BF: Who were you main influences when you started out and how has that changed to what you're doing now, or has it? I grew out of the Jim Hall, Bill Evans era and then drifted into the all the experimentation that came out of 70's players like Abercrombie , Brackeen and Liebman. 

RB: I began playing guitar in the folk era nylon string open chords etc. I was fortunate to have a great ( and very cranky) jazz teacher in Madison WI- named Roy Plum. I began teaching his beginning students at age 15. So my background was chord-lead arrangements (he kept the entire fake book in HIS HEAD). I soon discovered rock-and pop and had the opportunity to play rhythm guitar in 1970 for Chuck Berry and lead w/Bobby Vinton. I went to S.F. in the early 70's and studied classical music at College of Marin.

The next style that chose me was during the Waylon/Willie country thing- I played with Mickey Gilley. Also I have had an ongoing connection w/ Kieth Knudsen of The Doobies who played on several of my tunes in the late 80's. 

I went back to UW Green Bay and finished up my degree work (83) and began teaching Jazz Guitar at the UW Green Bay - I also have a Summer Guitar Camp each year for kids at UWGB which is very successful and I play Banjo and guitar with the GB Packer band (since 1989). My Mel Bay book "Understanding Guitar Chords" Is a distillation of how I think about the instrument and is the 1st of a 3 book series. It recently went into its second printing and is doing well. I will be touring the UK in support of the book. Borders Books in London on June 26 and Borders in Leeds on July 11. 

I have been lucky enough to be an endorsing Artist for Heritage Guitar, GHS Strings and have deal in the works w/ Martin. I just finished a 3 clinic series for GHS and will be doing more work for them in the fut ure. I managed a #1 tune off of JUST THE FACTS for several weeks on francemp3.com 1500 downloads/ Week and I have been in the top 10 Jazz vocals on MP3.com off and on for the last month. 

BF: Your playing is very steeped in the blues tradition, I can here definite Larry Carlton , and BB King influences in your playing. Sounds like a bit of Barney Kessel and Herb Ellis in there also. It's really great hearing all the differences in musician's styles in jazz. 

RB: My own style is additive at this point in my career- you might hear a straight ahead jazz line right next to a bizarre Pseudo steel guitar hillbilly lick.

BF: There are allot of younger players out there making good music and calling it Jazz but their music doesn't have a connection to the music that happened before them. How do you feel about that? 

RB: What IS important from the past is understanding the forms that came before enough to stretch them out. I remember when I didn't know the rules, I did some very creative playing, but the missing compo nent was the glue of tradition that held everything together. Jazz is not a cut and dried category. To me it means music that has a basic framework BUT is not limited by the framework- the improvisation in the music transcends the basic form. All of my latest recordings are improvised in the studio. Usually only 1 take.

BF: How are things going with the new book, looks like they've got you busy with a promotion tour? 

RB: My calendar is now fuller than it has ever. I am excited about the Clinics in the UK- I have played in London, Tunisia, Guatemala and the Netherlands before, but never at this level of visibility. The Mel Bay connection has been invaluable at opening doors- My next aspiration is a deal with a decent  label--Narada, Windham are you listening. 

The Internet has been a great tool for getting people who I couldn't reach before to listen. (over a 1000 downloads some weeks) also networking with you guys has been a great help. 

BF: New York isn't what it used to be for gigs, less clubs willing to pay and allot of the bigger ones that used to hire young players are gone. Things are starting to get better though with new clubs opening here. I remember livin g in Chicago when I was young, How's the music scene in the Midwest now? 

RB: The Midwest scene is pretty good right now- There are more local Jazz and Blues festivals but the downside is the lack of a good club scene. In Europe, there are lots of small MUSIC clubs featuring lots of genres jazz included. Typically there will be a sign that asks patrons to please be quiet during the performance or get 86'ed. People go to these venues to listen to and react to the music and as a result the audience becomes a part of the performance. Here people go to a club to 1. Get laid 2. Get drunk or 3. Talk. So tiresome. 

My (unsolicited) advice for young "jazz" players is listen to the greats from the past and borrow their ideas in your own context. Doing this will only make you better-the old saw is stand on the shoulders of those giants. Second tip: play any chance you get-Polkas, country, blues, rock folk rap-every style you master will make your own music better. The 1-2 punch Listen and play as much as you can and without prejudice about style.

BF: Man, I remember when every club in New York had one of those "Please respect the musician's and remain quiet during sets" signs. I remember going out to hear a friend performing with guitarist Tiny Grimes, and this woman was talking during one of Tiny's solos and he just stopped playing and sat there staring at her. When she finally noticed something was up and saw him looking right at he said, "No that's ok, please don't stop. I'll just wait for you to finish". Man talk about embarrassment . But now you're right, most go to the clubs here to make the scene, unfortunately the music has nothing do with it. What would be the biggest words of encouragement, or advice you could give to younger players starting out on mp3.com? 

RB: Advice for young players on mp3- First of all you have a FANTASTIC opportunity to get an audie nce for your music. Even more important is the chance you have to grow by listening interacting w/ other players and composers. If you find an artist that you like, you can communicate with him/her directly in a way that used to be much more difficult if n ot impossible. There are a bunch of GREAT players and writers on mp3-Old farts like me that have been around forever and young up and comers. The chance that you have to learn is unprecedented-take advantage. Also remember that any recording is a moment f rozen in time (maybe a powerful moment- maybe not) but MUSIC is always evolving and you should be evolving as well. There is always something new to learn. Try to open up to as many influences as you can, both you and your music will be the better for it. Feel free to contact me by Email anytime- and listen listen listen 

BF: I agree with you 200% on that advice. It's hard for younger musicians to get the experience they need from the clubs now. Gigs are harder and harder to get these days. I was lucky myself to get the chances I had to play with some of the greats. The advantages to having music music released on mp3.com are too many to count and they should all take advantage of them. Also having experienced players like yourself offer help is a goldmine they really should dig into. I'm sure after this interview you'll be bombard by emails from younger musicians looking for more advice.