The John Scofield Quartet: New Morning, The Paris Concert

Check out this  video by the great John Scofield and a killer quartet. I was very fortunate to know and study with John when I first arrived in Boston way back when. He is a wonderful person and a phenomenal jazz musician and innovator. This is a particularly good DVD with some nice extra footage.

Musician Profile: Putter and VR Smith

Thelonious Monk, James Bond, and a life of music…

Jazz bassist Putter Smith and his wife, singer VR Smith, have devoted their lives to music and the arts. The music room in their South Pasadena home is filled with instruments, original artwork, and oriental rugs; a welcoming refuge from the hustle and bustle of Los Angeles.

Putter is a Southern California jazz legend who has worked with an astonishing array of great musicians including: Thelonious Monk, Art Blakey, Duke Ellington, Billy Eckstine, Diane Schuur, Lee Konitz, Bruce Forman, Jackie and Roy, Carmen McRae, Gary Foster, Art Farmer, Blue Mitchell, Erroll Garner, Gerry Mulligan, Art Pepper, Mason Williams, Percy Faith, Burt Bacharach, Ray Charles, The Manhattan Transfer, and Johnny Mathis, to name but a few. He worked steadily in the Los Angeles rock and roll recording scene, playing on classic records by Sonny and Cher, The Beach Boys, The Righteous Brothers and many more. Putter had a brief acting career, playing the villainous, “Mr. Kidd” in the James Bond film, Diamonds Are Forever. He is highly sought as a performer and teacher and is currently on the faculty at the California Institute of the Arts in Valencia.

Originally from the now infamous Bell, CA, Putter began playing bass at a young age. “My brother Carson Smith was a famous bass player.” he told me in a recent conversation. “He had gone to New York when I was eight and had left a little half size bass I used to fool around with. By the time I was eleven I was playing along with his records.” Putter’s first paying gig was at the Compton Community Center playing a bass with only three strings. “I think I made three dollars and I was stoked. Making money as a musician!”

VR Smith began singing in the Los Angeles area over ten years ago and has recorded two CDs of jazz standards, 2004’s VR & The Cafe Beaujolais Band, Lost and Found and her 2009 recording, Beautiful Love, both available at CD Baby. VR acted in improvisational theatre for many years before beginning her singing career. “We did workshops in colleges.” VR says. “Robin Williams came out of one of those. He had so much information he could just incorporate into his “in-the-moment” spiel. (We) always felt like we had really done something there.” VR began singing regularly in a band with Putter and guitarist Dave Koonse at The Cafe Beaujolais In Eagle Rock. “We worked there for six and a half years and brought a lot of people in.” VR says. “The food was great and we were in the newspaper every week.” In those days the LA Times reported on jazz in the weekly Calendar section but has since dropped local coverage.

VR’s vocal style is intentional and introspective. “The words have to mean something to me.” she says. “Having acted I learned that you have different choices on how you say a thing. I try to let the tune be the focus and let the words fall into that.”

Putter and VR met when invited by friends to witness the first performance of The Beatles on The Ed Sullivan Show. “Neither of us had ever heard of The Beatles.” says Putter. “We were into Charlie Parker!” VR adds.

Putter played bass on many famous rock and roll records recorded in the 1960s, including The Beach Boys', Good Vibrations. “They did something like 25 different dates.” said Putter. Seeking greater musical challenges he turned his focus back to jazz.  “I decided I didn’t want to do that any more. That isn’t why I played music.” he recalls. “When you’re a musician it’s because you want to play music. There are so many better ways to make money. (At times) I regretted it because we really scuffled. Then when I was in my early forties it turned around.”



Putter’s time spent with iconic jazz pianist and composer Thelonious Monk has been a cornerstone in his career. “I heard him live years before I played with him and I thought it sounded like (Hungarian composer, Béla) Bártok.” Putter says, “Very modern and at the same time having that old New Orleans background to it. Monk had five-tuplets together. That kind of infuses his time feel. People say he plays these triplets that are dragging, but they’re perfect fives. He was a real intellectual guy. That’s what people miss.”

