tag:blogger.com,1999:blog-71101095863655375172024-02-06T20:22:33.482-08:00Joe Alterman's BlogThe world is ever unexplored, and that while a complete mastery of life is mere illusion, the real secret of the game is to make life swing.
-Ralph EllisonJoe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.comBlogger49125tag:blogger.com,1999:blog-7110109586365537517.post-55272930490698225672014-03-12T20:59:00.001-07:002014-03-12T21:00:52.599-07:00Yogi Berra On Jazz<div class="p1">
Interviewer: Can you explain jazz? </div>
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Yogi Berra: I can't, but I will. 90% of all jazz is half improvisation. The other half is the part people play while others are playing something they never played with anyone who played that part. So if you play the wrong part, its right. If you play the right part, it might be right if you play it wrong enough. But if you play it too right, it's wrong.</div>
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Interviewer: I don't understand. </div>
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Yogi Berra: Anyone who understands jazz knows that you can't understand it. It's too complicated. That's whats so simple about it.</div>
Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-26601345144141851132014-02-06T11:55:00.000-08:002014-02-06T12:09:45.535-08:00Memorable Meetings: Justin BieberAbout five or six years ago, I had a summer job playing piano at a restaurant in Atlanta called "The Tasting Room." There were a few nights that summer when a group of teenagers would come in and the staff would whisper that it was hip-hop producer Dallas Austin's son and his friends. On one of those nights, one of the waitresses pointed out the youngest one of the bunch, a blonde haired 13 or 14 year old kid. She told me that he had recently been signed to Def-Jam Records and that he was a great singer and fast becoming a "YouTube sensation".<br />
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I found that hard to believe considering how young he looked, and I just continued to play. A few minutes later, I noticed that that kid was standing behind me watching me play. I didn't really think anything of it, especially at the end of the song when he began to ask me questions; they were all very typical questions of a young person who had just begun to play the piano. <br />
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However, I was immediately struck by his sensitivity. He was very shy and seemed extremely hesitant to say anything about his own music; in fact, I felt that he seemed a little un-confident and even a bit nervous. However, I remember thinking that those qualities worked in favor of his sincerity, with which he seemed filled. I could tell that he was extremely interested in learning about music; he seemed to also be was very enthusiastic and excited about being at the beginning of his musical journey. <br />
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I mentioned nothing of the rumors I'd heard and asked more about him. He told me that he played a little piano ("Just a little," he laughed, pointing at my hands.) and that he also wrote a few songs. After a little coaxing on my part, he finally asked me if I wanted to hear one.<br />
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As soon as he began to sing, I realized that my decision to let him play might have been a bad one, and actually by mid-song I began to panic, thinking that it might cost me my job. It's not the he was bad, because he wasn't; however, he wasn't sensitive to the environment (a small restaurant), and he began banging loudly on the piano and literally belting the song as loud as he could. <br />
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Everything about it was very "beginner" to me; his piano playing was way too loud to complement his singing and it was obvious to me that he couldn't hear the music well enough yet to know when, or how, to be sensitive in his playing or singing. It was obvious too that he couldn't quite reach some of the notes in his singing that he was aiming for. However, I remember thinking to myself that the song was extremely catchy and I was very impressed with him that he had wrote it; I remember thinking to myself that "this song could actually be a hit." I was right, hah! The song he played for me that night was "Baby". Of course, at the time, I had no way of knowing that the song would become one of the biggest selling songs of all-time; I do remember us laughing when I commented that "there's a lot of 'baby's in that song".<br />
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Although he was THE Justin Bieber, he wasn't famous then, and I saw him as I would see most 12/13 year-old beginner piano students. However, I do remember thinking to myself that he did have a lot of charisma, and that after a few years of practicing more, he would be great. <br />
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He finished the song and asked me a few questions about it. (I can't quite remember what they were, but I remember showing him some chord voicings.) Then he asked if I'd play something else. I did, and I'll never forget his look of astonishment when I finished. He sort of blushed, and said "Now, I'm embarrassed to have played before you." We laughed and he said something like, "Wow. You can play real music," which, in retrospect, is very interesting to think about when considering where he is now. <br />
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I told him that he will too, one day, and was very confident in saying that when I did. I realized that this kid really did have a lot of potential and charisma, and after really getting it together musically, he'd be a complete package.<br />
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He came in a few more times that summer and each time he'd come in, he'd always spend a good bit of time standing behind me watching me play. The job ended at the end of the summer when I had to go back to school, and after that I never saw him again. After a little while, my Dad began bugging me about some kid he'd just read about in the New York Times; he had saved the article for me to read. Finally, I picked it up and was shocked at who I saw: that kid!<br />
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Considering the things he said to me and the way he acted on those nights that I saw him, the immediate success of Justin Bieber is a very interesting thing for me to think about; here was a kid who was obviously talented and had great potential -and was recognized for that at a very young age-, but had he been given time (more than 4 months) to really develop as a musician (instead of being capitalized on immediately) he could have really been something phenomenal. Even though he was just a random kid in the restaurant that day, anyone could've seen that he had real potential. It's a shame that he was rushed into stardom the way he was, because he was honestly only at the way beginning of his musical journey, and he knew it. I can only hope that all the money and fame hasn't taken away his sincere, child-like excitement about the musical journey that lay ahead of him, and that his ego hasn't blown up and tricked himself into thinking the journey's finished.Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com2tag:blogger.com,1999:blog-7110109586365537517.post-69078239898926410962013-08-22T12:13:00.000-07:002013-08-22T12:13:54.065-07:00Rest In Peace, Marian McPartland<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: 13.333333969116211px; line-height: 17.98611068725586px;">I was very sad to hear of the passing of the great Marian McPartland yesterday. One of my favorite pianists, a few years ago I wrote her a letter and was shocked when she actually responded. Her long letter was so kind, thoughtful and encouraging, and also full of stories from her life. After telling me about Red Garland, George Shearing, Bill Evans, Frank Sinatra and Dizzy Gillespie, she wrote, "But that's just talking about myself, we don't need too much of that!" How wrong she was; I could've listened all day. A special lady and a huge inspiration to many - she'll be missed!</span>Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-41616016317271482372013-06-07T11:35:00.003-07:002013-06-07T11:39:24.256-07:00Meeting Dick Cavett<div class="separator" style="clear: both; text-align: center;">
