Aurélien Budynek: Bordeaux to Broadway

In this electrifying episode of Artists Unveiled, we sit down with Aurélien Budynek, a guitarist whose resume reads like a music history timeline. Aurélien is the rare artist who has mastered the precision required for Broadway while retaining the raw energy of a rock legend.

As a go-to session and touring guitarist, Aurélien has collaborated with an astonishing range of projects, from bringing punk energy on tour with Marky Ramon (of The Ramones) to exploring deep, collective improvisation with the legendary drummer Cindy Blackman Santana. If you've been to a major theatrical production, you've likely heard his work, as he's held primary guitar chairs on some of the biggest shows in New York, including Back to the Future, the Tina Turner Musical, Hamilton, and Rock of Ages.

Join us as Aurélien shares the wisdom he gained on his journey from a small town outside Bordeaux, France, to the main stage in New York. He reveals his philosophy for success—"I don't force, I flow"—and discusses the financial realities of making a living solely from art, proving that supporting a family with music is, in his words, the ultimate measure of success. Get ready for an insightful deep dive into what it takes to thrive in the toughest corners of the music business.

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Transcript

Aurelian: I think that's my measure of success. Even more so than playing in a stadium or whatever, which was great as much as I remember. But these are just markers, and these are things that happen on the more long-term thing. It's actually supporting myself and supporting a family with art and with music; that's something that lights me up.

Holiday: Hi everyone. Welcome to Artists Unveiled, a show where we bring on exceptional creators to not just tell their story, but to give you real insights into how they went from striving to thriving. My name is Holiday, and I'm super thrilled to introduce one of the very best guitarists who's worked with so many amazing projects from touring with Marky Ramon and Cindy Blackman Santana to working on shows like Hamilton, Tina Turner, and Rock of Ages. A go-to artist for forging unforgettable guitar parts, producing, and co-writing. I'm happy to introduce Aurelian Budynek. Hey, Aurelian.

Aurelian: Hi.

Holiday: Thanks for coming down.

Aurelian: Of course. Thanks for having me.

Holiday: You're absolutely welcome.

Aurelian: Yeah.

Holiday: One of your first important experiences was a concert in Colombia. Could you tell me a little bit about that?

Aurelian: Yeah. So that was in 2016. I just started, well, that was my first gig with a drummer Marky Ramon from the...

Holiday: Oh, sure. Right. All right. Was that how that all started?

Aurelian: Yeah. Somebody from his management had contacted me a month or two prior because he was looking for a new guitarist in New York City at that point and my name came up. I came up to Brooklyn, not too far from here actually, to play with him and sort of audition for him. That went well and he was happy. Then we met a couple more times and then one day I got an email from his manager who said, "Hey, are you available for those shows? The first one is in Colombia, that's in 3 weeks, and it's opening for Guns and Roses in the soccer stadium."

Holiday: Okay. No.

Aurelian: Sure. I'm available. Let's do it. So it turned out it was my first gig with Marky. And that was, you know, in front of a sold out soccer stadium, and they go nuts for the Ramones over there. So, they were very, very into it. And that was, that was a kind of an out-of-body experience. I've never played. Not in Colombia. We went there to South America a couple more times. I'm kind of back in my body now. I think...

Holiday: How many years did that take?

Aurelian: Yeah, exactly. I, you know, it depends. But yeah, that was a great experience and a lot of nervous energy but excitement at the same time and it went, you know, in a flash it seems. I have little memory of it but I remember it was a great feeling.

Holiday: You continued playing with Mark?

Aurelian: Yeah, I played with him for a couple of years and then stop. Our schedules started conflicting and we stopped playing together for a while. But in fact, we're going to play again together in a couple of weeks. We're going to do a couple club dates and festivals for the next, you know, three weeks or so. So, I'm excited to go back to that camp and we've always, you know, kept a good relationship and kept in touch. And so I'm happy to be back in the camp for a little bit and see what's going to be different about it. You know, seven or eight years later, perhaps... I'll tell you later. We'll see.

Holiday: So popular now I figured why not.

Aurelian: No, I doubt it. But yeah, I'm excited to get back on this train  and do that again with so many years in between and so many experiences that I've had and so we'll see how that compares to what it was before.

Holiday: Can you explain the trajectory of your experience on Broadway?

