In this exclusive interview, guitarist Alex Wintz discusses the making of his new album Collage, recorded live in a single day at Octaven Studios. Wintz opens up about the personal life changes that shaped the music, his evolving approach to guitar, and the balance between composition and spontaneity. He also details collaborations with Victor Gould, Matt Penman, and Jimmy McBride, shares insights on standout tracks like “Pound Hop” and “Better Half,” offers his take on George Harrison’s “Isn’t It a Pity,” and explains why Collage represents his most complete artistic statement to date.

Preston Frazier: Alex, it’s great to reconnect. I think the last time we spoke was around Live to Tape in 2020. I first caught your work through Nick Finzer and even saw you live here in Georgia. A lot has happened since then—how are you?

Alex Wintz: I’m doing well, man. Great to be here, and thanks for everything you do. Yeah, that must’ve been around 2018 or 2019 at The Velvet Note. It’s been a while.

Frazier: It has. You’ve stayed busy, though.

Wintz: Definitely. I feel fortunate to work with people I really respect—Nick Finzer, Etienne Charles, Jeremy Pelt, Roxy Coss. That kept me in the sideman lane for a while. But by the time I was ready to record Collage, I had a lot of music I wanted to document.

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On Recording Collage

Frazier: This one was recorded live in a single day, right?

Wintz: Yes—one day at Octaven Studios in Mount Vernon, New York. Owen Mulholland engineered it. I loved the sound he got on a Jeremy Pelt record I was on, so I reached out. He suggested the studio.

Frazier: And the band?

Wintz: Jimmy McBride on drums, Matt Penman on bass—those guys really understand my music. Then I brought in Victor Gould on piano for about half the record. That added a different color compared to the trio format of Live to Tape.

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On Writing and the “Collage” Concept

Frazier: Most of the material is original. When did the writing begin?

Wintz: Around 2021. The title Collage reflects many life changes—my wife and I moved, we had our child, and things settled into a new way. I tend to write from personal, “micro” experiences rather than big abstract ideas.

Frazier: Like “Apartment 3C.”

Wintz: Exactly—I’m literally in Apartment 3C. It’s about that transition into a new phase of life.

Frazier: Do you write consistently?

Wintz: Not really. I go through bursts. I’ll have a stretch where I write several tunes, then go for months without writing. When I do write, I try to challenge myself—different grooves, harmonic ideas, textures—so by the time I record, there’s variety that still fits together.

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On Evolving as a Guitarist

Frazier: Has your playing changed since Live to Tape?

Wintz: Definitely. I’ve leaned more into what makes the guitar unique—bends, textures, articulation. Earlier, I almost approached the instrument as a pianist would. Now I’m embracing the guitar’s identity more.

Frazier: What sparked that?

Wintz: Listening. Hendrix, Derek Trucks, West African guitarists like Ali Farka Touré, Ernest Ranglin—players who really sound like the instrument. That pushed me to do the same.

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On Composition Process

Frazier: How do you compose?

Wintz: It starts mentally. I’ll spend time thinking about what I want to write—concepts, influences, structure—before touching the instrument. Then I sit with a guitar or a piano and develop it. It’s a long process, but once I get going, it can be very productive.

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On Preparing for the Studio

Frazier: Did you road test the material?

Wintz: Absolutely. That’s essential for me. I’ll play these tunes at places like Smalls and see what works. By the time we hit the studio, I don’t want to question whether the music holds up.

Frazier: And arrangements?

Wintz: Very thought out. I knew who would solo where, how tunes would unfold. I didn’t want it to be just a blowing session—I wanted variety and intention.

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Track Highlights

Frazier: Let’s talk about a few tracks. “Pound Hop” opens the album.

Wintz: That’s about traveling through the Caribbean—those tiny planes, the excitement and uncertainty. Musically, it draws from global rhythms and guitar traditions—African textures, Delta blues influences.

Frazier: “Better Half” is a standout.

Wintz: That’s for my wife, Francesca. It’s about partnership—the give-and-take. Musically, I was thinking about Jason Lindner’s lyricism and imagining someone like Stevie Wonder singing over it.

Frazier: “Isn’t It a Pity” is an inspired choice.

Wintz: I love All Things Must Pass. That song is timeless. I also like including material outside the jazz canon—it reflects what we actually listen to. The challenge is conveying the lyrics instrumentally.

Frazier: “Innings Eater” is a great title.

Wintz: (laughs) It’s a baseball term. I used it metaphorically—about longevity, even if you’re not always the star. There’s humor in that, but also something relatable.

Frazier: And “It’s Been a Minute.”

Wintz: That came out of the pandemic—getting back to the scene, reconnecting with the community. It’s meant to feel like that return.

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Vinyl vs. Digital

Frazier: Not everything made the vinyl, right?

Wintz: Yeah, vinyl has time limits. A couple of tracks didn’t fit, but there’s a QR code for the full digital album if you buy the LP.

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Gear Talk

Frazier: What guitars did you use?

Wintz: A Sadowsky Jim Hall model for the more traditional tones, and a Collings i35 Deluxe for the more driven sounds. I also used a vintage Fender Vibrolux amp and kept the pedal setup minimal.

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Final Thoughts

Frazier: Anything else you’d like listeners to know?

Wintz: If you’re in New York, we’re celebrating the release at Smalls on April 8 with the full band. Otherwise, just thanks for listening and supporting the music.

Frazier: Alex, Collage is outstanding. Thanks for your time.

Wintz: Thanks, Preston. Always appreciate it.

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