Guillermo Marigliano’s musical path is as intricate and expressive as the phrasing that defines his work. With over thirty years spent composing, performing, and mentoring across continents, the Argentinian-born, Los Angeles-based guitarist reflects on his evolving artistry in this wide-ranging conversation. From the emotional weight of his solo acoustic project to the rhythmic insights shaped by teaching worldwide, Marigliano discusses what it means to create with purpose while carrying the soul of his roots.
In this interview, he speaks with clarity and warmth about the transition from ensemble performance to introspective solo work, the nuances of improvisation for newcomers, and the interplay between his many creative hats.
You’ve dedicated over three decades to composing, performing, and teaching music across continents. How has your Argentinian heritage continued to shape your creative instincts since relocating to Los Angeles?
My Argentinian heritage continues to be a huge influence on my creative instincts, even after a few years of living in Los Angeles. I grew up immersed in a rich musical culture — from tango and folklore to jazz and latin music — and that emotional depth and rhythmic nuance still shape how I play, compose, and even teach. Here in L.A., surrounded by so many global sounds, I’ve found new ways to blend that foundation with other influences. That sense of identity comes through in my phrasing, my harmonic choices, and the way I approach improvisation.
Whether I’m composing, performing, or teaching, that Argentine spirit of soulful expression and rhythmic complexity travels with me. It helps me connect with diverse audiences and students on a deeper level, bringing authenticity and a global perspective to my music
Your solo guitar project set for release in 2025 focuses on introspective themes through Spanish acoustic guitar and Latin American grooves. What led you to explore more reflective terrain this time around?
This new project grew out of a very personal place. After years of performing energetic, rhythm-driven music, I never left the Spanish guitar. This instrument represents the soul of the Latin American music, felt a strong pull to slow down and express myself more in a solo situation rather than within a band. The Spanish acoustic guitar naturally lends itself to that kind of intimacy — it allows space, silence, and nuance to breathe. I’ve also been reflecting a lot on my journey: relocating, adapting to a new culture, and growing both as an artist and a person. The Latin American grooves are still there, but they support a more introspective voice this time — one that’s grounded, searching, and honest. It’s music that invites the listener into a quieter, more contemplative space, and that felt like the right direction for where I am in my life right now.
Guitar Multiverse was praised for its emotional intensity and technical cultivation. What personal or musical experiences fed into the themes you explored on that album?
Guitar Multiverse was really a culmination of years of experience, musically and personally. It was written during a time of deep transition in my life, after moving to the U.S. and starting over in a new environment. That emotional intensity naturally poured into the music. Technically, I pushed myself further than ever before, drawing from jazz, classical, and Latin American traditions, but always in service of the feeling. Each piece explores a different “universe” — not just stylistically, but emotionally. Some tracks express joy and connection, others dive into solitude or longing. I wanted the album to reflect the full spectrum of human experience, and my guitar became the vehicle to travel through those inner landscapes.
Teaching seems to be as central to your life as performing. How do you keep improvisation accessible for beginners while still respecting the complexity and nuance of jazz and blues?
That’s a great question, because it really gets to the core of how I teach. I believe improvisation should feel natural and joyful — like speaking a language. So with beginners, I focus on simple musical elements first: rhythm, phrasing, call-and-response, and listening. We might start with just one note or a basic groove, and explore how much expression can come from that. At the same time, I introduce key jazz and blues concepts early — like tension and release, swing feel, or the blues scale — but always in a way that’s intuitive. My goal is to honor the depth of the tradition without overwhelming the student. That way, they build confidence and curiosity, which is really the foundation for true improvisation.
You’ve hosted masterclasses in places as diverse as Colombia, Europe and the U.S. Have those international teaching experiences changed how you relate to rhythm, phrasing, or musical expression?
Definitely. Teaching and sharing music in different parts of the world has had a deep impact on how I understand rhythm and phrasing. Each culture brings its own feel, its own sense of time and movement — whether it’s the polyrhythms I encountered in Colombia, the lyricism and articulation I heard in Europe, or the diverse grooves I find here in the U.S. These experiences have expanded my rhythmic vocabulary and made me more sensitive to how music is felt, not just played. It’s also taught me to listen more deeply — not just to the notes, but to the cultural emotion behind them. That awareness continues to shape my own expression, both as a guitarist and as an educator.
Since settling in Los Angeles, you’ve immersed yourself in both the local music scene and education spaces. How did you find your footing in a new country while continuing to nurture your creative work?
Moving to Los Angeles was both exciting and challenging. Starting fresh in a new country meant rebuilding my network from the ground up, but music gave me an anchor. I began connecting with local musicians, attending jams, and saying yes to every opportunity — from performances to teaching. At the same time, I made sure to carve out space for my own creative work. Composing and practicing became a way to stay grounded and keep my artistic voice alive amid all the changes. Teaching also helped a lot — it connected me to the community and gave me purpose. Over time, I found that L.A.’s diversity really welcomed my background and ideas, and that gave me the confidence to keep growing as both an artist and educator.
You’ve described your sound as a meeting point between Latin American rhythms and jazz harmony. What draws you to those intersections, and how do you avoid repetition when composing within that framework?
What draws me to that intersection is the natural conversation between rhythm and harmony — it’s alive, unpredictable, and full of emotion. Latin American rhythms bring this pulse that’s rooted in the body, while jazz harmony offers endless possibilities for color and movement. When they meet, it feels like a perfect balance between structure and freedom. As for avoiding repetition, I always try to stay curious. I might shift the rhythmic foundation, explore a different mode, or draw inspiration from a non-musical idea — a landscape, a memory, even a conversation. I also let the guitar lead me; its tuning, resonance, and limitations often suggest new directions. For me, it’s less about inventing something “new” and more about staying honest and connected in the moment.
As someone who wears the hats of composer, performer and teacher, do you see those roles feeding each other, or do they require entirely separate headspaces when you’re working on new material or teaching students?
I definitely see those roles as deeply interconnected rather than separate. Composing feeds my performance because it gives me a personal connection to the music I play, and performing inspires new ideas for composition through direct interaction with audiences and fellow musicians. Teaching, in turn, enriches both because it challenges me to break down complex ideas into their essence, which deepens my own understanding. When I’m teaching, I often discover new approaches or perspectives that I then bring back into my creative work. So, while each role has its own focus, they all inform and support each other in a kind of ongoing cycle.
–
Discover more about Guillermo Marigliano via his official website.
Interview by Amelia Vandergast.
