About
Mission Statement & Testimonials
The Guitar in Jazz
The jazz guitar is a market in and of itself. It may not even have to be considered a subset of jazz. My experience has been that many people who attend my concerts ask me if the music I play is jazz? I respond with “yes, it’s jazz”. They often respond back with “That’s odd because I hate jazz but I love your music”. I began to realize that in many cases, these “fans” are fans of the guitar in general but not necessarily fans of jazz. The jazz guitar creates a potential bridge for the world into the musical form of jazz itself.
I’m not sure that most people recognize the difference between horn jazz and guitar jazz. To many, the sax and trumpet are perceived as strident and overly busy with notes. The sound of the guitar has a tremendous universal appeal which accounts partially for the fact that it is the most popular instrument in the world.
Jazz is a universal art form. It comes in many dialects, shapes and moods. Though jazz is an American tradition, it is also a new and progressive form of improvisational music. It has changed as society has changed. The guitar with its own universal appeal may be the ideal instrument through which the world can listen, appreciate and integrate jazz into their lives.
The New Jazz
The new jazz has nothing to do with the music. It has to do with the attitudes, the perception about jazz. History has created an image about jazz and jazz musicians. It’s not a flattering image nor is it a beneficial one. Drugs, heavy drinking, seedy back alley clubs and late hours have all contributed to this unseemly reputation.
I intend to communicate that guitar jazz is an art form but that it is not inaccessible. That guitar jazz is a language but that there are many dialects of this language. It’s important to avoid judging jazz by something that the radio calls jazz ie dissonant, harsh music. Jazz is not “smooth” jazz either. It is an American improvisational art form.
One of my goals is to help change the traditional way of thinking about jazz musicians and the trappings of jazz ie the venues and the mode of presentation.
Jazz is a concert form and is not necessarily a bar or club form. It’s important to experience jazz in the concert settings traditionally reserved for classical music. We should bring people who would not normally consider jazz to the point where they would consider jazz and recognize the form as a new language with a new image.
Hopefully, the guitar can be the door through which more people can enter jazz than through any other instrument.
It is my dedication to build an international following for the jazz guitar,
To this end, I’m working with Eric Hebert from Evolvor Media, to build a new web site and a new concept where I hope to tap what I believe is a large potential international audience for my music and my educational concepts. I think that there is a way to cross over my work with “Jam Bands” It’s not a huge step from the “Jam Band” concept to the music I compose and perform.
About Me
Chuck Anderson was born in Chicago, Illinois on June 21st, 1947. At a young age, the family moved first to the Chicago suburb of Broadview then, to Westchester. When Chuck was 12, the Anderson family moved to Pennsylvania. He attended St. Katherine of Sienna grade school in Wayne, PA.
Basketball was a passion and looked like a possible career. Devon Prep was his high school of choice. Noted more for academic excellence than for sports, Chuck nevertheless continued his involvement in basketball. His discovery of guitar was completely accidental. Once, he played his first Em chord, music went forward and basketball went backward. Guitar lessons began in 1961. By 1963, Chuck was teaching guitar and playing local dances. Giving up basketball left his senior year completely focused on music.
Chuck entered St. Joseph’s University in 1965. By 1967, it was apparent that music was to be his career. Both his teaching and performing continued to accelerate. By the time Chuck graduated in 1968, he was ready to teach and play full time. His first major break came in 1969 when he was offered the staff guitar job at the Latin Casino in Cherry Hill, New Jersey. The Latin was a famous showcase of world class entertainment. It was there that Chuck had his first associations with the top of the entertainment world. During that period, he accompanied and performed with legends such as Bobby Darin, Billy Eckstine and Peggy Lee among many others.
