Winner of two World Music Awards, 'Cielo Nocturno' by renowned guitarist Russ Hewitt is a work of art. The Grammys? They know what they're doing by putting it on the ballot in three categories. Hewitt, now on his third album, is constantly growing, traveling, writing...and impressing listeners. His work is new to me, but one listen to Cielo Nocturno and I was hooked. When I interviewed him, I became even more of a fan.

He's thoughtful, interesting, a songwriting genius, and truly, an intercultural educator (read his last answer!).

Hewitt's music is creative, beautiful, enticing, and makes you never want to stop listening. The album is nuevo flamenco, with dashes of world music, jazz, latin, and flamenco stirred in. You'll find additions of a variety of talented musicians, which, when combined with Hewitt's virtuoso guitar playing, create a complex sound I've not heard before - and now have on constant rotation. Truly, Hewitt is a musical master chef, creating a soundtrack for a life well-lived. Highly recommended.

Please tell us about your new album, 'Cielo Nocturno'...
I feel 'Cielo Nocturno' is a nice continuation of what I started with my first two albums, 'Bajo el Sol' and 'Alma Vieja', in terms of adding in new Latin rhythms and time signatures. I was involved in the entire editing and mixing phase this time around, as well, and I couldn't be happier with how it turned out. I had two guest guitarists on the latest album, Larry Carlton and Ardeshir Farah, which I've never done before, but the experience was such a pleasure I'll definitely do it again. My ultimate goal when compiling songs for a new CD is to avoid having them all sound the same, so I'll take steps to ensure this doesn't happen, one being not having more than two songs in the same key, as well as doing my best to not repeat a song feel or groove.

What is the inspiration for your songs?
What's that saying, 10% inspiration, 90% perspiration? Of course, I'm inspired by people, places, and events, but because there are no lyrics, my approach to writing music may be a little different. My intent is to create a sonic backdrop on which the listener projects a thought or image. I have done my job if one of my songs makes you think of someone, reminisce about a far off place or destination you've been, or makes you drive fast. Ha. You can still tell a story with instrumental music, but it's not my story...it's the listener's.

Cervezas and Cigars" from the CD 'Cielo Nocturno' featuring video and pics from my trip to Holguin and Gibara, Cuba. A special thank you to Billi & Dennis Henderson and to everybody who opened their home to us. 

What is your songwriting process?
I start in most simplistic way possible: a click track and one track each for rhythm, melody, and solo guitars on my Pro Tools recording program. I then come up with a concept for a song and then work it out. For example, the song 'Brisa de Monte' is a song that I wanted to be in 7/8 time signature using three different types of rhythms, in the Lydian mode, a bridge section that had unison and harmony lines and a call and answer chorus. Sometimes it's just two ideas that start a song like 'Persian Sky' which is a 6/8 time signature and the Algerian Scale. I'll work on a song until I get to a stopping point, and then wait a couple of days/weeks to listen back to it. If I like where it's heading, I'll continue to work on it off and on or until I get stuck, at which point I'll sit on it until I come up with the part it needs.

Can you please tell us the historical aspects/traditions of Nuevo Flamenco music?
Although there were some hints of what was to come from Al Di Meola in 70's and early 80's, it wasn't until 1989 when the United States release of the debut album by the Gipsy Kings came out that the seeds of the style were planted. The self titled Gipsy King's album had a lot of popular songs they still perform today - Bamboléo, Moorea, Bem, Bem, María, Un Amor, Inspiration, and Djobi Djoba. In 1990, Ottmar Liebert came out with his 'Nouveau Flamenco' instrumental album, which defined the genre, style, and sound and went on to sell millions of copies worldwide. The songs were rumba based rhythms but put into a pop song form, i.e. intro/verse/pre-chorus/chorus/bridge/solo with all the variations that go along with that type of structure. Strunz and Farah also put out three albums in a row (Primal Magic '90, Américas '92, Heat of the Sun '95) that featured the same type of structure which garnered a lot of air play and sales. Jesse Cook's debut album 'Tempest' came out in 1995 and from there the whole sub-genre of Nuevo Flamenco music was created and still carries on today.

What is your musical background? When did you start playing guitar?
I started playing guitar at age 11 because my brother, who is four years older than me, started playing. Around that time my friends I was hanging out with at the time also picked up the guitar, so it was a natural progression for me to do so as well. I never did much with the guitar until age 14 when my brother quit playing and sold me his nice guitar and pedal. Having a good guitar made all the difference in the world, and it was only then that I took to it and practiced all day and night. I had a teacher for a year before I went to Weatherford College that showed me scales and arpeggios, after which I went on to the University of North Texas to get a performance degree in Classical guitar. I played in Rock/Heavy Metal bands for 20+ years all the while playing Classical guitar and Nuevo Flamenco gigs, and once my last rock band broke up I moved to the Nuevo Flamenco style full-time. My playing is a combination of common styles of Heavy Metal/Rock and Country guitar and uncommon styles like Nuevo Flamenco, Gypsy Jazz, Smooth Jazz, and Brazilian guitar.

What's up next for you?
I currently have a dozen projects in various stages of development, which include being the lead guitarist for the Spanish singer Orlando Salinas, commercial/movie music with producer Amin Emam, being part of the Texas String Quartet, and soundtrack scoring with director Nathan Todd Sims. In terms of my original music, what I want to do is do a slight variation of what I'm doing now and maybe call it 'The World Sessions.' I would like to use 30 musicians from six continents playing 40 different instruments and make it truly a world project and collaboration. I will look to do bigger and more grander production and song structure, in the vein of Yanni, and not the four minute pop structure I currently use for the most part. I'm looking to re-record four of my old songs in string quartet style, where I will play the rumba guitar but the violins and cello will play the melody, harmony, and bass line along with the additional world instruments. I just came up with the concept last month so I have the right to change or modify my vision. Ha!

Is there anything else you'd like to share?
There is so much craziness out there, please be kind to yourself, your neighbors, and to those in need. Some days it's easy to lose all hope in humanity but we must keep into perspective how well we have it as a country and that there are still good people out there. If you get a chance travel and see the world, it will change your preconceived notions of other cultures. I can't tell you how many times kindness from a stranger has helped me out when I was in a foreign land, and it completely changed my attitude and outlook on things.

Learn more:
http://www.russhewittmusic.com/

All photos courtesy and copyright Russ Hewitt