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It was such a thrill to meet the legendary Dick Cavett last night. He was in attendance at the absolutely amazing performance of another legend, Mort Sahl, at the Cafe Carlyle, and was cracking up the whole show. I know of Cavett's close friendship with Groucho Marx and, having read a whole lot about Groucho this past year, I felt like my moment with Cavett was like a page out of one of those books; he was so quick witted and full of hilarious, dry humor. When I asked if we could take a picture together he responded with, "I thought you'd never ask." Then, just after we took the photo, he realized that he'd left his phone inside the cafe and would have to go back in to get it. Having just made a long, elaborate exit from the cafe, he looked at me and said, "You ruined my exit." Finally, after returning with his phone in hand, he looked behind us at the bar that had just closed for the night. "Darn it," he said, snapping his fingers. "I guess I won't get to spend $300 on a drink tonight." Classic!</div>
Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-48146544021450785832012-12-05T13:07:00.002-08:002012-12-05T13:07:42.049-08:00Rest In Peace, Dave BrubeckI'm sad to hear of the passing of one of my heroes, the legendary Dave Brubeck. In recent years, when he'd play at the Blue Note but was too frail to walk up the stairs to use the dressing room before he'd play, he'd sit in the passenger's seat of a car that was parked a few doors down from the club until it was time for him to go on. Over the past few years I was very fortunate to have had a few wonderful conversations with him out there. He was always so kind, encouraging and full of enthusiasm. And while it was obvious that he was in pain, he'd always walk into the club with a huge smile on his face, waving and greeting everyone as he walked into the club and on to the stage. He was a huge inspiration to me in so many ways. Above all, keep smiling!Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-6879930103455891002012-02-09T11:04:00.000-08:002012-02-09T11:06:41.558-08:00Tony Bennett at the Village VanguardThe following was originally published on JazzWax.com on February 6, 2012. It was published under the "Eyewitness" Section and is my experience about going to hear Barry Harris recently at the Village Vanguard. <br /><br />"A week ago yesterday I went to see Barry Harris’s second set at New York’s Village Vanguard. He was appearing with bassist Ray Drummond and drummer Leroy Williams.<br /><br />Whenever I go to the Vanguard, I like to show up early with hopes of getting a seat just behind the piano’s keyboard. The seat lets me see what the pianist is doing, which gives me quite an education. Fortunately, the table I wanted was open.<br /><br />Shortly after I took my seat, and I looked around and noticed a “reserved” sign on a table in the center of the club to my right. But as people continued to file into the Vanguard, the table remained empty. I kept watching the door to see who might show up. Saxophonist Lee Konitz walked in, but he didn’t sit at that table.<br /><br />At 10:55, the lights dimmed. I looked back at the door one last time. There was Tony Bennett standing in the doorway at the bottom of the stairs with a woman, who I later learned was his wife, and a few of their friends. They were waiting to be seated. But instead of sitting at the "reserved" table, Tony chose a booth on the other side of the room. As they made their way to their table, most people in the audience whispered but let him have his privacy.<br /><br />Then Barry, Ray and Leroy took the stage, and the show began. The trio launched into Like Someone In Love, complete with Barry's signature block-chord style. It was reminiscent of Bud Powell’s version on Dexter Gordon's Our Man In Paris. At the end of the song, Barry said, "Everyone wants to feel like someone in love, but sometimes I just want to be happy."<br /><br />Naturally, they launched into a brisk, hard-swinging version of I Want To Be Happy. On Harris' version of Embraceable You, his choir joined in. The 20 or so singers were seated like audience members on the "upper-deck" booths just off the stage and were a welcome surprise.<br /><br />Toward the end of the hour and a half set, Barry picked up the microphone and began to tell a story. He said there was a special person in the audience who had been a close friend of his for years. He told of the first time the two played together, when this person had come by a club where he was playing and sat in. Barry said that each time they would meet—whether in New York or Japan—they would perform the same song.<br /><br />During one of those chance meetings, Barry said, this person happened to be at the Village Vanguard to hear pianist Tommy Flanagan. Coincidentally, Barry was there, too. When Flanagan invited that person on stage, Flanagan asked what he wanted to do. The person yelled out into the audience, “Barry, what key did we do that song in?” “‘F,’ I yelled back,” Barry said, laughing.<br /><br />Barry then took a deep breath and said, “I want you to know who is in the audience tonight. Ladies and gentleman, Tony Bennett.”<br /><br />The place, of course, went nuts. When Bennett stood up to be acknowledged, he spent what seemed like a long moment thinking. Then he started to make his way up to the stage. When Bennett arrived at the mike, Barry yelled out, “Barry, what key is that song in?” They both laughed. However, before we could learn the name of the song they had performed regularly over the years, Bennett humbly said, “I liked what you guys did with Embraceable You. Could we do that one?” Barry launched into an elegant eight-bar introduction, during which Bennett said to the choir, “You’ll have to sing with me.”<br /><br />Barry was the perfect accompanist for Bennett. The same goes for the choir, which sang long "oo's" behind Bennett and sounded like a string section. It was haunting, in a beautiful way. The choir and Bennett's voice all came in right at the same time and blended perfectly.<br />Bennett’s voice sounded so good and so strong that it was hard to believe that the 50th anniversary of his release of I Left My Heart In San Francisco was the next day.<br /><br />As Bennett left the stage, Barry talked about how we had all just witnessed a very special moment. “It’s in the air now,” he said, adding, “I’m sure one of you caught it somehow. It’ll probably come out in Japan and we’ll never know about it.”<br /><br />Then Barry grew serious again: “New York is a finishing school. You get your beginnings somewhere else, and then you come here. That man is a finisher. Tony Bennett is a national treasure.” Amid the roars, claps and hollers that followed, someone in the audience yelled out, “So are you Barry!” and the applause grew even louder.<br /><br />As Bennett and his wife and friends made their way up the Vanguard stairs during Harris’ encore, I looked around. Everyone’s expression said the same thing: 'Did that really just happen?'"Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com2tag:blogger.com,1999:blog-7110109586365537517.post-36131174891012972302012-02-07T22:34:00.000-08:002012-02-07T22:35:06.931-08:00Memorable Moments: Bobby HutchersonAs a volunteer at this year's NEA Jazz Masters Awards, I was fortunate enough to attend a rehearsal of Bobby Hutcherson, Jim Hall and Kenny Barron. As Hutcherson walked into the room (besides introducing himself to Jim Hall!), it was obvious that he was in much pain - he has emphysema and uses oxygen supply -. All that pain seemed to go away as soon as he touched his instrument. It was like magic, like medicine and it was quite inspiring to see not just how much love he has for the music, but how much love the music has for him. <br /><br />As the rehearsal continued on, others who were at Jazz At Lincoln Center that day popped in the room to hear the music. One of those people was saxophonist Jeff Clayton. <br /><br />At the end of that specific take on the tune, Clayton said hello to Hutcherson and asked how he was doing. Hutcherson responded in quite a joyful tone. "Well," he said. "I'm doing good!" Then he paused and said, "Life is good, isn't it?" <br /><br />Clayton nodded, looked down at Hutcherson's oxygen machine and said, "Sometimes." <br /><br />Hutcherson smiled, and through that that smile he spoke. "No," he said. "It's good."Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-46210662955965909652012-02-06T16:58:00.000-08:002012-02-08T17:17:03.904-08:00Jimmy Rowles Meets Billie HolidayBelow is an an excerpt from Michael Sheldon's excellent liner notes to the Jimmy Rowles' "Trio '77/'78" album. What follows is Rowles' description of one of his first encounters with Billie Holiday. <br /><br />"I was at the Trouville about a week, and I had just met Billie," remembered Rowles. "We had just come from rehearsal, and I didn't know what to make of her, whether she came out here to fuck Lester Young, or what she did. One night I was sitting at the end of the bar and called her - 'Lady, can I buy you a taste?' So she sits down besides me, I bought her a gin and Coke. Can you imagine drinking that shit? I don't know what to talk to her about. So I think back to when I was listening to Andy Kirk's band...So I remembered a tenor player with Kirk, and for some funny reason I ask her about Dick Wilson. She put her drink down. 'Did I ever know Dick Wilson?' Now this is the first time I talked to her alone. 'I'm gonna tell you something. I was going with Freddie Green, and I was faithful to that motherfucker, but every time I saw Dick Wilson, I just had to take him out and fuck him.' The first time I'd heard anything come out from a chick like that. Crazy chick. She had me then. What can you do after that? You have to love her. Too much chick.'"Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-67050767854477231342012-02-05T22:45:00.000-08:002012-02-07T22:47:01.944-08:00Memorable Quote: Roy Haynes"They're just not used to the ding-ding-da-ding."<br /><br />- Roy Haynes, in conversation with a friend after a recent performance at Dizzy's Club Coca-Cola, on playing with The Allman Brothers Band.Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-61215526453326025852012-02-04T22:38:00.000-08:002012-02-07T22:43:51.143-08:00Memorable Moments: Bill Cosby & Jimmy Heath"So grab ahold of those dentures and blow the candles out!" <br /><br />- Bill Cosby to Jimmy Heath, on stage at the Blue Note this past October at Jimmy Heath's 85th Birthday Big Band Celebration.Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-74370348375780321042012-02-03T12:23:00.000-08:002012-02-03T12:25:42.485-08:00Memorable Quote: Jimmy Heath"I woke up today and I looked in the paper and I wasn't in the obituary section. I'm good!" <br /><br />- Jimmy Heath's response to my "How are you?", at this year's NEA Jazz Masters Awards.Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-30969891010582669612011-11-16T23:57:00.000-08:002011-11-17T00:00:50.180-08:00Memorable Quote: Chick Corea"He wouldn't specifically tell me to do anything, but he'd hint at it," Chick said, referring to Miles Davis. "He'd turn to me at certain parts and say, 'I like that.'" <br /><br />- Chick Corea, to Gary Bartz & all those listening in from outside the dressing room door (including me) at the Blue Note earlier tonight, referring to the time that Miles Davis took him (Chick) to see Ahmad Jamal in concert.Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-65240770991694651132011-11-16T23:55:00.000-08:002011-11-17T22:04:22.583-08:00Memorable Quote: Kareem Abdul Jabbar"Chick was channeling some Red Garland tonight!" <br /><br />- Basketball legend, Kareem Abdul Jabbar, excitedly walking into the dressing room at the Blue Note to greet Chick Corea earlier tonight.Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-8357067471275469952011-11-13T20:33:00.000-08:002011-11-13T20:52:06.406-08:00Memorable Quotes: June - November, 2011"About the cell phone thing: maybe turn the volume off, but keep the vibrate on. Especially you musicians; I don't want you to miss that big break." -<b>Chick Corea</b>, earlier tonight, on stage at the Blue Note Jazz Club.<br /><br /><b>McCoy Tyner</b> to the sound guy at the Blue Note, during soundcheck one day after Gary Bartz remarked that the piano stool was low, which reminded him of Erroll Garner: "Got any telephone books?" <br /><br />"He [the composer] must've been in love [when he wrote that]. Well...I guess that'll help you write good songs." -<b>McCoy Tyner</b>, to me, on the song, "I'll Take Romance." <br /><br />"Don't...No...No...The best exercise you can get for your hands is practice; strengthen your fingers, not your hands; scales do more for you than weights." -<b>McCoy Tyner</b>, to me, on weightlifting as a pianist. <br /><br />"That's why music is better than sex: it lasts." -<b>Benny Green</b>, relaying to the audience at the Blue Note some wise words that Ray Brown once told him.<br /><br />"If you're a musician, don't forget to listen to the birds." -<b>Randy Weston</b>, at an interview at a Manhattan Barnes & Noble.<br /><br />"'cause when I love my baby but my baby don't love me you can only say that with the blues." -<b>Randy Weston</b>, on why Jimmy Rushing said that the Blues is the greatest music.<br /><br />"If you blow it, you blow it. Nobody dies, and then you learn something." -<b>Fred Hersch</b>, at a recent masterclass at NYU. <br /><br />"I didn't go to church on Sundays; I went to the Vanguard." -<b>Dee Dee Bridgewater</b>, to me, on her apprenticeship with the Thad Jones/Mel Lewis Big Band.Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-55872405859772173762011-11-12T20:36:00.000-08:002011-11-13T20:55:20.957-08:00Ray Brown Tribute BandAs an intern at the Blue Note Jazz Club, I recently had the honor of putting together the following video. It was such a thrill to interview some of my favorite musicians of all time - Dee Dee Bridgewater, Benny Green, Christian McBride, & Greg Hutchinson - on their mentor and a hero of mine, the legendary Ray Brown. <br /><br /><iframe width="560" height="315" src="http://www.youtube.com/embed/hyuVmXT6Pfk" frameborder="0" allowfullscreen></iframe>Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com1tag:blogger.com,1999:blog-7110109586365537517.post-79231282648114354372011-06-06T22:19:00.000-07:002011-11-16T11:46:49.479-08:00Hanging Out with Ron CarterEarlier today, I was treated to quite a thrill. Currently interning at the Blue Note Jazz Club, I was in the office today when Jim Hall and Ron Carter were there doing their soundcheck. <br /><br />As the soundcheck ended and Ron began to head upstairs to the dressing room, I asked him if he'd like any help. He obliged and handed me his bass case. "Be careful," he said. "It's heavy." It was. <br /><br />After we got into the dressing room and finally figured out how to turn the lights on, Ron, smiling, cracked a joke. "I like those," he said, referring to the complicated light switch. "But only one of 'em," he said, laughing. <br /><br />It was obvious that Ron was in a very good mood and I could also tell that he was enjoying my company. I seized the moment, taking that opportunity to grab a video camera in hopes of asking Ron a question or two (for the Blue Note blog, one of my job responsibilities). <br /><br />I found Ron downstairs just to the right of the stage. With camera in hand, I asked if I could ask him one question about the Blue Note, for the club's 30th Anniversary. "Of course," he said. "Let's go up to the dressing room for this." <br /><br />We got up to his dressing room and sat down in the room's comfortable chairs. I turned the camera on and asked him my Blue Note related question. My one promised question quickly turned into two and then three. His answers were very telling of the care with which he holds all of the musicians with whom he plays. Here's what he said when I asked him if there was any particular Blue Note performance that particularly stands out to him: <br /><br />"Well, you know, to answer that question kind of implies that the others weren't so important, so I'm not gonna do that. (laughter). They're going to come knock on my door and say, 'Why you!'