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In & Out Jazz Interview With Logan Richardson

In & Out Jazz Interview With Logan Richardson

In & Out Jazz Interview With Logan Richardson

11

FEBRERO, 2020

LOGAN RICHARDSON (1980, Kansas City, Missouri) Saxophonist, composer, bandleader, and producer.

Escrito por Begoña Villalobos

 

 

 

Logan Richardson (1980, Kansas City, Missouri) is an alto saxophonist, composer, bandleader, and producer.

In 2006 Logan released his debut album, Cerebral Flow, with Fresh Sound New Talent.

Richardson is related with Max Roach, Shirley Scott, Jimmy Heath, Clark Terry, Kenny Burrell, Marcus Belgrave, Richard Davis, Joe Chambers, Butch Morris, Christian Scott, Stefon Harris, Ambrose Akinmusire, Greg Tardy, Pat Methenv, Nasheet Waits, Michelle Rosewoman, Billy Hart, and Jason Moran.

He has recently recorded his fourth album as a band leader entitled Blues People featuring Richardson on Alto Saxophone, and effects; Justus West, Electric Guitar, & Vocals; Igor Osypov, Electric Guitar; DeAndre Manning, Electric Bass; and Ryan J. Lee, Drums.

Roy Hargrove & Logan Richardson @ Gregory’s Jazz Club

In&OutJAZZ: Musicians often seem to live a life that might appear ‘crazy’ to others; how do you find a balance in your life?

Logan Richardson: When I reflect on the amount of time that I have been in the industry and being a performing artist as well as a composer and rights and business holder, I’ve learned a lot, and part of what I’ve learned is that a performing artist in particular is one that has to live their life in a way that is not very beneficial for the quality of life as a human being, in particular for a jazz artist. And so I wanted to find a way to adapt other ways to do high-level business and high profile things, and yet be able to have a very recluse artistic life. 

Whenever you put out a piece of art it is a big deal. Visual artists can do just one piece and it’s there forever and they can put it out all around the world. An artist [does not have to do] an entire album or 15 different songs, there is another way to live and honestly with mechanical royalties and intellectual royalties, etc, you are constantly able to make money; it doesn’t only have to come from performance, it can come from all the other avenues that are associated with owning music or writing music or publishing. And if your music is placed in a movie or in a commercial then you get paid, and it is these things that allow a kind of balance.

Tony Tixier Quartet feat Logan Richardson & Scott Tixier – CALLING INTO QUESTION

In&OutJAZZ: I understand you were born in Kansas City (Missouri)?

Logan Richardson: Yes, I was born and raised in Kansas City, in Missouri. I started playing the saxophone when I was 14. I was pretty obsessed even before I started playing and then when I got one I was playing all the time. By the time I was 16 I was pretty decent, so I started working. My first job was playing gigs so I’ve been doing this type of thing in some form or other since I was 16, and I’m 39 now; so a little while. I guess I’m still relatively young but at the same time I’ve experienced a lot so I am trying to do a better thing, to make it. I’ve always loved playing the saxophone and obviously being from the same town in which Charlie Parker was from… I discovered him when I was 14 or 15. For me it wasn’t necessarily about jazz at first, the saxophone was the reason I found jazz, because I just really wanted to play the saxophone. Jazz was where the saxophone was played but it had really nothing to do with the music, it was for the instrument – if there was never jazz I would still play the saxophone.   

In&OutJAZZ: What is your opinion about Christian Scott’s new project in relation to Godwin Louis´s project?

Logan Richardson: I haven’t heard the Godwin Louis album, Global, yet. I’ll definitely check it out.

In&OutJAZZ: What is your opinion about Christian Scott’s new project?

Logan Richardson: I think to move forward we need to search backwards to understand where we are going. To be ready for whatever is discovered. It is like an archeological project where you are rooting for source, and resource, to understand the root, branches and the leaves. He is coming with this mantra at the core. I think there is a different language being established a bit like there is a different sound, he calls it Stretch Music, but I think it is a great social-political statement against everything that is wrong in this society.  