“I was a young, white jazz musician in the 60s when Black Power was prevalent.” Putter continues. “We had this great history in jazz of what they used to call, ‘integration’, long before anybody else. I’ve always tried to go into any gig with someone who has a rep, with a clean brain. All of the media on Monk made him out to be a mysterious, strange person. But I knew from my own experience that whatever they say in the media is almost always wrong. (Thelonious) was a beautiful person. He was like a fountain of sweetness.”

“I got the call because I had done quite a bit of transcription of his (music). I had about two weeks (to prepare) and borrowed every record I could and went through everything. I flew up there. No book, no rehearsal. I go into the dressing room, twenty minutes before the gig. There’s Thelonious, smoking a cigarette and doing his dervish thing, spinning around, and saying cryptic things. Finally he stops and looks at me and says, ‘Are you the new bass player?’ He had this rough, Hell’s Kitchen voice. I said, ‘Yeah’, and he says, ‘White is right.’ (laughs). I knew at that moment that everything was cool.”

“We got on the stand and the first tune he plays is one he never recorded, a beautiful tune called Ugly Beauty. By the end of the second chorus I had it down because I knew the ‘Monkisms’. I knew his vocabulary. He gave me a few more little tests. By the third night I was in. I wish I could have spent twenty years with him.”

While Putter was working with Thelonious Monk at the famous LA jazz club, Shelly’s Mann-Hole, he caught the eye of the director of the James Bond film, Diamonds Are Forever. “I got a call about three months later and went down, thinking they wanted a bass sideline.” recalls Putter. “They handed me a script and next thing you know I’m in a James Bond movie. I could not believe it!”

Putter’s bass playing is rich and expressive. He is intently focused when he plays, finding the center of each note and listening deeply to the musicians around him. “Being a musician is something that takes focus, disciple, and regular, unrelenting practice and study.” he told me. “If you want to be an improviser you need to improvise almost every day. To me a performance is 90 minutes of full out playing with someone. It doesn’t matter where or for who. It’s always your full effort.”

“I equate jazz to poetry.” Putter says. “I feel like this music is going to live forever like Bach. It’s a great thing to have in your life, you know, a reason to live.”

Video: Putter Smith, VR Smith and pianist Jim Szilagyi perform George and Ira Gershwin's, ‘Love Walked In’

Jazz as a business model

OK, let's face it. It's not easy making money as a jazz musician. As a matter of fact, today it is probably more difficult than it has ever been. The audience is understandably small because the music is sophisticated. It requires the listener's complete attention and an inherent interest in the format. Nonetheless there are two things the mainstream music industry can learn from jazz:

1. The artist and the music are the central focus rather than the particular revenue stream or distribution vehicle.
2. The music has to be truly extraordinary to differentiate the artist and attract an audience.

Look at the big guys. I'm sure Keith Jarrett has done very well selling CDs over the course of his career yet there are myriad ways he can make money because it's all about who he is and what happens when he sits down at the piano. No one else can offer the world what he can.

Ask yourself, how many mainstream pop artists pass that test? There are entire genres of music that are intentionally imitative and mediocre; trendy, lightweight, stylized fluff. 

Let's get our perspective straight. Sure, if the sugar water industry suddenly collapsed it would be a huge financial adjustment for many people, but let's not forget, this stuff is not actual food. It's unhealthy for regular human consumption.

Since the traditional record industry is collapsing why don't we think about rebuilding our business models on something substantial, something that really matters and adds value to the world. 

Nonesuch knocks it out the park with Brad Mehldau's 'Highway Rider'

Nonesuch Records is doing some very cool stuff with their promotion of the extraordinary Brad Mehldau recording, Highway Rider.

The website is engaging and features an innovative scrolling musical score and a fascinating story book (with streaming audio) that takes the listener/viewer through the programmatic trajectory of this unique project.

Highway Rider is available on CD for and for download in audiophile quality 320 kbps MP3 format (with bonus tracks). Nonesuch has created a compelling online campaign. The website alone is a real trip! I’ve been listening on Rhapsody and ordered the CD as well. One of the drags about downloads is losing the direct segues between tracks and of course, I want to hear this in highest audio quality available.