...And I never answer that kind of question because I don't want anyone who is not mentioned in my commentary to feel that their job wasn't important to me, or that I didn't have a good time, or that I didn't learn any music, or that I'm not looking forward to working with them again. And each group I've worked with here, I've always had a good time, and I've always learned some music, and I've always had the chance to look forward to working with them some more, and hopefully I've gotten better in the meantime, so I don't want them to feel that they're not on my list."<br /><br />It was obvious that I was listening to a very caring, thoughtful, and articulate man speak. <br /><br />I mentioned to him that I'm a pianist; that I study with Don Friedman. He began asking me about Don; how he's doing, what he's been up to, etc. I felt us getting into a friendly conversation, so I turned the camera off and sat back. <br /><br />As Ron began telling me about recording with Don and Joe Henderson, I was reminded of a really wild band - a totally unknown one - that Don was once a part of and had told me about. I told Ron, very excitedly, about the vocalist' Dick Haymes' group which included Don, Scott Lafaro, and Elvin Jones. <br /><br />Upon hearing this, Ron was shocked. "What!", he exlaimed. "Wow, they must've washed Haymes away." <br /><br />I told him what Don had told me; that on a gig they played at the Village Gate, the IRS came out to get Haymes; he owed a million dollars in taxes. Ron was certainly shocked. "One million dollars," he said. "In the sixties...Damn, in the '60's one-million dollars really was one-million dollars." <br /><br />I mentioned that I hadn't realized that Dick Haymes' brother was Bob Haymes. <br /><br />"Who's that?", asked Ron. <br /><br />"He wrote 'That's All.'" <br /><br />"Wow," said Ron. "I didn't realize that." <br /><br />I told Ron that Haymes had also written one of my favorite songs, a song that isn't very well known, but a song that Blossom Dearie did amazingly, "They Say It's Spring." <br /><br />As soon as I mentioned Blossom Dearie's name, Ron's face lit up. "I know that song," he said, smiling. <br /><br />He began telling me how much he loved Blossom Dearie's piano playing. He said that he really admired the way she played chords; that she was really a master of voicings, and that she always played the perfect chord for each moment, always with the right note on top. He told me that he really had a lot that he had wanted to learn from her. "When I played with her, I knew the right bass notes and passing tones to play below her but I wanted to sit down at the piano with her and learn about the full chords from her." He said that the two always talked about getting together for this lesson of sorts, but for one reason or another, it never happened. "Regrettably," said Ron.<br /><br />I told him how I love her repertoire; how she's really introduced me to so many beautiful songs that I never would have heard otherwise. He agreed. "She had a way with songs that were very rare that people didn't really know, but she would interpret them in a way that would make people want to know them, and she'd make them popular before they were popular...She was singing 'Peel Me A Grape' long before it was famous."<br /><br />I smiled, saying how I also loved her arrangements; how she'd slow down songs - like "Tea For Two" and "Surrey With A Fringe On Top" - that were normally played fast. He smiled too, and during mid-laugh, began to sing - just a few bars - raising his voice to a high squeal, doing his best Blossom Dearie impersonation. <br /><br />It was really a thrill to talk with Ron Carter about one of my all-time favorite musicians, Blossom Dearie. It was also extremely surprising and validating (in a way) to hear him speak of her piano mastery and his love for her music and her piano playing. Ron is always associated with Herbie Hancock, a pianist who is often considered the ultimate harmonic master, and it was very exciting to hear his excitement about the playing and music of Blossom Dearie. <br /><br />One thing that really shocked me during our conversation was how comfortable Ron made me feel throughout, and how genuinely interested he seemed in what I had to say, too. Looking back on it, it really felt like nothing more than two huge jazz fans having a friendly conversation about the music we both love. <br /><br />I told him how I recently played with Houston Person and how his sound just knocked me out; how, while on stage listening, I got the chills and I realized that I'd never really heard that sound on the saxophone before in real life; no one really plays like that anymore. <br /><br />Ron understood, seemingly shocked at that reality. He began to reminisce on that specific tenor sound..."One of my first sessions was with Coleman Hawkins, Tommy Flanagan...and Eddie Locke or someone like that. I think it was called Hawk's Groove...or something like that." He said it quickly, casually, in passing, before asking the question that mattered most to him: "Do you ever listen to Don Byas?" <br /><br />"Oh yes," I answered. We began to speak about the Town Hall duo recordings of Don Byas and Slam Steward. Ron loves those recordings. He then asked about Gene Ammons, and expressed to me his love for that sound, the sound of the "Texas Tenors," quickly mentioning Frank Wess as another player that he loved. <br /><br />I told him that one of my favorite recordings is the Coleman Hawkins/Red Garland album. He smiled. I also expressed my love for his album with Red Garland. "Oh yeah," he said. And then, so cool and casually, said: " That was with Philly Joe, too." <br /><br />Our conversation kept on for a while. Ron was really at ease and seemed to be enjoying our conversation. He seemed especially grateful when, later that day, I brought him a copy of a Blossom Dearie piano-only record that he hadn't heard before. I apologized for my bad handwriting. "It's not bad," he said, laughing. "Don't worry. I've seen much worse." <br /><br />As I was leaving the room, Ron said to me: "It was great talking with you. That was a bit more than one question, but I was prepared for it. I really enjoyed it." <br /><br />I've heard stories about Ron being a tough guy, a difficult interview, and I've also heard some near-horror stories about some people's approaching him. To me, I sat in awe as I fathomed how those stories could be possible. That day, I was in the presence of a real sweetheart, someone who loves to smile and laugh and share his experiences. More than anything though, I felt that I was in the presence of an extremely inspiring jazz fan, someone who gets just as excited about jazz and specific musicians as he did when he was only a kid; the only difference is that this enthusiastic fan just happens to be the great Ron Carter, too.<br /><br />Here's a video of a portion of the interview: <br /><iframe width="560" height="315" src="http://www.youtube.com/embed/TScTMXP05Zc" frameborder="0" allowfullscreen></iframe>Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com3tag:blogger.com,1999:blog-7110109586365537517.post-29655703248765156082011-05-25T18:30:00.000-07:002011-05-26T12:47:16.012-07:00Monty AlexanderAs I’ve mentioned in earlier blog posts, one of the more recent highlights of being a student at New York University has been a Friday afternoon interview series at a local Barnes & Noble between Dr. David Schroeder, NYU’s Director of Jazz Studies, and various jazz legends. <br /><br />He’s interviewed many musicians who I admire and can relate to in some way, but for the most part, the stories of those being interviewed are very different than my story, and they are life stories that, given the time and place of my birth, are absolutely impossible to have happened to me. While that is also so with the story of the great pianist Monty Alexander – who Dr. Schroeder interviewed this past Friday - there was something about his story, what initially drew him to the music, and what continues to inspire him today that struck a deep chord with me. <br /><br />While many of the jazz greats that I’ve