Aurelian: Sure. That's something that's been kind of my bread and butter for some years now. I mean, I work a lot on Broadway and do other freelance stuff. But it's a great job to get when you live in New York. That's it's a steady job and predictable to some degree.

Holiday: Yeah. To some degree.

Aurelian: It can be. And it's, you know, very high level and everything. So, that's exciting. And that was never really on my radar other than, you know, when I moved to New York, I thought, oh, at one point that would be cool to do something like that, maybe, you know, because I just wanted to do everything.

Holiday: Have you done everything?

Aurelian: Not yet. Almost almost everything. No. And then an opportunity kind of fell in my lap. I got approached to begin as a substitute guitar player on a show called Rock of Ages at the time. I got approached because really they were looking for rock players which I was kind of in more in that scene at that point, because that show, even though it's a, it was a show on Broadway, but it's not a very typical Broadway show at all. The band is on stage because they're an integral part of  the story and the band is a character in the story more or less, right? So we have to be on stage all the time and we're playing rock songs for a couple hours, right? So that was my first experience just coming in and out of that show to replace the main guitarist when he would take other things or take a day off or whatever. And then from there it kind of snowballed into, "Oh, you're in that scene now, how about you come and watch my show and sub for me if you want". And I started subbing at a show called Book of Mormon which is still around and I've been in and out of that one for almost 15 years now. And one thing leads to the other and I started subbing on a lot of shows and then I got offered to originate a show and another one and another one. And so far I've ended up holding three chairs being the main guitarist in three shows and the last one I did was the adaptation of Back to the Future.

Holiday: Oh wow.

Aurelian: Which was very cool. That ran for a year and a half. That was very fun. And in between all those things and before that I did the Tina Turner musical which was very cool too. It was kind of a mix between a more strict like Broadway musician experience and then at the end it ended up being more like a concert where the band is on stage and everything and the actors who play Tina interact with the band and everything and with the audience and so that was very fun. And yeah so it just starts as that seed and then just kind of snowballs into something else and the more I do, I've been in that scene for almost 15 years now. So, I know a lot of people and a lot of people know me and I get called to do this and that. And it's a tight community and it's a hard circle to break into. So, I'm grateful to be in it, to some degree and there's a lot of great players on every instrument and it's a great scene to be a part of. Luckily for me, I think most of the shows that I've done have been very interesting and fulfilling as a player and on the artistic side, you know. So, it's definitely taught me a lot and has helped me grow as a musician and person. I met my wife on a Broadway show.

Holiday: What show was that?

Aurelian: That was Rock of Ages which was the first experience that I had, we met then but nothing happened at that point but that's that that was the point where we met and then years later we reconnected. And that's where we fell in love and eventually got married and we randomly ended up on the Tina Turner musical together as well which was coincidental but that was great to work together and we haven't worked together since on a show unfortunately. But it could happen again.

Holiday: It could happen again.

Aurelian: Absolutely. So we'll see. We'll see what happens next.

Holiday: So you went to a pretty cool school in Boston.

Aurelian: Yeah.

Holiday: Yes. Berklee College of Music.

Aurelian: Yeah. Yeah.

Holiday: How was that?

Aurelian: That was a wonderful experience. I was 19 when I went there and I was fresh off the plane from France. I'd never lived anywhere else. I came from from my parents house and I grew up in, just outside of Bordeaux which is a fairly, well, where I grew up was a really small town and and Bordeaux is a major town in France but at the time there wasn't a ton of things happening culturally or musically in my scene anyway. I had to kind of help make my own opportunities to play in bands and do shows and stuff like that. And it was just kind of limited, you know. Just getting to a big town like Boston and Berklee is a giant music college with people from all over the world, and incredible talent. And suddenly I'm a very small fish in a big pond. I've learned a lot through the teachers and also through the students that are there, because you're just exposed constantly to incredible talent and you're learning from listening, from experiencing and from, playing with those people as well. And yeah, that was a very formative experience, as a musician as a person and, just leaving my home country and growing as a young adult and and and as a young musician at the time. I'd been playing guitar for a long time but now I was very geared into a professional mindset. And that's the path I've been on since, so that's kind of  what put me on the rails.

Holiday: So you went from France to Boston and then you came to New York which is another small fish in a big pond, right?

Aurelian: Sure. Sure. Absolutely.