Kudos to Nonesuch for supporting such great music and creating an awesome promotional campaign.

Innocent When You Dream - Celebrating the Music of Tom Waits

Innocent When You Dream - Celebrating the Music of Tom Waits

Vocal music connects with listeners through lyrics, melodies, and arrangements. Instrumental improvisation is rare and usually serves as a device for building the energy of the song. The mystery of a magical pop or rock tune lies in the mix of lyric, melody, and presentation.

Jazz on the other hand is about virtuosic instrumental performers composing in realtime without a net. The soloist’s ability to spontaneously create, usually on top of complex, rapidly moving harmonies can take the audience on a powerful and unexpected emotional journey. This stripped-down, solo-driven intensity can lend a static quality, a kind of esoteric minimalism to what many people think of as “jazz”.

Just as jazz harmonies and styles have evolved over the years, restless jazz musicians have explored new approaches to making their music, mixing improvisation, ensemble writing, and genres not usually associated with jazz. For me, this pursuit of innovation has always been key. I love music that balances the direct emotion of pop and roots styles with the freedom and sophistication of contemporary improvisational techniques.

I was very excited to hear Brandon Bernstein’s new CD,  “Innocent When You Dream - Celebrating The Music of Tom Waits”. The band, Brandon Bernstein (guitar), Aaron Shragge (trumpet, shakuhachi), Matt Otto (tenor sax), Greg Leisz (pedal steel and dobro), Ryan McGillicuddy (bass), and Jason Harnell (drums) take an ensemble approach to the material. The group’s sound is wide open but still deeply connected to the core of each of these songs. While there are solos throughout, this is not a blowing date, but a conceptual work, merging the skills and personalities of these fine musicians with the unique songwriting of Tom Waits.

Choosing Tom Waits as the starting point for this music is quite ambitious. Waits is a multi-faceted, iconoclastic artist, from his powerful voice (and Radio Shack bullhorn), to his theatrical song-cycles, dramatic arrangements, physical presence and deeply emotional songwriting. Rather than trying to capture the ‘Big In Japan’ totality of Waits, the band has taken an approach similar to the traditional jazz read on Tin Pan Alley tunes. Some of the tracks are true to the tone of the Waits originals and others use his version as a springboard for something fresh and unique to this band.

A few highlights…

The album, opens with ‘Good Old World’ originally done as a waltz. Matt Otto has arranged the song in a somewhat brighter 4/4 meter, opening up new possibilities. Brandon Bernstein and Otto contribute thoughtful, melodic solos, and Greg Leisz adds a touch of mystery and a hint of Robert’s Western World. The arrangement teases the listener, playing with new directions, but staying close to the introspective emotion of Waits’ original. Jason Harnell’s fills are free and colorful, letting us know that the band is listening and ready to let the music go where it will. The opener tells us that these musicians are quite comfortable exploring this unique mix of musical styles.

Aaron Schragge’s modal arrangement of “Blue Valentines” drops the slight tongue-in-cheek, noir jazz vibe of the original, favoring the bones of the song itself. The band treats it as a pensive jazz ballad with introspective solos by Schragge and Otto over Brandon Bernstein’s hypnotic chordal vamp. Jason Harnell’s out-of-time fills add color and dynamics, pushing and pulling the mood.

The title track, “Innocent When You Dream”, arranged by Brandon Bernstein, artfully mixes the melancholic melody (Schragge and Otto) with pedal steel guitar, creating a blend of country longing, and “last dance of the night” bar room glow. Harnell paints fills and colors on the canvas of the song. It works.

“Flash Pan Hunter” always reminds me of some sort of demented Max Fleischer cartoon. William Burroughs’ lyrics conjure up images of grainy, distorted, psychopathic, vegetation and mechanical contraptions going about their daily business. Schragge’s treatment takes a different look at the song, bypassing the wackiness and playing the tune as a rubato ballad with a long free introduction. Schragge plays shakahachi flute on this track which clearly sets the tone for the arrangement.

