For Keith Jarrett’s 69th Birthday, Full Interviews From 2000, 2001, and 2008, plus an 2008 Interview with Manfred Eicher

For Keith Jarrett’s 69th birthday, I’m posting a series of interviews I’ve conducted with him for various articles over the last 14 years. The 2000 interview was for a bn.com interview (it seems to be no longer on the Internet) on the occasion of the release of the trio release, Whisper Not. I coalesced this and a fall 2001 interview for a DownBeat piece generated by Jarrett’s earning “Best Acoustic Pianist” Award for 2001. The 2008 interview was generated by Jarrett’s election to the DownBeat Hall of Fame. I also previously interviewed Mr. Jarrett in 2002 for a long DB piece about the late Paul Motian (you can find it at the very bottom of that post). By the way, you’ll notice that the links to the DownBeat articles are contained with a DownBeat “micro-site” that contains DB’s Jarrett archive, beginning with a 1974 interview with the late Bob Palmer, and concluding with a 2013 interview with Ethan Iverson, whose 2009 interview with Jarrett  can be found here. Happy hunting.

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Keith Jarrett (10-10-00):

TP:    The first thing that occurs to me in looking at this CD in relation to the other “standards” CDs is the preponderance of tunes associated with Bebop and the vocabulary of Bebop.  It’s an incredible selection of material.  Can you talk about why you were focusing on this particular repertoire at this particular time when the record was done?

JARRETT:  Well, it’s kind of a long story.  I don’t know how long a story you want.

TP:    I did read a clip on the Internet from an interview you gave an English paper in which you said that this was partly due to your illness, and you don’t have to exert as heavy a touch playing this music — it’s lighter, more dancing, a different quality of effort for you.

JARRETT:  Yeah.  The funny thing is, when I had that theory, I wasn’t prepared to run into the piano in Paris that is on this particular recording! [LAUGHS] It was the least… In general, German Steinways are bad for Bebop anyway, but this particular piano was like a Mack truck, very heavy and thick action.  So I had to throw all that out the window for this concert.  Luckily, it was the last of four concerts in Europe, and I just decided, “Well, I’ll just have to use whatever energy I’ve got, and if I make it through the concert, that’s good; if I don’t, at least it’s the last one.

TP:    Were you playing this repertoire throughout those four engagements?

JARRETT:  Yes.  Actually, you might know that the trio doesn’t normally rehearse.  I’ve said that many times.  The very first time we actually rehearsed was while I was still sick, trying to determine whether I could actually handle playing with them, maybe just the dynamics, you know.  I could play alone a little, but that’s not the same.  Since I had such a long space where I wasn’t playing, it just naturally occurred to me that… Actually, if you think about what we recorded in sequence just before this release, you’ll notice that it was starting to happen anyway.  I mean, we were starting to go in this direction a little more than we had before.

TP:    You played “John’s Abbey.”

JARRETT:  Yes, and even the way of playing.  We’re in time more, we’re not playing around the time as much.  So in one way it was natural, and in another way it had to do with getting back into concerts with a fresh outlook that also fit my energy level at the time.  But then, of course, meeting pianos that I had to work like amazingly hard to get anything out of, that made it beside the point.  Because I think that Bebop players that we’ve heard on record, or if we’re old enough in person… I think probably, without exception, the pianos those guys were playing had been pounded to death, and were probably all fairly light action and, if they were lucky, they were in tune.  But I would guess that the pianos the bebop players used, since they were all club date pianos, had their stuffing knocked out of them before Bebop came along, and those guys might not have been able to play that way at all if they weren’t playing on rather used instruments.

TP:    That’s fascinating.  I’ve never heard it stated like that before, but it certainly does make sense.

JARRETT:  I think it would have to follow also that the sound that we like in their playing has a lot to do with the pianos not being perfect.  If you listen to the way the horn players play in any jazz really, but in Bebop because we’re talking about it, their intonation is dependent on their phrasing.  A piano is a real structured thing, and it’s basically a percussion instrument, and when a piano is in perfect operating condition, let’s say ready for a Chopin recital, it doesn’t have much personality, because it’s so even.  In a funny way, I’m not sure how Jazz would have come about if everything had been perfect from the beginning.

TP:    So it’s a music whose strengths derive from imperfections or even mistakes.

JARRETT:  I would just say that there’s a character that comes about… Well, if you think of human beings and you look at somebody’s face, if they don’t have any lines on their face, you’ll say that their face is sort of characterless.  Well, those lines would be imperfections to a plastic surgeon.  But to you, you’re getting some information about them.  And I think Bebop, because of how fleet-footed it is, if a piano has a… Well, I released this “Deer Head Inn” recording you might be familiar with.

TP:    With Paul Motian on drums instead of Jack DeJohnette.

JARRETT:  Yes.  Well, that piano was absolutely… I shouldn’t say absolutely terrible, because that wouldn’t be fair.  I mean, it was a club piano.  And I couldn’t have played it louder if… Some people have reviewed it as though I was playing sort of not at the highest dynamic possible.  But I was.  So the problem you encounter with, like, the instruments that are not perfect kind of create a character that is contagious sometimes, and in improvising, an improvisor kind of works with that.

TP:    That said, is there a different aesthetic to performing jazz, to improvising within this vocabulary vis-a-vis dealing with the Classical vocabulary?

JARRETT:  Oh yeah.

TP:    How does the aesthetic diverge?  You’re saying that a lot of the character of jazz comes out of the peculiarities of the situation, whether it’s the particular way in which a particular piano has been pounded…

JARRETT:  Let me interrupt you for a minute.  You’ve probably heard a lot of jazz.  So if you think of some Wynton Kelly solos… If you were listening to them and you knew a lot about how pianos sound and what condition it might have been in, you’d probably realize that almost all the time, when things were really cooking, there was a particular quality of the piano that would never be able to be considered a good quality for anything but Jazz, I guess.  That’s what I was trying to get at.

TP:    How did that operate in these concert halls, then, when you have superb pianos articulating this music?

JARRETT:  Well, this is my special problem and this is my special expertise, I guess.  I’m coming from both places at the same time.  I’m coming from… Maybe if we play a ballad, I need the piano to do things that only an optimally adjusted piano can do.  But when we’re playing a bebop head, I wish the piano could change, like, radically.  And I am probably one of the few players that can move between those two places on the same instrument.  In other words, instead of one of those things not being effective, I’m finding a way more often than not to make the piano do what it actually doesn’t want to do, and sound appropriate for the situation.  It’s almost impossible to talk about it.  I wouldn’t even know how to talk about it to a pianist.

TP:    I actually think I do understand in pretty much of a layman’s way what you said.

JARRETT:  Let’s say you take a stiff thing, a fairly new, perfectly conditioned Steinway, the bushings are all new, therefore the keys are all evenly adjusted.   But when the bushings are new, the keys are tight.  That’s the way it’s supposed to be.  Except that isn’t really great when you want to play like a horn.

TP:    You can’t get that vocal inflection.

JARRETT:  That’s right.  And if you listen to the new CD, if you knew how hard that piano made it for me… Some of these things for me are personal triumphs for me [LAUGHS], just from what I already knew about the instrument.  I was forcing it to start to speak.  Every now and then, I just would be able to get it to speak.

TP:     I’d like to talk to you about the content.  Is this material that you learned and knew and internalized during your early years of playing, during your apprenticeship years?  Are these all tunes that are almost vernacular to you from your beginnings in music?

JARRETT:  No, actually not at all.  One of my sons is studying at NEC, and I think they are more vernacular to him.  For me, I just started to think about going to…for varying reasons, to eliminate the long introductions that I’ve often played before standards, and for the other reasons we spoke about… Moving towards a bebop thing was also good because I wasn’t all that… I hadn’t played these tunes very much at all.  So I knew the tunes from hearing them, but I hadn’t spent any time playing them.

TP:    Ah, so there goes my theory.

JARRETT:  Yes.

TP:    I was thinking that in your Boston days playing in the bar, you had done the various standards and bebop material.

JARRETT:  No.  Actually, I came along around the time when that wasn’t the thing to do any more.  I mean, I don’t know what we were playing.  I’m trying to remember.  Most of the jam sessions I was involved in in the beginning, they didn’t even have pianos, so I was playing marimba a lot. [LAUGHS] But I don’t think we played bebop tunes.

TP:    As a kid, did you listen to a lot of Bud Powell or George Shearing or Ahmad Jamal or Monk?  Was that part of your listening diet when you were first discovering jazz?  Because they were coming out at that time.

JARRETT:  Of those players… I once did a blindfold test in Paris for the Paris jazz magazine when I was with Charles Lloyd, in the ’60s.  And I wrote a list,, before I went in, of people that I was sure he was going to play for me, just to see if it was going to work out that way — just a little projection thing.  One of the names was Bud Powell, but I had never really heard Bud.  But I figured he was going to play them for me because, you know, it’s a legend.  And as soon as he played whatever he played, after the first couple of bars I knew it had to be Bud Powell because it was too good to be anybody else.  So I wasn’t steeped in these guys.  The only one of the people you mentioned, the white album of Ahmad Jamal, the “Portrait” album was something that accidentally came into my hands when I was fairly young, and that remains to me one of the milestones of trio recording — just what the trio can do.

TP:    Is that the one that has the famous version of “Poinciana” on it?

JARRETT:  Yes.  Well, maybe not.  Maybe that’s on a different release.  But it’s the same series.

TP:    So Ahmad Jamal was an inspiration for you as a younger player.

JARRETT:  Well, it wasn’t so much him as how he used the trio.  I think if there are trios that have created potentials for what that combination can do,, I would say it was his trio, at least in modern jazz, and Bill Evans.

TP:    Well, on “Poinciana,” Jack DeJohnette shows that he paid a lot of attention to Vernell Fournier when he was a young guy in Chicago.

JARRETT:  Well, Jack and Gary and I were together in a van going to a Berkeley, California concert.  This might have been ten years ago or something.  We had already been playing together quite a long time.  And we just were talking about everything, and the past and musicians, and we all ended up talking suddenly about Ahmad.  I mentioned the White album, and they both looked at me, stunned, because all three of us had had the same momentous experience when we heard that particular album.  I mean, we didn’t know each other until years and years later.  But that album meant the same thing to all three of us when we first heard it.

TP:    Well, it’s interesting, because you and Jack DeJohnette both had such significant experiences with Miles Davis, who was also inspired by Ahmad Jamal.

JARRETT:  Well, Miles would say the same thing.  I think Miles would say it was his use of space that he was influenced by, and I would have said more or less the same thing — that what they weren’t playing was very important, too.  The grooves they got with almost no ornamentation was pretty amazing.

TP:    So in dealing with tunes like “Hallucinations” or “Conception” or “Round Midnight” or “Groovin’ High” it’s a very fresh experience for you.

JARRETT:  Yes, that’s true.

TP:    One would assume that someone of your generation and period and what one might assume would be your orientation, would have the iconic versions of these tunes in your head.  But indeed, the tabula rasa approach can actually work for you with this repertoire.

JARRETT:  Yes, it can and it did.  And actually, we’re out of that phase now, and I’m glad we documented it when we did.  I mean, we do some of these things.  But at this moment in time, the summer of ’99, that was the first tour we did since I got ill, and this was the fourth concert.  So I wasn’t steeped in it at all.  I was fresh about it.

TP:    Can you talk a little generally about what the bebop period means to you, either musically or socially or aesthetically?

JARRETT:  Okay.  Well…let’s see…

TP:    Not to give you too specific a question there.

JARRETT:  Well, that makes it harder to answer.

TP:    Well, take any one of those that you care to.  I’m asking you the question because it seems pertinent to the content of this album.

JARRETT:  Well, here’s one thing that no one has mentioned yet in print that I’ve seen, about any of my playing.  Maybe they’re not going to mention it about this either.  But I am much more influenced by horn players than by pianists.  When I feel that I’ve been successful and with the trio in a jazz context, unless it’s maybe one of those long vamps where I am more like a string instrument, but a more primitive one… That happened occasionally on “Blue Note” or some of other releases.  When we’re playing tunes, it occurred to me (I think it was really around the tour this recording comes from, and then it’s continued through to this last summer, where we did another tour) that I was basically hearing Charlie Parker when I tried to play.  I mean it wasn’t like I was hearing what a piano would do.  I was hearing what a horn would do.  And the phrasing from that period has a character that I can’t quite figure out how to describe, but I would say that it’s both soft and hard.  In other words, it seems to have all the elements of jazz.  The Bebop era to me has the elements that all other periods of jazz have used, one way or another.  And it just focuses on the line.  I mean, if you listen to Ornette, there is… If you listen to anybody play jazz who is a good player, somewhere in there, Bebop has the qualities they’re using.  Whereas if you go back to the very earliest playing that we know on recordings, you know, they hadn’t flatted the fifth much yet… There are just these little differences.  But to me, Bebop is somehow center stage to what modern jazz has done even since then.  I don’t think you can really include Albert Ayler in that necessarily [LAUGHS] or a few other guys.  But you know, we’re using the same instruments, we’re using the same configurations.

TP:    I think it’s certainly the case with your quartet with Dewey Redman and Charlie Haden and Motian; your point is very operative with that whole body of work.

JARRETT:  Yes.

TP:    In forming your sensibility… I know you’ve been playing since you were unimaginably young.  But did listening to records, did listening to styles, to tonal personalities have a big influence on how your sensibility developed when you were younger, or did it come more from the functional imperatives of performance, applying your fundamentals to any given situation?

JARRETT:  I think you’re asking a bigger question than you intend to.  I was doing a tour once with J.F. Jenny-Clark [bassist] and Aldo Romano [drummer] in the ’60s, sometime like, say, ’67…I can’t really be sure.  Up to that time, I thought that what a jazz player is supposed to do is work on his voice and find out what he actually… Let’s see how to say this.   Up to that time, I was working on who I was musically.  If I’d played something that sounded like somebody else or something else, I think what I used to do would be to say, “No-no, that’s really not me.”  Then next time I’d hope that I could find where I was in that particular piece.  But one evening we were playing, and we took a break, and came back on stage, and when I came back on stage, I realized that what I thought was the last stage in a jazz player’s…what’s the word…in the things you work on… That to find your voice was probably way down the list.  Because once you find your voice, then the imperative is to play, and not think about that.  And so, I’m answering more than your question, but… Maybe I’m not even answering your question.

TP:    Tell me if this is an accurate paraphrase.  Are you saying that you decided to play, and whatever you played would be your voice?

JARRETT:  I think I determined by the time we finished the first set, and by the time I had played that much of my life (which wasn’t that much, but luckily, I started early, as I said), that it was possible to drop that other shit, and just say, “Well, I’m who I am when I’m playing.  I don’t have to be who I am and then make sure I am who I am by playing what I think I am.”  So that freed me to do really whatever I heard.  And it seems to me that if it’s… I don’t know whether it’s a forgotten thing, or whether it’s never been thought of. [LAUGHS] But I think it’s the way it works.  If a player doesn’t do that, if they get stuck in their own voice, then where do they go from there?

TP:    Is that a pitfall that you’ve observed?

JARRETT:  Sure.  You can, too, if you think about all the stylists we’ve had who started out being valuable contributors and then ended up being stylists.

TP:    Or prisoners of their own cliches.

JARRETT:  Yes.  Nature doesn’t follow that rule.  Nature doesn’t say, “I’ve got these materials; I’m only going to use them for one thing.  Make sure it’s me.”  Nature says, “I’m going to do as many things with this as I can, and let’s see how much there is.”

TP:    Let me ask you about this trio.  It’s one of the longest-standing entities in improvised music.  Obviously, each one is a master of their instrument and incredibly resourceful and imaginative.  But what is it about each of them, Gary Peacock and Jack DeJohnette, that makes them so suited to interact with you?

JARRETT:  I don’t know!  I guess if you interviewed each one of them, it would be interesting to get their take on this.  Not just mine.  You know the story about when we first recorded and…

TP:    Not really.  Would you care to tell it?

JARRETT:  Well, I guess I did a recording with Gary and Jack of Gary’s music, which was previous to the “Standards” thing.  Then I sort of forgot that happened somehow, and I was thinking I wanted to do… Probably Manfred and I were talking about “what about doing some kind of trio recording?”  He might have suggested Gary.  I don’t even remember who suggested who, or how it came about.  But once it came together… Now, I played with Jack since ’65.

TP:    I didn’t know it went back that far.

JARRETT:  Oh yes, with Charles Lloyd.  The first time I played with Charles Lloyd was in that band.  Jack heard me with Blakey before I met him, and Jack recommended me to Charles Lloyd when Steve…I don’t know, they needed a pianist for some reason.  I heard Gary play with Bill at the Jazz Workshop in Boston with Paul Motian.  I was impressed with Gary, not to mention also the recording “Trio ’64.”  And I don’t know, for some reason, I think we all… So you don’t know the dinner-before-the-first-recording story.

TP:    No, I don’t.  Would you prefer I look it up and not have to retell it?

JARRETT:  Oh, no.  I asked them to have dinner before we started recording, because I wanted to explain to them… You have to remember this was ’83, and it was not hip to play standard tunes in ’83.  It was not at all the thing to do.  Gary had been through the avant-garde quite soundly, and involved in a lot of different music.  Jack was with Sun Ra, and had done a lot of other crazy things.  And I had done a lot of things also.  We were sitting at dinner, and I said, “Okay, this is what it’s about.  We’ve all been bandleaders and we’ve all played our own music, and we’ve all played the music of the other bandleaders we work with.  But when I say you know how freeing it is to be just playing, you guys know what I mean.”  And of course, they knew what I meant.  In other words, not to rehearse your own material, not to say “use brushes here, we’ll go into time here,” the whole kit and kaboodle of that stuff.  I said, “Well, that’s why what I want to do is play standards.”

