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Guitar instrumentals have supplied some of music’s most evocative moments. Jason Sidwell asks top guitarists for their take on this iconic movement. This month he talks to a top-flight British jazz luminary.

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GT: What is it about guitar instrumentals that appeals to you?

NP: Well, being a guitarist it’s really interesting to hear how other players tackle material, be it original or more familiar. I used to actively avoid listening to other guitarists as I remember somebody telling me that I would get more from jazz if I didn’t concentrate on my own instrument. But as time went on, I found myself turning toward records with guitarists in the line-up. Almost exclusively, actually! The beauty of the guitar is that it can enthral as much in a solo setting as in a large ensemble, and everything in between. In a small group recording, the guitar has so much to offer, with its ability to take the lead as well as accompany. Someone like Jim Hall can sound enormous, especially on his Live In Toronto trio album, but a guitarist can fit into virtually any format. They just have to change their approach. Either that or they have to be given a fighting chance! For instance, you’d think that a guitar would be swallowed up in a big band situation and to a degree it can, but a good arranger will create space. Joe Pass In Hamburg is a great example of this. The guitar is kind of dwarfed by the enormity of the big band, but they make it work in a really exciting and musical way.

GT: What can an instrumental provide a listener that a vocal song can’t?