The fame held no appeal to me nor did the promise of money. My interest seemed to be in something less tangible but more important. I eventually began to understand what aesthetics were and why creating art was central to my own identity.

My first influence was Wes Montgomery. I saw him perform at Pep’s Musical Bar on North Broad street in Philadelphia when I was a teenager. Not only did I watch and listen to him but I also had the opportunity to meet him. I can say with a measure of pride and distinction that Wes himself taught me his famous octave technique. He also encouraged me to study guitar and music. He said “Don’t do what I did. I couldn’t find a teacher in those days. I had to “teach” my self.” I think his words were significant in my determination to study the guitar and ultimately to teach it.

As I began to develop on the guitar, I began to consider music as a career. At the age of 19, I began studying with Dennis Sandole. Dennis was an enormously influential teacher in Philadelphia whose students included John Coltrane, James Moody, Pat Martino and many others. What Dennis taught was the aesthetics of music. By looking at his students, it was clear that he was more than a guitar teacher. But Dennis was a jazz guitarist and certainly had special insights into the instrument. He encouraged me to pursue music as an art form but not as a commercial form. That created both a sense of confidence and simultaneously, a sense of confusion in me.

By the time I graduated from college, I had established the beginnings of a reputation as both a player and a teacher. At the age of 21, my first major break came from an opportunity to become staff guitarist at the famed Latin Casino in Cherry Hill, New Jersey. See a You Tube video on the ChuckAndersonGuitar channel called “The Latin Casino Story”.

The Latin was the East Coast’s version of Vegas but without the gambling. It was here that Sammy Davis Jr, Bobby Darin, Billy Eckstine, Peggy Lee, Ella Fitzgerald and a host of other show business luminaries performed on a nightly basis. We played 14 shows a week and rehearsed the next show on Monday afternoon. It was grueling schedule but I loved it. The need to make money to support a family was essential. I felt a sense of conflict between doing this prestigious but clearly commercial work and the advice that Dennis had given me. Vivid in my memory was him asking me why I was wasting my time playing “commercial soirees when I should be giving concerts for the Kings and Queens of Europe?” That and his well known disdain for “touching” money sent me into a state about the contradictions between making money and pursuing art for its own sake. Necessity won since I had a family to support.

After four years at the Latin, I decided to leave and form my own jazz trio. The Chuck Anderson Trio was anchored by Al Stauffer, the legendary upright bass player. Al, I and Ray Deeley formed the group, recorded our first album “Mirror within a Mirror” and began giving concerts. Throughout the Trios’ life, Jimmy Paxson and Darryl Brown also contributed outstanding drum and percussion work. During this period, I began writing concert jazz. I still perform many of these pieces today. All of our recorded output has been captured on a compilation CD called The Vintage Tracks. Last year, I had the entire recording re – mastered by Allan Tucker of TuckerSound in New York (formerly Foothill Digital). It’s now available at www.ChuckAndersonGuitar.com under CDs and DVDs.

It’s now 2009 and I’ve focused my attention on my first love, the Jazz Guitar. What is it about this art form that captures me? In the first place, I dislike lyrics. I love abstraction in painting, in sculpture and in music. Instrumental music speaks to me in a unique way. Vocal music has never spoken to me. I think I enjoy my own story coming from the inspiration of instrumental music. To me, interpretation of mood, attitude and feel are what I enjoy in music.

Improvisation, the cornerstone of jazz, springs from life itself. It seems to represent the way we try to live – spontaneous and free. Of course, there is structure. There can be no freedom without structure. But within that freedom is the place in which we live and grow.

The earliest stages of musical development involve simple structures. As we grow, we seek advancement and growth in our pursuits. Jazz Guitar to me offers unlimited potential to grow. It can be technical, creative, spiritual, emotional, aural and includes any measure by which you might monitor growth in an individual.

The unlimited palette of colors available at the harmonic, melodic, structural and rhythmic levels offers endless fascination to me in the pursuit of my own horizon.

Chuck Anderson
Jazz Guitarist
www.ChuckAndersonGuitar.com

In the liner notes, Chuck Anderson mentions that this recording marks his return to Jazz after spending several years exploring the art of the Neo Classical Guitar. This album of original material begins with an easy swing tune, “Aqua Blue”. Other selections include a bossa composition entitled
“Soft Breezes”, a very pretty ballad, “Angel Blue”, and a funky “Street Strut”. His influences are Johnny Smith, Jim Hall, Wes Montgomery and Kenny Burrell. Anderson has a nice tone and feel to his single note lines. The phrasing is relaxed, and flows through the chord changes effortlessly.