I think up until that moment Gary thought I was insane, and he couldn’t figure out why I’d want to do that.  I was a young pianist and I was a composer.  Why would I want to do that?  Then we did it, and I think it started to sink in that this was such a special situation that we could actually… Every time we play it’s like a reunion, instead of a program-producing, rehearsing mode thing.  And then I think over the years… There were times in the early years in the trio… First of all, I didn’t think we should play concerts at all.  I thought, “Okay, this is the recording, and that’s it.  Because I don’t want to go into big rooms; I don’t think the music will be happy there.”  So we did a club date at the Vanguard, then I think we noticed how great the music was again.  Then I decided we should do a tour of Japan because the halls in Japan are smaller and much better sounding than any other…well, certainly than our country! [LAUGHS] They are very similar to each other, and they are generally not bigger than about 1500 seats.  Then that worked, and I guess everybody was hooked on this working.  Every now and then, Gary or Jack would say, “You know, maybe we should play some new material.”  And then we’d try some new material, and they’d have the experience of knowing what I was talking about again, at that first dinner, like, “Yeah, here we are working on material.”  Well, playing jazz doesn’t depend on the material.  So what we’re doing, I think, is much more the core of what jazz is.  It’s not like we’re at a jam session, but we’re close.

TP:    Is it like the famous Miles Davis quote that he was… I think you may have expressed this.  That he was paying the people in the band to rehearse.

JARRETT:  You mean every time we played.

TP:    Yes.

JARRETT:  I’m not sure if I said that…

TP:    I don’t know if it was you or someone else who said it.  But I noticed the comment somewhere or another a day or two ago.  But it sounds very much like that same aesthetic or that same imperative.

JARRETT:  Well, I think Miles would have wanted it to be… Yeah, he never wanted to impress material on the band.  He wanted the band to find the material.  It’s only different in the sense that… My thought was, “What if we used material that was so impressed on us already, whether it’s in our head or in our fingers, that we don’t have to worry about it.”  Also, I knew that neither Jack nor Gary had played this stuff for a long time, and neither had I.  So I had the feeling this would be such a short-lived…a good idea but short-lived.  Well, it’s anything but short-lived.  And it got to be a better idea the more we played, and every time we play we find out more about it.

Now, what happened on the last tour is, I talked to Gary and Jack about maybe not playing material of any kind at some of these concerts, just as a theory for the future.  They said, “Yeah, right.”  And I didn’t know what I was talking about either.  We ended up in Montreux, Switzerland, in a hall that had funny sound; not that it was terrible, it was just kind of funny.  The tunes didn’t sound right.  No matter what we did, it just didn’t sound like the right thing for the room.  So I thought this is the time; just pull the carpet out from under ourselves completely.

TP:    That’s something you made a career out of doing as a solo pianist, but I guess not in a group setting.

JARRETT:  Well, in a group it’s a bitch, because I mean, the group has to be like wired together.  You know? [LAUGHS] There’s no format.  We have to be superconductors for each other or something.  And mistakes aren’t the same thing.  I mean, there are no mistakes.  Everything is etched there.  You have to use whatever you play.

TP:    It seems you did something like that on the “Bye Bye Blackbird” record, on that long piece called “For Miles.”

JARRETT:  Yeah, sort of.  But we stayed tonal, and we stayed within a sort of Miles vibe.  At least that’s what we were trying to do.

TP:    I haven’t heard this yet.  Of course, maybe that will be part of your next document.  But are you saying that you’re going back to the full range of all your experiences, that Gary can touch on the things he did with Albert Ayler and you can touch on your… Again, is it encompassing everything from very consonant melody to the most dissonant of timbre-making or something?

JARRETT:  Yeah.  It can be like chamber music for a minute, and then it can just find its way to some other zone, and it can be sounding like we’re playing the blues, but there’s no bar lines.  So yeah.  And that happened a couple of times.  Then in the best tradition of keeping things alive, we didn’t try to do it again.  If it happens again, it will happen again.

TP:    This makes what you’re doing with the songbook and jazz standard material sound as though it’s very consonant with everything you’ve stood for over the years in your approach to music.  It’s the sort of all-material-is-grist-for-the-mill type of principle, and you seem to embody it to the max.

JARRETT:  Well, plus change is the eternal thing.  I mean, the trio has a style in that we can’t play what we don’t hear, and we have limitations because we are human beings, and we only hear what we hear when we’re playing.  So Gary has things his fingers end up playing, and I have things my fingers end up playing, and Jack has ways of playing that are his.  But I think that’s where it ends.  And that’s where it’s supposed to end.  That was what the principle of the thing was.  So whether with material that we’re ultra-familiar with or with no material at all, I did have to say to them, like, “You remember this; you did this; don’t be worried about it. [LAUGHS] We all did this before.”  Because it was like a new thing all of a sudden.  And to me, that’s what’s consonant about it in terms of what I’ve done up to now.  It’s like a menu.  If somebody said, “how do you know you want to order steak?”…you don’t have an answer for that, but you do know.

I think in music, for players one great difficulty is that they get locked into their own food sources.  It’s like a biofeedback.  If you’re stuck in a tape loop, you’re stuck in a tape loop.  It doesn’t matter if it’s a small one or a big one.  It’s the fact of being stuck that makes what you do ineffectual to the listener.  Say somebody is a fan of somebody else.  Well, you can go only so far with that.  That fan can be stupid enough to accept the person they’re listening to doing the exact same thing the exact same way forever.  But what we’re talking about is the creative act, and when you’re trying to let that… The creative act continues to demand different things of you as a player.  It’s like the act asks you.  You don’t say, “I think it would be very creative of me to do this.” [LAUGHS] That’s not how it works.

To get back to the question you asked about why these guys, I think the reason is that it’s been working this long.  If you reverse how these questions are answered, it’s the future that proves the past.  We’re still doing things that knock us out together, and therefore we’re together!

TP:    Is practice and performance very different for you?

JARRETT:  Yeah, practice is… I don’t practice improvising.

TP:    You practice very specific tasks, as it were?

JARRETT:  No, actually I should change that.  I had to practice everything after I was sick.  But I can’t practice much, because it usually gets in the way of my performing.  It’s like it sets up patterns or my ears aren’t as open any more.  When I was a hundred percent fine, health-wise, I wouldn’t listen to piano music at all before solo concerts for months, including my own sometimes.  I would not have played the piano for months before playing Avery Fisher Hall or something.  And in the trio, it’s good to just not develop patterns.  I mean, the whole thing is to… I’ve often said the art of the improvisor is the art of forgetting.  Our brains can probably forget better than our fingers.

TP:    There are a lot of musicians, improvisors, who don’t listen back to their work.  That’s what they tell you anyway.

JARRETT:  Yes.  I am not one of those people.

TP:    You seem to listen voraciously to your output.

JARRETT:  Yes.  I listen more now than I did… When I got ill, I really had no choice but to listen to a lot of things I had done, because I wasn’t sure I’d ever do anything else again.  I was sort of leery of a lot of my choices musically and the ways that I had played.  So that’s another part of the answer to why we changed repertoire, to get out of the… It’s not just that we went to bebop.  It’s also that we went away from something else.  So I didn’t have the option of falling into things that I… I had enough time to erase those patterns, because I hadn’t played piano for a couple of years after I got sick.

TP:    That was ’96 to ’98?

JARRETT:  Yes.

TP:    So no piano for two years.

JARRETT:  That’s right.  I would say I touched the instrument.  Actually, “The Melody At Night With You” was done during those two years.  But I would never have been able to practice or anything like that.

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Keith Jarrett (9-20-01):

TP:    When I spoke with you last year you spoke about moving into the area you’re addressing on Inside Out.  First of all, have your performances during the last 8-9 months basically been a mixture of the free playing and the standards playing, or has it been a mixture?  Is it dependent on the hall and the piano?  How does it play out in live performance which way you go?

JARRETT:  I hesitate to even guess the reasons sometimes, but it’s an improvisational call, just as everything else would be.  In London, when we did that recording… Usually, when we do a soundcheck, we try not to… I mean, we don’t want to play the concert for the soundcheck.  So we might choose some tune to just see how it feels, the way most people probably do soundchecks.  Nothing seemed to feel right.  There are some halls that, for whatever reason, whether they’re too dry or too lively or very… I wouldn’t be able to describe the reasons.  But we then might say to ourselves…I mean, I say to myself this may be one of those times when we can’t trust our usual choices.  That’s how it last began.  When did I speak to you?

TP:    On October 10th, to be precise.

JARRETT:  That was after this tour.

TP:    In this case, the article is going to be about you and the piano and what you’ve been doing in recent years.  Because you won the Readers Poll as Best Pianist, so the people voted for you, and we’re talking about recent activity.

JARRETT:  Well, for one thing, I’ve put all my marbles for the moment into the trio.  So my pianistic… I’m not spreading myself… Although I never was really spreading myself thin, because I’d turn off one thing when I did the other thing.  But I feel that there is much more possibility of focusing on what I do with the piano in this trio context. So that’s one of the things.

TP:    A possibility of focusing on what you do with the piano in the trio context.

JARRETT:  Right.  In other words, if a player decides what he’s doing is the whole… I mean, this is where he has to put his universe.  I’m doing more of that now than I was when I was doing many things within the year, like solo concerts or classical concerts, and then trio concerts too.  In other words, I guess I want to get out of this one context, and that has led to the trio starting… Well, when we went into the Bebop era, and we hadn’t done that.  I changed the way my left hand was behaving a lot of the time.

TP:    You changed the way it was behaving.

JARRETT:  Yes.  In order to feel more appropriate for the different material.

TP:    Did you make it more of a comping function and less of an orchestral function?

JARRETT:   I think I was using… I mean, it’s just a guess because I don’t listen to my old stuff that much.

TP:    Oh, you don’t.

JARRETT:  Not often.  It’s all old.

TP:    I asked you this before: “You seem to listen voraciously to your output,” and you said, “Yes, I listen more now than I did.”  When you got ill, you had  no choice but to listen to a lot of things you’d done because you weren’t sure you’d ever get to do it again.

JARRETT:  Yeah, that’s right.  But since we talked, I probably haven’t listened at all.  But when I started to try to play again with the trio, I think I must have told you that gave me an opportunity to rethink, for example, what my left hand’s function would be under certain circumstances.  So in a bebop situation, when I want to feel more of the era that the bop tune might have come from, there are various things that pianists might have been tending to do back in that time.  They might have been using more… Instead of Bill Evans impressionistic middle-of-the-keyboard sound in their left hand, they might have been down lower doing some 7ths or that kind of thing.  So when I would be practicing to try to remember how to play again, since I hadn’t played for so long, I could get rid of a lot of habit patterns, and that was one that I was happy to broaden.  I was broadening the palette of my left hand.  When you’re improvising, you often are only thinking of the line, and with a pianist that would be the right hand — most of the time.  I always thought like a horn player anyway, so I really don’t like thick textures in a rhythm section context.  I don’t like solos that… I mean, I’m not Brubeckian in that sense.  I don’t often feel that way when the trio is all playing together.  But there are other ways of getting a linear thing going without thickening the sauce.  I didn’t want to get in Gary’s way either, so I didn’t want to play obviously loud roots and things in my left hand.  That’s just one of the things that changed.

But then after we started to get into the bebop thing, which felt fresh to us because we hadn’t been thinking about that material for so long, it started to become… Every now and then, at a hall, there was that experience of “Oh shit, there’s nothing really that we can do with this.  I mean, we can give the audience the best we can do, but isn’t there something else we can try?”  I guess none of us had thought about it.  One day on an airplane I just said to Gary and Jack, “Sometime we might just scrap the material.”  That’s how it started.  It wasn’t quite successful the first time.  It was a very cautious thing.

It’s funny, because now when I listen to Inside Out it seems like a prelude to what we’re doing now.  It’s very weird.  I was asked to write an article for the New York Times about free improvisation, and I did, and I just kind of decided I’m temporarily not wanting them to run this.  I was writing it from the point of view of someone who already had gone much further than this recording!  So I was writing about what we were doing instead of what we had done a year ago.

TP:    Further in what sense?

JARRETT:  Further into the head space of free playing.  In other words, I would put it this way.  The uniqueness of Inside Out is that it seems like a suite of pieces.  But that leads to the feeling that there are structures, even though we didn’t have those structures ahead of time.

TP:    It certainly does feel structured.  It seems to me that it’s from the innate musicality of you all working together.  I think the term you used was “as superconductors” for each other.

JARRETT:  Yes, and because of how long we’ve worked together.  If someone were to say, “Why are you still playing with the same two guys?” I could point to this kind of thing and say, “How would anybody do this with people they didn’t trust?”  We’ve learned to trust each other in a very specific and 100% way.  The difference between what we’re doing now and what we have occasionally done since this recording… One of the concerts will be released next probably, the tapes from Tokyo, is that it’s become less and less like a suite and more like… If it’s a suite of anything, it’s a suite of impromptu less structured things.  So in a way it’s freer and in a way it’s not as easy to listen to.

TP:    It’s one long  piece, more or less?

JARRETT:  Often, yes.  Often that’s true.

TP:    When I think of people who are pioneers in playing free, one things of you, because you did this in the ’60s.  One thinks of Paul Bley, who was doing it — and Gary Peacock, for the matter.  One thinks of Cecil Taylor, although he’d say he’s proceeding off of composed structures and these are meta-compositions in a certain way.  One thinks of Sam Rivers, who did the tabula rasa concept with Dave Holland and others.  One difference is that, at least on this record, what you’re doing is quite lyric and consonant and not, for lack of a better word, as “Out” as the others, which gives a somewhat different impression, and is quite logical considering your absorption of a wide template of Western and non-Western musics.

JARRETT:  Yes.   I think it’s accessible also for that reason.  I think what’s interesting is that it will be a direct… It’s as though I’d written a two-volume saga so far, but the next volume isn’t released yet.  When Inside-Out comes out it will be the first volume of a two or three volume meditation on free music.

TP:    Do you see Whisper Not, the process of playing it, as free music, as the tabula rasa concept?  You said a year ago that that concept and aspiration of playing music was operative for that music?

JARRETT:  Maybe you can rephrase?

TP:    To my ears, Inside Out sounds very much like Part 2 of something you began in Whisper Not.  The approach the pieces sounds so unencumbered by anything but pure listening and finding the material in the moment.

JARRETT:  Oh, certainly.  It’s only in the abstract region of analysis that these things are not related.  That’s what’s so funny about the nouveau conservative alienation of free playing from their whole vocabulary.  It’s possible to look at it that way, but it’s also possible to look at it as, you know, just another step.  Or not even that.  The same thing, but without an object.  Long ago I read a book called Consciousness Without An Object.  Just the title describes what free playing can be.  But on Inside Out, as I said in the liner notes, the objects sort of appear before our eyes, and it’s mostly the piano that invokes them.  So I sort of invoke something, in the way I might invoke it in a solo concert.  And they see right away what I am hearing, or very shortly thereafter they see what they are hearing, and we all find the center of that thing.  Whereas in Tokyo and in the recent things, we just go into the ozone immediately.

TP:    May I step back with you for a second?  Can you tell me the circumstances under which free playing became appealing to you in your own development and your own career?

JARRETT:  I think it was when my youngest brother, Christopher, used to play the piano.  I was a middle teenager.  he knew nothing about the instrument.  He was probably 7 or something.  He didn’t know anything about the piano, but I had been playing for…well, quite a long time.  And what he did on it, knowing nothing, was, to me, something that someone who knew a lot about it might not be able to do.  He would just throw his body into it, and something would happen.  It wasn’t all good, but there was stuff there that no one I knew could have had access to if they already knew the piano.  So I guess that was my first experience.

TP:    When did you start incorporating that way of thinking into your approach to the piano?

JARRETT:  Oh, it took a long time.  I had a bass player who asked me once, “do you really want to play that clean all the time?”  I said, “That’s a very good question.  And no, I don’t.”  I was at Berklee, I guess or I had just left Berklee, and I had to work for a long time to get some…I wouldn’t call it dirt, but some imperfections in the technique.  Because that’s where the soul lay, actually.  Now, if you asked a wonderful classical guitarist to transcribe a B.B. King solo and play it, it wouldn’t be convincing, and it wouldn’t be convincing because there would be one thing he’d be doing too correctly.

TP:    So for you there’s been a lot of fighting against technique over time.

JARRETT:  Yeah, that’s right.

TP:    It’s as though the technique sometimes is a burden for you.

JARRETT:  That’s true.  It is a burden.  It wouldn’t just be for me.  It would be for anyone who had been trained to be a virtuoso.

TP:    But putting that into your career, trace for me how that became part of the sequence of documents that becomes the oeuvre of Keith Jarrett.

JARRETT:  Ives made a big impression on me.  I heard him supposedly playing studies for some of his pieces, and I knew the pieces on the page… I had studied classically, so I had looked at this music and I knew it pretty well.  And his supposed studies for these written pieces didn’t seem at all even related to the pieces that he wrote!  I just loved the fact that he could disregard entirely what he thought he was trying to do, and there was so much grittiness and passion in it… I think it’s the passion part that you lose if you perfect something.  If there’s too much control, you’re going to lose something.  I mean, that was the great contribution of the ’60s…even those players who couldn’t play anything.  The contribution was that this could actually happen, that drummers could drown out bass players and that bass players didn’t necessarily mid, that there wasn’t a tuxedoed Modern Jazz Quartet mentality of what the possibilities of the music are.  I mean, I love the MJQ; it’s not that (?).