In&OutJAZZ: What type of music are you most comfortable with?

Logan Richardson: Everything, just playing. I put the same love into improvising as I do playing the melody. I just love notes.

In&OutJAZZ: But your tone might sometimes be described as crazy…

Logan Richardson: A lot of times the idea is to have all of this to happen [Richardson does a circling motion with his hands]… then a lot of times you are soaring above, but everything is still very specific. As free as it can seem, it is actually like super-specific.   

I spend a lot of time checking out. I equally could be like a straight avant-garde … just play that, but for me, I like to do everything, so, it’s a better place to exist – no limits.

In&OutJAZZ: Where do you live now?

Logan Richardson: I lived in Paris for like 5 or 6 years, and then Italy for 2 years and now I have a base, a home with a studio, office and three bedrooms, in Kansas City, which is actually the former home of Charlie Parker. He lived there between 9 and 12, so the place ties directly into jazz history. The energy is super-relaxed, creative and chill, it is right in the city center but it is quiet. It is cool.

In&OutJAZZ: Do you have family?

Logan Richardson: I have a brother, sister, and mother who live in Kansas City and I have two other brothers and an older sister. One of my brothers and my sister live in Kansas and my oldest brother he lives in South Carolina. 

My parents split up when I was about 16; I haven’t talked to my father in many years but he lives in Washington DC and I still have grandparents – my father’s parents live in Pennsylvania, they are 90 years old but that is still pretty young! Then my mother’s mother is still alive, she lives in Kansas City. I don’t get a chance to see everyone as much as I’d like because I am always moving around. 

NASHEET WAITS «EQUALITY» | SaxSoundsMagazine.com

In&OutJAZZ: What are your own projects?

Logan Richardson: Well my first project was Cerebral Flow in 2006/7 and then my second project was on Inner Circle Music label, which was entitled, Ethos, and that came out in 2008/9. Equality with Nasheet Waits, and Jason Moran with Fresh Sound Records Level. The Next Collective project I was involved in on Concord Records was in 2012, and then in 2015 was when I released Shift, which was on Blue Note, and then Blues People was released last year in 2018 on Ropeadope Records and Universal music, and this year I am doing another project with Blue Note that could be coming out next year, I am not sure when I will drop it out, but that hints at my fascination with this kind of thing. Then I have a new Blues People project which is coming out next year too, and then I’m on Nduduzo’s new album, I’m playing a bunch on that, and also Gerald Clayton’s live album… and then Krishna has another album coming out next year so, at least for me, I have at least five different projects coming out next year so it will be pretty busy.

As for my own projects I am very excited, having the opportunity to do more Blues People – that’s all I really wanted to do right now.

In&OutJAZZ: Why?

Logan Richardson: Well, for me, I got the name and really the inspiration from a book entitled Blues People by Amiri Baraka; the book is amazing, I think if you haven’t read it you’ll love it. This book was the basis of the idea of how you draw on your genetics, like, not knowing where you come from, and I liked the idea, with the band’s name being Blues People, of showing that we come from a tribe; because this is a group that is captured from many different tribes that is captured in many groups of folks, the first people that situated here. This idea of sci-fi 1980s rock, kind of mixed with heavy jazz influence or jazz – you hear the name but then when you hear the music, it is not what you think when you see the name; I like a contrast between the two.

In&OutJAZZ: And are you recording?

Logan Richardson: I am still working on the new album now, I can send you a preview of it if you like before it comes out for sure.

In&OutJAZZ: How would you describe your process in your life and your music?

Logan Richardson: That’s a deep question. 

In&OutJAZZ: (Laughs) yes, because I am a psychoanalyst…

Logan Richardson: Oh, I didn’t know that. 

I feel like I am here for a purpose and so I have decided to re-assess things, things about which I was not even aware, [such as] my inhibitions that are always kind of there. 

But you can’t write about this, this is off the record. I just think I’d like to save that for another interview. Is that ok with you?!?