heard speak live often talk of how their lives changed drastically from the minute they heard John Coltrane (something I can’t relate to), Alexander said that one of his first powerful musical memories was the contagious smile and happiness he felt when listening to Nat King Cole sing. <br /><br />There was something I could relate to. <br /><br />He went on and on; speaking about pianists Erroll Garner and Nat Cole (noting how Nat is certainly one of the most underrated pianists of all time, as his influence on great pianists such as Ahmad Jamal is extremely evident, which is something I’ve been thinking about for a while now). However, more than anything he could’ve said about their musical technique, he spoke about the way in which they performed, and how it impressed him so. He said that Nat would sit at the piano and play, but he’d have his legs facing toward to the audience; really playing for them. <br /><br />He spoke of the joy he felt when he listened to Erroll Garner, and Milt Buckner, and Eddie Heywood. <br /><br />“Did he just say Eddie Heywood?!” I had to do a double take! One of my favorite pianists of all, Heywood was a truly beautiful player, a master of touch and taste, and also one of the great masters of playing melodies.<br /><br />As Alexander went on to talk about what he loved about Heywood’s playing, (“His playing was perfectly economical,” he said.) I began to feel like I was listening to myself talk. I sat in awe listening to how the exact same musicians had affected each of us in the exact same way at the exact same time in our lives. <br /><br />I loved how he would say often that the things he most loved about certain musicians was that they made him feel good, or that simply, they made him smile. <br /><br />Often, musicians, when asked the same question, go on about one’s technical mastery of the instrument, or things very specific, musically, that they admire. To me, it’s always been about making me smile and feeling good on the inside. It was truly a thrill to hear this simple, truthful answer come from this master. In some ways, it made me feel that my ideas and thoughts, similar to his, were finally validated. <br /><br />He went on to explain that he wasn't attracted to the dissonances created by the music of John Coltrane and Ornette Coleman and more free jazz (although he loved to listen to it and was in awe of it!...He just didn't want to play it). His musical goal has always been to honor the melody and play with and around the melody in the most beautiful way possible. Another sigh of relief. <br /><br />It was very validating to hear Monty Alexander express my feelings towards music as his. To hear these things, things that have often made me feel more isolated than closer to my peers, was exciting to hear because it made me realize that, "Hey! There are people thinking like me!" Plus, he's been thinking this way since the 1950's and it's worked pretty well for him, too!<br /><br />Besides this extremely validating and inspiring insight into the thought process of Monty Alexander, he, too, like his heroes Nat Cole, Louis Armstrong, and Erroll Garner, is a fantastic entertainer. The stories he told left the audience jaw-dropped in amazement. <br /><br />He spoke of a gig one night, where he was playing solo piano, and there sitting in front of him at a table were Frank Sinatra and Miles Davis, deep in discussion. <br /><br />He spoke of hanging out with Miles at his house. He said that Miles constantly listened to Sinatra, especially when learning a ballad. "Miles played Sinatra around the house," Alexander said. "I was there." <br /><br />He spoke of Jimmy Smith and Richard "Groove" Holmes, and the hardships of lugging around big organs. He said that both organists bought old Hearst cars and drove to every gig with the organ in the back.<br /><br />He also mentioned a conversation he had had with bassist Bob Cranshaw just after Cranshaw recorded the now legendary Lee Morgan tune, "The Sidewinder." He said that during the session Morgan was trying to get pianist Barry Harris to play the classic bluesy figure that makes up the melody, and Harris refused. "I won't play it," he said. "That's Rock N' Roll!" <br /><br />It was a truly exciting and inspiring hour, and I feel honored to have been present.Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-11117463762772635182011-05-24T23:51:00.001-07:002011-05-24T23:52:51.541-07:00Memorable Quote: Sonny Rollins"There's nothing to worry about. You have nothing to fear. If you can look the man in the mirror in the face, then everything's going to be OK. I'm not afraid of anything." <br /><br />I wasn't at this show, but I read online that this is how Sonny Rollins ended his concert last week at the New Jersey Performing Arts Center.Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-5545915263401436982011-05-23T22:32:00.000-07:002011-05-24T23:53:09.316-07:00Memorable Quote: Roy Haynes"We had one gig together and, after the first tune we played, Lester came up to me and said, 'You're swingin'. If you want the job, it's yours.'" <br /><br />- Roy Haynes, this past Saturday evening at the Jazz Standard, on getting hired by Lester Young.Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-57396729238026509942011-05-18T21:18:00.000-07:002011-05-19T12:13:26.651-07:00Memorable Quotes: Bill Clinton"People are happiest doing what they're good at." <br />"You should strive to achieve happiness every day, not just at the end of a journey."<br /><br />- Former President Bill Clinton, at the 2011 NYU Commencement at Yankee Stadium.Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-72378166714016628852011-05-17T13:44:00.001-07:002011-05-17T14:00:35.290-07:00Frank WessThis past Saturday, I had the pleasure of seeing a live interview with jazz legend Frank Wess. His statements and answers were very powerful, and I wanted to share a few of my favorites with you. <br /><br />On learning the craft: "Good musical sound, good time, and to be able to play a melody. If you can do that, you can get away without having all the theory in the world."<br /><br />"When you play all those fast notes...Who's going to be able to hum that when they get in bed?" - Wess' quick response to being asked what's missing in jazz today. <br /><br />"It ain't got nothing to do with the chords." - Wess, on the importance of melody in his solos. He was asked specifically if, when learning a song, he practices playing through the chord changes.Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-75562512395692521502011-05-10T11:13:00.001-07:002011-05-10T12:56:00.781-07:00Ahmad Jamal InterviewThis past Saturday, I had the honor and pleasure of interviewing the great Ahmad Jamal. Not only has he been one of the most influential jazz musicians of all time, but his music has been instrumental (no pun intended) in my development as a musician; in fact, it was his recording of "Like Someone In Love" that got me hooked on jazz. For years, I've had many questions that I've wished I could ask Mr. Jamal, and this past Saturday I was given that opportunity. He was extremely kind, honest, thoughtful, and giving in his answers. It was an absolute thrill to speak with one of my heroes, the great Ahmad Jamal, and I hope you enjoy reading the following bits from our conversation. <br /><br /><b>Joe Alterman:</b> One of the things that I’ve always loved about your playing is your repertoire. I’m curious how you were originally introduced to the great standards. <br /><br /><b>Ahmad Jamal: </b> My aunt, who was an educator in North Carolina, sent me many, many compositions via sheet music, and that’s how I gained the vast repertoire that you hear me indulge in. I was sent those things by her gracious efforts from 10 years old and on. So my Aunt Louise was the one responsible for me acquiring that vast repertoire of standards…It’s a combination of what she did and also working around one of the great cities for musicians, or people who were developing a career in music: Pittsburgh, Pennsylvania. So working with groups in Pittsburgh, and what she sent me, and the environment under which I grew up in. As you know I…well you don’t know (laughter), but I sold papers to Billy