TP:    But was there any mentor figure or leader figure who gave you license to do that?  Was it Charles Lloyd maybe, or did Art Blakey have anything to say about that, or other people who aren’t prominent in your discography?

JARRETT:  Well, before I met Charles and before I was even with Blakey, I remember playing with a vocalist in Boston (I used to like to accompany vocalists; it’s another art, actually), and I was playing on the strings, and I guess Henry Cowell and Ives, and seeing Paul Bley with Jimmy Giuffre….those were important things.

TP:    Those showed you ways to elicit the qualities that you were seeking to elicit.

JARRETT:  Yes, I heard something.  Put it this way.  I heard a lack of something.  That bass player’s question to me started those balls rolling to try to find out what that lack, at least in my case, might be.  What did I really hear?

TP:    I’d like to take you back in another sense, and talking about stylistic influences within jazz.  You’re so much written about, and I know this information is out there.  But in this piece, in the context of Whisper Not, which the readers would have paid attention to in their voting… I asked you this last year, and you said that between Bud Powell, George Shearing, Monk, Ellington and Ahmad Jamal, all of whose music you’re performing, Jamal had a particularly visceral impact with the record that had “Poinciana.”  But were you paying attention to these people in terms of trying to assimilate vocabulary?

JARRETT:  No.  That wasn’t what I was doing, I would think.  Each story was different.  But with Ahmad, for example, it was what the trio wasn’t doing that was important to me.  Up to that point, I probably had heard Oscar Peterson and some Andre Previn with Red Mitchell and Shelley Manne, and Brubeck.  Then I heard Ahmad’s White Album, and I thought: “This is swinging more than any of the things I’ve been listening to, but they’re doing less.  So what’s the secret here?”  I used to practice drums to that album all the time, because there was so much space in it..

TP:    So you and Jack are both influenced by Vernell Fournier.

JARRETT:  All three of us.  In a van going to a Berkeley, California, concert… I might have told you this.

TP:    You did tell me, and Gary Peacock reaffirmed Ahmad Jamal’s impact.  You seem in several records to be delving into the compositions of Bud Powell.  Can you address his impact on you?

JARRETT:  Well, Bud is the passion master.  That’s a terrible word.  I’ve never heard of that word before, so I wish I could think of something better.  I probably told you this, too that I did a blindfold test once…

TP:    I’m going to patch some of those things in.

JARRETT:  Yes.  Probably when it came down to it, if I heard an intensity in the playing, if you think of Ives… With Ahmad, the intensity was in the spaces actually.  It was the way they played simply that made the swing work the way it did.  There are times when this trio with Gary and Jack gets into a place where we’re swinging, and we know that you can’t get there by willing yourself and deciding you’re going to do it.  We all have to just be familiar with what it feels like when it was going on.  But in general, there was a thing that I got from passion and then there was a thing that I got from intelligence.  So I could say that to me Paul Bley was giving me a message that you could use intelligence in a certain way, back when I heard him with Jimmy Giuffre, and that it didn’t HAVE to swing — because that band did not really swing much! [LAUGHS]

TP:    It was pretty rubato.

JARRETT:  Yes.  But still, if you put all these things together, it does come up with something.  When I listen to Bud, what I hear is this commitment in his playing that is not just fingers coming down on the keys.  It’s coming from more of his body.  So that’s one I got from Bud.

TP:    You did title one of these pieces, after the fact, “From the Body.”

JARRETT:  Oh, I wasn’t thinking of that at all.  I was thinking of the fact that we have to bring this from the body, and not just from our head.

TP:    For you, as a classically trained musician, what was the biggest adjustment you had to make mentally in playing jazz?

JARRETT:  The technique.

TP:    Talk about how the technique is different.

JARRETT:  It’s almost… Mmm. [LAUGHS] Okay, there is a technique to playing Classical music.  The way they differ is that there is no technique that is THE thing to do in jazz.  It is a personal quest to find that.  They are so opposite in that respect that you can’t even compare it.  You can’t compare the techniques.  One is a technique; one isn’t a technique.  So when you’re looking for yourself, which is what the jazz audience would hope you’re doing (I hope they would hope that), you’ve got to throw away all the other rules.  That’s what was really a bitch, because I had already been given all these rules.

TP:    Right.  At the most formative period of your life.

JARRETT:  Yes.  And I was pretty fast… I picked these things up fast, so I went inside and I digested them fast, so I had to regurgitate them over a period of time!

There’s a body language in jazz that you would be avoiding at all costs in classical playing.  And I’m surely not the best representative of that on piano at the moment.

TP:    Of body language?  It’s part of your reputation, I must say.

JARRETT:  I mean, it’s correct that I move like that.  It’s just not correct that it’s a show.  It’s the last thing I’d want to move like; you know, if I was going to decide how to move.  But because you’re dredging stuff up from nowhere most of the time, or seemingly nowhere, you don’t have any chance to be poised and have a good etiquette at the keyboard.  So the technique of getting it out as a pianist in jazz is basically… First of all, you have to not care at all about your own health.  You have to not care about anything but getting out what you hear.  If techniques can differ more than that, I can’t imagine.  In Classical, when you’re rehearsing with an orchestra, you’re not even supposed to listen to the music.

TP:    Say that again.

JARRETT:  I have often been told, “You’re listening too much.”

TP:    When you play Classical music?

JARRETT:  Yes.  And I know what they mean.  I know what the conductor has meant at times.  It’s a bad thing to do, because you get engrossed in the entire affair.

TP:    Then you want to improvise.

JARRETT:  No.  No, but you might not come in on time.  Or you might just be off somewhere in the music.

TP:    Do you practice jazz?

JARRETT:  Well, since I was sick, yes; but before that, no.

TP:    But you practiced Classical music.

JARRETT:  Yes.

TP:    How is practicing jazz different than practicing classical music?

JARRETT:  It feels kind of stupid to practice jazz.

TP:    Is practicing jazz the same as playing?  Barry Harris said that Monk said that.  He said that once he and Monk played “My Ideal” for six or seven hours,  hundreds of variations on it, and that it was the same as playing.  And I’ve heard a similar story from maybe Walter Davis, Jr. on Bud Powell.  They went to his house, Bud was playing something, then they returned much later and Bud was still playing the same thing.

JARRETT:  It is the same, in a way.  I’ve never thought about it at all, but now that you’re telling me this… The thing that makes it the same is that you have to go to the same place to get it happening.  But with Classical, you don’t have to put everything together for sure until you’re performing.  So it is the same thing.  So now, when I go to the studio, I just make sure that I have the strength to do what I might have coming up… If I start playing tunes, if I don’t like what I’m playing, I’m either going to stop or I’m going to make it better.  And then it becomes a performance — for myself.

TP:    Why is jazz for you a trio endeavor vis-a-vis… Well, I guess that’s true on Melody… Let’s erase that question.

JARRETT:  [LAUGHS] Okay.

TP:    I guess you know where I was going on that one.

JARRETT:  I don’t really know where you were going.

TP:    Where I was going was that jazz to you seems to be a collective endeavor, specifically with this trio, whereas as a soloist it seems peripheral to the totality of your knowledge that’s coming out or that you’re accessing or drawing upon at any given time.  I mean, you hadn’t done standards as a solo pianist until The Melody…

JARRETT:  No, I actually I did a Japanese video that’s released, and I’ve also done it in performance.

TP:    So please allow me to erase that question.  I asked Gary Peacock if he noticed in you or felt any change in your sound in the aftermath of your illness.

JARRETT:  I’m sure he said yes.

TP:    He did.  He said a couple of things.

JARRETT:  He probably said, “Yes, and then it changed again.”

TP:    I’ll tell you what he said.  First he said that on the trio’s first outing after you resumed playing “we consciously tried to tone down the whole volume level of all of us.  His playing was lighter.  He was paying attention to not exerting himself so much physically.  And by quieting it down and getting softer, basically, instead of playing loud or having the volume levels high, what it did was allow his fingers to move in more of a horn-like fashion,” and that your playing sounded like a horn, which is possible to a certain extent when the volume level comes down.  He said that was something which the hall in San Francisco demanded.  Then I asked, “Stylistically is his playing  more compressed or more spare in any ways?” and he said, “No, I think it’s freer.  Less self.  More just the music.”  Do you have any speculations on this, vis-a-vis the tonal personality of Keith Jarrett?

JARRETT:  Well, I probably have speculations.  But  I remember on this last tour, which was in Europe only a couple of months ago: After the first or second concert, Gary said to me, “Your playing….I don’t know what to say about this, but it sparkles in a way that I don’t remember.”  Then later he said, “That wasn’t the right word,” and I can’t remember what he said the better word was.  But I knew what he meant.  There was a kind of… Wow, I wish I could think of adjectives.

TP:    Could it be something to do with cherishing every note?

JARRETT:  Well, it could be.  But I think it’s more of the joy of playing and  not knowing how long that joy will last.  And we all know that, but we don’t know it very well.  But after my illness, I knew it really-really-really well, that it’s always a privilege to be able to play at all.

TP:    And you might have taken it for granted before.

JARRETT:  Well, we all do.  Especially if you’ve played for 50 years!  53 out of 56.  I would say — although this isn’t really on anything that’s out there yet — that my playing has changed even since the time we did Inside Out.

TP:    From my perspective in listening to Whisper Not, it sounded very idiomatic and free as idiomatic music.  The way you put it a year ago was that you were playing more on the time.  I have an affinity for bebop, and it impressed me tremendously, as much as anything I’ve heard from you.  I feel similarly about Inside Out.  I’ve been personally moved by both records.  The words that occurred to me were “compressed,” “honed-in,” or… Well, I don’t know what the words are either.

JARRETT:  There’s a quality that I would call letting-go involved here, too.  When you play a phrase, you might want to… If I studied my own physical moves on a keyboard, I’d probably be making much different ones now if I were to compare them to before I got sick.  Then after I got more well, which still was happening even… This last tour was the first regular-sized tour I think we’ve done, meaning like eight concerts instead of five or three.  I would guess  that I am doing a lot of things differently that I don’t know I’m doing, and the result is that there’s a flow and a… I’m not trying so hard to… Yeah, there’s something about trying in here, too, and I don’t know what it is.

If I see a tennis player or a baseball player and see the way swing… You  know how some of the guys who can’t hit very far look like they’re putting immense energy into their swing, and some guys who do hit well look like they’re not doing that much.  I am still jumping around much more than my doctors would ever recommend.  In fact, probably more.  But where the energy goes is different than before.  So that’s one answer.  I just don’t know how to describe it.

TP:    Do you feel more connected to the tradition and lineage of jazz than you used to?  Or was there a hiatus when you put it aside and maybe came back to it more in dealing with bebop?

JARRETT:  I think a hiatus maybe, yeah.  When I was forced to try to reestablish my playing at home, I was then forced to practice playing tunes, and I never was doing that before.  Since I was alone, I had to make it sound right to myself.  So some of the things I changed because of that.  In other words, the trio wasn’t here every day, so I still had to feel good about what I was doing.  That allowed me to get more connected again to the history of the music and the performance practices of the past that I had already been playing long ago, like stride or… Well, I can’t really do that because my hands are too small, but I do something similar.

TP:    You did it just fine on “Wrap Your Troubles In Dreams.”

JARRETT:  That’s why that tune was done that way, because I had actually been practicing at home, and when I practiced that at home, that’s how I felt it should sound — the way it starts.  Then we go into a more modern way of playing it.  But at Montreux on this last tour… You asked me before what do we do in concert now; do we do it free or is it a mixture?  I can just give you this example.  Because we never know what it’s going to be.  Most of this tour was almost all tunes, and there was not that much so-called free stuff.  Then there was Montreux, when we started playing tunes, noticed that the sound and the piano was a certain way, and it was okay, but then I thought “I’m going to something else,” and we started to play “Ain’t Misbehaving” or something like that in that same stride manner, and then we played three tunes in a row in that style.  Now, this wasn’t the usual fooling around at the soundcheck thing where we often just kid around with that, but it got serious, and we were really playing that way.  After that, we played “Straight No Chaser” and took that  out and we were playing very free off the blues completely.  Then we played more ballads and tunes.  So it was like everything! [LAUGHS]

TP:    So it’s almost as though you’re accessing the full jazz tradition in an idiomatic way as you used to do with classical music.

JARRETT:  Possibly.  I know what you mean.

TP:    A broader question.  Has the experience of the last couple of years, of practicing and relearning, given you a different appreciation as a form unto itself?

JARRETT:  No, I don’t think so.

TP:    Can you address your feeling of what jazz is as a cultural inheritance for us, as a people?

JARRETT:  My writer’s self comes up when you ask me a question like that.  The writer is saying, “Now, you don’t dare answer this with a casual answer.”

TP:    It doesn’t sound to me like you answer anything that casually.

JARRETT:  But when I write I get even worse.  But I don’t know.  All I know is we need it.

TP:    Why do we need it?

JARRETT:  Because I think it may be the only art form at this point in time that asks the player…not the conductor, not any detached entities from the actual playing…that asks the player to find  out who he is and then decide if it’s good enough to speak from that self, and then that player has to live with who he said he was until the next time he plays.  It’s an incredibly rigorous and merciless thing, unless you’re doused with some drugs or something.  And strangely enough, that rigorous thing is the representation in musical form of freedom.  So it is a metaphor for important things.

In life, if you think you’re in control, you usually aren’t.  You’re usually just thinking you are.  If you think you don’t have any control, you usually relinquish all control and let everything happen and therefore have no effect.  To play jazz and make something valuable out of it, takes such a perfect balance of those two things — mastery and the relinquishing of control.

TP:    Many of your generation, yourself included, served consequential apprenticeships with masters.  The oral tradition held.  For you, perhaps that was operative in your brief time with Art Blakey, or maybe not.  You could tell me if it was that way for you with Charles Lloyd.  Were there any other figures like that for you?

JARRETT:  Paul was like younger than I was!

TP:    Well, how about Art Blakey.  A lot of people who passed through the Jazz Messengers say that once a Jazz Messenger, always a Jazz Messenger.  Did he have an effect on the way you think about music or life or…

JARRETT:  Not really.  But he was a sweet guy.  I loved working with him.  But no, I wouldn’t say…

TP:    How about the years with Charles Lloyd?

JARRETT:  Well, Charles gave me carte blanche to do whatever I felt to do.  At the time he wasn’t paying me enough for anybody to do what I was doing, but I didn’t care — I was a young guy.  But that was an important thing, to have no restrictions on what I did.  Very few players get in a situation like that,  that early, and I think it was a fortunate combination for me.

TP:    A combination of the zeitgeist and the personalities in the band.

JARRETT:  Yes.  Jack had just joined, and that’s been a long relationship.  Philosophically, Charles was an astute… This sounds bad, but he was an astute businessman, so he kind of like…if you didn’t have to do it and his band was doing it for him, he probably would let it happen! [LAUGHS]

TP:    When I spoke with you last year, I asked you to pinpoint the qualities in Jack DeJohnette and Gary Peacock that make you so suited, and you addressed the question by telling me that I should interview them and get their perspective. I asked Peacock, who said that it was ineffable, but that you all share a set of common experiences — Jamal, Miles Davis, etc.  I don’t know if I’m going to get to speak with Jack or not.  Is this a question you can address for me now?

JARRETT:  Well, I had an answer for this years ago, but I’m not as lucid as I was.

TP:    Good.  Then we can create a new one.

JARRETT:  But I’m not as lucid as I was a couple of years ago.  Well, when I think about us as a unit and then as separate personalities, to me it’s as though if we didn’t play together, we would have been making a big mistake.  Each of us would have made a mistake.  Whatever that mistake would be, I don’t know.  But not having played together would have been a mistake.  I don’t sit around and think cosmic things all the time.  But I think we were intended to be playing together.

Jack is an inclusionist.  He is the kind of guy who would not want to say anything bad about another player — or anything.  He would want to give credit to everybody.  Gary is a thinker and a very specific… I had a word for this, but I don’t know what it is any more.  Gary lives in his head a lot.  Jack is a heart guy.  And I am a skeptic. [LAUGHS]

TP:    You’re the Skeptic, Peacock is the Thinker, DeJohnette is the Heart, the Passion.

JARRETT:  I am skeptical even as far as being skeptical of my own thinking, yes.

TP:    How do you put that aside when you play?

JARRETT:  See, that’s wrong with doing this.  I’m not sure these words are accurate for what I’m thinking.  I’m not thinking of the right adjectives or the right…

TP:    Is the quality of thought different from when you play than when you talk?

JARRETT:  No.  In some funny way we are all so confident… I don’t know what to say about that.  You know how you repealed that one question?   I can’t answer this.  It’s too hard.  It’s like we’re a family, and I can’t come up with the right…

What I’m skeptical about is all belief systems.  Gary has found one for him.  He’s a Zen guy.  And he would say it’s not a belief system.  Jack has found things he believes to help him, the way Gary found something he believes helps him.  And I actually have seen that Zen has helped Gary a lot anyway.  So it’s not a question of whether it’s effective or not.  It’s just that I believe that because there is a practice involved, it is a system.  That’s maybe why I chose the word “skeptic.”  What I mean by “skeptical” in this case is I never want to close a door on something I didn’t include  because my feeling is that it’s not part of my practice or my belief system.  So I am skeptical of all of those, including my own when they come up.

TP:    You have in the past had certainly strongly held belief systems, yes?  Gurdjieff.