In&OutJAZZ: Oh, yes, yes, no problem.

Logan Richardson Quartet al Teatro Parenti

Logan Richardson:  …at the core I feel like I am a fairly wild person, a risk-taker, a ravisher almost, but I am a Leo, so I have this kind of energy. What is your astrological sign?

In&OutJAZZ: My astrological sign?!!? It is Virgo, why?

Logan Richardson & Begoña Villalobos.

Logan Richardson: I was just curious, because for me it comes from that. I think there are a lot of jazz musicians that from a societal perspective have ‘issues’ but from the animal world you’d say are ‘normal’. It is all about perspective, I’m more like a hippie, but I do believe that if you go the route of marriage then… yeh, don’t do it, it doesn’t really make sense. It is all so very frustrating, don’t you think so?

In&OutJAZZ: Yes, it can be if there is a disonance between what you do and what you want to do. 

Logan Richardson: I think so, because you don’t get to do what you want to do. 

Escrito por Begoña Villalobos

10 de Febrero de 2020

In & Out Jazz at Lincoln Center Orchestra & Wynton Marsalis, ciclo jazz en el auditorio

In & Out Jazz at Lincoln Center Orchestra & Wynton Marsalis, ciclo jazz en el auditorio

Lincoln Center Orchestra & Wynton Marsalis, Ciclo Jazz en el auditorio

05

MARZO, 2020

Fotografías: Copy (c) Elvira Megías (CNDM)

Wynton Marsalis, Kenny Rampton, Marcus Printup y Ryan Kisor (trompetas), Chris Crenshaw, Vincent Gardner y Elliot Mason (trombones), Ted Nash (saxofón, clarinete y flauta), Victor Goines, Camille Thurman, Sherman Irby y Paul Nedzela (saxofones, flautas y clarinetes), Carlos Henríquez (contrabajo), Obed Calvaire (batería) y Dan Nimmer (piano).

Escrito por Begoña Villalobos

Impetuosa ovación la del público tras el derroche de calidad de Wynton Marsalis al frente de la Orquesta del Lincoln Center en la sala sinfónica del Centro Nacional de Difusión Musical en Madrid.

 

 

 

Wynton Marsalis (Nueva Orleans, 1961), hijo del pianista Ellis Marsalis, hermano de Brandford y Jason Marsalis, es uno de los grandes trompetistas de la historia del jazz con un sonido preciso y grandioso. Compositor e icono indiscutible por la dedicación y la repercusión mediática de su visión sobre el jazz y su historia, sin olvidar su labor al frente de la Lincoln Center como director artístico, la institución dedicada al jazz con más poder del mundo. 

Heredero de un estilo de jazz clásico ortodoxo, centrado en la tradición del swing, dirige la Big Band de la Lincoln Center desde 1991, formada por 15 grandes solistas con una sólida sección rítmica compuesta por Carlos Henríquez al contrabajo, Obed Calvaire a la batería y Dan Nimmer al piano.

Mientras muchos jazzistas de su tiempo se conectaron con las nuevas tendencias como el jazz fusión y el jazz de vanguardia, Wynton Marsalis se mantuvo fiel a un jazz neoclásico, como hemos podido escuchar en parte de la exhibición. Comienza con Back to Basics, registro perteneciente al álbum Blood on the Fields compuesto por Wynton Marsalis, que es la primera obra jazzística ganadora de un Premio Pulitzer en 1997. Le sigue The Crave composición con arreglos de influencia latina del contrabajista Carlos Henríquez. En toda la muestra escuchamos solos arrolladores como el del trompetista Kenny Rampton, o la improvisación de la saxo tenor Camille Thurman en Attencheone, Attencheone! Temas como Jackie- Ing y Ugly Beauty de Thelonious Monk van conformando el repertorio junto a composiciones y arreglos de Christopher Crenshaw, Ted Nash, Vicent Gardner, Marcus Printup y Sherman Irby. También mencionar Untamed Elegance, una suite de seis movimientos de Victor Goines que celebra los felices años 20. 