Berstein’s straight forward arrangement of “The Long Way Home” features Greg Leisz and almost hints at a Caribbean feel. Cowboy jazz with a light touch.

The record also features performances of “Picture In a Frame”, Frank’s Theme”, “Can’t Wait To Get Off Of Work”, and two original group improvisations, "Orphan” and “Fishbone”.

You can catch the band (with Doug Livingston substituting for Greg Leisz) performing a free CD release concert at 7:30, Saturday May 1 at the Pasadena Presbyterian Church, 585 E. Colorado Boulevard in Pasadena, CA. You can find this music in the iTunes Store, at Amazon.com and at CD Baby. You can also purchase CDs by contacting Brandon Bernstein through his website.

Jensen-Macchia-Lockett-Briggs at The York 3-21-10

I played a very nice gig at The York in Highland Park Sunday night. The band consisted of yours truly on guitar, Frank Macchia on bass flute and tenor sax, Tommy Lockett on bass, and Frank Briggs on drums.

...a mix of standards and my originals...

Great players, friendly staff, and a good crowd at this hip, neighborhood bistro....

Brandon Bernstein pays tribute to Jimmy Wyble...

Guitarist Brandon Bernstein pays tribute to the late, great, Jimmy Wyble in this beautiful version of Sammy Kanh's, I'll Be Seeing You.

Brandon has a new release coming out featuring himself, Aaron Shragge (trumpet), Matt Otto (tenor), Greg Leisz (pedal steel/dobro), Ryan McGillicuddy (bass),  & Jason Harnell (drums) playing the music of Tom Waits. Look for a full review here. Enjoy!

Rizzo, Breadman, Oles - March 5, 2010 at The Blue Whale, Los Angeles

At The Blue Whale in downtown Los Angeles last Friday night I was reminded of the spirit of openness and musical invention I experienced as a music student in Boston. I was quite fortunate to stumble into  a very inspiring, wide open, musical community. Gary Burton’s groups included groundbreaking guitarists Mick Goodrick and Pat Metheny and featured new composers like Carla Bley, Steve Swallow, and Michael Gibbs. The music was crossing boundaries, exploring approaches beyond the language of bebop and post-bebop traditions. Manfred Eicher’s ECM records was a rising force, bringing European classical harmony and a lush sonic palette to the mix, and ‘world music’ influences were making deep inroads into the American improvisational tradition. Some of the most influential guitarists in the last thirty years passed through Boston during this time; John Abercrombie, Pat Metheny, Bill Frisell, John Scofield, Mike Stern, and many others less well known. It was an exciting time when anything seemed possible.

Tom Rizzo (Maynard Ferguson, Doc Severinsen) guitar, Scott Breadman (Jose Feliciano, Lindsey Buckingham, The Rippingtons) percussion, and Darek Oles (Brad Mehldau, Billy Higgins, Pat Metheny) upright bass, brought their unique, collective sound to this intimate venue. After warming up with their take on a couple of classic tunes (including a beautiful version of Bill Evans’ “Time Remembered”), they dug into their own material, primarily composed by Rizzo.

Rizzo is a seasoned writer and his strong compositions focused the band’s identity and sound. His guitar playing has a playful, uplifting feel. He is a modern, straight-ahead guitarist with fluid single note and chordal chops. His lines are melodic and he builds his solos well, developing thematic ideas and directing the energy of the band. I enjoyed his use of harmonics and at one point he played a comping figure that sounded like a Brazilian berimbau. It was great. Rizzo’s “straight into the amp” tone was warm and present. His sound sat perfectly in the room between the bass and percussion.

Darek Oles is a powerful, emotive bass player. His time feel and intonation were dead on, laying down a solid foundation for the trio’s explorations. His solos were melodic and passionate. Rizzo’s light touch and sensitive, conversational accompaniment was the perfect compliment.

Breadman has mastered a multitude of percussion styles from around the world. He seamlessly integrates a variety of techniques across his unique setup: congas, tablas, cymbals, hand percussion and various miscellaneous noise makers including a frying pan. He is very sensitive to dynamics and at one point laid down a solid fatback groove with only a shaker and a few accents...Right in the pocket...Breadman moves effortlessly across his array of instruments, following the ebb and flow of the music.