JARRETT:  But the funny thing is that if anyone ever looks deeply enough into Gurdjieff, the one thing he was saying is that it isn’t a system.  It’s just that what we’ve gotten, just like with a lot of things… The flak you get back from it is not the real thing.  The rep it has is not what it is.

TP:    In the process of the trio, you said that you invoke and Gary and Keith pick up, and then  it becomes an equilateral triologue.

JARRETT:  In this one recording.

TP:    On the one hand, your sound and predispositions define what the trio does.  On the other hand, there is this constant three-way interplay going on all the time.  To what extent are you the leader and how does that operate?  I know it’s naive question…

JARRETT:  No, that question is not naive.  It would be naive to not have that question! [LAUGHS] I hope that I am the leader in the way I would guess a good leader would be.  I consider Miles to have been an incredible bandleader, in the sense that he never told anybody what to play, but he gave them the feeling that they could find it out for themselves, and when they did, he didn’t say a word to them except, “Let’s play it.”

I am like a guide.  I am a programmatic guide.  I think if I weren’t there, you’d hear some great music, but it might not connect the way it does.  I mean, if I put somebody in my place, a great player… I have instincts about form, even over large periods of time…not architectural form, but what you sense on Inside Out.  It’s kind of a miniature version of what I’m talking about.  I think without my little pushes and pulls, it just wouldn’t cohere.

I can give you a great example.  In Montreux two years ago, that was the first place where we tried to play no tunes.  That was the same tour as this London release, the Inside Out record, and we hadn’t tried it before, and whenever I got soft, so did Jack and Gary.  When I sounded like I was finishing, they went down.  So it was threatening to stop.  The music would keep threatening to be over unless I did something.  So I had to talk to them about it in  London, and I said, “Just remember that you’re not obliged to follow anything.  None of us have to follow each other anywhere.”  That’s when it started to open up more, and that’s one of the reasons we chose this to release rather than Montreux.  So I am leading the band without trying to.

TP:    How much are you feeding off of them in the in-the-momentness of the thing?

JARRETT:  More now than… Do you mean in the free playing?

TP:    I mean in any playing.

JARRETT:  Well, I hope I’m feeding off of them as much as I can!

TP:    It’s another naive question, but I was curious what you’d say.

JARRETT:  Obviously, if I had to have a substitute player for either of them, I would be cancelling the concert.  So I guess I would prefer to be playing with them.

TP:    Jack does magical things.  The sounds he gets out of that drumset… It’s so quick.

JARRETT:  Oh, definitely.  Well, when you hear the Tokyo tapes, we all sound like we disappeared.  But me less than them, because unfortunately it’s pretty hard to make the piano elastic.  It keeps popping back into being a lever system.  But Jack becomes not the “Jack deJohnette, drummer” that everybody knows.  Gary has done a lot of different things, so… But I have the feeling that our identities become erased in the quality of energy we’re working with.  In our situation, though, I still think that because my instrument is the chordal one, if there are any guidelines… I mean, if there’s any moment when there’s a slump coming up or we feel something is not there, the only person who can suggest tonality, or a lack of it, or direction, or motion, or dynamics in any quick and coherent way that could be grasped by the other two is the piano.

TP:    On Inside Out how did you decide on how you sequenced the document?

JARRETT:  It’s in sequence, except that the fadeout then leads to the end of the next night’s set.  The encore was one of the few encores we did.  There wasn’t any more room on the CD.

TP:    On “Riot” are you fading into something or coming out of something?

JARRETT:  We’re fading in on this thing that was already about 25 minutes long.  That was just crazy.

TP:    Were the concerts on the 26th and 28th completely different in pacing, content, etc.?

JARRETT:  Yes.  But the first two tracks are absolutely the way it went down the first night.  So that’s the first set, I think.

TP:    The third piece?

JARRETT:  I think that’s the beginning of the second set the same night.  “Riot” was the second night.

TP:    On Saturday I took my first trip to Manhattan since the bombing.  The only subway line I can now use goes through the Chambers Street station which abutted the World Trade Center.  The first track was on my headphones as I was going through this now ghost station, and it had a quality that made me very happy I was listening to it at that particular moment.  It’s a spooky thing; everyone was dropping their New York attitude and peering out the windows into the station as they’re going through.

JARRETT:  It’s actually a funny album title to be coming out at this exact moment.  Everything has sort of turned that way, hasn’t it.

I don’t think I can do justice to covering these guys’ personalities!  We’ve been together for so long.  I don’t know if I even think of them as…  I had this cutesy way of describing them.  It was in the Downbeat article.  Whatever I said about it then, I guess I must have thought about it ahead of time, and was more correct, at least in a semi-humorous kind of way.  But these are deep players.  Personality is what we’re trying to get away from when we play.  And we’re of course limited by being who we are, but that’s a tough one.  they’re just too beautiful to use an adjective for them.

TP:    There must be some innate characteristic of that personality, because it’s obviously you and it’s obviously Gary Peacock and it’s obviously Jack DeJohnette.

JARRETT:  Yes.  But the hardest to describe for any of us would be ourselves.  So I could say that Gary tends to be on the scientific, he-doesn’t-like-belief-systems side of things, which is good for him, and it works for him, and I need that.  Jack is in some ways the… In Gurdjieff there was a thing about Third Force.  There was a positive, negative and harmonizing force.  In some ways, Jack is a harmonizing force, and a…I don’t know what to… An inclusionary… He’s inclusionary.  But nothing is great on its  own.  No one word makes that person as great as I feel they are.  You know what I mean?

But it’s a challenging thing for me to think of.  Because when we play together, there’s an alchemy going on, and that alchemy comes from — to some extent, of course — the chemical and psychological natures of all three of us..  As you said, we are different people.  But it’s that chemical combination that I see more than I see our separateness.  So when I think of us as separate people, yeah, I know what my tendencies are in conversation, and what Gary’s are and what Jack’s are.  If Gary and I are having an intense debate about whether there’s one Truth or many, Jack might be the guy who says, “Okay, let’s go have some coffee somewhere.”  But the thing is that it all drops away when we play.  But on the other hand, those intense conversations don’t happen any more.  We’ve been together for so long and we’ve all learned so much during that time, that we’re now not who we were back at the other Downbeat article.  We’ve grown since then.  When Gary and I talk now, we get to some incredibly beautiful, deep places, and we understand each other’s language.  Sometimes it takes 18 years to understand somebody’s language.

TP:    It can take a lifetime.

JARRETT:  Yeah, and you keep interpreting it wrong.  Gary used to interpret several words wrong, and I think it’s because of his upbringing and religion; he doesn’t have a good feeling about the word “God” or anything like that.  Jack doesn’t mind those words.  I kind of do.  So it’s a nice combination where it all ends up being neutral, and it’s time to play…

TP:    I suppose that process is a metaphor for what happens in the musical language as well over 18 years — the conversation and the dialogue and the understanding evolve to that kind of collective simplicity.

JARRETT:  Yeah.  And trust.

TP:    You cut through a lot of the verbosity or whatever, not that the trio was verbose… That’s an interesting coda you’re giving me.

JARRETT:  I’m trying to.  Because I don’t think that one-word thing is really cool at all.

TP:    Oh, I wasn’t asking for one word at all.

JARRETT:  That was my choice.  I was trying to think of the words I had thought of before.  We’ve been watching each other grow all that time.  So it’s sort of like we’re friends and we’ve been together this long, but it’s also like we were watching kids grow up — and we’re one of the kids.  When we play, we’re morphing into more and more of what we could have been before, but we didn’t know it yet.

TP:    How much more in this year and the early part of next year is the trio scheduled to tour?

JARRETT:  We have five concerts in the States, and that’s it for the rest of this year, and nothing planned for 2002.  I have an ongoing physical monitoring system, and I have to take time off to make sure everything is…

TP:    Can you comment a bit on your physical well-being these days?

JARRETT:  Well, except for these disk problems, which I’ve had for years, which is really on my case, and I’m trying to avoid surgery…

TP:    Was that exacerbated by the CFS?

JARRETT:  No.  That was exacerbated by music.  Better not to put this in the article in case I want to get insurance.  But I am still on the medications for the bacterial parasite that I was being treated for…

TP:    Are those allopathic or homeopathic.

JARRETT:  They’re major medical, like antibiotics and stuff..

TP:    So you’re on a constant diet of antibiotics and stuff.

JARRETT:  All I can tell you is that I believe if I hadn’t gone on this protocol, you wouldn’t have heard any more from me.

[PAUSE]

JARRETT:  Are you aware of the anagram of “Riot”?  It’s easy but I bet no one is going to think of it.  “Trio.” [LAUGHS] How do you like that?  It’s one of those that’s just too simple.

TP:    Can you tell me what your daily regimen is?

JARRETT:  Besides the 79 charcoal pills?  Now, sometimes because of my shoulder and my back, I have to not have this regimen at all.  But here’s the day.  I get up (I won’t tell you what time, because that’s not fair).  I have breakfast, and then I almost every day take a very brisk treadmill or outdoor walk, depending on the weather, for 2-1/2 miles or so.  Then I do some stretches and exercises for my upper body, which I really can’t… I usually have  to see the chiropractor every day, and I usually practice in the evenings, 45 minutes to whatever amount of time.

TP:    What have you been working on lately?

JARRETT:  Just moving my fingers.  I’ve been just playing tunes in the studio.  Sometimes the Goldberg Variations.  That’s it.  I’m going to get my studio worked on, and I’ll try to get that practicing in before it all goes down.

So it’s a very boring day.  Then I always read at night.  That’s a must.  What am I reading now?  If you saw the house, there are so many books around that people often ask, “Did you read all of these?”  And I have to say, “Not all of them, but more than you think.”  I got involved with a writer named Gene Wolfe, and I am surprised about this guy.  I’m trying to give him as much space and as much time as possible.  If you saw the book in a bookstore… If you were me, you would never buy a book with a cover like these.  They look like these…what do you call them…these Quest novels, like Ursula Leguin type… But the guy is into some stuff that I feel is very good for the mind, and I actually recommend him, but you have to meet him halfway.  So let him do what he’s doing and be patient.  But I think anybody who’s read good writing eventually realizes how great this guy’s writing is.

TP:    Have you tended over the years to be more involved in fiction or non-fiction or both?

JARRETT:  Both.  If I had to say which I’ve read more of, I’d say fiction.

TP:    Any favorite writers?

JARRETT:  A lot of them.

TP:    Tell me a couple.

JARRETT:  Robert Musil.  Calvino.

TP:    A true skeptic, Robert Musil was.

JARRETT:  Yes.  He was also interested in Sufism, which I didn’t realize until I read his book twice.  I read Antonio Demassio, who writes about the brain and how we perceive things  That’s a mindblower in itself.  That’s neuroscience, not fiction.  But one of the books is titled “The Feeling Of What Happens.”

I have two kids.  One of them is 30 already.

[-30-]

* * *

Keith Jarrett (Sept. 9, 2008):

TP:   How does it feel to be inducted into Downbeat’s Hall of Fame?

KJ:   I was getting Downbeat when I was a teenager, and I’m aware of the magazine’s deep roots and history, and of the people who are there. So yes, it’s meaningful, as far as people thinking my work is important. But if I think of what fame means right now, it’s not so meaningful! Years ago, in Vienna, when I was about to do a solo concert, the press was interested in talking to me and I did an interview with Der Spiegel. One of their first questions was, “What is it like to be a star?” I said, “Man, that is out of somebody else’s book, not mine.” Then also, I remember, at the only class reunion I ever went to, the question was, “So, are you successful?” I said, “Yes.” They said, “So are you making a lot of money?” So these words like “fame” and “star” have relative meaning. If you were asking, “What’s it like to get a Grammy?”, I’d think, “No.” It would be the beginning of the descent from the mountain.

TP:    In his biography of you, Ian Carr places the beginnings of your obsession with jazz to your late adolescence in Allentown, Pennsylvania, when your parents divorced, and you began doing little gigs in town.

KJ:   When I was around 14, which is when my parents were having trouble, I had a remarkably good classical teacher, but once a week I had to take a little time off from the end of the school day and to drive to Philadelphia for the lesson. She was a firm believer in my not spreading the peanut butter thin. In other words, she didn’t like that I was interested in anything else but the Debussy or the Beethoven that I was studying with her. Strangely, in about a week-and-a-half in Philadelphia, I’ll be playing again in what turns out to be where she used to live, and it will be jazz.

Allentown was a cultural vacuum. There was one record store, I think, called Speedy’s Record Shop. As a kid, I had an allowance maybe, but we didn’t have much money. Occasionally, I would play classical concerts for the local women’s club, and I’d save as much as I could to look for new things that I knew nothing about. Every now and then my brother and I would try to sneak records out of the stores, because we couldn’t afford them. It’s not easy to steal a record! We got caught once, which wasn’t fun. Of course, the selection for pianists was between Oscar Peterson and Andre Previn, and also Errol Garner and Brubeck. One pivotal moment came when I found the Ahmad Jamal white album. I didn’t know who Ahmad was, but it looked interesting. Years after the trio was already a working band, Gary, Jack and I started talking about the album, and found we’d all had the same experience with it. I was playing drums at the time, and I got my drumming together through emulating Vernell Fournier’s great brush playing in the sparse spaces of Ahmad’s music. It was my introduction to actual jazz versus popular jazz.

After high school, when I was in Boston, trying to go to Berklee, I got a job with a vocalist in the upstairs lounge of the Jazz Workshop. Herb Pomeroy, who was my big band instructor, was playing downstairs, and one night when Ray Santisi, who was one of my piano teachers, hadn’t shown up, Herb asked me if I wanted to play. Pete LaRoca was playing drums, He was my favorite drummer at the time, and this was just too much to conceive of. If Ray hadn’t shown up, I would never have gone back upstairs. It was the most beautiful way to go through the gate, to the nirvana place that one would want to be.  That was my first world-class connection as far as actually playing jazz.

TP:   By then, you were probably up on what Bill Evans and McCoy Tyner were doing…

KJ:   No, I wasn’t. In the beginning, I was pretty conservative. I hadn’t heard Coltrane yet—or at least I hadn’t liked Coltrane yet. People would say, “You must be listening to Bill a lot.” “Bill who?” “Bill Evans.” I had heard him, but wasn’t feeling like I was in that direction. Actually, I’d heard Bill when I came through Boston on a summer bus tour with Fred Waring’s Pennsylvanians. I won’t make any derogatory statements about that experience, except that it was, in all ways, terrible—except that some of the people were nice. They realized that I was talented. They also respected that I was resisting the urge to do something inappropriate for the musical format, restraining myself from being a crazy person in this situation. That made it worthwhile to do those things for a certain amount of time. I think it’s a mistake for people always to be able do what they want. I think my sons see my career as always having my way. But that’s because they were born after all this other stuff.

TP:   Early on, did you know that music would be your life?

KJ:   Yes. I had a very normal childhood, because that’s the way I wanted it most of the time, and when I did classical lessons, since I wanted to go out and play sports with my friends, I’d turn forward the timer on the kitchen stove, as my grandmother wasn’t paying much attention. But when my mother or father would discover I’d done 2 or 2½ hours instead of the mandatory three, they’d say, “Then we’ll have to sell the piano.” For all I knew, they were serious—my father was a real estate man and probably had enough, but he had five kids, and if the piano wasn’t being used… That stopped me in my tracks. I would think, “No, that’s not an option.” When I was 8, I got my first grand piano, after actually paying for it myself from concerts in Allentown. I slept under it in order to be able to play it immediately upon waking up.

Q: You seem to have been quite focused and mature about how to proceed—resisting the temptation to rebel when playing with Fred Waring, rejecting an opportunity to study with Nadia Boulanger, waiting a couple of years before you matriculated at Berklee.

KJ:  I didn’t know what the future would bring, but I had really good instincts about who I was. I couldn’t have explained why I said no to Nadia—I was looking to study with her! To me, I was not negating an education. But I didn’t want to learn the names of things. I wanted to be involved in a process that was pure, and I didn’t want to get analytical about that process, or have anyone tell me that something wasn’t possible because it wasn’t musical. My ears were going to guide me. I don’t fit that well into any particular category. Whatever musical story I tell is not all jazz; at times, it’s something uncategorizable. If someone started to tell me, ‘Okay, this sound goes with this sound,’ I might believe it, and I might never have experimented putting different sounds next to each other.

When I heard Brubeck’s quartet live the first time, I remember thinking, almost verbatim, “There’s more than this.” There’s always more, and if you get it all down, maybe there isn’t any more. If you make a map of something, and that map isn’t changeable, you’re stuck with the map. For driving, that’s good, but for music, I’m not sure. Inclusion has been what it’s about for me.

TP:   You’ve said that saxophone players influenced you, not pianists.

KJ:   Let’s broaden the statement to include horn players. There’s a fluidity in an instrument that uses air. I’ve always wanted to get as close as possible to subtracting the mechanism of the piano from the whole affair. Now, that may no longer be true. Every little period of time I go through, I reinvent what I do, and will let the piano be a piano. You can see that in my recent solo things.

Early on, my favorite bands were usually pianoless—for instance, the Gerry Mulligan small big band. Strangely enough, I would call Monk’s bands often pianoless—he wasn’t always comping, and when he was, it was more orchestral. Even his solos were not pianistic, because he wasn’t a virtuosic player; he sort of played like a composer. For Ornette, no piano. People whose ears were open always attracted me, and I liked what Paul Bley was doing with the piano, especially when it was a funky instrument. When I heard him on a Bosendorfer on something that was recorded maybe 6 or 7 years ago, I would never have recognized him.

