Page 26 - SPIRE SEP_DEC 2023 7th Issue Digital

You're a man on the road these days,
Tell us about the first instance that you were
inspired to pick up a guitar. Was there a
specific artist that sparked you? Was your
excitement from listening to CD’s and/or
watching musicians on video?
I first picked up a guitar at 3 years old. My
parents were listening to mostly classic rock
music, so I was just always around music. The
Beatles were the first band that really made
me want to sing and play guitar. I remember an
uncle giving me the Beatles Number One’s
album and I immediately was drawn to it,
because of their harmonies and the songs just
being so good. I was obsessed with everything
Beatles early on, which really drove me to end
up doing music professionally and not just as
an occasional hobby.
"I’LL FOREVER BE
GRATEFUL FOR
BUDDY’S
CONTRIBUTION TO
ME AND BELIEF IN
ME AS AN ARTIST."
That fateful day when you put the guitar on
for the first time, did you begin to play by ear
or were lessons involved? How long did it take
you to refine your playing to where you truly
were a guitarist?
I’d say a mix of both. I always had really good
ears. I think I have perfect pitch. For me,
lessons came when I was around 5 years old. I’d
go to my guitar teacher once a week and he’d
teach me basic chords. I remember walking
into a lesson once and asking him if I could
learn Blackbird by the Beatles. His face was
surprised probably because that was a tall
order from a 5 year old that was just beginning
to play. He taught it to me and a week or two
later I was playing it pretty well. The guitar was
always something tha t I just connected with. It
hit me in a deep way and it always just felt
natural to me.
Scan QR - Code to watch QUINN perform
"Why Does Love Got To Be So Sad" live on the
Spire’s Stage!
I understand that when you were eight years
old, you were in the audience of a Buddy Guy
concert. Buddy is known for bringing young
guitarists onstage and he invited you to play.
However, this instance was different. When
you played, you sparked something in Buddy;
he saw a special guitarist and ultimately
became your mentor. There is even a
documentary, The Torch that covers the
relationship you both have. Please let our
readers know about that first day playing
with him and your continuing relationship.
I first heard Buddy play at Eric Clapton’s
Crossroads festival, the first one in 2004. My
dad had bought me the DVD and I watched it
over and over. There was just something about
Buddy, not only his guitar playing but his
mannerisms onstage. He had such a way about
him with his showmanship and the way he had
a crowd in the palm of his hands within 30
seconds. It was mind blowing for a 7 year old to
watch. When I met him, he was as sweet as
could be. A gentle spirit really. He made me
feel at home immediately. I got to play the last
half hour of his show that night in my
hometown of New Bedford, MA, which of
course changed my life in many ways. I had no
idea at that moment that he’d end up becoming
a mentor to me, bringing me on tour with him
across the world, but for the next decade to
follow, that’s what he did. It’s a big reason why
I’m able to tour on my own now as a solo artist.
I’ll forever be grateful for Buddy’s contribution
to me and belief in me as an artist.
Buddy Guy, Quinn & Eric Clapton at the
Howlin' for Hubert show at the Apollo Theater
in NY City. Circa APR 2012
PHOTO CREDIT: DENISE MACCAFERRI
You’ve recorded several records and it sounds
like you’re pretty comfortable in the studio.
Bring us through your first time walking into a
studio, your excitement, concerns and what
you learned that you still may apply today. I
know that you’ve had a producer involved;
how have they inspired you or changed your
thoughts on playing?
A studio setting feels much different from
playing live. For me, I love both for different
reasons, I can’t really pick which one I love
more, because they’re both that much different
from each other. When I first walked into a
studio, it was in 2011, in Nashville. I was
making my first album at the time and I didn’t
really know anything about recording and what
went into it. As I’ve gotten older and the more
you do it, the more you learn about studios,
recording and ultimately producing. I’ve gotten
to work with some incredibly talented people
in my life. They’ve left marks on me as a
creative on and off the stage. I think when I’m
in the studio, I’m a lot more reserved with my
guitar playing. When nobody is watching me, I
seem to feel more focused and relaxed and I
can really go for intricate stuff in the studio.
Live, you have one shot to give it your best, so I
tend to go a little harder live for that reason.
meeting new fans and saying hello to your
old. The experience of touring can be
grueling: hours and hours of travel, truck
stop food and hotels. Is this a difficult
process for you or does it all melt away
when you hit the stage?
It seems to all melt away when I step on
stage. I will say, touring is not for everyone.
It’s a big reason why a lot of musicians love
session work and playing on records. A lot
less travel and it’s more sustainable in some
ways. I’ve chosen the path of being a road
warrior. I’ve been at it for about 10 years
now and it feels even longer in some ways.
It wears on you, it certainly can make
relationships hard to keep together, but
you find ways to do it and to keep your
mental and physical health healthy.
Eric Clapton, Carlos Santana and B.B. King
are a few of the people that you have
shared the stage with. Each of them have a
very different and commanding sound.
What have you learned about your playing
by watching them up close and personal?
Who gave you words of inspiration?
What all of them have in common is they’re
all such melodic players. I’m the biggest fan
of melody and melodic guitar playing. I try
to emulate those guys you mentioned
because they are truly three of my favorite
players. I just try and watch what they do
and incorporate it into what I’m doing on
my own. Carlos has probably given me the
best words of inspiration. He always says to
“expand your portfolio and your rolodex
and not be a one trick pony.” To me that
stands out because he’s saying to not just
be one kind of thing, be open to other
styles, have an imagination, build on your
influences but don’t just stop at them.
Listen to as much as possible and don’t put
a lid on what you do. That’s my mantra of
being an artist.