Along with Anderson’s guitar, this group includes Ron Kerber on tenor and soprano sax, John Swana on trumpet, Dan Kleiman on piano, Gerald Veasley on bass, and Ronny Barrage on drums, percussion and wave drum. The band works very well together, giving each player the opportunity to highlight his solo skills. The rhythm section of Veasley and Barrage keeps things moving over their solid backing. “Angel Blue” is a quality effort by very good players.

Reviewed by : Vince Lewis
Just Jazz Guitar Magazine

Chuck Anderson is certainly no stranger to the Philadelphia music scene. In the seventies, Chuck’s first release “Mirror Within a Mirror” was an extremely popular album that featured the late Al Stauffer on Bass and Ray Deeley on drums. Angel Blue is Chuck’s second jazz release after so many years. Why the extended absence? Chuck explains it this way: “I left the jazz field in 1978 to explore the art of Neo Classical Guitar. It was during this period that I began to focus on composition and ultimately made my way back to jazz.”

Chuck Anderson is an impressive guitar force with boundless chops and interesting, unpredictable ideas.

Angel Blue features an eclectic collection of jazz styles. Chuck has decided to take “A Tour of Jazz” rather than focus on one particular style. Having several Philadelphia “heavy weights” including Gerald Veasley on Bass and John Swana on Trumpet certainly propels this tour along the jazz topography.

All but the Eleanor Rigby Medley are Chuck’s compositions. The opening selection, Aqua Blue, is a melodious piece which features guitar, trumpet, sax and piano trading solos. Chuck opens with a relaxed solo with a very warm tone. Later, Swana skillfully shows his aural talents by repeating the five end notes of Kleiman’s piano solo to start his solo.

Soft Breezes is a Bossa Nova, which opens with Chuck comping on a nylon 6 string.
Solos are rhythmically charged between Chuck and Dan Kleiman on piano and are reminiscent of Stan Getz’s solo with Chick Corea on the Windows album. As the song progresses, it starts to build momentum as Veasley solos on his electric bass. Soft Breezes then concludes nicely to an all out samba.

The title track, Angel Blue is a ballad where Swana plays the melody with a muted trumpet reminiscent of Miles “Kind of Blue”. The sensitivity with which they handle this ballad is top shelf. Swana lights a few sparks while Chuck fans the sparks into flame.
Chuck uses a subtle touch while settling in behind the beat.

Pirouette enters with Chuck’s free style blowing gradually building into a modal setting. His solos center on Veasley’s repetitive bass note pattern. Chuck’s use of open strings and fourths effectively sets a dark tonality for which he is well known.

The next stop along the Tour of Jazz is Chuck’s jazz/funk composition “Street Strut”. Street Strut is what you would expect of a seventies style fusion piece ala Stern or Brecker. His solo would have been better enhanced with distortion as the notes and feel are certainly there. Chuck is right at home with a funky style which I find hard to say for other guitarists who have his technical facility. The funk kicks into high gear with Kerber’s solo. Of course, Veasley’s incredible chops add the final punch.

Flying Free is a contemporary jazz piece suitable for the smooth jazz audience. Should Chuck decide to expand into the smooth jazz market, I am confident that he would become an instant success. Chuck does open up as the song fades.

Danielle is Chuck’s second ballad. This is nicely shared between Chuck, Dan Kleiman on piano and Ron Kerber on tenor. The solos are slowly drawn, relaxed and hold a nice sense of calmness throughout. Again, Chuck reinstates his interesting lines with a warm, almost silky tonality.

VSQ makes a return from Chuck’s first release, “Mirror Within a Mirror”. This nicely features a quirky melody injected between solos. The energy is high with Ronnie Barrage adding a feverish drum solo. Chuck again draws upon that dark tonal quality combined with an extraordinary display of confidence in his solos.

Eleanor Rigby melody opens to a solo melody and chord style with Chuck using parallel fourths and contrary motion for much of the melody. Gerald Veasley again supports Chuck with a mega- chops solo. Veasley’s frequent use of fifths during Chuck’s solo is a nice touch.

Dance of the Algons is the final track and is free form featuring mostly Kerber, Anderson and Kleiman. Chuck’s six note motif is often heard underlying the solos throughout.

Chuck’s compositions are outstanding at both a harmonic and melodic level. They remain interesting throughout the entire CD. Chuck solos hold because of their sheer musicality.