Pianists in jazz do not work on touch. I was lucky that I started with classical hearing. I was also lucky—or smart—to play Mozart around the time that the trio was playing ballads, because Mozart demands a certain refinement of touch that I had not developed until I started to play Mozart. Only since then has my ballad playing been closer to what I hear.

TP:   Can you talk about your conception of the trio with Haden and Motian vis-a-vis the present group?

KJ:   The early trio represented three free spirits, and I chose them because of that. We were in the midst of that revolution period. and I felt that we were defying the norms of the time. That means in all ways. Free playing wasn’t the same as free players thought it was. Most free players couldn’t play time. Most might not even be able to play their own instruments, but they could be extremely influential because they did things that no one was willing to try. If we wanted to swing, we could. If we didn’t, we didn’t. If the overall context demanded both, we could do that. At the Village Vanguard one night, Max Gordon said to me, “Keith, you know, you could get a lot more people here. You guys can really swing; you should do that.” I said, “Max, it’s going to take a while, but the people will come, because we’re doing exactly what we know we should be doing.” Now, how did I know that? I was a young upstart talking to an old club-owner who knew what he was talking about. But my instincts were good. Words come out of your mouth and you don’t remember, “Gee, I’m not sure when I’m going to eat my next meal.”

TP:   That’s how it was during the ‘60s, wasn’t it.

KJ:   That’s right. We were trying to build a tradition. I would say I wanted to be free of everyone’s bullshit, and that included my own. I was never trying to be a stylist. So I wasn’t going to be sparing. I was going to be merciless on myself. If I could write something that could find its way to a different place than everything else, and it was still something I felt very close to, then that would be successful.

Now, how does that pertain to the present trio in 2008? I would say we’re trying to preserve those precious values. As opposed to the ‘60s, now it’s like, if we don’t do it, who’s doing it? If I think of one thing that it is, it’s how Miles attacked the beat on his trumpet. When we went into the studio to do our so-called Miles tribute, Bye Bye Blackbird, a couple of weeks after he died, I talked to Jack and Gary, and I said, ‘We’re not doing a tribute album. Maybe we’re going to play some material that Miles played. But my idea is to play as though I were Miles, not play like a pianist who would play Miles.” If you extrapolate from that to what we do when we play standard material, we’re trying to find this place that we don’t hear many people coming from. We don’t hear people swinging that often, if I can speak for Gary (and maybe Jack, too). What young players know about the music is so stilted somehow. They do their best, and they might be great players, but there’s a lot of wasted energy going on.

TP:   In light of that remark, it’s interesting that so many younger players mention both your American and European quartets as extremely influential. Do you have any speculations on the impact of those explorations on the way jazz sounds today?

KJ:   I don’t. But possibly one reason why I don’t sense it is because it was so personal. One of the reasons why the American quartet was so interesting is because none of us knew what the hell we really were doing. With both quartets, I took into account everything about these guys while writing the pieces. As an example, I did this for Jan Garbarek with strings, on Arbor Zena and Luminescence, where I got inside what I thought was Jan’s way of playing. When he came over to rehearse for Luminescence and look at the sketch, I played it on the piano and did his part. He asked, “Do I play like this pattern?” I said, “Yeah, you do it all the time.” He said, “I had no idea.” There was something like a minor second, and then a third down, and then a second, and then another third, so it was completely out of a key. I heard him do that many times. Another example is that Dewey Redman did not like to play on chords.

TP:   Now, you went from working incessantly with two different groups, after always having worked in groups beforehand, to making solo concerts the focus of your activity. How did the idea of creating form from a tabula rasa begin to gestate for you?

KJ:   I was just curious about the process. So far as I know, no one was investigating it. It happened by accident. After Facing You,  I came on stage after Friedrich Gulda at a festival in Heidelberg. I started playing a song, which I don’t remember, then I attached that, without stopping, to another song. Then there was some kind of transitional material, and it ended up being whatever amount of minutes of that. That led to me to wonder whether those transitions themselves were something, which led me to investigate that. It’s such a different universe. I wasn’t really even ready for this discovery, because only recently did I become a good enough player to use both hands properly under those circumstances! So whatever amount of years I spent doing it, it was as an inferior player to who I am now when I play now.

TP:   By “recently” you mean what?

KJ:   Five or six or seven years ago.

TP:   So not until after you had Chronic Fatigue Syndrome.

KJ:   Correct. And I worked my ass off in a new way. I realized jazz pianists don’t do their left hand. It gets to be just like an appendage. When they do solo albums, typically what you hear is, “Where’s the bass? I’m waiting for the rhythm section.”

I have to credit the disease with giving me a tremendous amount of creative information—it was a great opportunity to sum up my work. I had no idea if I’d ever play again, so all I had to do was think about what happened to me. When I’d listen to my solo stuff, I’d think, “What the fuck am I doing? There’s too many notes here. If I did this again, no, I’d never play this, I’d never play that.” Over that period of time, I realized that, if I ever returned to playing solo, I’d never do it that way. When I started to practice and was able to play at all, I found myself stopping, because I’d be playing something I didn’t really hear in my head. I didn’t like it any more.

TP:   You went through a similar crisis during the ‘80s, when you made Spirits, and transitioned from one set of habits into a new realm of investigation.

KJ:   That’s correct. Although when you’re sitting at the same 88-key instrument and you’ve got the same two hands to undo the architecture you’ve built up over two decades of doing this thing you thought you understood, it’s a freaky experience to go through. However, the freakiness only lasts a second, and then you realize, “if I have the energy to do it ever again, I at least know where to start.”

TP:   You’ve remarked that you discovered Gurdjieff while you were on the road with Charles Lloyd, and later became involved in Sufism. Did the solo playing have anything to do with constructing some kind of aesthetic philosophy from those investigations?

KJ:   All through my entire history, there’s a mixture of philosophy, spirituality, and just plain musical desire—desire for the instrument. I never took drugs, for example. I didn’t need that. I would see people…I would roll cigarettes for them. I was with the Animals in London. Jimi Hendrix was interested in doing a project, and I was working on ideas of how to work with him. I wanted to do a project with Janis Joplin. There was a rough mix of ingredients in the ‘60s and ‘70s that we really don’t  have now. We might call this the “information age,” but I consider that complete bullshit. What IS the information? Of what value is it if it doesn’t attach itself to something? In the future, I can see that there might be an audience that literally thinks all music is equal, and there’s no such thing as good or bad. So I’m happy to be as old as I am, and I’m happy particularly to get this award while I’m alive, because in that sense it does mean something. Somebody is saying that something is better than something else, and that’s a relief.

TP:   What are your criteria for documentation? It’s different than the actual process of music-making.

KJ:   It’s not all that different, in my life. At this point, I record all solo concerts, and if it’s good enough I might send it to Manfred Eicher—although on a different day of the week, listening to the same music, I might have an absolutely different take on it. I don’t really like to do that. When you’re aware you’re recording, it’s completely different than when you’re not being documented. It changes both the trio and solo music. It’s possible to forget it for a while, but unfortunately, coughs mean something if they happen when you’re recording. They might mean you can’t use this track, and you know that you’ve just played this the best that you’ll ever play it. There’s no second takes.

In 2006 I played a solo concert at La Fenice, which is the opera house in Venice that was totally destroyed by fire, and wasn’t rebuilt for several decades. That concert might never come out, but at the moment it’s at the top of the list. Since 2006, it’s been up there a couple of times, but then I decided, “No, there’s something newer that’s more interesting.” For whatever reason, it did not manage to be the right thing. I am not using that as the Bush version of “the right thing,” that I know what’s right. Just the instincts weren’t there for this to come out, because other things were more timely.

TP:   Although you are always the “decider.” Sorry, I couldn’t resist.

KJ:   Yes.

TP:   Why don’t you do studio recordings, by the way?

KJ:   Well (a) I hate studios, and (b) more of the time I feel that what I do is for a public that’s actually in the space. Manfred and I talked about me doing another solo thing in the studio, and I’m open to it, but in general, that vibe is wrong for me. There’s too many wires around. Too many lightstands, too much metal around. The control room and the speakers are usually worse than the ones I have in my house. I don’t know if I could engage that.

TP:   Is there something about performing for an audience that facilitates your focus?

KJ:   No. It’s actually the opposite. It’s harder to be focused. However, given that, I have the valid feeling that there are people there who are ready for whatever happens. That facilitates something, but I can’t call it focus. Focus is easier alone probably.

TP:   Do you have inklings to return to performing classical music?

KJ:   Possibly. I don’t really know. I’ve been thinking about the possibility of recording the Goldberg Variations again, for one example. But I haven’t taken myself seriously enough to undertake it. That would be done in, oh, a hall like the Salle Pleyel, with no audience.

TP:   You’ve been quoted that it’s insane to do both jazz and classical music.

KJ:   Yes.

TP:   What in your personality or character allows you to do it?

KJ:   It’s insanity.

TP:   You certainly don’t sound insane.

KJ:   No, that’s one of the great things about insanity! The thing is, you can do it, but you have to do it with scrupulous concern for both your mental focus and the needs of the music you’re about to do. When I was working on Mozart’s concertos before I got sick, I was doing as little of anything that was not Mozart as I could. Many people wouldn’t have that possibility, and if they don’t, then I wouldn’t recommend it. Like, back-to-back, “Okay, this is the classical stuff, then I’ll do improvisation after.” In that sense, even I am not that insane. [LAUGHS] That would be total insanity. Unless you want to strip them both of their innate qualities.

I did a bunch of harpsichord recordings, and you cannot seriously conceive of playing piano when you’re working with the harpsichord. Now, a few days after you’ve finished a harpsichord project, you might want to play a solo piano concert because you’re curious what will come out. The fact that it’s new, that it feels somehow different again, are positives. But I would have to set the stuff up with immense care to be able to do it without going more insane.

TP:   Because of the retrospective nature of this piece, I have to ask about your experience with Miles Davis. It does seem that your time with Miles was crucial.

KJ:   I believe I can call it camaraderie. From the moment I started to play with him, we had an understanding that it was temporary, that I had this other direction that had nothing to do with electronic keyboards, and that I wasn’t at all into that. Around 1967, Miles brought his whole band to a little basement club in Paris where I was playing with Aldo Romano and J.F. Jenny-Clark, who is not alive any more, and later, every now and then, he would show up to hear the trio with Charlie and Paul. I’d walk past the table, and he’d say, “When are you going to play with my band?” I’d say, “Well, I have a lot of work coming up, but I really appreciate that you like the music,” blah-blah-blah. Once I came off the stage from set with Paul and Charlie, and he said, “Keith! You play the wrong instrument.” What could I say? “I know!” So my comments about horns and voice and so on, he was hearing that already, even though we were playing this strange music. A couple of times, he asked me how I could play from no music. I said, “I don’t know. I just do it.”

Once, after we’d spoken, I heard the band with Wayne, Herbie, Ron and Tony at the Village Gate, and Miles played a beautiful short solo—he played all short solos—and then the rest of the band played long solos. He walked off the stage, went to the bar, had some water, stood there for a long time, and then finally went back on stage and played a tune, and then went out. I heard that happen each tune, and I thought, “You know, I’d like to help out somehow, but I’m not sure what that means yet.” When I joined him, the band started turning electric, and I wasn’t sure what my role could possibly be. He asked me which instrument I wanted to play, and I said, “You know, Miles, I hate them equally, so I want both.” “Okay.”

When I say “camaraderie,” I mean that I was meant to be a part of this, and I could tell Miles felt that. What he really needed at the time I joined him was someone on keyboard who could be both challenging and funky, and I think that’s what I contributed. Once the band with Jack and I and Mtume started to play, Miles was staying on the stage the entire time, and going into his crouch—obviously, I made him happy for a while, He didn’t have any question about who should be in that band then.

TP:   Back to your position on the jazz timeline, it’s hard to find anyone under 50 who doesn’t mention you and your fellow sons of Miles as key to the way they think about things. How do you see it?

KJ:   I think they’re right. [LAUGHS] But I think many of us got waylaid. Keyboard players got enamored of electric instruments, and never could go back, and they never have been able to go back since. These are artistic decisions, and you can’t make them lightly. It’s like a painter throwing away their paint, saying, “Well, I want to get these,” but they’re all monotone, and then, “Well, no, I want my old paints back.” Sorry. They went out in the garbage.

My generation’s impact should have been greater, because there were a lot more great players. But Fusion somehow ate them up. I don’t include Miles exactly in that, because Miles got away with being able to play his stuff. I mean, he always wanted to do something different, something new, and if that’s your M.O., it won’t always be correct. Actually, a Japanese producer friend of mine asked Miles if he would sit in with the trio—as Jack and Gary and I all had played with him already—at the Antibes Festival for one or two tunes. I was hoping he’d say, “Sure, that’s a great idea.” I was sure he probably wouldn’t. But I think his answer is very important. He said (of course, through this third party), “No, I already played with Keith.” I wrote him a note back through the same guy, saying, “You played with me, but not on my instrument.”

TP:   Did he respond?

KJ:   No. But he knew what I was talking about.

TP:   It seems like your M.O., rather than that straight line, is more of a circle.

KJ:   Could be.

TP:   Circling back and picking up on things you’d done before in a different context.

KJ:   Yes. I think if I were a different kind of artist, I’d use found objects. I wouldn’t go looking for new technology. I remember seeing Herbie backstage somewhere when he’d just started getting seriously into electronics. Instead of having a conversation, he was saying, “Wow, have you heard this wire, this thing, connected to this and this over here?” I said, “Herbie…no. I don’t want to talk about wires. I really hate seeing them on the stage.”

[END OF CONVERSATION]

* * *

Manfred Eicher on Keith Jarrett (Sept. 24, 2008):

 

TP:   To start, can you tell me how he came to join the label, how you became attracted to his music, and the process by which he began his contractual relationship with ECM?

EICHER:   I first heard Keith live in a festival in Norway with Charles Lloyd, and I heard him again with Charles Lloyd at   the Montreux Jazz Festival. I was very curious about his playing, and I was very moved by the trio as well that played with Jack DeJohnette and Ron McClure. That was before I even had a record label. I was just a student and playing in an orchestra in Berlin. So I moved around and heard people in jazz festivals. I heard Keith Jarrett also in Bologna in ‘68. Then when I had the label, I wrote to Keith, and sent him some test pressings—of a Chick Corea solo record as well as a Jan Garbarek record, Afric Pepperbird, which was my first recording, that I made in Oslo. Keith wrote back and said he liked this music and the sound, and he would be interested in talking to me. So he came to Munich with Miles Davis, and we met in the park in the afternoon after the concert, and talked about a lot of things, and decided to make a recording together. In my first letter to Keith actually, I introduced to him also a trio record. In fact, Jack DeJohnette and Gary Peacock was the idea. But Gary at that time didn’t play the bass; he came back from Japan and the West Coast, and was not sure whether he should continue or not. I suggested another thing, but he called me back and said he would like to do a solo record first. So he did a solo record in Oslo in ‘70, and Facing You was the first.

TP:   Then he continued for a while under contract to you and to Impulse…

EICHER:   While we talked, this was, so to speak, between the contracts. He left Atlantic, went to Columbia, and then started something for Impulse as well with the American Quartet. But the solo things and the trio, and all those kinds of things, he started to record for ECM.

TP:   It seems with ECM, he was able to do almost anything he wanted, to document almost anything that was preoccupying him at a given time…

EICHER:   I wonder whether it was so easy. It had also to do with what was my aesthetic idea was with the label, how I wanted to introduce music. Keith was the ideal partner. I liked very much his piano playing. I liked his aesthetics. I liked his ideas. The first recording we made was a solo record in the studio, then the next recording was a live recording of a concert in Bremen and Lausanne, which resulted in a trio record set. At that time, it was unusual to have an entire solo concert, live recordings and so on, put in a 3-record box. It was quite new for that time. Then Keith showed me his string quartet writing and he showed me other things, so I became very interested to introduce that kind of work from Keith, which was not the work of a jazz musician per se, but of a wonderful musician and talent who had other talents than playing the piano. So we introduced these things, and they resulted in orchestral recordings with soloists like Jan Garbarek or Charlie Haden, Arbor Zena, for instance, or Luminiscence, and the records with string quartets and quintets with a flute player. So we have a nice oeuvre from the very beginning that introduced the musician Keith Jarrett.

TP:   Can you speak more concretely about how the qualities of his aesthetics merged with your sense of what you wanted to produce?

EICHER:   First of all, I thought his way of phrasing, his touch, his quality of suspension, his way of (?) and rubato playing was very close to me as a European. So I heard many influences of the great American kind of jazz book, and I heard many influences from Chopin, Debussy, and all those kinds of things that I liked and I grew up with. To me, it was an idea of a symbiotic thing, because also his touch had reached me right away and touched me quite a lot from the beginning. So from then on, it was clear that whenever I could work with Keith, I would like to work with him.

I’d also like not to forget his great compositions. His way of writing was very idiosyncratic and special. One could identify a composition immediately when hearing Keith’s work.

TP:   It also seems that the influence of both the American and European quartets has been immense on an international level.

EICHER:   Absolutely. The American quartet consisted of Dewey Redman, Charlie Haden, and Paul Motian and Keith. It was a very individual group with a wonderful individual sound. But Keith also had another side which probably was a bit more virtuosic, more light rhythmically, weighted for the dialogue and interaction with players like Garbarek and Jon Christensen and Palle Daniellsen. When I suggested this group to Keith, he was very open, because he’d heard Jan Garbarek a long time ago, and he heard him again in the Molde Festival in Norway, playing trio with Arild Anderson and Edvard Vesala in a club. Keith and I were together, and he was convinced that this was the sound he would like to write for. So the Belonging group was Keith’s group that he was writing for. All the material that you hear there was around, and played by a lot of young jazz musicians—here, at least, in Europe. Pieces like “Belonging” and so on became classic.

