| Title |
John Pisano: Still Going Strong and Sounding Better Than Ever
by Charles Chapman |
| Date |
2- ,
2007 |
| by |
Charles Chapman
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John was born in Staten Island New York in 1931. He originally studied piano and switched to guitar at age fourteen. It wasn't until he was in the air Force band in 1951-1955 that John decided to make music his career. After being discharged from the service he auditioned with the Chico Hamilton Band and moved to California where he has been ever since. John has been one of the stalwart jazz, studio and commercial guitarists over the last 50 years and is still going strong. He was a regular with Frank Sinatra, Peggy Lee, Barbara Streisand and was Joe Pass's favorite rhythm guitarist. His strong rhythm sound is also been associated with the Herb Albert and Sergio Mendes groups.
One of his main gigs over the last few years has been with his lovely wife and exceptional vocalist Jeanne Pisano. The duo is aptly titled: "The Flying Pisianos".
I was able to catch up with John on February 18, 2002 to have a chat at his home in Studio City, CA. In fact, I interrupted his gardening and felt honored that he stopped to talk to me as that is one of his favorite pastimes.
Charles Chapman: Your resume could truly fill a book, but the artists that interest me and pique my curiosity are Herb Alpert, Sergio Mendes and Joe Pass. Let's start with Herb Alpert.
John Pisano: I met Herb through a trombone player named Bob Enevoldsen. Bob was a friend of mine and made the introductions because he was working with Herb and thought I would be well suited for the group. Initially, I was very
apprehensive because I really did not want to become a part of what Herb was trying to create. I was playing mostly jazz and didn't know if I wanted to be involved in the commercial sound he was trying to achieve. So I told Herb I would do the first tour, which was only two weeks, and we both could see how it went. I was amazed at what a treat the band was and stayed with him until the early 1970's.
CC: I believed you wrote quite a few tunes for that band. How did that come about?
JP: Herb came up to me one day and said: "Write out that little tune you were fooling around with the other day and we'll record it tomorrow." We did record it and it was on the next album which sold over a million copies. When I went to the mailbox and found a big royalty check I quickly decided I was going to continue to write.
CC: What was the name of that tune and what else have you written?
JP: I didn't have a name for it so I told Herb to name it and he called it "Felicia * ", after his maid. I've written quite a few tunes, but by far "So What's New ** " is my most successful commercial achievement. Artists like Chet Akins, Peggy Lee, The Tijuana Brass, radio, TV and movie spots often have used it. Over 60 different artists have recorded it in one way or another and I¹m still receiving nice checks from it.
CC: How did the Sergio Mendes gig come about?
JP: I actually worked with Sergio Mendes before Herb. I was working at the Circle Star Theater with Peggy Lee and the Benny Goodman band. We were staying in a little place in Sausalito and Sergio was staying near us. We met and immediate got along and hung out quite a bit for a few weeks.
Sergio called me to do the studio work for a few albums. I did two albums initially and then a little later on I did three or four more when he went over to A & M Records. I eventually did some touring, but most of my work with Sergio was in the studio.
CC: You had a long association with Joe Pass. Tell us about that?
JP: In the early sixties I heard Joe was in town and called him to sub for me on a gig. We became very good friends and I was on more than a dozen albums with him and countless live dates. I performed with him on a wonderful album "For Django" in 1964, "Summer Nights", "Appasionato", "Live at Yoshi's" and "Duets" is all I can think of right now.
CC: I have a delightful Christmas album you did with Joe called "Six String Santa". How did that come about?
JP: That was one of the few times I ever got Joe to rehearse. In 1991 we were finishing a tour in Japan and had a commitment to do an album for Laser Records. We had to do the album real quick so the day before we got together in my hotel room and mapped out the what we wanted to do for tunes and arrangements and recorded the complete album the following afternoon. I think it is just a great album that sings like crazy.
CC: How long have you been working with Jeanne?
JP: I met Jeanne in 1991 when we had the opportunity to do a duo gig at a local restaurant and that gig lasted for three years. Talk about on the job training when you suddenly have to be the whole band it is very humbling. You know, that is not the type of gig you can practice for, you have to just go and do it. Within that three years I really grew a lot musically and feel I really put a lot of finishing touches on my instrument. We did our first CD in the latter part of 1993. Jeanne is just wonderful to work with, she is a superb musician, a great singer and it's still as much a joy to work with her now as then.
John Pisano in concert at the Classic American Guitar Show on
Long Island, NY May 2002. With (left to right) Randy Johnson,
Charles Chapman, John Pisano, Bob Benedetto, Jack Wilkins
and Jimmy Bruno. Photo courtesy of Charles Chapman.