Holiday: So what was that like for you that transition?

Aurelian: Yeah. While I was still in Boston, towards the end of my years at Berklee, I was coming to New York, once in a while to do some work to do some gigs. And so I started networking a little bit and a lot of teachers from Berklee at the time and now I think I still live in New York or active on the New York scene, active New York musicians. So I felt like I had some good connections that facilitated my reasoning  to move here to New York. And it was hard at first. It's hard to make a living as a musician as it turned out.

Holiday: Imagine that.

Aurelian: Yeah. But made it work. I was teaching taking any kind of...

Holiday: Sort of a miracle.

Aurelian: Yeah. In a lot of ways it is, and, I was going back to Boston to play some gigs, to do some wedding gigs or whatever corporate gigs or other things because I still had some connections up there. So it was a transitional time. But yeah, as you know, being a professional artist is a hard life, financially. It's unpredictable and for myself, for my experience, growing up in a small town outside of Bordeaux, it's like I didn't know any professional artist. So it was kind of an unknown path for me - kind of almost like a dream to be able to make a living doing that, to make a life out of playing guitar. So I'm very grateful about it. Yeah, absolutely. And I'm very proud of being able to do that. And there's lots of ups and downs and this and that, but I'm still here, playing guitar, making a living, and supporting a family. And that's something I'm very proud of.

Holiday: It's always an accomplishment to do that, but especially as an artist and a musician.

Aurelian: Yeah. I think that's my measure of success. Even more so than playing in a stadium or whatever, which was great as much as I remember. But these are just markers, and these are things that happen on the more long-term thing. It's actually supporting myself and supporting a family with art and with, with music. That's something that lights me up.

Holiday: So your younger self, what would you have imagined being a musician would have been like and what is it actually?

Aurelian: Right. Well, I had very little preconception of what a professional musician might be other than being in a band and touring, which is, originally that was the spark, when I was a kid. It's like, oh, I'm going to be in a band on stage. That's how it's going to work. Or in a studio, like I learned about that a little later. I was like, oh, there's studio musicians that go in and play and that's how they make records, you know. So, I thought that was going to be my path. And, you know, you imagine one thing and then you get on the rails and you kind of get in the water and then everything is different than what you imagine. And like I said, I never thought I would end up playing on Broadway as much as I do. I'm lucky in the sense that I've touched on a lot of those things, kind of sporadically. I've done the touring thing with a lot of artists as a side man, which is very fun, but also some more steady work in town like Broadway or the occasional studio thing. So, I've never clocked on just one thing. It's been really fun and fulfilling to do all of those things for sometimes for short periods, sometimes for longer periods, and it comes and goes and the balance always kind of changes. Sometimes it's a lot of Broadway and a little bit of touring, and some years it's a lot of touring and a little bit of studio work or teaching or whatnot. So you never quite know what the opportunities are going to be presented to you. Yeah. And, it always changes. So I'm ready for that constant, it's unpredictable and I just try to embrace it.

Holiday: What pearls of wisdom would you want to imbue to someone who's setting out on a similar course?

Aurelian: Well to be patient with yourself and with others. Because, being a musician and being an artist I feel in general, you depend on a lot of other people other than yourself and you have to, you have to show up of course and you have to be professional and talented and all those things. You also need the right opportunities to arise and be ready for those. So, and sometimes that takes a lot of time that can take a long time. And it's very hard to force something like a colleague of mine who plays sometimes with Cindy Blackman Santana in the band. He's a sax player. He told me that he only plays occasionally with the band. And so he follows us more than leads. And he said, as we're rehearsing and talking about the songs, he said I'll just listen and, you know, what I do is, "I don't force, I flow". And I thought that was kind of profound as a musician in that moment but also as a  philosophy of life, you know.

Holiday: Absolutely.

Aurelian: So, because sometimes when you try to force something into and manifest it in a certain way that you expect it to be, you're kind of setting yourself up for disappointment. I feel because it's right, something close to what you imagine might happen, but it's never going to be exactly that thing. And you have to be okay with that and embrace what does come. And maybe it's close to what you're thinking or maybe it's something completely different.

Aurelian: And when that door opens, then you have to be ready to embrace it and recognize the beauty in it and and move on  with that, you know. So that's a long-winded way of saying that just be ready for anything and embrace the unknown and trust yourself and trust the process. Sometimes it takes a very very long time but, always try to  keep the fire of the passion inside, running because in order to be, in my experience, in order to be a musician you have to really really really love music, because...