Apabullante lección de bien hacer por parte de la Big Band con una impecable ejecución llena de swing, manteniendo vivo el legado tradicional de los padres del jazz.

 

 

 

 

 

Escrito por Begoña Villalobos

05 de Marzo de 2020

«Tumbao en Madrid», nuevo álbum de Javier Gutiérrez Massó “Caramelo de Cuba”/ Pepe Rivero/ Iván “Melón” Lewis/ Luis Guerra

«Tumbao en Madrid», nuevo álbum de Javier Gutiérrez Massó “Caramelo de Cuba”/ Pepe Rivero/ Iván “Melón” Lewis/ Luis Guerra

“TUMBAO EN MADRID», álbum, varios autores.

03

MARZO, 2020

Javier Gutiérrez Massó “Caramelo de Cuba”

Pepe Rivero

Iván “Melón” Lewis

Luis Guerra

Producción: Javier Monteverde en Estudios Cezanne

Escrito por Begoña Villalobos

Alegría contagiosa, dosis de energía y calor del Caribe, es la apuesta de cuatro de los más grandes pianistas cubanos residentes en Madrid que se reúnen para editar un disco histórico, a piano solo, Tumbao en Madrid, producido por Javier Monteverde en los Estudios Cezanne (Madrid). Tres temas de autoría propia cada uno y temática cubana es la consigna del álbum para expresar cuatro visiones diferentes del piano cubano actual. Cada composición es un recorrido por la música cubana contemporánea y plasma la esencia de Cuba y de sí mismos.

 

El pulso rítmico del proyecto es iniciativa de Javier Monteverde, gran amante del latín jazz y de la música cubana, productor especialista, desde el año 2003, de música acústica latinoamericana tanto popular como de jazz.

Desde la base de un profundo conocimiento de la tradición, los cuatro pianistas muestran diferentes manifestaciones de expresión, representaciones pianísticas de los cuatro elementos, tierra, aire, agua y fuego, siendo referentes y máximos exponentes del pianismo cubano en Europa ligados al latín jazz. Cada uno de ellos es un artista consolidado y brillante como líder solista, formando parte de una generación de músicos que han irrumpido en la escena internacional del jazz desarrollando una voz propia al piano.

Los cuatro, son grandes maestros reconocidos del piano cubano, todos con sendas nominaciones a los Latín Grammy y ganadores de importantes premios relacionados con el jazz latino, son, el prestigioso y versátil pianista Javier Gutiérrez Massó Caramelo de Cuba (La Habana, Cuba), reconocido internacionalmente por su trayectoria relacionada en proyectos con la orquesta de Benny Moré, Paquito D´Rivera, Celia Cruz, Paco de Lucía y El Cigala entre otros. Pepe Rivero (Manzanillo, Cuba) pianista de jazz y compositor de herencia clásica, relacionado con Paquito D ́ Rivera, Celia Cruz, David Murray, Jerry González, Isaac Delgado, Perico Sambeat, y Alain Pérez entre otros. Director musical del Latín Jazz Festival en España (Clazz). Iván Melón Lewis (1974, Pinar del Río, Cuba), varias veces nominado a los Grammy latinos, reconocido como uno de los pianistas más influyentes de su generación. El cuarto de este elenco es el joven pianista, compositor y arreglista Luis Guerra (Santa Clara, Cuba) con proyectos como el Cuban Jazz Quintet y la dirección de la CMQ Big Band, grupos con los que revive la música cubana de los años 30 y 40.

 

 

Embajadores del sonido cubano contemporáneo, es todo un lujo poder reunir en un álbum a cuatro leyendas pianísticas de jazz, documento histórico de lo que está sucediendo en el piano cubano y jazz latino en este momento en España.

El disco se presentará en Madrid la primera semana de marzo de 2020. Sin duda alguna, este álbum es el primer proyecto conjunto de muchos otros.

Ya esperando un Tumbao en Madrid 2.