Chuck Anderson does accomplish what he set out to accomplish. Each track nicely and authentically covers the various styles from Bossa Nova to Smooth Jazz and in – between. It’s great to hear that Chuck has made his much anticipated return with such highly regarded players in this art form.

I recommend Angel Blue to jazz educators who want to introduce their students to the various forms of jazz. I also recommend Angel Blue to those who just want to have a great listening experience!

I went to the phone and began calling the number. My mother asked what I was doing and objected because “I didn’t know how to teach”. My response was “I know exactly how to teach”. With the conviction of my response, my mother let me make the call. Such was the booking of my very first student. Being sixteen and lacking a car, my mother drove me each week to teach. Not long after that, I developed some independence of transportation and began teaching other students in the same neighborhood. I continued through word of mouth to develop students in other neighborhoods. Sometimes this involved teaching multiple students in the same household and sometimes friends on the same block.

I also began to develop students that came to the family home. My studio was located in the recreation room and had a private entrance. For the next three years, I continued developing my schedule in these two ways. A small music store opened within ten minutes of my home and I applied for a teaching position. I taught in the afternoons and on Saturday. When the store went out of business, those students came to my home studio, representing a significant increase in my teaching schedule.

Music in general and teaching specifically began to absorb more and more time, forcing me into my first major decision. I had always been extremely active in sports. Now, teaching was interfering with after school sports practice and performing with a band was interfering with weekend games. I resolved the conflict by quitting sports in my senior year of high school. Though it was not a popular decision at school, it was the official launch point for my music career.

At age nineteen, my father was transferred to Texas. I was about lose my home teaching studio. Since I attended college in Philadelphia, I made the decision to stay in the area rather than relocating to Texas. I found the largest music store in the area and applied for a teaching position. Since I was bringing my own home students to study at this store, I was able to negotiate a higher percentage of the weekly teaching fee. For all students that the store scheduled for me, I was paid the lower and standard fee. I continued to build my teaching schedule up to ninety five students per week while attending college full time. Because I had three times as many students as any other teacher, I was offered the position of director of the music school which I accepted.

The retail store moved the school to a new location a block away. This facility was devoted exclusively to the music school. It was during this time that I began to develop the organizational skills needed to run a private music school. This included advertising, billing, developing policies and marketing. At age 27, I left the school and opened my own music school. Fortunately, all my students made the transition forming the initial basis for my new school. The school was located in a older two story building with stain glass windows and pocket doors. With the help of my father, we incorporated the school, furnished the building and had a parking lot built.

Ultimately, the school had twelve teachers, over 400 students and included workshops, seminars and group classes. We also opened a guitar and bass repair center in the basement. One of the back rooms was devoted to graphics which were used for promotional material and a brief look at the music education publishing business. The school also developed contracts with local schools and organizations which provided additional sources of revenue.

After five years, the school began to take so much administrative time, that I decided a change was needed. Taking four of the school’s teachers, I moved to a smaller facility in the same town. Instead of the traditional arrangement with the teachers, we developed a teaching co-op. Each teacher reserved his own studio for a specific number of teaching units per week. We determined the total number of teaching units available and developed a percentage of shared expenses for each teacher. In this situation, the teacher not the school collected the fees and paid their percentage of expenses. This proved to be an easier way to continue the school as it relieved me of the time required to schedule, bill and collect tuition. Because the overall expenses were so much lower, it proved to be more profitable for all concerned.

This co-op organization continued for the next three years. I had in those three years begun to develop a desire to be independent of organization in general. I began the construction of a custom built teaching studio and waiting room attached to my home. The studio’s construction required a variance from zoning ordinances and necessitated a twenty thousand dollar debt which was paid off in time. The studio long after being paid off continues to operate as the base for my private teaching.

Throughout all teaching transitions, I continued to give concerts, do recording sessions, play shows and pursue an active playing career.

Future plans include more private teaching, books, seminars, workshops, videos, performances, recordings and consultation.

My Short Jazz Guitar Bio

As a Jazz guitarist, Chuck broke into the Philly Jazz Scene with the Chuck Anderson Trio in 1973. The group featured Al Stauffer on bass and rotated Tim Paxon, Ray Deely and Darryl Brown on drums. The trio played concerts throughout the east coast and recorded its first album in 1975. the album, originally titled Mirror Within a Mirror is included in a compilation CD titled Teh Vintage Tracks. This CD, released in 2005, contains all of the trio recordings from the 70’s.