Holiday: I think you actually literally need to be a musician. In other words, that's who you are, right?

Aurelian: Right. Yeah. Exactly. Yeah. It's not something that you just sort of fancy.

Aurelian: No. Yeah. Because there's going to be a lot of hardships and a lot, maybe not for everybody necessarily, but in my experience anyway, there  are moments that are  hard and with a lot of doubt and self-doubt and whatnot. But things evolve and, in the long term, it all comes out a wash, you know? So, but you know, you have to make sure that you do it because you love to do it because otherwise you're not going to get very fulfilled with other things that may or may not come to you. If that makes sense.

Holiday: Totally makes sense.

Aurelian: I'm sure you understand.

Holiday: I do.

Aurelian: Yeah.

Holiday: So, are there any particular collaborations that you really feel had any special extra special synergies for performing or?

Aurelian: Yeah, there's a few. This drummer Cindy Blackman Santana I've been playing with on and off for about 15 years and she's amazing. She's  one of the best drummers in the world in my opinion and other people's opinions, too. So, that's  good. But what we do with her band is very based on improvisation. So, and she's very supportive of letting us explore our own musical personalities within the song itself. You know, there's no limits. And it translates into, we would do we've done a lot of tours, you know. I remember specifically we did a tour in Europe in 2013. We're out there for I don't know, four weeks or five weeks playing almost every night. And, sometimes, we have starting points in terms of songs and stuff like that and we play the melody of the song and then from there just go somewhere else and sometimes we'll end back on the melody or finish somewhere else or it depends on the night. That keeps the music fresh and it's always different and it keeps everybody on their toes. We're always listening to each other.

Holiday: Right.

Aurelian: At one point, she called out a song that we do, but she started it in a completely different tempo and completely different feel than what we're used to and, we're all kind of like looking at each other and and she's like, "Yeah, that's that's how you as she's playing, but we're doing it. Let's go". So we have to figure out in that moment, well, it's a different tempo, different feel, and somehow we're going to make it work. And then it went somewhere else. So this is the kind of musical freedom that that we get in her band and, it's it's both challenging and exhilarating, and, and sometimes it it takes you to very very unexpected places and well most of the time and, because she gets such high level musicians in in her band, it's we're all creating collectively and together in in that moment and so that's a that's a very special feeling. It's very close to something magical.

Holiday: It's a transcendent experience that is pretty difficult to translate to someone who hasn't actually experienced it.

Aurelian: Yeah. And it happens in a moment in a place with a certain audience and then that moment is gone. It will never be recreated the same way. And if you try to recreate, if you try to force it, it's not going to happen, right? So that's a very unique unique thing and, that's that's a beautiful one of the beautiful things about improvisation.

Holiday: It's kind of like the audience gets to ride this wave.

Aurelian: Absolutely. Yeah. We're all | getting on the ride together. So that's and when we're all we're always exchanging energy with the audience, when you're performing. And so that's another way where they're with us and if they're really into it,  they're going to help us propel the music into a place that's going to make everyone happy. So that's a very special band and a very special musician that I'm very lucky to to be in  her orbit and collaborate as much as we have.

Holiday: I'm sure there's many people, but is there anyone that sticks out in your memory regarding someone or an exchange that really inspired you?

Aurelian: JD Allen who was telling me, "I don't I don't force, I flow".

Holiday: Yes.

Aurelian: That made a big impact on me. As musically as well as...

Holiday: How about, something you almost didn't do, but you did, and you're really glad you did?

Aurelian: Doing Broadway stuff, because that, like I said, that was really not on my radar. And at the time, when I started doing that, I thought I kind of thought Broadway was lame.

Holiday: Sure. And some of it can be. Artists sometimes have that feeling about it.

Aurelian: Yeah. Because, and it is a money-making machine for a lot of it. And some art is sometimes just little art that's squeezed out of it, but that's not always true. Like just certain shows are just a pure, commercial endeavor, which is that's...

Holiday: Art in itself I suppose yeah.

Aurelian: It's totally valid. And this is, and some other shows are more artistic and profound and, and this...

Holiday: Of course you know it's always a strange balance you know.

