Rick Holland, JR247: Steve welcome to JR247, and thanks for spending some time with us.---

Steve Cardenas: Rick Happy to be here. ---

JR247: Steve First question, being from Kansas City, was anyone influential in getting you started with Jazz? Who were some early mentors and teachers that helped shape you?

SC: My brother and brother-in-law were initially responsible for exposing me to jazz by way of Airto and Weather Report, which eventually led to Miles and many others. Kansas City has always had great guitarists and I was fortunate to have a couple of mentors, namely Danny Embrey and Rod Fleeman, both of whom play with vocalist Karrin Allyson from time to time. After a while they both suggested I study with the town guru, John Elliott, a pianist who had a unique approach to teaching. He didn't play guitar, but all the guitarists eventually ended up studying with him, he was an inspiring teacher, played beautifully as well. But overall, Kansas City was a great environment to grow up playing music. I was a part of several groups where I was often the youngest member, playing standards and originals, in a town that had venues to play regularly.

JR247:How has coming to NYC, changed you , and extend your musical growth?

SC: After moving to New York, I soon noticed changes in my playing, I bet that's true of almost everyone. But I'd say that being in Paul Motian's Electric Bebop Band and subsequently Joey Baron's group, Killer Joey, led to the most growth I've had while living here. Fortunately, I've been in, and still am, some great groups, yet I toured much more with Paul's and Joey's bands and I would notice a difference in how the music evolved and my responses to it tour to tour. Wouldn't trade those experiences for anything.

JR247: You have a wide variety of musical experiences (even within the jazz idiom itself), from working with Mark Isham to the Paul Motian band. Can you speak to what has enabled you to “fit” in these diverse musical situations?

SC: Again, Kansas City comes to mind. The groups I played in there were as diverse: one would play straight-ahead, another all-original and I played a with a fine singer, Ida McBeth where the repetoire was everything from Billie Holiday to Koko Taylor. Joey Baron's band is the same way, many styles of music, but it still feels like the same group playing all the time.

JR247:Steve what really impressed me when I listened to “Panoramic” was, your great sound and touch, and beautiful harmonic layouts. And the group played at such a nice dynamic, so the listening was sharp and interactive. I just love this, can you speak to us about how you conceive your band when you’re the “leader”?

SC: Thanks for the thoughts, much appreciated. I really just asked my friends to play with me, and they happen to play the music in a way that doesn't need much explaining, if at all. I've known Kenny (Wollesen) and Larry (Grenadier)for a while and have played with them in various situations. I began playing with Tony (Malaby) in Paul Motian's band in early 2002.

JR247:How do you practice? What do you emphasize in quest for growth?

SC: I don't have a set practice regimen, I more or less go through periods where I may work on a specific area for a while, like writing, then move on to something else such as learning more repetoire or exploring music concepts from a source new to me. Though, I view just listening to music as a form of practice, not that I'm analyzing while listening, but just having music go through you is a wonderful thing, it's bound to have an impact of some kind.

JR247:What are some things you emphasize when you teach? I noticed you teach at the New School in NYC? Do you also teach ensembles? If so, what do you like to get across to these ensembles?

SC: I teach only private lessons at the New School. I have taught ensembles in what were usually one week long jazz camps, mostly overseas. The main thing I try to get across to an ensemble is the joy of playing, of how you can be serious about working on your own growth as a musician, but when it comes time to play, to try and be in the moment, not judge yourself, but just enjoy playing and simultaneously be aware of areas that might need work.

JR247:Speaking of education, do you feel Jazz Education is in a healthy spot? What are some things you may feel we can emphasize more? Or less?

SC: There are many fine schools and teachers out there, but ultimately the student has to take the responsibility to interact and involve himself/herself in what a given environment has to offer.

JR247: Can you tell us about your current trio with Ben Allison and Matt Wilson? I love these guys, very creative group here! Are you planning a recording with this group?

SC: I play with Matt in Charlie Haden's Liberation Music Orchestra and I'm also a member of Ben's quartet. I was aware of the history those two have playing together in various groups, so after playing with them a while, I wanted to try a trio context with them. It exceeded my expectations, and yes, I'm hoping we will record sometime in the not too distant future.

JR247:Steve, can we also talk about working with both Charlie Haden and Paul Motian. These guys are patriarchs in our musical heritage as far as I’m concerned. I can only imagine that this is fun and challenging. What are some things you can share with us about these bands?

SC: I've been listening to Charlie and Paul since high school days. First time I heard them was on Keith Jarrett's "Shades" LP, though I'd heard Paul play on the early Bill Evans records before. This of course led to checking out other records with various people they had played with as well as current groups they were leading. I feel extremely fortunate to be playing with them. I remember the first notes I played with either of them and it was incredibly comfortable from the start. They both have such a strong center of time with so much breadth to the music.

JR247:Who are some players that really inspire you in today’s musical scene?

SC: More often it's people I play with. I just played on Chris Potter's latest project in which he wrote for a 10 piece ensemble with woodwinds, strings and rhythm section. Inspiring music from an inspiring player. I love having the opportunity to be a part of so many various groups, that alone inspires me to be at my best.

JR247:Are there things outside music that you feel are very important in shaping your music and life?

SC: Loved ones, which is family and friends, as well as the quest to learn more about the wonderful things in the world and the universe.

JR247: Steve, thanks for spending some time with us!!

SC: Thanks for having me!