Escrito por Begoña Villalobos

03 de Marzo de 2020

Álbum “THE_UNDERSCORE” Antero Sievert

Álbum “THE_UNDERSCORE” Antero Sievert

“THE_UNDERSCORE” Antero Sievert, álbum

13

FEBRERO, 2020

Antero Sievert, piano
Yoojin Park, violón
Verónica Parrales, violoncello
Jeffery Miller, trombón.

JMI Recordings 2019

Escrito por Begoña Villalobos

 

 

 

The_Underscore es el álbum debut de Antero Sievert, pianista y compositor nacido en Valencia en 1996 con residencia en Olympia, Washington. El álbum recoge composiciones y arreglos del autor que incluye cuerdas, trombón y percusión. La banda del álbum, que incorpora un elenco de jóvenes músicos, se lanzará en Europa y en Asia en febrero de 2020.

 

 

El álbum con un diseño espectacular es grabado en vinilo con el sello neoyorquino nacido en 2016, JMI Recordings, por Steve Mandel, y por Jake Cohn. El sello graba y produce discos de vinilo completamente analógicos, de la misma manera en la que lo hicieron los sellos clásicos como ECM y CTI en la década de los 70.  La grabación se gestó cuando Antero Sievert fue invitado al podcast de Steve Mandel (Suga Steve Show), ingeniero y productor, donde Steve le escuchó tocar el piano y firmó con él para grabar el tercer lanzamiento del sello.

 El álbum es definido por Antero Sievert como Jazzical -Jazz y Clásico. Con influencias de D´Angelo (Guru, 1999), Bud Powell, Erroll Garner, Herbie Hancock, Chick Corea, Keith Jarrett, The_Underscore es el primer proyecto de Sievert, un trabajo de autor, muy personal y versátil, casi a piano solo como es el track 2. “Spring Flower”, el track 4. “Lima”, con un sobresaliente sentido lírico que parte de las estructuras compositivas del pianista. Atraído por el cine se reconoce la influencia en “Zarathustra”, y en parte del álbum, repleto de sonidos cinematográficos, recuerdo de banda sonora. The_Underscore es sorprendente, muy instrumental, visual y orgánico, con momentos intimistas y cálidos de construcción lenta pasando por giros enérgicos y libres. “Spanish Lullaby” a piano solo hasta la aparición del violonchelo en los 20 últimos segundos de la pista con Verónica Leigh Parrales, chelista principal de Mississippi Symphony.

 

“El ritmo no es una prioridad en este álbum. En The_Underscore hay un Stretch Time”, comenta Antero Sievert.

El tema que da título al álbum “Theme from Underscore” posee destreza, belleza armónica y ritmos dilatados que seducen al oyente. La elección por parte de Sievert de una suave instrumentación y armonías delicadas que se percibe en “Clouds” un tema que me gusta especialmente por las notables incursiones de sonoridad onírica a cargo de la violinista coreana Yoojin Park que acaba de liderar su álbum a cuarteto West End con la colaboración del saxo alto Godwin Louis.

El trombón es protagonizado por el jovencísimo y excelente trombonista criado en nueva Orleans, Jeffery Miller.

 

 

El autor, con un vocabulario abierto y gran destreza armónica, derrocha talento camaleónico con momentos de pianismo clásico contemporáneo y otros de marcada pulsación llena de dinamismo y tensión, mostrando alarde de improvisación en “Improv V” e “Improv3”.