Aurelian: And at the end of the day, you need to make enough money to be...

Holiday: Run. Yeah. To be and run a show and and

Aurelian: Present the show to people, at the level you want to present it at. And that's expensive, so you need to fill some seats. So that's that, but also it supports art. So I think in a good balance you get both. Yeah, absolutely. In the bigger picture. It always amazes me working on a Broadway show that there's going to be 20 people on stage and there's going to be 200 backstage that you don't see that help run the show. The musicians, the hair people and costumes and set designers and promotion and writers and all kinds of company managers and stage managers and you don't see them at all. They're they're helping what you see and what you witness, what the audience witnesses on stage obviously doesn't happen without them. And without any of them, we're all part of...

Holiday: What you're saying is making me think of that. Do what you love because there is a place for you somewhere.

Aurelian: Yeah. Especially on big big machines like this, there's a lot of jobs to fill in in order to make that machine work, and every little piece is important and if there's one little piece that doesn't quite work, then the whole thing doesn't work.

Holiday: What another small miracle that these things actually take off.

Aurelian: Yeah, absolutely. And that's kind of that's also part of the magic. Yeah. To be involved in such a village and somehow we put a show together, and a lot of times it's not because it's ready, it's because it's 8:00 and we have to go.

Holiday: That's inspiring in a lot of ways. What would be some advice that you think and it may not be helpful but that you can only learn from experience. What are some things that you feel that people just have to get out there because they're not going to learn it any other way?

Aurelian: As a player, as a guitar player, I look back at my playing from 15, 10 years ago, whatever, and I compare it to where it is now. And I feel there's and and what I'm striving for from now into the future as well is just always more maturity in the playing. And that really comes with time and experience and knowing when to play, when not to play, how much to play, how little to play, how much to interact. And those choices are, are going to be different depending on where you are as a musician and as an experienced musician. And I don't think there's a fast track to figure that out. It's just a matter of experiencing life and experiencing music and really just kind of trimming all the nonsense in your playing to something that's more concise and accurate and and precise. And it doesn't come unless you make those, I was going to call them mistakes, but they're not really mistakes. Just part of...

Aurelian: The process that that's as a musician I feel is just a lifelong process where you just chip at a big stone as you get closer into something that makes sense. You're always going to find more details to refine and I don't think that work is ever done.

Holiday: Is there an invisible line where we draw it over here where one one is a technician and then at this point one is an artist.

Aurelian: Yeah. I mean I feel the lines kind of moving all the time too. Let's say I'm on a Broadway show and for most of the Broadway shows that I've been a part of, I'm just executing. So it's not necessarily artistic in the sense that the notes that I have to play are already set. They're in fact they're on the page written out and I'm just there to read them and play them. And so that's kind of like the technician part of it. But the artist part of it is seeing those notes and translating them into something with soul into the instrument, right? And that's going to be part of a bigger orchestra and and and blending with that orchestra and everything. So that's that's what, let's see if you can hear that. If you see something on a page that goes, if you strictly read it as a technician, something like that, right? But with experience and maturity, you learn to blend a little bit of what's on the page to make your musical personality shine a little bit more and turn those simple notes, putting a lot of interpretation into that and suddenly that little part is alive.

Holiday: It's speaking.

Aurelian: Yeah, it's speaking. Exactly. So, where's the line that you jump over there? That's hard to define. And sometimes, I feel like Broadway shows are a good example of that. But depending on the show itself, you're going to be given more liberties to do this kind of thing or sometimes the ink that's on the page is going to be very loose where the composers and the music director are really relying on you.

Holiday: Don't you think it's a matter of people putting themselves into it or they're just going by road, right? And is it also what they're capable of or just where they're not willing to go?

Aurelian: Yeah. And that's I think that's true. That also comes with this maturity that I was talking about. Sometimes you have to define those parameters for yourself. Because nobody else is going to tell you here's what you need to do right here and here's what you need to do right there. That's your responsibility and your choice and that's why that's why you get hired, so that the person who hires you doesn't have to worry about it. You're the one who has to worry about it.

Holiday: You figure it out.

Aurelian: Yeah.

Holiday: Does this guitar have a story?