Strayhorn’s family when I was seven years old. So we [Pittsburgh] have Billy Strayhorn and Erroll Garner and Earl Hines and Roy Eldridge, Ray Brown, Art Blakey, and a pianist that you’ve probably never heard of, Dodo Momarosa. He was a great pianist…And Earl Wild, the great exponent of Liszt; a great interpreter of Franz Liszt…And Gene Kelly the tap dancer. The list goes on and on and on…George Benson, who was a much later personality that developed in Pittsburgh. But he’s a Pittsburgh personality, as well as Stanley Turrentine. It goes on and on and on. <br /><br /><b>JA:</b> Mary Lou Williams too. Right? <br /><br /><b>AJ:</b> Mary Lou came there when she was very, very young – a lot of people think she’s from Pittsburgh…but she came there when she was very, very young. I think she’s from Georgia, but she came to Pittsburgh when she was three or four years old. She went to the same high school I went to. And you can’t forget Billy Eckstine and Kenny Clarke…All those masters come from Pittsburgh. <br /><br /><b>JA:</b> A couple months ago, Jimmy Heath came to NYU to give a class, and our teacher asked, “What was it like growing up in Philadelphia?” And he said, “I don’t want to talk about that. The great music town was Pittsburgh.” <br /><br /><b>AJ:</b> (Lots of laughter) They had some great musicians too. That’s all the same; I kind of group them all as “Pennsylvanians.” Philadelphia had some wonderful artists, and Harrisburg produced one of the great bassists of all time, who I was just thinking about recently, Dr. Art Davis. Jimmy Smith is from Pennsylvania as well. So we have a grouping there. Philadelphia was a great area for music, but that’s all part of Pennsylvania. (laughter)<br /><br /><b>JA:</b> There’s a bunch of tunes you played that are really rare, such as “Music, Music, Music”, tunes that you may have the only jazz version of. Were you purposely trying to pick out songs that weren’t played as frequently? Or did you just like those songs?<br /><br /><b>AJ:</b> No, I just played songs that I liked. I just picked out songs that I favored; it wasn’t an attempt to do anything but use the repertoire and use the things that I had learned and heard in my growing-up years. <br /><br /><b>JA:</b> Do you remember when you first heard “Poinciana”? <br /><br /><b>AJ:</b> “Poinciana” was a part of the repertoire that Dr. Joseph Kennedy, Jr. had in our book. Joe Kennedy, the great violinist and educator - who is also from Pennsylvania. McDonald, which is also part of Pittsburgh…suburbia. But he had that in the repertoire when I formed “The Three Strings.” It was a spin-off from “The Four Strings;” I was the pianist in that, which was his group. I was introduced to “Poinciana” through his repertoire and what he wrote and what he selected as compositions that “The Four Strings” should perform. It was Joe Kennedy, myself, and Ray Crawford, the guitarist. Joe Kennedy was a master violinist. <br /><br /><b>JA:</b> Do you learn the lyrics to the songs you play? Are lyrics important to you?<br /><br /><b>AJ:</b> You have to…Well you don’t have to, but in order to re-interpret these things correctly or in a more informed-of manner, you should know the lyrics or know something about the lyrics. It gives you an idea about what the composer had in mind. Most of the songs that I perform I know the lyrics. <br /><br />In fact, recently I’ve started writing lyrics to a lot of my things. I’m beginning to write lyrics to a composition that I wrote which is also going to Moscow, “Flight to Russia.” I think I’m going to send that to Igor Butman. I think Igor is one of the really popular musicians in Russia; I think he went to Berkeley too. James [Cammack] is well aware of Igor. I’m in the process of doing that as well. <br /><br />So, lyrics are very essential. It’s like the famous story about Ben Webster, the great saxophonist. He’s playing a beautiful ballad…you’ve heard this story many times but I’m going to repeat it: Ben Webster was one of the great ballad players of all time, and he was playing this wonderful ballad and he suddenly stopped. And they said, “Ben, why in the world did you stop?” He said, “I forgot the lyrics.” You’ve heard that story before?<br /><br /><b>JA:</b> Yes. I was reading an interview with Bill Evans and the interviewer asked him the same question and Evans said that he’s never learned any lyrics, he doesn’t care for them, and that the singer might as well be a horn player. <br /><br /><b>AJ:</b> (Laughter). Well, different strokes for different folks. But, to me, lyrics are very essential. You know, you don’t have to, but I think you’re a more informed interpreter if you know the lyrics. <br /><br /><b>JA:</b> Did you work consciously on your touch? You’ve got the “magic touch.” <br /><br /><b>AJ:</b> Well, you know, that’s the interesting thing about Horowitz: he’s playing the same repertoire, but it’s his touch that makes the difference. If you listen to Horowitz or some of the great people who work in the European body of work, it’s the same repertoire. But, everything lies in the touch. Horowitz had a great touch. <br /><br /><b>JA:</b> One of the other people I think of, in jazz, with a great touch is Hank Jones. <br /><br /><b>AJ:</b> Hank Jones had a wonderful touch. So did Art Tatum. In fact, that should be a prerequisite for every music student: Tiny Grimes, Slam Stewart, and Art Tatum playing “Flying Home.” Whether you’re working in a European body of work or in American Classical repertoire, the prerequisite should be Art Tatum’s “Flying Home.” <br /><br />That’s a unique thing about people in American Classical Music, which is a phrase I coined some time ago: you have to know the best of both worlds. I was playing Franz Liszt in competition when I was ten years old, but I was also playing Duke Ellington. So that’s a marvelous thing about the wonderful players that make up our genre. We have to be multi-dimensional. Dave Brubeck has to know Mozart. He has to know Duke Ellington, and it’s the same way with George Shearing; he can play the concertos but he can also write “Lullaby of Birdland.” So that’s the wonderful thing about people that are working in our field. They’re multi-dimensional; they’re not one-dimensional. That’s why I call them “American Classicists.” I think that “jazz” does not define properly what we do. I’m not paranoid about the term “jazz” but I don’t call myself a “jazz musician.” I call myself and my colleagues, the John Coltranes, and the Duke Ellingtons, “American Classicists.” <br /><br />There are only two art forms that developed in the United States and that’s American Indian art and this thing we call jazz. I call it American Classical Music and that’s what it is. The little thoughts that we have here have been put here by way of these two developments: American Indian Art and American Classical Music, both of which are never promoted. You don’t see Duke Ellington every day on the television. You should, but you don’t. You don’t see Dave Brubeck every day on the television. You don’t see me and you don’t see George Shearing, but you should. You don’t see Louis Armstrong. But in Europe, you do. Not here, and that’s unfortunate. <br /><br /><b>JA:</b> I’m wondering if you were purposely trying to innovate this music, which is what I often hear from different educators that the greats such as yourself did, or if you played what you loved and it just happened to be different. <br /><br /><b>AJ:</b> Well, the fact is that all Pittsburghers are uniquely different. No one plays piano like Erroll Garner. No one plays bass like Ray Brown. No one plays piano like Earl Hines. No one plays drums like Art Blakey. No one plays saxophone like Stanley Turrentine. We all have ushered in a different era that’s just one of the unique phenomena of Pittsburgh. No one danced like Gene Kelly. No one interpreted Liszt quite like Earl Wild. Lorin Maazel, the conductor, is from Pittsburgh too. Andy Warhol is from Pittsburgh. It goes on and on. It’s very difficult for me to exhaust the list but all of us are different and unique so it’s just a phenomenon that all of us have a different approach. This is a thing that happened to me as a result of growing up there; I followed that same pattern. <br /><br /><b>JA:</b> Were you close with Erroll Garner?