El último tema, “Bob James”, es una hipnotizante interpretación New Soul que comienza con sonidos de la calle, percusión y va incorporando sonidos como el del metrónomo marcando el tiempo exacto del compás. Este tema se lanzará como single de 10” y 45 rpm junto con la colaboración del baterista de Jack White, el veterano Daru Jones

Escrito por Begoña Villalobos

13 de Febrero de 2020

In & Out Jazz interview with Gregory Hutchinson

In & Out Jazz interview with Gregory Hutchinson

In & Out Jazz interview with Gregory Hutchinson

05

FEBRERO, 2020

GREGORY HUTCHINSON, drummer ( NYC)

Escrito por Begoña Villalobos

 

 

 

In & Out JAZZ interviews one of the best jazz drummers in the world, Gregory “Hutch” Hutchinson (born June 16, 1970, New York City). Greg Hutchinson is one of the most highly respected musicians of our time. He has appeared on over 160 recordings performing with countless jazz greats, including Betty Carter, Joshua Redman, Dianne Reeves, Wynton Marsalis, John Scofield, Roy Hargrove, Diana Krall, Harry Connick Jr…

TJF 2019 – Joshua Redman trio

In&OutJAZZ: How would you describe your sound in contrast with others?

Greg Hutchinson: My sound is both traditional and modern; it is steeped in the tradition of bebop drumming but at the same time things evolve. My sound is Jeff “Tain” Watts we call it Crispy Brown, so it is crisp. And you know it is changing, so what my sound is now could be different by the time we finish this interview, it represents the evolution of my life, it is an adventurous sound.

How would you define it?

My sound is big, precise, unpredictable – it comes from different places – it is warm, the drums and cymbals always sound good, and complementary to each other. The sound comes from the personality that you have, that’s why everybody’s drums always sound different; that’s a good thing.

 

Joshua Redman «Hide and Seek» @Jazz_in_Marciac 2009

Who are your influences?

That’s easy. I grew up in New York so all the influences I have are all the great musicians in New York. Talking about drummers, Art Blakey, Charlie Persip, Victor Lewis, Kenny Washington, Lewis Nash, Tain, Elvin Jones in New York, Jack DeJohnette, all the major drummers in New York I got to see, and they got to know me. During the time I grew up in New York, it was the time of hip hop music so that is an influence on me, so that is how my life and music has come about. Then my mum and dad: my dad played drums and my mum is a supporter of the music, always encouraging, so they were great influences to have.

What is your concept of jazz now?

My concept of jazz is that jazz is music. Traditional jazz is swing jazz with a swing beat. What we think of as traditional is a certain thing but jazz has other areas of music too that are jazz by definition, and include improvisation; that falls under jazz. It might not necessarily be bebop, it is different, but people come up with their own ideas so – I like it but I also think you need to know the tradition to go forward. 

With which musicians are you most comfortable?

All musicians. I like all types of music, different styles, I like everything that is challenging, because in the end it is all music so you’ve got to be able to hear it and find a way to play it. 

How would you describe the people who are playing right now?

It is different, younger people have a lot more technique when they learn, they have a lot more available to them to research, videos and everything, so they learn faster. But just because you learn faster doesn’t mean you learn better, so it is really important to take your time. But there are a lot of young people playing the music right now, which is great because that is how the music survives.

Who stands out for you?

Marcus Gilmore I love, Justin Tyson, there are a bunch of cats  I can’t think of all of them right now but [looking at camera] Hutchs boys you all know what’s up!  Francesco Ciniglio, my Italian buddy is super bad.

What is your opinion about traditional jazz?

It is great, that is how we learn. It is great to learn how the music started and to see where we have got to now. It’s very important, it is part of the history you have to understand it, I think, to do anything. It’s like learning to walk, you can’t run before you can walk so traditional jazz is awesome, you know.

How do you combine traditional and contemporary music?

I don’t think about how to combine them, I just play and think about what works for the music. You know, when you go shopping you know what you need to get, so it is just whatever the music needs. Just by living the life, things kind of come like one: what the new traditonal is and the new contemporary is keeps changing.

Can you tell us about your projects?

I still work with Joshua Redman. People call and I go, like Matthew Stevens, Joe Lovano, it is always random, but I have my own music that I am doing now, so I need to get on that and put that out, that’s very important. Dianne Reeves, I am about to play with so, you know, we are in the mix all the time, as we say.

How many records have you made?

