Artist Features
One of Melbourne’s Finest Jazz Guitarists, Pierre Jaquinot
JGT contributor Joe Barth talks to guitarist Pierre Jaquinot about performing internationally over the last forty years.
Pierre Jaquinot is one of the finest jazz guitarists in Melbourne, the southernmost city in Australia. Jazz clubs have their modern challenges, but jazz nightlife has been relatively consistent in Melbourne with clubs like The Jazzlab, Bird’s Basement, and The Rooks Return. In these clubs, you will find Pierre swinging with the best of the local musicians. In addition to his local performances, Pierre has performed internationally over the last forty years.
JB: You started playing rockabilly, blues, and R&B guitar, what inspired you to play jazz?
PJ: While I was educating my ears as well as developing my guitar playing skills, I started to hear the musical link between some of the great country and blues guitar players that went back to Charlie Christian and Django. I was listening to the early jazz greats and trying to work out how they navigated those changes and still be melodic. The jazz I was listening to had a swinging groove that I really enjoyed. When my teacher introduced me to the harmonic adventures of Jim Hall, there was no turning back, jazz was it.
JB: Did you study jazz guitar in college and if so, what did you appreciate most about that era of development?
PJ: I was a self-taught player during my early years. When I finally got around to studying with a teacher, I’d basically made the decision to be a professional musician. My teacher, Bruce Clarke, showed me how to be ready to do all kinds of work. From reading gigs to solo guitar jobs and everything in between. You had to be ready if you wanted a callback.
JB: To you, what are three of the most influential jazz guitar albums and why?
PJ: Charlie Christian – Live At Minton’s This album covers the transition from the swing era and the new direction for jazz guitar at that time. It was just a pity Christian did not live long enough to be a part of the new bebop scene.
Next, Smokin’ At The Half Note – Wes Montgomery. This is Wes at his best. In full swing with a great band. There as so many great Wes albums, but I think this one has the edge. “If You Could See Me Now” is a standout. Apparently, Pat Metheny learned to play from this album!
Then, Live – Jim Hall Trio Vol 2-4. I keep coming back to this album and finding new things to explore. The album is filled with great interpretations of the melody, harmonic invention, as well as motif development. Jim is a true poet of the guitar. For me, the trio setting is the most interesting for its potential to really stretch out – and Jim does.
JB: Tell us about your most recent album.
PJ: My most recent album was some time ago now. With the fantastic voice of Annemarie Sharry on most tracks and saxophonist Ken Schroder guesting on the four instrumental tunes. An album that was inspired by a resident gig at an out-of-town restaurant, the album was simply titled Music From Merricks General Store.
I’m hoping to have my next album out by the end of this year.
JB: Tell us about performing with the great Herb Ellis.
PJ: Playing with Herb was in a workshop situation. Very relaxed but incredible to be playing that close to a legend. That “chunk-chunk” was as solid as a rock.
JB: What do you appreciate most about the guitar that you use?
PJ: My main guitar is a Sadowsky Jim Hall model. I’ve long preferred the sound of a good ply top guitar with a built-in single pickup. The Sadowsky handles pretty much any musical environment I’ve had to play in. Whether in a concert hall or a noisy bar, the guitar just works.
JB: Tell us about the guitar duo you have with James Sherlock.
PJ: James and I have got together a few times over the years and it’s always been an improvised situation. We just call a tune and play. James is one of the best players in the country, so it’s always a delight to play with him. In fact, we recently talked about doing it again…I must give him a call!
JB: Talk about the jazz scene in Melbourne and how you are able to make a living playing music there.
PJ: As a jazz musician in Melbourne, I’ve always had to do nonjazz gigs to fill in the gaps. It’s now the biggest city in Australia population-wise and there are several good jazz clubs, but unfortunately not always well attended. So, with door deals and low wages, making a living solely as a jazz musician in Melbourne is almost impossible. Whether it’s teaching, playing corporate and private jobs, or session and theatre work, the Melbourne jazz musicians I’ve known have always had to have non-jazz gigs on the side. The trick is to stay as close to the jazz scene as possible. Playing with good players, whatever the music, is always enjoyable for me.
We have two good jazz colleges here and they are producing some great young players. There is still plenty of interest among young musicians, which helps maintain an audience as well as new, young players.
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