After four years of fourteen shows a week, it was time to turn in a new direction. Chuck started his concert jazz guitar career in 1973 when he formed the Chuck Anderson Trio with Al Stauffer on Bass and Ray Deeley on drums.Their first album, “Mirror within a Mirror”, received critical acclaim and was the springboard for a busy concert schedule. The Trio’s music featured Chuck’s original writing as well as uniquely arranged jazz classics. The group’s forte was a tremendous interaction and internal dialogue. Improvisation was at the heart of every performance.
Another four years passed and he was offered the staff job at Valley Forge Music Fair in Devon, PA. Another major talent showcase, the Music Fair work helped Chuck solidify his reputation as an outstanding professional guitar player. Here, he worked with Nancy Wilson, Michel LeGrand and Anthony Newley among many others.
After seven years of intense show involvement, the creative need asserted itself again. This time, Chuck turned toward the development of The Neo Classical Guitar. In this style, Chuck pioneered the use of the pick style guitar in Classical music. Using both electric and acoustic guitars, his Neo Classical style featured transcriptions, original composition and improvisation on international themes. This work produced the ground breaking album “Kaleidophon – The Art of the Neo Classical Guitar”. Appearances and interviews on radio stations such as WFLN, WXPN and WRTI as well as television appearances on Prime Time and PBS heralded Chuck as the “new Segovia”. Two live recordings, “Timeless” and “Virtuosity”, were products of this period.
“The Gibson Guitar Company is pleased to recognize the innovative work of Neo – Classical guitarist Chuck Anderson. Mr. Anderson should be congratulated for his efforts in approaching a classical forum with a traditionally jazz oriented instrument.”
Bruce J. Bolen Director of Artist Relations
Ultimately, two events reshaped Chuck’s career. The first was the theft of his Gibson L5 guitar. That instrument had played an important role in the development of Anderson’s technique and unique style. It was the one that had carried him through his studies with Dennis Sandole, noted Philadelphia jazz teacher. Without his favorite guitar, Chuck found it difficult to perform. Though he tried other instruments, he was never able to recapture the magic of that first guitar.
Chuck turned to composition. He was totally absorbed in his writing for the next twenty odd years. This was ultimately to be a major factor in differentiating Anderson from other jazz guitarists.
One of America’s greatest luthiers, Eric Schulte had taken care of Chuck’s L5 since he first purchased it at the age of 19. He approached Chuck and asked why he was no longer giving concerts? Of course, he already knew but he had something in mind. He said, “Look I’ll make you a deal. I know your L5 better than anyone. If you’ll agree to go back and give concerts, I’ll recreate your guitar”. Chuck could hardly pass that up and agreed on the spot. Months passed and the new guitar emerged. With guitar in hand, Chuck began to prepare for his return to the concert world.
After a while, it became apparent that his former energy wasn’t there. He thought that it was age or lethargy or … something.
Without realizing it, Chuck had been suffering for a long time with a severe condition of Obstructive Sleep Apnea. He was literally walking and working asleep. This particular problem was robbing him not only of energy but also of oxygen. The sleep therapy began and the energy and enthusiasm of his early jazz days returned!
With his customized Gibson L5 guitar and armed with this reborn energy, Chuck is now reclaiming his position as one of the outstanding jazz guitarists in the world today!
Chuck currently writes for the national magazines Just Jazz Guitar and Jazz Inside. He has also joined the staff of Jazz Masters at Mike’s Master Classes. His column “The Art and Science of Jazz” appears monthly at www.AllAboutJazz.com, the world’s largest jazz website. He maintains a busy schedule performing, teaching, composing and lecturing in the US and abroad.
Chuck’s Studio Guitars
- Gibson Gold Top Les Paul Deluxe
- Fender Stratocaster
- Fender Telecaster
- Aria Concert Classical Guitar
- Martin Acoustic Cutaway
Chuck’s Concert Rig
- Gibson L5 Acoustic Electric Guitar
- Clarus 2R Series III 400 watt amplifier by Acoustic Image
- Two Raezer’s Edge Stealth 12 400 watt cabinets
- Speakon Cables
Guitars and Equipment Chuck Relies On
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