TP:   The American Quartet’s influence has also been immense, maybe more on American musicians…

EICHER:   Not just American musicians. European musicians, too.

TP:   Everyone talks about that group.

EICHER:   A wonderful group. But it was so different. Keith could write for the idiosyncratic personalities in these groups very well. So these groups differ very much. Of course, it was entirely Keith’s introduction of the music, but the individuality of the players couldn’t be more different.

TP:    I was curious why, after years and years of playing in groups (and he seemed to like playing in groups and being in bands), he spent so much time absorbed in the tabula rasa solo concerts. Between 1977 and 1981, almost everything in his sessionography is a solo concerts. Can you discuss your experience of this?

EICHER:   That’s right. He started in the early ‘70s with solos, like Lausanne in 1972 or 1973, then followed by Cologne, the Japanese box, the Sun Bear concerts… There was always a lot of solo between the other groups. But then it became a very solitary thing for him to do solo only for a while, before he formed the trio with Jack and Gary. But I think none of us could have expected such a successful resonance to the first solo concert. These concerts became something different, became something else, because no improviser had played entire concerts before not interrupted by pieces, but entirely concerts that took sometimes 45 to 50 minutes, and maybe then a second set. That was something really new at the time, and it was very successful in Japan and in Europe, and Keith seemed to enjoy very much being on stage alone.

TP:    Do you have any speculations on why it seemed to suit the zeitgeist then?

EICHER:   I don’t know the zeitgeist…it’s still going on.

TP:   I mean, at the time, the late ‘70s…

EICHER:   Well, it’s speculative, because very different people… Like, Peter Stein used the music in Death, Distraction and Detroit, a production with Robert Wilson in Berlin, in the Schaub(?), which was a very advanced and important theater group in Berlin that went for this. Not many people would have used the Köln concert at that time. Marguerite Duras, in her diaries which were introduced in Liberacion, has written about Keith Jarrett’s Köln concert that she hears in France in the summer in different situations. Henry Miller. Many people have written… It was more than the zeitgeist. It was something that was coming out of the time, and blossomed out, and influenced a lot of people from very different genres, different kinds of music. All the art field was checking out what Keith was doing.

TP:   Most of his musical production since he was ill…well, a couple of solo concerts, and the trio is now in its 25th year. Can you speak of your first experience hearing this trio playing standard material?

EICHER:   Before they came together to play standards, we had already a recording under Gary Peacock’s leadership and with his pieces. That was the wished-for combination, the combination that I always wanted to have together in the studio to make this record, and it was something really remarkable, I guess. When I listen back to this record, it has such wonderful pieces, like “Vignette.” The way they played together was like they’d played always together.

So later on, Keith wanted to do a standard trio from the American Songbook, and we decided to do that. The evening before recording in Power Station in New York, we went to an Indian restaurant and talked about a lot of things, and made some plans, and went in the studio with the idea to make one record, but we had studio time for three days, and in those three days, when we came out of the studio, we had made three records, including the mixage. We had recorded and mixed. This process was unbelievable. The interaction between these three people was wonderful. You can hear it in the record which just came out again how close they were already in their understanding of each other, and how beautifully their exposition of each piece came out.

TP:   It’s certainly and developed, and they seem to take as much joy in it now as they did then. He’s also recorded a fair amount of European classical repertoire for you, and recorded as a classical musician. How did that transpire from your perspective?

EICHER:   We did a very special and remarkable recording on the piece of Arvo Pärt, “Fratres,” played together by Gideon Kramer and Keith Jarrett. It was their first meeting and recording, and the last recording. It’s still a classic, I would say, which you can hear on Arvo Pärt’s record Tabula Rasa. It’s an electrifying performance between Gideon and Keith. I would never miss that day and how it happened. It was wonderful.

Then we recorded all the Shostakovich, which still is in the catalog and very successful, and recorded Mozart, and he’s recorded Bach, The Well-Tempered Piano, Book 1 and 2—the second one was recorded on harpsichord. Then we did the wonderful recording with Kim Kashkashian and Keith on the Gamba sonata of Bach, and there are other plans eventually.

TP:   Can you speak to the qualities he brings to classical repertoire?

EICHER:   He plays it very truthfully as a musician without any outside musical ideas about showing his ability to do different phrasings and whatever. He has prepared himself very seriously for all these recordings. Some people thought Keith should maybe include more risky elements such as phrasing, and maybe even some cadenzas improvised, like in the concerts of Mozart. But he didn’t. In all the years after, many musicians, classical musicians talked to me about these recordings and how musical they feel they are. Keith’s approach was very pure and down-to-the-text, so to speak, not more, not less. I tend to listen to his Bach quite often. And to the Mozart…and if you wish, you can go into the whole scale what I listen to. But it’s very truthful, artistically done music, and without speculation for any kind of fashion or trend.

TP:   He said that immersing himself in Mozart was of great value to his jazz playing when he returned to performing after recuperating from CFS, that it developed his musicality, his touch, and also his left hand.

EICHER:   Definitely his touch and his left hand. He had a good partner in developing these things, with Dennis Russell Davis, the great American conductor who always was around when Keith played orchestra music, performing this music in America and Europe together.,

TP:   He said that he feels that his solo performances since the illness are far superior to what he was doing before, partly for the reasons that I mentioned. Can you speak about his personal evolution as a musician, both pianistically and conceptually?

EICHER:   Many things. I’ll relate it to the musical ideas and to the program of a musician. What Keith played in the ‘70s and ‘80s were quite different in musical approach than what he’s doing now, especially in the solo concerts. For me, his technical abilities playing the piano was always on a high level, and I would say that his touch has changed in all these years, and it’s remarkable how it did change this way, small nuances first and more and more into a fine-tuning. But it has also to do with his affinity for certain pianos that speak to him. All this together, I think, in the way he wants to be recorded today and how he was recorded in earlier times, digital, non-digital, piano tuning—all those kinds of things have a certain effect on what is documented, of course. But Keith’s playing these days is on the highest level as a pianist.

TP:   I spoke to him about documentation, and why concerts are successful, why he chooses to document one vis-a-vis another. He said that he records everything, that when he thinks something is good he then sends it to you, and what he decides to release pertains to his state of mind at the time. As an example, a solo concert from the opera house in Venice was at the top of his list, then something struck him as more interesting. How do you interact in determining what gets releases, the sequence of recordings, and the content. You’ve had a professional relationship for so long.

EICHER:   We’ve known each other 40 years or so. It has changed, his approach. In the early days, I was at every recording, and we were very close in deciding every little thing, in the studio and outside the studio, in how we approached it. Now it is not possible for us to be always in the same place. Sometimes we are just in different places, and then he trusts his engineer and manager, who are very important for decision-making. But when the music is done, Keith sends it, and then we start to talk and discuss and sometimes fine-tune on the thing, and then we decide together what to release. But we can always have a good agreement on what to be done. The sequence of releases is also discussed, and since they are concerts that go from A to the end, we don’t have to talk about the sequence inside a recording any more because we take the music as it is. If Keith feels it’s appropriate to do so, we release the music as it is.

TP:   That brings up the point that ECM is so known for the sound of the recordings, the way you address the sound in the studio, and it’s been a long time since he did a studio recording, and he doesn’t like being in the studio so much…

EICHER:   Any more. He used to like the studio very much, and he also has a studio at home. But in recent years…or for many years… It started with the trio. All these recordings are done outside the studio, in concert halls. That’s right. And he likes this approach. I think he needs also the interaction with the audience, and probably the risk of going to the edge there is more appropriate than being in an intimate studio where conditions are always very different. I think it’s not a question of better or worse. It’s a question also of interacting with the public.

Recordings like Belonging and the earlier recordings that we made in studios couldn’t have been made that easily in concert live. We have done wonderful recordings with great balance and sound that would only have been possible to make in a good studio situation. Later on, it did fly into other directions, and that’s also fine. It’s important to assist a musician in his needs and his ideas, and then get the best out of it.

TP:   Most of the Keith Jarrett Trio recordings of this century were made in 2001 and 2002. It seems that 2001 was a very interesting year for him, both as a trio and solo player.

EICHER:    That’s right. I don’t particularly look so much into the recording year. For me, time is flying so quickly that I forget sometimes that all these years have passed already. We are listening at the moment to a tape that we will release in January called Yesterdays, which is a Japanese recording from 2001. It sounds incredibly fresh and good. After he recovered from his illness, new life and new ideas were coming into the trio and the solo playing, so since then we have remarkable recordings already released, and we have still some very good recordings that wait to be released in our archive.

TP:   The Tokyo recording is also a trio date?

EICHER:   It’s a trio.

TP:   Will a solo recording come out in 2009?

EICHER:   I guess so. There will be a solo recording. Since we have not finally decided, Keith and I, I cannot talk about which one it will be, but it looks like there will be another solo record coming out.

TP:   Can you describe your overview of where Keith Jarrett fits into the timeline, both on the jazz stage and on the world stage?

EICHER:   When you think about how long Keith Jarrett already is an influential musician. It started when he played with Charles Lloyd, then later on got a lot of attention in Europe and with Miles and all, and he has written such wonderful songs, and is such a great listener when he plays with other musicians—and for the music always. He is one of the most influential and best musicians that I know. “Best” is always a strange term, but his musicianship and his personality, and also his influence to music-making means a lot to me.

[END OF CONVERSATION]

 

For the 83rd Birthday Anniversary of the late Paul Motian (1931-2011), Some Unedited Interviews Between 1993 and 2005

Paul Motian (1931-2011) was born 83 years ago today in Providence, Rhode Island. Shortly after his death, I posted a few encounters with Paul — one link gives you a 2008 WKCR interview that I published on the www.jazz.com ‘zine and a 2001 feature article for DownBeat; another takes you to  an uncut Blindfold Test from around 2000.  I’ll use the occasion as an excuse to post several complete interviews that I had an opportunity to do with Paul over the years. . I actually can’t remember what the occasion was for the 2005 encounter — maybe a DownBeat Readers or Critics Poll article (that text is somehow mysteriously missing from my files). There follows a 2007 conversation for a lengthy obituary of Max Roach that I wrote for DownBeat. Then comes an interview from 2000 — I think this was done live on WKCR — in which many topics are addressed, not least his Electric Bebop Band. Finally, I’ve posted my first interview with Paul, from 1993 on WKCR, during one of the many weeks he did at the Village Vanguard with the trio he formed in the early ’80s with Bill Frisell and Joe Lovano. Finally, as a reward for plowing through all this stuff, the post concludes with a full set of  interviews that I conducted with various PM associates and musical partners (Stefan Winter, Lee Konitz, Bill Frisell, Joe Lovano, Paul Bley, Keith Jarrett, Brian Blade, Joey Baron) that I conducted for that 2001 DownBeat article.

 

Paul Motian (Ted Panken) – (July 30, 2005):

TP: I need to ask you about the scope of your activity right now.

PAUL: One thing I’m excited about is that the week after next I’m going to mix the last Electric Bebop Band record I did, which we did in the studio last November for ECM. On some of the tunes, there’s three guitar players—Steve Cardenas, Ben Monder, and Jacob Bro. It’s the same band that played the Vanguard last January. [Malaby-Cheek]

TP: So these days you’re playing in New York and doing special hits in Europe…

PAUL: No, I haven’t been in Europe… I haven’t traveled for almost two years. I got burnt out. I hate it.

TP: All these projects with Enrico Pieranunzi that came out on CAMI-Sunnyside were in 2002-03. One’s a duo, with a few trios with Potter; one is a quintet date on Fellini music; one is a trio with Charlie Haden and him.

PAUL: Those were done a couple of years ago in Italy at Morricone’s studio. Nice. Charlie Haden didn’t like it, but I liked it.

TP: So you’re doing this thing with Bill McHenry, you’ve got the Electric Bebop Band, and there are a few records coming out that Tina Pelikan has sent with, with Enrico Rava and Stefano Bollani.

PAUL: Those are nice. I like that.

TP: Then this thing with Bobo Stenson.

PAUL: That’s nice, too. I just got a copy. I’m surprised how good that was.

TP: You went to Europe for those?

PAUL: No-no.

TP: They had to come here.

PAUL: Right.

TP: Everybody’s got to come to you now.

PAUL: Right.

TP: You only go out of New York for vacation?

PAUL: I don’t go on vacation. I go to the Vanguard. That’s my vacation! You know what I was excited about? I just played the Vanguard the first week of June with my band that’s called Trio 2000 + 1. That was great. [Poo Kikuchi, Chris Potter, Larry Grenadier; maybe another record]

TP: Are you now contracted to ECM?

PAUL: No, I’m not contracted to anybody. But I have been working with ECM lately. The last trio record with Frisell and Lovano we did for ECM, and the very first record with that trio we did for ECM.

TP: That was the end of your first go-around with them.

PAUL: Sure. It was in 1984-85.

TP: But you did your first trio records, with Izenson and Brackeen for ECM. So this is your second go-around with ECM. How is it?

PAUL: Great. Manfred Eicher is great. I trust him 2000%, especially during the mix. He’s got such great ears. Wow, he’s incredible. I love the sound of that trio record we did with Frisell and Lovano. Also the sounds of Enrico’s record and Bobo’s record. So I’m really looking forward to this Bebop band record.

TP: This thing started again when you went into the studio with Marilyn Crispell a few years ago.

PAUL: That’s kind of true, I guess.

TP: How did this happen? You had a very productive relationship going on with Stefan Winter from about 1987-88 until maybe three years ago.

PAUL: I must have done more than a dozen records with him.

TP: I think you did. And he gave you a lot of opportunity to put out all your different projects.

PAUL: Yes. In fact, there are still some records coming out now that have been re-released. A trio record with Frisell and Lovano that was recorded at the Vanguard that’s coming out now. We’re going to be playing in September at the Vanguard for two weeks.

TP: Has the trio been working?

PAUL: We played Carnegie Hall. That’s it.

TP: Were most of the pieces on this new record fairly recent?

PAUL: Yes. By not going on the fucking road, I’ve been staying and writing music. I think there are 7 or 8 new pieces I wrote for that record, and there’s I think six new pieces I wrote that will be on the bebop record.

TP: This bebop band record won’t be repertory…

PAUL: Well, there are a couple of Mingus tunes on there. It’s been so long since I’ve heard it; I’ve forgotten most of it. There’s a lot of my new tunes, and I think we did Mingus’ Pithecanthropus Erectus and Goodbye Porkpie Hat, and I think we did a Charlie Parker blues.

TP: You played with Monk that one week in Boston.

PAUL: Right. In 1960.
TP: You said you were scared to death, but you got through it.

PAUL: I was.

TP: You also said that Monk had you sing him your beat, and then he said play it this way.

PAUL: “Try it this way.”

TP: I don’t think you ever played with Bud Powell.

PAUL: No.

TP: And you didn’t play with Bird.

PAUL: I saw Bird play once.

TP: Did you play with Mingus ever?

PAUL: I sat in with him once at the Vanguard. I never really worked with him. I hardly remember it. I heard an interview with Jackie Paris once on WKCR, and he said he was with Mingus on the Vanguard, and he remembered a night when he threw everybody off the stage except Paul Motian. And I wasn’t working with him. I must have been sitting in or something. In those days at the Vanguard, there was always two bands. I might have been playing with Bill Evans opposite Mingus.

I’ll tell you, man, I forget a lot of shit. Somebody asked me, “Did you ever play with Jimmy Nottingham, the trumpet player?” I said, “No.” Then they showed me a picture of me playing with him.

TP: I’d figure that playing with Mingus would be a fairly memorable moment. And you have the gig book.

PAUL: No, it was mostly.. I did play a lot with Oscar Pettiford, though.

TP: The reason I’m asking is that at the time you put together the Bebop Band, there was almost a coming full circle quality. You came up in bebop, you expanded your vocabulary, your way of playing, your notion of time, and in your sixties, as a fully mature player…

PAUL: What’s happened with the bebop band now is that I started incorporating my own music. It started out only bebop, and then we went from that to putting in some standard songs, and then I introduced a couple of my tunes, and now I’m playing a lot of my songs. I’m just mixing the whole thing up.

TP: The way you approach the band changed. Initially, it was a head-solo-solo-solo-head kind of thing, but then you started changing up the arrangements, doing shout choruses…basically orchestrating it. I think it was the first time you used a larger ensemble as a vehicle for your music.

PAUL: Yes. It’s nice having that instrument. All those players, all those instruments…man, it’s great. Did I tell you the story of what Ornette said one time? I had just come from a rehearsal of the bebop band. This was years ago. I met Ornette in the street, around Broadway and 72nd Street. He asked me what I was doing, and I said I just came from a rehearsal with the bebop band, we were playing bebop tunes, and everybody was playing in unison. Ornette said, “all music is a unison.” I said, “Oh great.” That made me feel good!

TP: Lee Konitz told me about rehearsing with Ornette, and he was a bit nervous about there not being changes, and Charlie Haden told him and said, “don’t worry, we play changes…”

PAUL: That’s the story Dewey Redman says. They were rehearsing for a recording, and they were playing this melody that had no changes. Dewey said to Ornette, “Man, it would be great if this had changes.” So the next day Ornette came in with the same tune, and there was a change over every single note. So Dewey said he never asked him about changes again!

TP: You told me a story about Max Roach sitting in on your drums and telling you they were very hard to play, because they were so tightly tuned.

PAUL: Yes. That was at the Half Note.