Oh, I can’t tell you the number, I don’t know.  Brian Blade and I did one, Ray Brown, Betty Carter, Dianne Reeves, Joe Henderson, Christian McBride – a lot, a lot of records.

What was it like to play with Joe Henderson?

Great. Incredible. A master, very cool dude. He picks and chooses the spots, he has a sound. Nice, nice.

Who have you most enjoyed playing with?

Wow, playing with Wayne Brown and Neil Jackson and Bob Cranshaw, playing with Stanley Turrentine and Marlena Shaw, playing with Stanley’s brother so many great moments, that is how I learned the music. Betty Carter, like I said, all these people who I have been playing with are incredible, you know. Every experience was awesome. Playing with Josh. Playing with Roy Hargrove was super special, they were all pretty awesome.

Who do you think of as your mentors?

My dad played drums, so he would have been first, then Wayne Barnes, who passed away, he was my drum teacher at the Brooklyn Conservatory of Music, and then Marvin “Smitty” Smith, a great drummer, and then Kenny Washington – but my mentor over all of those guys was Justin Deccicio and he was the teacher of all of those guys. I haven’t spoken to him in a long time.

Why was he important?

He was a great teacher and a great person. He taught Kenny Washington, Marcus Miller, all these great musicians. Fun guy, honest guy, no bullshit, straightforward.

What do you teach?

I teach the same things that people taught me. How to play the instrument the right way, how to get a sound, and how the instrument is an extension of yourself. You need to be comfortable with where you are at, just try to get better and not worry about what anyone else is doing.  Do your own thing; if you can do that then everything is fine.

Do you find differences across cultures, between for example Europe and the US?

There are cultural differences. Shows always starts late, in places like Spain, so if it says it starts at 9 it starts at 9.45 or 10, but in the States, no. I prefer to be on time with the music. Other than that, no, the musicians are great here, in Europe, so I don’t see any difference.

Do you play more in Europe or the US?

I have a nice balance. It’s not too crazy.

 

Joshua Redman Reuben Rogers Gregory Hutchinson Jazz in Duketown 2017

Who would you most like to play with?

I have to think about this. Maybe Pat Metheny we played once but not really played, John Scofield

Where would you like to play? 

I like to play nice, big, venues, that’s all I can say.

What is your feeling about B.A.M and Nicholas Payton playing the trumpet?

I don’t talk about it, [BAM] he’s my friend, that is his choice, I have known Nicholas for a long time so…. I understand a lot.

What has been your experience with him?

Great. We played maybe 18 months ago and it was great, no problem.

If you had to speak about five living jazz musicians who would you choose?

There are so many. It is hard to choose five. There are old school and new people I like. Dianne Reeves, Josh, John Scofield – everyone who I’ve played with, I love.

 

Greg Hutchinson Drum Solo

Marc Cary, Gregory Hutchinson, Dwayne Burno perform with Betty Carter on «The Today Show»

29 Edición FESTIVAL JAZZ DONOSTIA JAZZALDIA 1994. Roy Hargrove Quintet – Betty Carter

Close Your Eyes – Roy Hargrove Quintet Live at Huis Ten Bosch Jazz Festival 1992 Nagasaki, Japan

Which do you consider to be your best recording?

I can’t answer that, someone else has to answer that. I have done classic records but I don’t know if they are necessarily my best. The Eric Reed records I like, It is Alright to Swing.

I like the Dianne Reeves records, Betty Carter, Joe Henderson, I like my new record – those are my best recordings – Joshua, Compass, the new one I like after listening to it, so those are my best records.

Gregory Hutchinson & Begoña Villalobos. Bogui Club Madrid, octubre 2018.

Do you think you are one of the best jazz drummers?

[Laughs] no, I think it is time to practise more! I don’t think about that. There is no best drummer; everyone does their best.

But why do some jazz drummers improve and others not?

I think it is about chances and making the best of your opportunities. You need some luck but you also have to practise. I came in at a good time for the music, so I was lucky, you know.

Escrito por Begoña Villalobos

05 de Febrero de 2020

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