New Album From Austin Guitarist Carl Michel

JGT contributor Joe Barth talks to Austin guitarist Carl Michel about his new album, Situation.

Carl Michel has just put out a new album, mostly original music, with a couple of songs that draw upon some classical music composers for inspiration.  The music is performed by a drummer less chamber ensemble of musicians from the Austin, Texas area. The album is entitled Situation.

JB:  How old were you when you started to play jazz guitar and what was most helpful in your personal development as a guitarist?

CM:  I started playing guitar when I was 12. My main interest back then was rock, then a little later, blues and folk.  In my early 20’s, I became more interested in jazz guitar. I researched and listened to many different styles or genres of guitarists, which boosted my development.

JB:  What did you appreciate most about your Berklee College years?

CM:  Berklee was a crash course in musicianship. I tried to absorb so much at that time. I had some great teachers and resources. I also appreciated the camaraderie of the students.

JB:  To you and your personal development, what are three of the most influential jazz guitar albums and why? 

CM:  Three is not enough! Here are five:

Birds of Fire (Mahavishnu Orchestra-John McLaughlin with Jan Hammer, Billy Cobham, Rick Laird & Jerry Goodman) Truly an amazing album! Incredible performances and compositions! McLaughlin’s technique was (is) mind-blowing!

Virtuoso (Joe Pass) When a friend introduced me to this album, I asked who’s the other guitar player? It made me do a 180 on my concept of the guitar.

Bags Meets Wes! (Milt Jackson & Wes Montgomery with Winton Kelly, Sam Jones and Philly Joe Jones) It was one of the first jazz albums I bought. It swings hard! It really opened my ears up to bop.

Matchbook (Ralph Towner & Gary Burton) It’s such a beautiful recording. I really like Towner’s compositions and the interplay of the performers.

Bright Size Life (Pat Metheny with Jaco Pastorius and Bob Moses) Pat’s compositions and playing made me realize that it was possible to combine several styles, rock, folk, and blues with jazz. Plus, you have Jaco & Moses!

JB:  Tell us a little about your musical experiences in Wisconsin.

CM:  I lived in Madison in the late 80’s. I met and collaborated with some great musicians there, like Joan Wildman, who was forming The Madison Music Collective around that time. I recorded an album with Hans Sturm (bass) and Dane Richardson (drums) called Food Of Love, a recording that featured my compositions. I also led another band that explored the music of Charles Mingus and other great composers.

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JB:  Tell us about your Sextet and its fresh and wonderful sound.  Why do you choose not to have a drummer and include the pedal steel guitar?

CM:  Alex Coke (co-leader, woodwinds) and Elaine Barber (concert harp) led a number of different trios that performed for free in their driveway during the pandemic. On their last performance, they gathered together musicians who had performed with them and put them in a couple of groups. The group that I was in, with Alex & Elaine, included Carolyn Trowbridge (vibes) and Bob Hoffnar (pedal steel guitar), no drummer. It sounded so great to me! I wanted to record the group and add bass (James Suter).

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JB:  Tell us about your new CD album, Situation.

CM:  Situation is the third release by the Sextet. It’s a continuation of our story. It features original compositions by Alex, myself & Bob, plus arrangements of compositions by Thelonious Monk, Wayne Shorter, Carla Bley. We also include a couple of classical compositions and some group improvisations.

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JB:  You draw upon classical composers Saint-Saens and Respighi on the album.  Tell us why.

CM:  During our first performance, Elaine brought a beautiful piece called “O Pastor Animarum” by Hildegard. It’s on our first recording, The Emissary.  Alex & I thought it would be good to explore more classical compositions.  Elaine, who is the principal harpist for the Austin Symphony Orchestra, continues to influence us with classical ideas.  She brought her arrangement of Pines of Rome by Respighi to our new recording Situation. I challenged myself to arrange an intro to Aquarium, and to arrange the classical Saint-Saens music for our unique instrumentation, which is also on our new album.  There is a different challenge in performing these pieces and I think it has helped us in tightening up our sound. Playing these compositions is a way for us to acknowledge the different backgrounds of members in the Sextet. 

JB:  Is the Carl Michel Group still active?

CM:  The Group was formed while I was living in Michigan. We recorded two albums that featured my compositions, The Carl Michel Group (a quartet with alto sax, bass & drums) & The Carl Michel Group (+), the same quartet with tenor sax, trumpet, trombone & piano. I also did recording of compositions by Paul Motian called Music In Motian, with piano, bass & drums. I lead another band in Austin called “Tribute.” it features the compositions of Charles Mingus, Carla Bley, Dave Holland, and others. 

JB:  What is the musical climate like for you as a guitarist in the Austin, Texas area?

CM:  Austin has a very active musical environment. There are a lot of excellent guitarists living here! Jazz guitarists, as well as other genres. It’s called “The Live Music Capitol of the World.”  There are a lot of great musicians performing/living here. It’s very stimulating and receptive.

JB:  Tell us about the guitar that you use the most.

CM:  Right now, I am using a 2013 Collings Eastside that I bought used. Collings is made here in Austin. 

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