TP: So the Electric Bebop Band recorded in November…

PAUL: It will probably be a year before that comes out! The record I did with Bobo Stenson is just coming out now, and I did that record when I did the trio record with Frisell and Lovano. [April 2004]. The bebop record I did around the same time I did Enrico Rava’s record.

We did the MFL record date right after I had a root canal. I had a fuckin’ toothache like… I called the dentist, and I went in, I had a root canal around 9 o’clock in the morning, and I went to the studio around 10, and we did that whole record that one afternoon.

TP: That’s very old-school, Paul.

PAUL: Well, I’m old. Anyway, we’re going to play in the Vanguard with the bebop band in January. It would be great if the record would come out at that time, but I doubt it.

TP: What is it about the way Manfred Eicher hears you…

PAUL: It’s him, but it’s also the engineer. James Farber was the engineer on just about all those records we’re talking about, and he’s got my sound down great. He’s got my sound on my drums that’s really wonderful. He’s really good at that. I’m very happy about that.

TP: In some of these conversations you’ve said contradictory things about drum-sound. On the one hand, it doesn’t really matter to you what drumset you play, you just go out and deal with it. You said you decided not to take your drum-key on a tour, and nobody had a drum-key on the whole tour, and you just dealt with it. You’d hear a sound and you’d play it. But on the other hand, you said that starting with Paul Bley, really, after you left Bill Evans, you became much more acutely conscious of the sound and timbre of the different components of the kit, and that this set off a sea change in the way you conceptualized the drums. Is that more or less how it was?

PAUL: That’s kind of true. But the thing is, when I went to Europe, I didn’t have my drums, so I had to deal with whatever I got. But I sort of managed to get through it and I was still able to play how I play. That’s what I meant. The sound was nowhere near what I really love, which are my own drums. Being in New York and playing just here and recording and always having my own drums, it’s a pleasure. I love that. But I have to deal with that stuff in Europe, playing on other drumsets. Sometimes I would manage to get my sound, but not really my sound as if I get them on my own drums.

TP: Are you still a Gretsch artist? Can you articulate what you like about the kit?

PAUL: No. [LAUGHS] It’s just the sound of the drums, the way they’re tuned. There’s kind of a bottom sound that I really love, especially with the bass drum and the tuning of the drums, the intervals between each individual drum. It’s great. It makes a lot of sense to me. It’s very musical. I played at Dizzy Gillespie’s Coca-Cola Room with Joe Lovano, Mulgrew Miller and George Mraz, and it seemed different to me. I had my own drums and my own cymbals, but it seemed like after the second or third night I changed the cymbals. That’s the first time I’ve ever done anything like that. It seemed that in that room, the cymbals I was using didn’t quite sound right. There’s a huge glass wall behind you, there’s a wooden stage, and there’s a wooden floor in the club. People in the club say the sound is great, but for me it was very different. I changed the cymbals. But after I changed my cymbals, I was satisfied. It sounded good.

TP: I guess another first for you is playing with Hank Jones on these several hits with Lovano. But you didn’t tour with Lovano, did you.

PAUL: No.

TP: You can only play with him and Hank if it’s in New York. How was it playing with Hank Jones?

PAUL: I loved playing with him. It was great.

TP: That isn’t totally a straight-ahead record, but it sort of is. I guess that never goes away, does it.

PAUL: No. Somebody sent me a CD of something I did with Andrew Hill, and I’m just playing straight-ahead 4/4 time. I don’t really do that any more. It’s a Blue Note record.

TP: I recall that Blackwell was sick in the early ‘90s, you subbed for him with Lovano.

PAUL: I don’t remember that. I remember playing with Dewey Redman when Blackwell got ill.

TP: Joe had a bunch of tunes that were kind of customized for Blackwell, and you dealt with them very much in that style. I hadn’t heard you do that before.

PAUL: Oh. Okay. [LAUGHS] There was a club on West Broadway years ago [Axis], and Dewey had the gig and he called me up. Blackwell was there, but he was so weak, he couldn’t play. I went down and played. Blackwell was really weak, and he was there trying to set up the drums. He was bent over, so weak that he couldn’t put the drumkit together.

TP: In 2001 when you were at the Vanguard, I was standing to the left of the doorway, watching you, and some musician was next to me and said, “Lovano and Frisell are playing the time; Paul isn’t playing the time.” You told me that was true. A lightbulb clicked on or a door opened, and I started hearing certain things. When did you stop hearing 4/4 time within the framework of your own music? You certainly were a helluva time player; you satisfied very demanding people. Why is it no longer part of your customary palette?

PAUL: It depends on the music. It depends on what I’m playing, who I’m playing with and what they’re doing. I’m sort of feeding off of them. The time is there. It’s already there. You don’t have to beat it to death, I don’t think. There was no one particular time when a lightbulb went off and I said, “Oh, man, I’m going to change, I’m going to do this or that.” I never thought that way at all. I never thought about doing anything special or doing anything on purpose. It just happened. It depended on who I played with. I remember the day when I first played with Bill Evans and Scott LaFaro, the way Scott LaFaro was playing. I’d never played with a bass player who played like that before. I was playing with Oscar Pettiford, Tommy Potter, Curley Russell, Wilbur Ware, people who just played straight-ahead 4/4 time. Here was Scott LaFaro playing… People used to say, “He sounds like a guitar player.” All of a sudden, the time started to break up. I guess maybe during that period was when I first started to realize that the time was already there; you don’t have to play it all the time. Maybe. Now it seems that every bass player plays like that. But in those days, it seemed that nobody played like that. Maybe Gary Peacock might have, but I didn’t know Gary yet.

TP: I think he came to New York a couple of years later. So the trio is playing in September. Do you discern any difference in the way the trio sounds? Might it be just the way Lovano and Frisell have evolved? I assume you listen to these records pretty closely?

PAUL: I think I take it more or less for granted now! I don’t think Frisell or Lovano play that much better now than they did 20 years ago. They played great then. But if I told people about it, they wouldn’t…

TP: You said “they were famous then, but no one would believe me.”

PAUL: That makes sense! I guess they’ve made some progress, I would hope!

TP: Both of them have 20-year careers as leaders, but when they play with you they blend together, and it’s interesting to hear it because of who they’ve become…

PAUL: Yeah, that’s true. I was playing some of that older stuff recently, and the difference is in their sound. They’ve developed different… To listen to Frisell from the first quintet record we did to now is really different. Lovano is not that different, but still there’s some difference in their sound.

TP: Does that have to do with the instruments they use, or the way they think about projecting…

PAUL: Partly. Frisell was using a lot of electronic shit in those days, too, and sometimes now he’s not.

TP: Then he was playing with Zorn and doing a lot of wild shit…

PAUL: This was even before that. I talked to him recently. He’s up in Canada now playing with a group, and it sounds like they’re playing folk music festivals.

TP: Another thing I was wondering: As a kid of Turkish-Armenian descent, and having listened to a lot of that music then, were those complex, wild rhythms ever part of your palette?

PAUL: I don’t know about the rhythms. The melodies would be more of an influence. The melodic part, not the rhythmic part. A lot of the music I heard as a kid, if I hear now… Not only Turkish and Armenian, but some Persian music and music that comes out of Iraq and Iran—the Middle East… Some of that music is dear to me. Some of those melodies are really beautiful. I heard something the other day by the Egyptian woman singer who passed away in the ‘70s… I can’t remember her name, but she was really great. She was singing on television with a 20-piece orchestra playing behind her. It blew me away. It was beautiful.

TP: Do your current compositions draw on those early experiences?

PAUL: Oh, yeah. Sure.

TP: Do you still listen to Middle Eastern music?

PAUL: Sometimes.

TP: You said you listen to classical music as well.

PAUL: Yeah.

TP: Are you listening to much jazz at all?

PAUL: I don’t know!

TP: Are you hearing anything you like?

PAUL: I’ve been pulling stuff out and listening. I haven’t heard any new stuff that’s come out. If I listen to stuff it’s probably older… As a matter of fact, the other day I was in a restaurant and I heard something that blew me away. It was Miles Davis, and I was sure it was Kenny Clarke. It just sounded great, and I went on a research and bought a bunch of records until I found what it was, and it was the the soundtrack from the movie, Elevator To the Gallows. There’s this one track with just trio, Miles and Kenny Clarke and Pierre Michelot. Boy, it’s fuckin’ great! Kenny Clarke was one of my big, big loves.

TP: You told me you wondered how he could get so much music out of such a small drumkit. You use not such a huge drumkit yourself.

PAUL: It’s just a normal set. Bass drum, two tom-toms, floor tom-tom, two cymbals, hi-hat, snare drum.

TP: Do they customize it for you?

PAUL: No.

TP: So you don’t give Gretsch specifications?

PAUL: No. As a matter of fact, James Farber asked me when I got my drumkit, and I couldn’t remember. Then he remembered because he said it was on Bill Frisell’s first record on ECM; I had the same drumkit. That means I’ve had it for 15 years or so, and I didn’t realize that. I just went into a drum-shop and bought it.

TP: You’re so matter of fact when you talk about these areas of your career…

PAUL: Yeah! It’s not no deep fuckin’ secret! People talk about this shit like it’s some kind of…

TP: But you were involved in a lot of cataclysmic events. The Bill Evans Trio, which influenced every pianist who came after. You’re involved in the Keith Jarrett Quartet, and a ton of people are still drawing on that vocabulary. You came in on Albert Ayler and Paul Bley and a certain way of organizing that kind of thing. Frisell and Lovano, that trio set a template for everybody under 40 (who went to a conservatory anyway). So that’s at least four major shifts in the music that you’re part of.

PAUL: Well, okay.

TP: Well, you know this. It seems to be part of following your instincts, the quotidian thing of being a working musician in New York. “I like it, I go there, I play it.”

PAUL: Yeah-yeah. That’s it, man. There’s no…

TP: But wasn’t it a conceptual leap to play behind Albert Ayler after you’d been playing with Bill Evans?

PAUL: No.

TP: Maybe Scott LaFaro prepared you for that.

PAUL: Nobody prepared me for… No. No! No, man. None of that stuff is true! Somebody calls you for a gig, and you go, and you play, and you play with the people that you play with, and you play with them, and you try to make music. You try to make music with the people you’re playing with, and then play a certain way, so you might play a certain way just to make it musical or make it magic or make it something that’s worthwhile.

TP: Then it becomes part of your style, doesn’t it.

PAUL: I don’t know.

TP: You don’t let it go. It becomes part of your muscle memory or your brain memory…

PAUL: I don’t know! [LAUGHS]

TP: Has that always been your attitude towards music, from when…

PAUL: When I was first in New York playing with all these fuckin’ great giants of jazz, man, I was thrilled to be doing it and I was happy to be doing it, but when I think about it now, I think I was just lucky to have the opportunity to do that. Someone asked me, “Did you ever play with Sonny Rollins?” I did play with Sonny Rollins. One night at Birdland. It was like a Monday night in Birdland. Sonny Rollins, Tony Fruscella playing trumpet, Curley Russell playing bass, and it was the piano player’s big, Bill Triglia. Bill Triglia called me to make a Monday night at Birdland. I went in there and played, and those were the people I played with. I was kind of scared at the time, when saw it was Sonny Rollins and all these people. But I did my best, tried to play my best, tried to play with them, and learn…I don’t know, just play!

TP: What was the quality in your playing that got you entrenched on the scene? You were working 300 days a year for five-six years, and that probably started around ‘55.

PAUL: Looking at that gig book, there was a time when I played every single night.

TP: So it’s not just luck. You had skills. It can’t be just luck. What was it about you that got all these very diverse personalities to call you?

PAUL: I don’t know.

TP: What do you think?

PAUL: I don’t know, man. Even with Edgar Varese, man. I rehearsed with Edgar Varese, and he recorded it on a tape. Teo Macero still has that tape, man. I don’t even know who called me for that.

TP: Is it just because you had really good time.

PAUL: I don’t know.

TP: Do you think you had really good time?

PAUL: I don’t know. Maybe I was getting high with somebody and they liked me.

TP: But no speculations?

PAUL: Somebody would call me for a gig, and I would be really happy that they called me for the gig. For instance, that night when I played with Sonny Rollins and those cats at Birdland, Zoot Sims was in the audience, and he asked me to go to Cleveland with him. He heard me play that night there, so he must have liked what he heard, and he needed a drummer to play that gig in Cleveland, and he asked me to play that. I did it, and I ended up playing with him and Al Cohn at the Half Note quite a bit. I guess because I was on the scene, and playing so much all over town and in a lot of places, people heard me, and if somebody needed a drummer and liked what they heard from me, they called me. I don’t think it was anything any deeper than that.

TP: By the time you got to New York, you had enough skills together that you could fit into the scene.

PAUL: I don’t know. That time when I played with Monk, I didn’t know his music. I just kept my fingers crossed that I didn’t fall on my fuckin’ ass!

TP: Moving to the present with Bobo Stenson and Enrico Rava: These were set up to put them together with you, I’d think. What sort of preparation do you do? Any rehearsing beforehand?

PAUL: No. We didn’t get together beforehand. No rehearsal. I don’t do that with anybody.

TP: Why not?

PAUL: I just don’t. What for? I’ve been playing long enough. I’m old enough to know what the fuck I’m doing at this point in my life! I don’t need a rehearsal. I’d rather depend on my own skills and my own whatever to play good and play well when the time comes. I don’t want to rehearse. I think a rehearsal takes away from the beauty of the music.

TP: Is that the case with the Bebop Band also?

PAUL: No, we don’t rehearse. The time we rehearse is when we’re setting up and getting ready for a gig.

TP: The soundcheck is the rehearsal.

PAUL: Yeah. That’s what I’m going to do with Bill McHenry, too. On Tuesday I’ll go down there at 4 or 5 in the afternoon, and we’ll go over a few tunes, and that’s it. That’s what happened on the trio record with Frisell and Lovano. We didn’t rehearse. I brought the music in, I showed them the music. We might have tried a few things in the studio, but we didn’t have any specific rehearsal time.

TP: Even though you’re more involved in composition than ever, the aural quality of music is still very important to you.

PAUL: Oh, yeah. Sure. I thought this was going to be a short interview!

TP: When you were a kid learning drums, did you… I think you said you played in high school bands. Did you learn to read, to play in big bands?

PAUL: Yes.

TP: You have those skills.

PAUL: Well, I don’t…

TP: Or had.

PAUL: I did that, sure. I took drum lessons and read the drum books, went through that. I played, even in pre high school, in the band. I was 12 years old when I started, and any time there was an opportunity to play in a band in school, I did that, and as soon as I got out of school I played. I went on tours with the big band throughout New England before I went into the Service, before the Korean War. Then I played in the band during the Korean War when I was in the Navy. I was in a band!

TP: How did Bill Evans rehearse the band? Was it a bandstand process? You told me you’d go to his apartment and play?

PAUL: It wasn’t rehearsals. We would play. He had an apartment on 82nd or 84th Street.

TP: You said there were a lot more sessions then anyway, so those sessions were like de facto…

PAUL: Right. I saw Bob Dorough the other day, and we talked about that. He used to have a place in the east 70s. I used to play there a lot, up four-five flights of stairs and play. Sessions around town. I used to play all the time. That’s the way it went.

TP: that was the musical culture of the city then.
PAUL: People don’t do that now, I suppose.

TP: How did the association with Bill McHenry begin?

PAUL: He called me to record with him. I guess he knew me. I had never met him. I might have heard about him. I’m not quite sure. But he called me to record with him, and I did, and when I did the record, I really liked it. I liked his music, and I liked playing with him and the band, and the recording was really good. Then when he got a gig at the Vanguard, he called me and I said okay. I think this is the third or fourth time for us at the Vanguard. I think we’re going to record live in the coming week.

TP: Did you decide to do it after he sent you a tape of his stuff, or you just liked the way he approached you?

PAUL: I don’t think he sent me a tape.

TP: What are you looking for in the musicians you play? You seem to keep adding young musicians to your circle.

PAUL: I’m a little careful about what I’m doing. In fact, somebody called me recently from Boston, left a message on my machine, told me he was a piano player and told me his name, and told me the name of the bass player, and said they wanted to come to New York and do a record, and they wanted me to make a record with them. I didn’t return the call. I didn’t know who they were.

TP: But you knew who Bill McHenry was.

PAUL: Yeah. Somebody calls me out of the blue like that, I won’t even react to it unless I talk to the person and they tell me what they do and what the project is about, and maybe I might get interested. I don’t know. But if I don’t know them, I’m not going to get involved.

TP: Are you looking for any particular qualities?

PAUL: Good music.

TP: It seems a lot of your band members have come into your bands on recommendations. Bill D’Arango told you about Lovano, Pat Metheny told you about Frisell… Frisell told you about Kurt Rosenwinkel… But it’s the recommendations.

PAUL: Yes, that happens a lot. Matter of fact, with Malaby, Chris Potter was playing with me, and then he couldn’t anymore, and something else happened, and when I asked about other saxophone players I think he mentioned Tony Malaby…or it might have been Chris Cheek. But that’s the way it goes. Somebody would recommend someone, or I’d ask about someone… If I trust someone’s… Like, Masabumi Kikuchi has been telling me recently about Greg Osby. I don’t know Greg Osby; I don’t think I’ve heard him play. But Masabumi told me he likes him, and he recommended him, and I trust Masabumi. So if it came up that I wanted some… [END OF SIDE A]

TP: You would have no compunction about calling him, and might respond if he called you.

PAUL: Yeah.
TP: But you’ve heard of him. You know of him by reputation.

PAUL: Sure.