<br /><br /><b>AJ:</b> My mother and his mother were friends, but I didn’t meet Erroll until after because he was working in places I couldn’t go in was a kid. Erroll had the best jobs in Pittsburgh and I was too young to go where he was working. So I didn’t know Erroll until later. He came back to Westinghouse High School and played for us. I was amazed because it seemed as though he was playing on all the black keys and in all the multi-flat and multi-sharp keys. He was certainly a person who heard everything in all the keys…B Natural, G Flat, F Sharp; it didn’t make any difference. <br /><br />He was quite a stride player, too. A lot of people don’t know that. So I didn’t know Erroll until later on; I met him after I left home. <br /><br /><b>JA:</b> I know you’re obviously influenced by Garner and Nat Cole, but one of the things that people don’t talk about as much as they talk about your linear and melodic lines is your mastery of the block chord technique. Who influenced you in terms of block chords? Erroll Garner? George Shearing? Milt Buckner? <br /><br /><b>AJ:</b> If you really want to do a study on the mastery of block chords you have to listen to Phineas Newborn. Even today, he’s certainly underrated…That’s another area that’s produced some fantastic musicians: Memphis. My former bassist, the late Jamil Nasser, is one of them. But Phineas is from Memphis and so is Harold Mabern, who’s doing a professorship at one of your schools now – William Patterson College I think. <br /><br />The block chords is, to me, demonstrated more by people like Phineas than myself. But I didn’t learn anything from George Shearing; we’re peers. I mean I admired George, but my influences were Erroll and Nat and Art Tatum. <br /><br /><b>JA:</b> In the ‘50’s and ‘60’s people like you, Erroll Garner, Ray Brown, Oscar Peterson, and Dave Brubeck were the most popular guys around; but a lot of times in the textbooks and classes in schools they don’t talk about those people as much; instead they focus on people like George Russell, Lennie Tristano, and Cecil Taylor. Does this surprise you at all? <br /><br /><b>AJ:</b> I pay little attention to that. I’m so busy doing my own thing that I don’t reflect on what the people are crediting and giving other people in my field. It’s just a waste of time for me. You know? (Laughter) <br /><br /><b>JA:</b> Are you a book lover? A movie lover? <br /><br /><b>AJ:</b> I don’t do movies at all. I like non-fiction and if I read, it has to be non-fiction. I don’t like fiction; I like the real thing. And I have books that I read but most of them are philosophical. I’m going back to the discipline of reading; I used to gobble up books when I was a youngster. But I’m going back to it now. In fact, I was surprised at myself: I was waiting for my car to be serviced today and I was reading the editorials in the Wall Street Journal, and I was reading also about the focus on the new approach to music videos. It was very interesting. A lot of it has stuff to do with things that are not musical, as far as I’m concerned. A lot of stuff on MTV has nothing to do with music, but that’s what we’ve created here. We have a focus on non-musical things and a lack of focus on musical things. Music is supposed to sooth the savaged beast and in many instances we’re raising the savaged beast. <br /><br />But my point is that I’m getting back to the discipline of reading, which I lost some years ago. <br /><br />Most of the things I read are non-fiction and I don’t care for movies too much. The last movies I went to see was “The Bridges of Madison County” because my daughter said Clint Eastwood had two of my recordings in part of the soundtrack. I wanted to see that. That’s the first thing you hear, soundtrack-wise, are my recordings of “Music, Music, Music” and “Poinciana”. <br /><br /><b>JA:</b> Does it bother you that there is so much music in the background these days? Like at the mall while you’re shopping, for example. <br /><br /><b>AJ</b> Not as long as it’s good music. I can’t stand the commercials. Without the mute button, I could never tolerate television because some of the commercials are just horrible. I don’t know what these manufacturers are thinking of because you can sell a product, to me, much more effectively with music that soothes and is not irritable and not nerve-wracking, as opposed to what they have now. I don’t know why they chose to do the negative instead of the positive on these commercials. <br /><br /><b>JA:</b> I’ve been fortunate enough to be in contact with Houston Person, and one of the things he talks about is that it’s an enormous responsibility to have people come out at night and spend their hard-earned money on him. He wants to play good music of course, but he wants to relax the people in the audience; he doesn’t want to make them nervous with the music, and he feels a great responsibility to do this, especially after the people worked so hard for their money that they’re spending on him. Do you agree? <br /><br /><b>AJ:</b> I have two words: He’s right. <br /><br /><b>JA:</b> I find it interesting that you’re one of the few great pianists that didn’t come up as, or wasn’t documented as, a sideman, backing horn players for example. It seems that you’ve always been known as a leader. Did you ever do more sideman work and how did you make it as a leader? <br /><br /><b>AJ:</b> Your question is a very interesting one and it has to do with my longevity in the field. I started playing at three years old, which is very, very young. That’s what I say when people ask, “How did you choose music?” I say, when you are that young, you don’t make conscious decisions, Joe. Music chose me; I didn’t choose it, and I was working as a sidemen at ten years old. I worked with groups around Pittsburgh for many years. I worked on the road with a song and dance team. So I had a history of being a sideman. I worked with George Hudson’s orchestra; he made me leave my happy home in 1948. I left at 17 years old and worked all over the country with him. Out of that band came Clark Terry and the great writer Ernie Wilkins. He was a great orchestrator, and I think he passed [away] in Europe, in Copenhagen. I was a sideman for many, many, many years…When I was young; that was part of my growing-up years…I was an old man by the time I was 18 (laughter). I went from young to old very quick and what made me old was when I started my group in 1951. That was the end of any sideman issues; I had to keep my men working, and I’ve had that responsibility now for over five decades, Joe: being a leader. But I was a sideman for many, many years in and around Pittsburgh and all over the United States with a group called the Cardwells. When I left that group, Ray Bryant, the great pianist, became their person in the pianists’ chair. And I worked with George Hudson all over; that was my first time at the Apollo Theater actually. We were touring with stars like Dinah Washington at that time so I was a sideman for many years. I became a leader at a very young age; I was 21 years old, so that’s quite a span of time. <br /><br /><b>JA:</b> I know Miles Davis loved you. Did you two ever talk about playing together? <br /><br /><b>AJ:</b>No, because he was leading and I was leading. That never happened; there was some attempt to get Miles and Cannonball and myself on record together, but that never reached fruition. <br /><br /><b>JA:</b> I love the video of you and your trio playing “Darn That Dream”. <br /><br /><b>AJ:</b>Oh yes. With Israel Crosby and Vernell Fourier as my guys, the masters that helped make my career what it is. <br /><br /><b>JA:</b> In that video, I see Hank Jones standing over your shoulder, and Ben Webster.<br /><br /><b>AJ:</b> That’s correct. Ben Webster, who I spoke of, is there. Jo Jones – Papa Jo that is – and some of the other greats were there: George Duvivier and Buck Clayton…That’s a classic. That video’s a classic. <br /><br /><b>JA:</b> That must have been nerve-wracking. Did you used to get nervous?