I saw this group several weeks ago and they sound more comfortable and adventurous with each gig. I look forward to hearing this band develop and grow...Perhaps extended compositions, grooves, free improvisation..Who knows? With musicians of this caliber anything can happen.

The Blue Whale is a great new music room in downtown LA. It’s comfortable, hip, and has an excellent bar...see Mitch for his special concoctions. The proprietor, Joon Lee is committed to showcasing the best musicians in LA. They are continually expanding their music nights. Check the online calendar and Facebook page for updates. The club is a little off the beaten path, on the top floor of a mall in Little Tokyo, off of East 1st between Grand and South San Pedro. Drop in for a drink and enjoy the great music...then tell your friends!

Review of the Bob Sheppard Quartet at Vitello's, Feb 25, 2010

Last night I caught Bob Sheppard’s quartet upstairs at Vitello’s in Studio City. Bob is one of the best saxophonists in Los Angeles and this was a particularly exciting band; Steve Cardenas on guitar, Jeff D’Angelo on bass, and the remarkable Steve Hass on drums.

Bob is a versatile player with a beautiful, rich and detailed sound. He has absorbed the music of the jazz masters as well as pop styles, and created a strong personal voice. He burns without overwhelming the band, leaving plenty of space for musical conversation. The interaction between these guys was remarkable. It was a pleasure to watch them listening to each other. At times the exchanges between Sheppard and Cardenas were reminiscent of the classic Sonny Rollins - Jim Hall quartet.

Bob pulled up a mix of standards, originals and lesser heard jazz tunes including two delightful Thelonious Monk compositions; “Green Chimneys” and “San Francisco Holiday”. Of particular note was his gorgeous rendition of the Jimmy McHugh ballad, “Say It (Over and Over Again)” perhaps best known as recorded by John Coltrane on the classic “Ballads” album.

I first heard Steve Cardenas many years ago in the San Francisco Bay Area when we were both playing with trumpeter Jeff Beal’s bands. Steve’s playing knocked me out back then and today he has become one of the premier voices in modern jazz guitar, performing with a wide range of artists including: Paul Motian, Norah Jones, John Patitucci and Ben Allison. He is an esteemed educator and is in town for a guest semester at CalArts. Besides his brilliant guitar playing, Steve is an expert on the music of Thelonious Monk. His book, The Thelonious Monk Fakebook is the definitive collection of Monk’s compositions. Steve’s playing is fluid and musical, moving seamlessly from muted two and three note voicings into perfectly voice-lead chords and flowing single note lines. He was always listening, responding to the music around him, developing motifs, and continually surprising with his ideas. His tone was warm with just a bit of edge. He has a slightly bluesy, behind-the-beat time feel which compliments his melodic phrasing and contrapuntal lines.

I had not heard Steve Hass play live before but was immediately enthralled. He has enormous energy, rock solid time, and swings like a master, incorporating Cuban, African and Middle Eastern influences without ever losing the groove. At times he played with his hands, brushes or mallets (in combination), moving back and forth in response to the other musicians. Steve is an exciting inventive player, not afraid to take chances. He grooves hard but never overpowers the rest of the band. He has worked with a myriad of top artists including The Manhattan Transfer, John Scofield, Art Garfunkel, Billy Joel, George Benson and Ravi Coltrane. It was a real treat to discover this fantastic drummer.

Jeff D’Angelo is one of the most sought after bass players in Los Angeles and has a longstanding musical relationship with Bob Sheppard. He sounded particularly good last night, holding down the center of this four-way conversation. His sound was rich and warm, he contributed some excellent solos and really hooked up with Steve Hass.

The folks at Vitello’s have created a comfortable, intimate environment for this great music. They are aggressively booking outstanding musicians and have established several regular events including John Pisano’s Guitar Night and Larry Golding’s Organ Night, both featuring a revolving door of great guest artists. The Tiramisu is good too!

Keep your eyes and ears out for this quartet. If you have a chance, check out Steve Cardenas while he’s in town, and please support Vitello’s and live music in LA.

