
- How do you compose?
- Do you do it alone and then add the musicians?
- Jazz musicians usually work a lot on the standards, does that mean that when you start to compose your own songs, you always measure them to the standards?
- When was it recorded?
- Is it live most of the time?
- On the song « Cosmic Patience » you have some cool tones in the background, what did you use?
- Tell me about the song "Eyes to See", what was the inspiration?
- What amp did you use on the record?
- Next projects
- Word of wisdom to share with musician
Extended extract from the Montreal soundcheck
It is very rare to get the authorization to record the soundcheck because it is a special moment for the musicians to fine tune everything for the concert in the evening. Gilad and his musicians were very gracious to allow me to shoot the soundcheck. Here's the 15min video (only accessible with the Backstage Pass) shot at the UpstairsJazz club.
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Free Extract:
Gilad's touring rig
Here's Gilad guitar: a hot-rodded Victor Baker archtop (www.victorbakerguitars.com)
Until the next interview, keep on playing the guitar!
Pierre Journel.