Aurelian: Yes. So this is a Fender Telecaster. In one of my travels I was in Ohio. I think let's say 2012 or 2013. I don't remember doing some random gig somewhere in a small town in Ohio. I'm walking around the hotel where we're at, and I see a pawn shop and I see this guitar in the window and it just kind of caught my eye because I'd never seen this kind of finish like this blue color on a Telecaster like that. And it was already pretty beat up like, you know, like all those wounds right there, those scars.

Holiday: Battle scars.

Aurelian: Yeah, battle scars. And, I don't mind that at all on a guitar that...

Holiday: No, it tells it's been somewhere.

Aurelian: Yeah, exactly. So, I like that. Right. The only problem is that the pawn shop was closed, but, and I was like, man, like that guitar looks great. And it was...

Holiday: And lonely. It looks so lonely.

Aurelian: So lonely. It's screaming my name. And it was pretty cheap for what it was, too. Anyway, I just made my mind up and was like, "All right, well, you know, that's that I'll never see that guitar again". Okay. Then the next morning, I'm being driven to the airport by one of the runners and was a local and I told him about this guitar in the pawn shop and it's like I saw this guitar. It looked incredible and it was closed. And one thing leading to the other I was telling him that I was playing somewhere in the area the next week or something like that with another project like within a few hours of him. And very kindly he said, "Well, I could get the guitar for you and meet you in Chicago next week where you're playing and bring it to you. And, if I can see your show, you can get me in". It's like, "Oh, yeah, of course". So very kindly he and, you know, sight and scene on my part except, actually seeing the guitar, but like I didn't even put my hands on it. I was like, "Yep, get it. Buy it". So, the next week we met in Chicago and brought the guitar and...

Holiday: Hand received.

Aurelian: Yeah. Exactly. And this guitar has been very, you could tell that it's been somewhere that it's been played. Like the frets were completely beaten up.

Holiday: Oh yeah.

Aurelian: And...

Holiday: Like a dance floor that's been danced.

Aurelian: Yeah. Yeah. And I know nothing about the history of who owned it or anything like that. But I could tell it did at the time it...

Holiday: It's just got more left in it.

Aurelian: Yeah. Some mojo and it's become one of my favorite guitars. It's very Yeah. It's a very unique sound and it's kind of a secret weapon of mine for certain textures. And I try to play it as if it doesn't...

Holiday: To you.

Aurelian: Yeah. Yeah. You know, it doesn't necessarily fit on every project that I'm a part of. But when I need something that's like a special sauce,  that's my go special sauce. Yeah. And sometimes you don't want special sauce, but when you do,  this is it. And that it always delivers. So, I love this guitar. Yeah.

Holiday: Awesome. Cool.

Aurelian: Yeah.

Holiday: What about that tattoo? Where did that come from?

Aurelian: This is the symbol of my hometown of Bordeaux.

Holiday: Oh, nice. That's great.

Aurelian: Yeah, it's three crescent moons.

Holiday: It's lovely.

Aurelian: Yeah, thank you. So, that's, you know...

Holiday: When did you get that?

Aurelian: I got it in 2018.

Holiday: Sweet.

Aurelian: Yeah, I was actually on the road with Marky Ramon at the time and we were in Argentina and his bass player who was from there is also a tattoo artist. And we had a day off and he said, "Welcome".

Holiday: You guys were bored.

Aurelian: Yeah. No, I said, you know, come by the studio and we'll see. You know, I thought about it for a while and that's my first and only one so far, you know? So that was a little intimidating, but I knew I was in good hands with him and he did it and I love it.

Holiday: You're on the other side now.

Aurelian: Yeah. And, you know, it shows my attachment to my attachment to my roots and, so it's it's it's in me.

Holiday: Sweet. Yeah. Cool. Anything else you might want to say to the world or to anyone who's pursuing anything?

Aurelian: Somebody who's going to experience your art and that's going to make a difference to them and that's I feel a superpower that artists have. It just touches people's lives and a lot of times it touches their lives in ways that you don't necessarily know or expect or. Yeah. Because art is so subjective and it's going to affect people one way or another and so you know you have to put it out there and do what you do and share your gift and the people will receive it and they will become better because of it or thanks to it. So keep doing it.

Holiday: Cool. Thanks so much for coming.

Aurelian: All right. You're welcome. Thank you for having me.

Holiday: Absolutely. Thanks so much for stopping by. I hope you enjoyed this episode of Artist Unveiled.

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