Sid Jacobs demonstrates Jimmy Wyble's Two Line Improvising techniques

Master guitarist Sid Jacobs demonstrates two line improvisation techniques developed by the late, Jimmy Wyble. Jimmy's contributions to the art of guitar playing have influenced guitarists around the world, but particularly in Los Angeles where he was best known. Sid is a world renowned performer and teacher who has incorporated Jimmy's wisdom into his own amazing style. He will be part of a tribute to Jimmy coming up in April at Vitello's in Studio City.

Look for Sid at upcoming Wirechoir gigs and on the LA club scene. Enjoy!

Dave Holland..a true jazz legend..check out his new website!

Dave Holland, the master jazz bass player, composer, and band leader has a new website:

http://www.daveholland.com/  

Check it out. Take a look around. There is some great stuff here. Extra kudos to Dave for kickin' it on the web and really digging into the power of social networking...

Mike Clinco Quartet at The Oyster House

I caught guitarist and composer, Mike Clinco with his quartet, at The Oyster House in North Hollywood Monday night. Mike is a fluid, melodic player with a warm, open, sound and a great relaxed feel. He has worked with many extraordinary artists including: Bo Diddley, Bobby McFerrin, Ella Fitzgerald and Henry Mancini. Mike has composed music for film and television, including underscore and source music for ‘Big Shots’, ‘Outer Limits’, and ‘Sex in The City’.

Mike’s group featuring Jeff Driscoll on tenor, Adam Cohen on bass, and Bob Leatherbarrow on drums, played a mix of originals, jazz standards, and tunes by John Abercrombie, Jerry Bergonzi, Vic Juris, and Marc Johnson (“Union Pacific” from The Sound of Summer Running...a great record featuring Pat Metheny, Bill Frisell and Joey Baron). Singer Janelle Sadler and trumpeter Ron King sat in for a couple of tunes adding their magic to the mix.

The sound of the group was conversational, chamber jazz with a swinging groove and a deep pocket thanks to Adam and Bob. The melodic interplay between the guitar and sax was super musical and sensitive. The rhythm section listened hard, provided solid, energizing support and contributed some nice solos.

Mike and I both studied with the late Charlie Banacos, legendary jazz educator. In one way or another, Charlie’s influence touched many of the musicians who were there last night. 

Great players and a wonderful night of music. Thanks Mike! I’m looking forward to the next gig...

Support live music in LA...

One of the things I have really enjoyed since moving to Los Angeles a few years ago is the incredible wealth of skilled musicians living here. The boom years of the recording industry attracted and developed a remarkable pool of talent. One could work in music in this town for decades and still not meet half of the great players and writers.

The live instrumental music scene in LA is perplexing. Any night of the week you can hear world class musicians that would be A Big Event anywhere else, particularly outside of the United States, yet the local scene never seems to take off. I would love to do my part to instigate change. One of the best ways to start change in a difficult situation is to figure out what's already working and do more of that. On that note I have some ideas to start a conversation with local music fans:

1. CD release parties and special gigs always seem to be well attended by friends who generally spread the word. Even if you don't get out to see all the shows you would like, keep track of what's happening each week in the clubs and post upcoming gigs by your favorite artists on Facebook, Twitter, your blog. It only takes a minute.
2. Email artists you like. Get on their mailing lists. Ask them what they are doing to promote local music and what you can do to help. Are they using social networking and the web to it's fullest potential? What clubs do they like best and where do they see the most potential growth? Let them know you're a fan!
3. Become a fan of local musicians and venues on Facebook, etc. Comment on gigs you like and let the club owners know what's working.
4. Blog about local music. Spread videos and recommendations.
5. If you don't know where to find great live instrumental music contact me and I'll share what I know!

Any other ideas?

Rudder: Matorning

I'm loving the new disc by NYC-based Rudder - Matorning. This is what might happen if Eddie Harris, Medeski, Martin & Woods, Zawinul, P-Funk, and The Prodigy had a BBQ in The Fun House. Killer trippy, electro-funk wackiness. Takes me back to Miles in the 70s...