CC: Your guitar nights have become legendary. How did that all come about?
JP: The concept of guitar night started many years ago by Howard Roberts at a place called Dontes here in LA. The first guitar night was Howard Roberts, George Van Eps and was on a Monday. Every Monday after that for years the club would feature only guitarists. I played there many times and quite a few memorious occasions with Joe (Pass).
I always wanted to do something like this on my own and in September, 1997 I had an opportunity to put a Guitar Night in a little club in Ventura call Papashones. In fact, you played there for the George Van Eps tribute concert in 1999. Then I went to Rockos and now I am in a very nice place called Spaciozs.
CC: I couldn't help but notice that there was a picture in a magazine recently of one of your guitar nights and Steve Vai was there. Is it normal for you to have non-jazz guitarists participate?
JP: Steve just came in to listen, but I very often get non-jazz players in attendance. I generally don't encourage sitting in as I have the nights agenda planned, but someone of Steve's caliber is always welcome.
CC: I noticed you are on the new Diana Krall CD, do you still do a lot of studio work?
JP: Well first, there isn't a lot of studio work around here any more, but I often get calls for rhythm work because there still doesn't seem to be a lot of guitarists who do the type of rhythm guitar playing I do. Tommy La Puma often calls me because he claims I'm the glue that holds his projects together.
CC: Do you still have the Epiphone Deluxe your father gave you?
JP: Oh yes, I would never get rid of that. It is a non cut-away and is the same style guitar that George Van Eps had made into his original seven string. My Dad bought that guitar for me when we were living in Staten Island. It was repossession from a music store and my Dad got a good deal on it. It’s a 1940s vintage and Joe even played that on a few albums.
CC: What are your main guitars that you now use?
JP: I have a 1998 sunburst Guild Artist Award that sounds great electrically with very little feedback. A few years back I stopped into Norms Music and came across a 1980's blond Artist Award and just had to have it. That is one of the nicest acoustic archtops I have ever played and use it whenever I can. I also use an ES 175 with an ebony fingerboard. The great luthier John DeAngelico worked on this instrument and I use it when I want that strong electric jazz sound. I am also looking forward to getting one of the new Benedetto Series Artist Awards in the near future.
John Pisano with Bill Acton, Vice President of Marketing for Guild.
John was checking out the new Johnny Smith Award model.
Photo courtesy of Charles Chapman.
CC: What do you prefer for amplification?
JP: I always prefer Fender amps and my only problem with them is the weight. If I don't have t to carry it, I always request a Fender Twin when I am on tour because I do love the sound I get with them.
CC: What do you use for strings and picks?
JP: I have been using an experiential set of strings from Fender here lately that I really like bronze and steel and they are really great. I also like the nickel because they really project and my picks are the Fender model 451. My string gauges are .012 to .052.
CC: Any gigs or recordings you would like to mention.
JP: I'm on the new Natalie Cole project which should be out this summer and I am occasionally performing with the "The Great Guitars". That was myself, Mundell Lowe and Herb Ellis but on the last gig Philip Catherine took Herb’s place because he has not been feeling too well.
The best thing to do is check out our website. I have who's going to be at guitar nights, my updated concert, gig schedules as well as my recordings and many other interesting things. It is Link: The Flying Pisanos
CC: Thank you John and I look forward to seeing and hearing you in the near future.
©Copyright Charles Chapman
Editor’s Note:
Some additional John Pisano materials on this web site. Link: John Pisano Recordings.
The lead photo of John Pisano courtesy of Bob Barry. Go to Bob Barry’s web site to see a selection of his great photographs of jazz guitarists. Link: Jazzography
* Felicia appears on the Herb Alpert recording Going Places, A&M 41412, 1965.
** So What's New appears on the Herb Alpert recording What Now My Love, A&M 4114, 1966.
Charles Chapman. Photo Bob Barry.
Charles Chapman is a Professor in the Guitar Department at Berklee College of Music where he has taught since 1972. He is a versatile jazz guitarist with extensive performing and recording experience. Charles holds a Bachelors degree from Berklee College and a Masters of Education from Cambridge College.
Charles has appeared in concert with such luminaries: Martin Taylor, Kenny Burrell, Joe Negri Jimmy Bruno, Frank Vignola, John Pisano, Ted Greene, Carol Kaye, Jerry Jemmott and Dwane Dolphin.
Charles is an Artist Endorser for Fender/Guild Corporation, Benedetto Guitars and Double Treble custom guitar straps.
Visit Charles' Web page at Link: Charles Chapman
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