He’s a lawyer by day and a guitarist and songwriter by night.
El Pasoan Aaron Goldfarb recently moved back to his hometown after living and working in Austin for much of the 2000s.
Goldfarb started a new law firm with his father, longtime El Paso lawyer Allan Goldfarb.
But leaving the “Live Music Capital of the World” doesn’t mean Goldfarb is leaving his six-string dreams behind.
He recently released a full-length recording, “Ultraviolet,” featuring his nifty finger-picking style on 10 original songs (check out his cover of Queen’s “Bohemian Rhapsody” on his YouTube page). The album is available to stream on apps, such as Apple Music and for digital download on iTunes and Amazon.
Goldfarb will perform live at Star City Studios on Saturday, March 16, to celebrate the release of “Ultraviolet.”
Here’s what he had to say about his influences, the new album and more:
Q: What got you started playing guitar?
As a kid, I got dragged along to my older sisters’ tennis tournaments to different cities in the Southwest. Some of the tennis dads would bring their guitars and jam in the hotel lobby for hours. Once I heard them playing (The Beatles’) “Rocky Raccoon,” I knew I had to learn how to play so that I could join the jam session at the next tennis tournament. Before I knew it, I was obsessed with the guitar. I was very lucky to have many wonderful guitar teachers while I was growing up in El Paso – Charles Teitsworth, Jim Leeah, Pete Biddle, and Curt Warren – who helped get me to the point where I was able to get accepted into the University of Texas School of Music’s jazz guitar department.
Q: Is there a theme that connects the songs on “Ultraviolet?
When I sat down to write the music for this album, I decided to make music that would help me relax and free myself from the constant distractions of modern life. The album is, for lack of a better word, a mediation. Aside from a few subtle reverbs and echos, this album is mostly just me fingerpicking an acoustic guitar. Many of these songs were recorded in an empty church chapel in Austin. The compositions are intended to be melodic, but not predictable.
Q: Obviously El Paso’s music scene is much smaller and less diverse than Austin’s. What are some of the differences and similarities and where can El Paso go from here?
Since I moved back to El Paso, I’ve been to the El Paso Opera, the Bach’s Lunch concert series at the El Paso Art Museum and the El Paso Symphony at the Plaza with Zuill Bailey as the featured soloist. El Paso has a great music scene thanks to civic groups like El Paso Pro Musica, who do a phenomenal job featuring our local talent. I think the future is bright for the music scene in El Paso.
Q: Being a lawyer, how do you balance your professional life and your artistic life? Is one more important than the other?
One isn’t more important than the other, but they certainly use different sides of the brain.
Q: Do you prefer the studio or the live stage?
There is nothing like sharing the experience of music with a live audience. To me, that’s what it’s all about!