Thoughts on the DIY Utopia...

Reading Paul Resnikoff's article, The DIY Utopia, struck a chord with me. Jazz musicians and composers have been living under the radar of the pop music biz forever. Typically their 'art' is one of multiple music-related income streams.

The quality of the music and the musicianship is key. Good music moves people, brings them together, and naturally creates community. A powerful piece of music can create a relationship with the listener that lasts a lifetime. This shouldn't be too hard to market, particularly if you have a defined niche. Mediocrity on the other hand, is a hard sell. The question is, "Can this model scale to the mainstream music industry?"

Music As a Career, Pt.1

Over time, professional musicians can lose their spark after years of unexpected challenges in an ever changing and highly competitive industry. The profound love and commitment to the power of music can become tempered by the harsh realities of making a living. There’s an old joke:

Q: How do you get a musician to complain?
A: Give them a gig.

We spend years mastering every page of Slonimsky’s Thesaurus of Scales and Melodic Patterns, only to discover a certain lack of relevance in the real world. The reality TV guy is just looking for some ‘wacka-chucka-wacka’ to move the thing along, and if there is any way he can get music for free you are cut out of the deal altogether! Perhaps the initial disappointment is our first ‘day job’. Or, when the glow of supporting ourselves full-time in music begins to wane, we realize that the challenging and lucrative work we seek remains elusive.

The way out of this box is to learn the art of separating your love of music from the realities of building a career and making a living. Musicians have developed many unique and valuable skills that can serve them in a variety of contexts. I had a good run supporting myself composing and playing, well into my forties. My first 9-5 job (not counting the stuff I did as a kid) involved defining, creating and implementation complex, enterprise telecommunications call routing systems. Go figure. I knew nothing about this industry at the time, but was hired because of my experience as a musician, thanks to some very astute managers. The job involved figuring out and troubleshooting complex, proprietary technology, communicating effectively with a diverse array of personality types (uh-huh), synthesizing someone else’s needs and vision into a new entity, and keeping the clients happy. Sounds more than a little like modern day composing doesn’t it? Since then, I have been involved in a number of professional endeavors while continuing to stay active as a musician. In every situation I have drawn on the years of study and hard work that went into my musical development.

If you find yourself in areas of the industry that don’t feel creative anymore, look at it from another angle. Think of yourself as an entrepreneur, building a business. If you are playing, ask yourself if you would be more comfortable booking other people or perhaps teaching. If you are composing for commercial applications and things begin to dry up creatively, consider stepping back into the producer role. There are many young composers that would love to do the leg-work and learn from your experience while you build a successful business.

Above all, don’t lose the connection with your musical muse... No compromises... Whether it’s playing or composing every day, creating your own projects on the side, or teaching and sharing your passion with younger musicians, go back to the well continually. The benefits flow in both directions. Music is a conversation. Remember, nothing stays the same for long. If you can hold both realities in your mind without judgment, you will always be ready when the next opportunity presents itself.

Bill Evans Interview - 1970

Great interview with Bill Evans..


Bill Evans Interview - Nardis

Thinking of Eddie

Lately I’ve been thinking quite a bit about Eddie Harris, the late tenor saxophonist. Maybe it’s my Chicago roots, I don’t know. ‘Listen Here’ with it’s simple 2-chord vamp captures the minimalist essence of everything that feels right to me about jazz. During his career Mr. Harris was considered jazz-funk and fell somewhere in the shadow of John Coltrane, Sonny Rollins, Wayne Shorter, etc. Although his recorded output was uneven, his voice was completely original. His tone was rich, and his experiments with electronics were ahead of their time. His simple riff-based style reminds me of something John Mayer said about Stevie Ray Vaughn (I paraphrase); “…he was always playing rhythm guitar...”. I particularly loved Eddie’s trademark technique of anchoring his solos with a simple repeated lick, jumping back and forth between registers. In my writing I have long pursued that mysterious space between simple, direct, groove and the more sophisticated elements of harmony and rhythm. Whenever I try to visit that place, I'm pulled back to Eddie Harris, and wonder if there is anything to explore he hasn’t already said.