<br /><br /><b>AJ:</b> I don’t remember what I got (Laughter). I know it was a very interesting experience, and it’s still being shown all over the world, especially now with the Internet. <br /><br /><b>JA:</b> Do you teach? <br /><br /><b>AJ:</b> I taught for a brief period of time in Chicago, my second home. But, you know, teaching is something you must dedicate your life to in order to give that student his or her due. So, I haven’t taught in a long, long time. I spent a period of time doing that in Chicago. I had this hit record, or what they call a hit record for instrumentalists. We don’t have hit records, but I had one and Dave Brubeck had one with “Take Five” and Herbie Hancock had a few and Chuck Mangione and Miles, but very few instrumentalists had hits. Singers get the hits but I did have one, and that took me away from teaching and I never went back to it (laughter). I was performing, and that’s what I’ve been devoting my life to. And now I’ve been devoting my life to resetting and reshaping my career, doing what I love so much, and that’s composing. I’m trying to get away from the sense of urgency that the cell-phone and the computer and all the activities have thrust upon us, and I’ve been trying to do the things I really love to do, which is playing in my favorite venue: my home.Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com3tag:blogger.com,1999:blog-7110109586365537517.post-60997642750370754522011-05-05T21:38:00.000-07:002011-05-05T21:43:37.034-07:00Memorable Quote: Frank Wess"Now I'm going to play a song that was a favorite of Hank's. We used to play it a lot together. In fact, I went to the hospice and played it for him on the day he died." - jazz legend Frank Wess, referring to Hank Jones' love of the song "The Very Thought of You," in a very touching tribute to the great pianist earlier tonight at the Tribeca Performing Arts Center.Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-16978497498234661322011-05-01T12:19:00.000-07:002011-05-01T20:08:39.086-07:00Jim HallOne of the more exciting goings-on since coming to NYU has been a recently established Friday afternoon interview series at a local Barnes & Noble Book Store between the NYU Director of Jazz Studies, Dave Schroeder, and many different jazz legends. Among those interviews that I've been fortunate enough to see have been, among others, Roy Haynes, Lee Konitz, Jimmy Heath, Bill Charlap, Joe Lovano, Dave Liebman, Maria Schneider, and most recently, guitarist Jim Hall. <br /><br />Hall is a bonafide jazz legend and he is, arguably, the most influential jazz guitarist of all-time. However, listening to Hall speak and watching his totally unassuming demeanor, he seems almost completely unaware of this, or at least surprised to hear to this. It was awe-inspiring and totally humbling to see someone who has played with Ben Webster, Stan Getz, Bill Evans, Wayne Shorter, Sonny Rollins, Hank Jones, and just about every other jazz great, repeat more than once, "I had no idea what I was going to talk about on my way here [to the interview]." (In fact, there was even a point in the interview when, seemingly baffled by the turnout and the care with which the thoughtful questions were asked, Hall remarked, "I'm just honored to be here talking to you all.") <br /><br />To me, Hall has always been the "Hank Jones of guitar"; a master of elegance, touch, subtlety and taste, but watching and listening to Hall that day, he reminded me more of how I remember Hank Jones, the person. <br /><br />When asked what he practices these days, Hall said, "Man, I'm still learning how to tune the guitar correctly." This reminded me of a time when I was backstage after a Hank Jones concert and a famous classical pianist came backstage to greet Hank. As soon as someone made the introduction, telling Hank who this man was, Hank said only, "Oh - a real pianist!" <br /><br />This self-depreciating humor and honesty is extremely refreshing and inspiring. To see an absolute legend in ones' field so humbled, unassuming, and almost seemingly unaware of just how good he is, is just amazing. Seeing something like this reminds me of a Herbie Hancock quote I once read: "Being a musician is what I do, but it's not who I am." It's just refreshing to see this same idea come across in a legend of the stature of a Jim Hall or a Hank Jones. It reminds me that, more than anything, they are human, just like the rest of us, and this, to me, is inspiring. <br /><br />Jim Hall, now 80 years old, is quite the comedian, too! When asked to speak about his childhood, he stated, "Well...I was born at an early age..." Then, when asked to elaborate on his childhood, he poked fun at his age saying, "Beethoven was a real pain in my ass." <br /><br />Hall has really seen and been through it all and it was amazing to listen to him speak on many different subjects including Lester Young, Freddie Green, and Ella Fitzgerald. <br /><br />He spoke about Lester Young when recounting the filming of "The Sound of Jazz," a 1957 CBS TV segment produced by Nat Hentoff and Whitney Balliet, among others. He said that after the filming was finished, he left the building and saw Young across the street, walking with his son. He said that he approached Lester and thanked him, telling him how much his music has meant to him. I wish Hall could retell it here; the way he told it was very touching. It was emotional and full of imagery, and, imagining Lester Young walking down the street, - at least by the way Hall told it- reminded me of all the romanticism in jazz that I have grown up believing in and hoping for for so long. <br /><br />He recounted his first meeting with Freddie Green, the great guitarist with the Count Basie Band. Hall said that the first time he met Green, he walked up to him and asked, "Would you mind if I took a look at your guitar?" Green responded quickly. "Yes," he said. "I would." <br /><br />It was obvious that Hall is in awe of Ella Fitzgerald. "I used to tune up to her," he said. <br /><br />When it came time for audience questions, I couldn't resist asking Hall about his love of B.B. King. I've read many times that Hall loves King's guitar playing, and despite possessing much more actual technique on the instrument than King does, I've heard that King is one of Hall's favorite guitarists, and I asked him what he loved so much about his playing. "I'd rather listen to B.B. King play two notes than most guitarists play all night," he said. "He plays so succinctly...each note is perfect for the situation." <br /><br />Someone asked what guitarists Hall listens to today. He spoke for a minute before saying, "I don't listen to Les Paul anymore. But then again, he doesn't listen to me either." <br /><br />Hall recounted his days with Sonny Rollins, saying that they were the most helpful for his musical development. He also spoke with a bit of regret, saying that once Don Cherry joined the group and the band headed in a more free-jazz direction, Hall's playing didn't fit the group and Sonny basically fired him. Hall said that he wishes he could have another chance at that band, that he thought he'd do a lot better today. <br /><br />Hall also said, "The driver on the way up here was playing 'The Bridge' in the car." After a short pause, he added, "I sounded pretty good on that!" <br /><br />It was really a thrill to be in the presence of Jim Hall, a true music legend. However, there is something special about being around Hall -as there was with Hank Jones- that is greater than music. Jim Hall is a great human being, a nice person, and a humble genius who seems to have really figured out what life is all about, and that, maybe even more than the music, is what gravitates us all towards him and other people of such stature and makes me feel so lucky to have spent a little time with him, even if it was only an hour.Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0tag:blogger.com,1999:blog-7110109586365537517.post-34264577525011410582011-04-27T10:16:00.001-07:002011-04-27T10:19:25.575-07:00Memorable Quote: Lee Konitz"They used to write that I played flat...Are you kidding me?...I could tell that they weren't listening...I play sharp!" -Lee Konitz, a few weeks ago at Dizzy's Club Coca-Cola, on some jazz writers.Joe Altermanhttp://www.blogger.com/profile/03785179185849605376noreply@blogger.com0