1.) We’re excited to be speaking today with acclaimed guitarist, educator and composer Carl Baldassarre; greetings and salutations, Carl! Before we meander down the proverbial Q&A pathway, how has your 2023 been treating you thus far?

Thanks for having me!

2023 is off to a great start. There is a lot going on!  My YouTube channel continues to grow. My solo album, Grand Boulevard, is finished. The live shows are now gearing up so it’s a very exciting time.

2.) Major congratulations on your upcoming April 28 release of your inaugural solo album Grand Boulevard! What was the genesis of this gem of an album, how did it all come about?

Thank you! It really started out as a pure writing project called “The Great Eight”. I wanted to write eight great songs! I was determined to tell as many great stories musically and lyrically as I could.  It turns out I wrote 71 pieces of music! I ultimately settled on 16 pieces for the album Grand Boulevard!

3.) Grand Boulevard spans the gamut, musically speaking: From guitar rock, funk, ballads, R&B, reggae and orchestral pop. Was there a plan afoot while you were conceptualizing the album to deliberately intermingle these varying styles of music into one sort of whole, or was it more of a happy accident?

The great American writer, Joan Didion, once described her writing process by saying that “a story unfolds as you write it”. That’s absolutely what happened here. The plan was merely to let each piece “tell me” what it wanted to become and to just go with that flow regardless of the genre. What started out as a disparate collection of songs came into focus once the album was completed. Looking back, the fact that it covers so many genres really does speak to my evolving tastes as a composer.

 4.) Knowing that you composed the album primarily during the isolation of lockdowns and the like, how would Grand Boulevard differ had the pandemic never come down the pike?

It might not have been as diverse sonically. If there was a blessing to be had in that period, it was to be able to completely immerse myself in a singular focus for over a year. No distractions, no gigs, no deadlines, no competing interests, just writing every single hour of every day.

 5.) Your producer on Grand Boulevard was the celebrated Phil Nash. Creatively, what did Phil bring to the table for the album?

Phil was my compass!  He helped me in so many ways. Not the least of which was to keep my writing concise. Sometimes as a composer, I tend to get a bit fancy with technique! He made sure there wasn’t a note too many (or too few)!  He was able to keep each song moving forward with purpose. It’s all very tight in the telling, thanks to him!

 6.) What differentiates Grand Boulevard from the Distinguished Competition on the 2023 music landscape?

I think the differentiation can be found in the wide range of musical styles on the album. To go from rock to reggae, to orchestral and so forth is a bit unusual by contemporary standards. The writing harkens back to a time when it was customary to have more varied harmonic language, melodic diversity, and dynamics in a song.

7.) Who inspires you, musically speaking?

Oof, that’s a big question! I’m inspired by so many composers across the centuries. Whether it’s Alban Berg, Gustav Mahler, Leonard Bernstein, The Beatles, Led Zeppelin, Miles Davis, Stevie Wonder, Ed Sheeran…the list is endless.

 8.) Grand Boulevard came to life at the renowned Abbey Road Studios in London. Did bringing the album to life in that famed studio bring a whole other round of energy to this project?

The energy was indescribable. You can’t stand in that hallowed space and not hear the echoes! There is something magisterial that happens there; especially when you’re collaborating with the great musicians, producers, and conductors who I had the opportunity to work with. The people and place make the magic. I think you can hear it.

 9.) Grand Boulevard also benefitted from recording in two other very renowned studios: Soultrain Sound Studios in Nashville and Sweetwater Studios in Fort Wayne, IN. What was it like recording in those two locales versus Abbey Road Studios?

Each city and studio brings its own unique character and energy to the music. Sweetwater was a great space for the rock rhythm tracks and mixing, while Soultrain was great for vocals and overdubs. Abbey Road had all the orchestral, atmospheric and historical elements.  The mosaic of sounds and experiences captured in the recordings really help bring out the diversity of Grand Boulevard.

10.) Can you introduce our ever-inquisitive readers to some of the talented musicians that enabled you to bring your vision for Grand Boulevard to life?

It was such an amazing group of artists. I was lucky to be able to work with Marcus Scott (Tower of Power) and Charles Iverson (Iverson) on lead vocals. I had the great Jonatha Brooke on backing vocals. My rhythm section included Nick D’Virgilio on drums (Genesis, Tears for Fears, Big Big Train), Al Rolik (Syzygy) and Dave Martin (Adrian Belew, Eric Johnson) on bass guitar. On keys we had Jacob Dupre (Glenn Miller Orchestra) and Ed Goldfarb (TV & film score genius). On percussion I had Wally Reyes (Chicago, Santana).  The conductors were Rick Wentworth (Roger Waters, Danny Elfman), James Shearman (film), the arranger was Avery Knific and the producers were Phil Naish and Mark Hornsby (engineer). Most importantly, each one of these amazing artists are friends as well!

 11.) On the heels of the release of Grand Boulevard can fans look forward to seeing you on the performing circuit?

Yes! We have some concerts on the calendar this year and a tour planned in 2024! Please check out my website for ticket information.

 12.) At the end of the day what do you hope listeners walk away with after giving Grand Boulevard copious spins on their respective turntables?

I hope that listeners will find their own story in one of my songs and will follow me on this incredible journey!