The new recording Things Are Looking Up is yet another confirmation of the great talent of guitar wizard Pete Huttlinger. We have selected it to be the first subject in a series of articles that will spotlight not only the recordings, but also offer some insight to artists that we feel are worthy of special attention. Since graduating Cum Laude from Berklee in 1984, Pete has made his home in Nashville, where he has established himself as one of Music City’s most respected. He has worked with John Denver, LeAnn Rimes, Wynonna, Donna Summer and Brad Paisley. He is the 2000 winner of the Winfield Fingerstyle Championship and made his Carnegie Hall debut in January 2008. Things are, most certainly, looking up for Pete.

Pete, your new record is very well produced. The band tracks are so complementary to each other. You could say it’s almost orchestrated.
Thanks. The biggest part is hiring musicians who know how to listen and know when to leave space. If you listen to the intro on the title track, you’ll hear the great bass playing of Craig Nelson and the dobro playing of Ron Ickes. There’s all that space. I played a little part in that I said, “Here’s your hole ” They did it in such a musical way that there really wasn’t any editing to do.

That intro makes me think of a sunrise. By the time the organ comes in, it’s morning. It really develops.
That’s a great picture! I take that as a great compliment of general musicality. If you listen to any great piece of music written for an orchestra, you’ll hear a development. That’s the way I try to think of things. I have the main body of the tune, but how are we going to get there in a musical way?

It’s really is a kind of orchestration.
Yeah, but on a small scale! [Laughter] It is the same concept.

Were the rhythm sections recorded live with your guitar?
A few were, but for the most part, I played to a click and then had the players come in. Later, I went back and replaced my parts. I wanted to groove with them rather than them grooving with me. I tend to put more trust in the feel of the bass player and percussionist. Because that’s what they’re all about.

Job assignment.
Exactly [Laughter] Job number one, groove! When I listen back, I like their pocket better so I replace my original guitar parts. It’s also cost effective. I do have a vision for each tune before they arrive and I try to be well prepared with charts and thoughts on the production. If you want quality, you have to think through everything.

Sometimes when you go back you might find that your part is a little busy and sometime I’ll think that I need more notes.

The record has a large variety of styles; everything from bluegrass to John Mayer to Jobim.
Yeah, I hope they all came together. I think it works when you have a consistency in players and production styles.

Were the originals written as solo guitar pieces?
Yeah, though most of the tunes are band tracks, I tend to write them as solo guitar pieces, but I still hear a band doing them in my head.

I noticed that you will, at times, have a fast arpeggio on the bottom with a very simple melody with long notes on top.
Yeah, that was a technique I learned in arranging class. If you have a lot of cords going by, have a melody that is sparse. If you’re playing a standard tune that has a slow melody, it allows itself to have more going on harmonically. If it is not as rich harmonically, you can do more melodically. I think the tune you’re talking about is “A Ride In The Country.”  You can have a fast rhythmic pulse under a less active melody. The melody gives me the feeling of calmness where the rhythmic pulse below makes me feel like I’m out in the country taking a drive with the windows down and the wind in my hair. It’s a very effective tool to use.

Many times I’ll hear someone who normally is a solo player with a band and I feel they are out of their element. Would you agree?
Absolutely! I did a lot more band playing that solo before switching. It’s a different way of thinking. It’s the school of less is more.

Speaking of arranging, what I used to do for myself is to transcribe all the parts from recordings. I did it with Yellowjacket tunes, Larry Carlton tunes and all kind of things. I’d write out everybody’s part. I’d even write out the drum parts. Then, I’d have a score of the whole thing. Talk about an exercise! Forget class; that was one of the most helpful things I ever did. The real thing is in studying on your own.

I’m sure that helps when you’re arranging for solo guitar.
It does. It helps you see what is important at any given moment in the tune. If the melody is not happening at a given point, what is the next most important thing? Is it the bass part? Is it a chord that happens on the upbeat? Something is important. Find it and put it in.

Lean more about Pete at www.petehuttlinger.com.