A native of Auburn, Alabama, Allen Hinds was exposed to blues and R&B at an

early age. Moving into jazz and fusion in his teens, he attended Berklee College of
Music and shortly after, moved to Los Angeles to attend Musician's Institute. Allen
has a touch that most guitarists would kill for. Utilizing influences ranging from
Wayne Shorter to the Beatles, his style is exciting and eclectic.

Dan McAvinchey buttonholed Hinds for this interview in order to get more
background, and acquire more information about his musical endeavors.

Dan McAvinchey: Allen, how did you initially get interested in the guitar,
and how did you develop into the player you are today?

Allen Hinds: There was always a guitar lying around our house. My older
brother played a little. But I got a bit more serious in high school.
Actually, I came a little late to that table. I began really working at it
when I was around 16. Before I was out of high school I started sneaking
into night clubs and soaking up the whole southern rock scene. This was
1972-ish and I was living in Auburn, Alabama. I saw the Allman Brothers
Band right after Duane had died, and seeing Dickey Betts up there with
that 1957 goldtop was it! I was hooked.

After that, I started playing with friends. It progressed to where we were

playing all over the South at all the big clubs and frat parties at all the
major colleges. I always had a good ear, and helpful friends that guided
me along until I went to Berklee in 1978. At that time we were trying to
play Chick Corea, Steely Dan type stuff, so we were lucky, we had no
limits or barriers as to what was commercial or artsy jazz, so we just went
for it, best we could. It was new and fresh.

Dan McAvinchey: What do you think drove you to develop your skill
from the average guitarist level to world class ability?

Allen Hinds: Probably ego (ha ha), but it's partly true. I always wanted
to be the best, the hippest player around. And once again I surrounded
myself with better players, that pushed me. Moving to L.A. was huge in
that I could really see how I stacked up against the best in the world.
Don't know if I would have done that had I stayed in Alabama. M.I. (which
was then GIT) was the best thing I could have done. I do well in
competitive scenes. I progressed fast in those years.

Dan McAvinchey: What are you striving to achieve musically, particularly

on your last CD, "Falling Up"?

Allen Hinds: Well, when the compositions come from the heart, it's hard
to think anything but emotions, but I guess I like the combination of
heartfelt playing on real compositions with some harmonic diversity. I
think I got there with this last CD.
Dan McAvinchey: What went into the decision to release records
independently?

Allen Hinds: No master plan there, i just always have some ideas lying
around. and the older I get, the more I feel a purpose in life to leave
something behind. and since my music is a bit quirky, and knowing the
commercial music scene like I do, I figured the best way was the internet.
But I had to just get them out there and get them finished. I know so
many guys who have been working on their solo debut for the last 25
years. I am glad I had the nerve to just get them out.

Dan McAvinchey: Having gone that route, what do you now find to be
the advantages and disadvantages of being an independent musician?

Allen Hinds: Well, advantages are you can pick and choose what you
want to do. The disadvantage is like all "self employed contractors", work
can be slow - then it's a mental challenge not to get down on ones self
because Quincy Jones isn't calling you every day.

Dan McAvinchey: Why do you believe certain music fans prefer

instrumental music over traditional, vocal oriented music?

Allen Hinds: Well, I guess that's the way it's always been. Some folks
don't need words to feel emotion in music. Same reason I guess some
people are musicians and some are not. I can hear the first chord, or
groove of a song and immediately be thrown into some mood. I don't
need words, but I have to say, the older I get the more I really appreciate
lyrics and singer songwriters. I think I get as much of a kick working
behind singers as I do playing instrumental stuff. It's a whole different
approach, but just as rewarding. I love filling and creating a "vibe" behind
a singer. I remember being so knocked out by Beatle stuff, or all the
guitar work on all that old Joni Mitchell or Stevie Wonder stuff - magical!

Dan McAvinchey: Have you heard any new guitarists that have really
caught your ear in the past couple of years?

Allen Hinds: I really love grass root players such as Val McCallum, Jon
Leveanthal and Stuart Smith. There is a local guy named Billy Watts that
just always plays the perfect parts, and of course I can't get enough of
Mike Landau - always fresh and inspired.

Dan McAvinchey: If you could do a once-off album project with any

guitarist in the world, who would it be?

Allen Hinds: So many out there, Jeff Beck is every guitarists dream. Jon
Leaventhal, Robben Ford. Robben and I used to play a lot when I was
student at M.I. Or maybe Greg Leisz the pedal steel player here in L.A., or
John Scofield, just for the humor. Yeah, that would be very cool.

Dan McAvinchey: Where do you see your challenges in the areas of

publicity and promotion?

Allen Hinds: Trying to push my stuff into the "smooth jazz" world won't
work, although i've done so many "smooth" CDs and tours throughout the
years with other artists so it would be the most logical way to go, but my
music is not that at all. That genre "smooth jazz" seems to have morphed
into a whole different thing the last 10 years. I think working with a
publicist and getting my stuff in Europe and elsewhere would probably
work best for my stuff.

Dan McAvinchey: How do you find the live music scene at the moment,
given the current economic climate?

Allen Hinds: Not good. Bands that used to hire a rhythm section from
L.A. to go across the U.S. now hire local bands when they go to Detroit, or
wherever. No airfares, no hotels, and guys will work cheaper. And in the
"smooth jazz" world, often, to generate ticket sales, promoters are forced
to put 3 or 4 principle artists on the stage with one rhythm section - saves
them money but cuts three other bands out of work.

Dan McAvinchey: Finally, what`s up next for you, what are some of your
plans for the future?

Allen Hinds: I just finished my second CD with Gino Vannelli, this is a CD

of all his hits, from "Brother To Brother" and before, and after, but with
new arrangements. It should be great, and he is planning a tour in the
U.S. in the fall. Got some Crusaders (Wayne Henderson) gigs, and a
couple with saxophonist Jeff Kashiwa. I am headlining a Festival in
Portland with my own band in July.

I am always working on new stuff. Now I'm working on a CD of all

bottleneck/vibey stuff to shop to T.V. and movie folks. I do some
sessions, I work at MI a couple days a week, and I'm getting ready to see
if a publicist can help get my stuff out there.

When I am not holding a guitar I am holding a tennis racket - big

diversion from the music world, and a very welcome one. Sometimes, you
need balance.