TP: So you’re doing this thing with Bill McHenry next week, and it’s been going on for several years. Then you’re going to mix the Bebop band record, and that’s maybe the 7th or 8th record by the Bebop band, but the first for ECM, and they’re going to play in January at the Vanguard. Then Lovano-Frisell-Motian is two weeks in September at the Vanguard. Any other new projects? We have the Enrico Rava and Bobo Stenson records…

PAUL: We’re talking about playing Dizzy’s Coca-Cola Room at the end of November with Enrico Rava and Stefano Bollani. But I haven’t heard back from Todd Barkan, who books the room. I don’t know if it’s going to happen. But I would hope it happens; I’d like to do that. In fact, the sound in the room with that trio might be more to my liking since there’s no bass.

Also I think I’m going to do two nights at Birdland with Enrico Pieranunzi and Marc Johnson in March. In April, I’m playing the Vanguard again with Trio 2000 + 1. Also, the two weeks with Lovano and Frisell at the Vanguard again, too. We do it every year around August-September. I love playing at the Vanguard. It sounds great in there. The sound is beautiful in there! I just love it. Every time I play in another club, it’s never as good. It’s amazing, isn’t it, man? I think the first time I played in there, it must have been in fuckin’ 1954 or ‘55. I played in there with Lee Konitz. I think it was 1955.

TP: You have a gig book entry for New Year’s Eve, 1956. Fifty years at the Village Vanguard.

PAUL: Yeah! I’m sorry I’m not more articulate. Some people are so good at that. Keith Jarrett is great at that. Bill Evans was incredibly articulate.

TP: How’s your book project?

PAUL: I’m looking at it now. It’s on the floor. Every couple of months I pick it up and look at it, and then I correct it. A lot of the stuff I’ve told you is in there.

TP: Last time I spoke to you, you said you had an editor.

PAUL: I don’t know any more. Sort of an ex-girlfriend of mine is a writer and screenwriter and filmmaker, and she helped me a little bit and said she would be an editor. But she lives in Canada, man. I was enthusiastic at one point, but now sometimes, when I read over some it, it sounds kind of stupid. My next door neighbor works for a publishing company. He said, “come on, Paul; just let it go.” Publish it!

TP: You wouldn’t do that with your drumming.

PAUL: It’s quite different, man. I’m not that good at writing.

TP: During the’50s and ‘60s, a lot of the artists were tight with… There was a lot of back-and-forth between the different artistic communities. Did you have a lot of painter friends, writer friends during the time?

PAUL: I remember there used to be sessions at Larry Rivers’ place in the Village. I think he played. Then he had another friend who was a painter that played saxophone. I think that kind of thing was going on. But my memory isn’t that good about it.

TP: Were you part of the Five Spot scene?

PAUL: I don’t think I ever played in there. That’s when I met Charlie Haden for the first time.

TP: I guess you didn’t have time to hang so much, did you. You were always playing, always working.

PAUL: Pretty much. Now everybody wants to hang and I don’t! I don’t have the time. Charlie Haden’s called me four times already to come to the Blue Note. I’m not going down there.

I knew Alvin Ailey. He used to live in my building. Matter of fact, one time he asked me if Keith Jarrett was black, and when I said no, he said, “Oh, fuck him,” and then he used his music anyway! [LAUGHS] That was funny because Alvin wanted to use his music, and then when he found out he wasn’t black, he wasn’t going to use it. Then he used it anyway!

I knew Lee Friedlander and Garry Winogrand. They used to be on the scene.

I was just looking through part of my book where I wrote about Pee Wee Marquette. One was about the pronunciation of my name at Birdland.

TP: If you didn’t tip him, he would pronounce it wrong.

PAUL: Right. Then finally I gave him $5 one night, and he said something like, “Paul Mo-tee-ann!” Some shit like that. It was funny! Then I saw him later on when he was in front of his Hawaiian restaurant on Broadway, sort of like a street hawker. I stopped and talked to him for a while, and that was the last time I saw him. I remember once talking to him, when after a gig at Birdland he asked me where I was playing next, and I told him I was playing at the Vanguard. He didn’t know where it was. He asked me where it was. When I told him, he told me that he’d never been below 42nd Street in his life!

TP: It’s interesting. There were no clubs in the Village presenting modern jazz until the Bohemia until 1955. There were sessions, but it was Nick’s and Eddie Condon’s and that sort of thing.

PAUL: Well, the Bohemia, we used to play sessions in there before they… The Bohemia was one of the places where you could have sessions, where I used to go to play, to have sessions. Then they opened up as a jazz club, and Charlie Parker was supposed to open it, and he died. It was just a bar to go to have sessions, just like Arthur’s Tavern. These were places where you could go and play. There was no money involved; it was just a place for jam sessions.

TP: Randy Weston told me he did his first gig at Arthur’s in 1943 with Lucky Millinder’s guitar player.

PAUL: Wow!

TP: Where was Take 3?

PAUL: I think it was on McDougal around the corner from where Visiones used to be. I think it’s the third or fourth building north of Bleecker on McDougal on the west side of the street. I think there was a basement part and another part that was upstairs. That’s where I played with Paul Bley, Gary Peacock, John Gilmore…

[—30—]

 

Gretsch Artist:

Bass drum, 20″
Snare drum, 5-1/2″ wood
TwoTom-Toms on the bass drum, one is 8″ x 12″, the other is 9″ x 13″
Floor Tom-Tom is 14″ x 16″

Two cymbals. One is A. Zildjian, 20″ w/ rivets (had it for 50 years)
Other one is Paiste 22″ Dark Ride

Hi-Hats are 14″. One is a Paiste 14″ dark cymbal. The other is old Zildjian Army cymbal that he got in a parade somewhere (over 50 years)

Gretsch Permatone Drum Heads which are the closest thing to the old calf-skin heads. “They really make the difference. A lot of drumsets now have these seethrough plastic heads, which are good for rock-and-roll, but they’re not good for me.”

* * *

Paul Motian on Max Roach (Aug. 19, 2007):
TP: I assume you first heard Max Roach on the Charlie Parker recordings from the ‘40s and other bebop records.

PAUL: Yes. I was pretty young at the time. I was up in Providence, Rhode Island, maybe still in high school… I remember listening to live broadcasts from New York, maybe from Birdland, maybe even before Birdland opened. Birdland opened in December 1949, and I guess I was out of high school by then. But I heard stuff on the radio that Max was on, and I remember sending letters and money to whatever address it was in New York, and they send me back a 78 disc of the recording that I wanted that had Max on it. I used to get that in the mail, and that was the first time I heard Max, I guess. When I heard it, I was kind of in shock. I was pretty young at the time, and I didn’t know too much. But I loved what I heard, and I thought it was interesting and really great, and I wanted to have those records and recordings, so I used to send away for it, and I got these 78 discs.

Of course, he was a very strong influence on me. What he played seemed to be so hip and so modern and so great, and different from… Kenny Clarke was one of the important people in my life who influenced me, but Max was doing something a little bit different. His solos were a little bit different, and just seemed to be really hip and fit right in with what Bird was doing, and the bebop music that was being played. It just seemed really hip and strong, and very well done, and really great.

Did you ever see that movie with Dorothy Dandridge (Carmen Jones) that Max was in, where they play music that’s sort of from Carmen? It was made in the ‘50s. With Harry Belafonte…

Then when I came to New York in the mid ‘50s, and I saw Max play when he had the band with Clifford Brown and Harold Land, and later with Sonny Rollins… That’s when I first saw him play. There was a club called Basin Street. That might have been the first time. No, there was another time. I had just graduated from high school, and Birdland had just opened, and I drove to New York. I had an old car, and I was 16-17 years old, and I went to Birdland. I saw a band that had Miles Davis, Fats Navarro, J.J. Johnson, Bud Powell, all these all-star great jazz bebop players, and I thought the drummer was Max. I remember telling the story to Art Blakey one time in a dressing room when I was in Japan, and Art told me, “No, that wasn’t Max; that was me.” But I still feel like it was Max. That might have been the first time. If it wasn’t, then the first time had to be one of those times when I saw him in New York in that band with Clifford Brown.

TP: For Ratliff you chose “Carolina Moon” by Monk which Max was on. That was in ‘52.

PAUL: I didn’t see that. I heard it on record.

TP: You used to live a few blocks away from him also, on CPW.

PAUL: Yeah, right near me. I used to see him here a lot. If I was walking on Central Park West… I remember bumping into him a couple of times when he was standing in the street in front of his building. We used to talk, and he’d tell some stories. I remember we were talking about Bud Powell, and he told me that when they did the recording with Bud Powell where they played “Un Poco Loco,” he started playing a pretty standard Latin beat on the drums. DING-DING-DA-DING, DING-DING-DA-DING. That’s a pretty standard beat. He said he was doing that on “Un Poco Loco,” and Bud Powell stopped the shit and said, “Max, what are you doing? You’re Max Roach. Can’t you come up with anything better than that?” That’s how Max came up with the beat he played on that recording, which is so great.

TP: I heard Max relate that as “You’re supposed to be Max Roach.”

PAUL: Could have been. Then Max said he bumped into Bud Powell in Harlem after the recording, and he said, “Bud said to me, ‘Hey, Max, you fucked up my record.” Max was telling me, “You know Bud. He was crazy.”

TP: You remarked to Ratliff that once you saw Max with a bass player, Al Cotton, and he told you to watch how Max addressed the drums.

PAUL: How he played and how he moved. Al was saying, “Check him out. Listen.” I seem to remember that there was a balcony or something. I was kind of far away and sort of looking down on the stage, and he said, “Watch how Max plays. He’s not just using his hands and wrists; he’s using his whole body. Look how he moves.” I was checking that out and saying, “Yeah, man, that’s really got something to do with it. You use your whole body. It’s not just in your hands.”

TP: You also talked to Ratliff about the precision and clarity of his arrangements, specifically “Delilah,” but that’s characteristic of the sound of the Brown-Roach band.

PAUL: That’s true. I remember saying that. I love that record, and I play it now and then. The arrangements with that band are so great—and probably all the bands Max was involved in. How meticulous it was, how great it was. There was always an arrangement. There was always an introduction… It wasn’t just always the standard way, like “this guy plays, then he plays, then you take it out.” It seemed like it had something extra in it, it was something special, and it was arranged so beautifully, man. That shit was incredible.

TP: You also spoke about how Max played the form of the song, both accompanying and leading into the solo. Anything you can say to me about that?

PAUL: Well, just that. You can use what I told Ben. Max plays a great solo on that Monk record where they play “Brilliant Corners,” a great chorus.

On the day that Max died, it’s really strange… Before I knew that he died, I was on my computer and went to iTunes, and I played “Koko” by Max with Charlie Parker. Max plays a chorus on “Koko” that’s incredible. Really great. Then later on, on ABC News, they talked about Max, that he had just died, and I had already heard that Max had died, and then they played a clip on TV that was his solo on “Koko.” Sometimes people say that magic is all in your head and it’s not really true, but I think that’s bullshit. Sometimes there’s shit in the air that just happens like that. I guess it’s by coincidence, but it’s hard not to believe that there’s magic in the air sometimes.

TP: as a kid, did you try to play that solo, get it under your hands?

PAUL: Not that particular solo…

TP: But other solos by him?

PAUL: Sure. I tried to copy what I heard. Sure. I did that with a lot of drummers.

TP: Can you talk about what he did that distinguished him from Kenny Clarke or Art Blakey or Roy Haynes?

PAUL: I wish I could. One of the things is sound. Kenny Clarke played great, Art Blakey played great, Philly Joe played great, but they all had their own sound. Big Sid Catlett. If I listen to these guys, I can hear a different… Max’s sound was different from those.

TP: Was it his drum tuning?

PAUL: Could be. That would have something to do with it. But also his technique. The technique that he had, it wasn’t just technique—it was musical. He made music out of the technique that he had. I guess they all did that, but his sound was a little bit different. It could have been in the tuning of the drums, could have been the way that he played… Boy, it’s really hard. I wish I could make it clearer. I just read an interview of Sonny Rollins from Vanity Fair, and he said some stuff in there that’s hard for me to understand. He was asked about people he admires, and he said there really wasn’t anyone. But for me, I admire people like that, who can explain stuff in words that I can’t do.

TP: Some of the younger drummers say, for one thing, Max tuned his drums higher than other people, so he was able to set up intervals to enable his melodic concept of soloing.

PAUL: That’s kind of true. But I have another story for you. I was playing with Tony Scott at the Half Note in the late ‘50s, and my drums were down there on the stage, I was all set up, but I had another gig that day, so I was late when I got to my gig at the Half Note, and when I got there Max Roach was playing in my place on my drums. I said, “Wow, isn’t that great; my man, Max, is playing on my drums. I felt great, I felt proud, I felt privileged.” Then when he came off the stage, he said to me… At that time, my drumset was made by a company called Leedy, and I used to tune my drums really tight. The heads were…I guess the word is taut. It’s not easy to play drums when they’re tuned like that. But Max came off the stage and came up to me, and he said, “Man, I just subbed for you, but your drums were really hard to play. You keep those drum heads really tight.” He found them hard to play. But he played his ass off. Of course, he played great. But when the drums are like that, you can’t fake anything. You’ve got to play the shit, and he did. But he did tell me that it was difficult.
TP: I guess that was a good compliment.

PAUL: It sure was. My drums aren’t tuned like that now, but they were then. He had a hard time with it.

TP: People have also talked about the way he incorporated Afro-Caribbean rhythms and even East Indian rhythms into his beat flow, that he was ahead of the curve.

PAUL: I don’t know about that. I don’t know if I was aware of any of that. Although there were things in the paper about different groups he had, and M’Boom, with all the drummers, and the band he had later with Odean Pope and Cecil Bridgewater… I didn’t hear that much of that. When I was really into it… The thing that killed me and knocked me out was the band with Clifford Brown and Harold Land and Richie Powell—and Sonny Rollins later—and George Morrow. Actually, that was my first experience of being involved in the jazz scene, and learning about people dying and being killed. When Clifford Brown and Richie Powell got killed in that car crash on the turnpike, that was my first experience of that, and it was really devastating. Since then, there’s been multitudes of people! But that was the first time that ever happened to me, and that fucked me up.

TP: Do you recall when you first met Max Roach to get to know him? Did he come to hear you play, or at a Monday night at Birdland?

PAUL: It could have been. But I must have known him before that Monday night when he subbed for me at the Half Note.

TP: For one thing, you were playing with Tristano all the time, so he must have…

PAUL: I was. But the other thing is, there was an interview with him in Downbeat back then, in the ‘50s, and they asked him if he heard any new young drummers on the scene in New York, and who did he hear and who did he like, and he named me and Elvin as the two drummers he heard and liked. That made me very proud, and I felt really good about that. The other thing was, I did this recording with George Russell, one of the first recordings I did, and I remember going to the Café Bohemia with George Russell, and we walked in, and there was Max sitting at the bar. That might have been the first time I met him. George Russell went up to Max and said, “Max, this is Paul Motian; he just recorded with me. I wanted to know if I could use that quote of yours that Paul and Elvin are two young drummers you heard that you liked.” Max said, “Yeah, you can use that.” That made me really feel good.

TP: Among your peer group in the ‘50s, was Max respected as the main guy?

PAUL: I suppose. I don’t know. I would hope so. I would guess so. One thing that makes me sad is that Big Sid Catlett died pretty young, and he was still alive when I was in New York…

TP: He died in 1951, I believe.

PAUL: Oh. I wasn’t in New York then. But I never saw him play. That’s too bad.
TP: You saw Papa Jo Jones play, though.

PAUL: Sure.

TP: So you continued to know Max, but it sounds like you weren’t so up on what he was doing after the early ‘60s.

PAUL: I guess maybe not.

TP: What did you think of his solo compositions? Did you check them out?

PAUL: Sure. There was another time I was in Europe, Sicily maybe, at a jazz festival, where the bands played. It was outdoors. He played a solo. I remember seeing and hearing that. It was great! He put that shit together so good!

TP: During the late ‘40s and early ‘50s he was studying composition formally, and orchestral percussion and so on. Another thing people are talking about are the components of his kit. He had a floor tom with a pedal that was set up to sound like a tympany, and he used a little tom-tom on the snare that he’d use. So there were certain tonal things that were part of his sound.

PAUL: I didn’t know any of that. One thing I remember, though, that surprised me that I didn’t know about… I didn’t know too much about his history or what he studied. But I remember being in the Vanguard one time, and I don’t know if I was playing there or not, or if I was just there, or if Max was playing there… I don’t know. But there was no one playing at the time, it might have been at the end of the night, and Max was sitting at the piano, playing the piano. Knocked me right on my ass! I didn’t know. I said, “Wow, isn’t that interesting. He knows what to do on piano. I should have known that anyway, but I didn’t. But when I saw him play piano, I was a little surprised, and thought that was really great. It made me want to study music more, and get into composition, which I wasn’t at the time. I’m not sure if I was playing with Bill Evans or Keith Jarrett; it was a while ago. But when I saw that, it sort of turned me on to want to do more… Because I didn’t get into composing and trying to study piano and all of that until I was in my mid forties. So when I saw that at that early time, it made me think about that, and wanting to be better at what I did, and getting more into learning more about music. When I first studied drums, I didn’t know that a song had 32 bars, or changes, or whatever. But seeing Max do that, and then getting into that, just turned me on.

TP: Do you think a lot of drummers were like you, not as trained, and Max inspired that?

PAUL: Yes. The joke always was, “Oh, he’s not a musician; he’s a drummer.” That made me mad! [LAUGHS]

Max was very intelligent and very articulate. He knew what he was talking about, and he made people like me understand… He wasn’t a fuckin’ dodo, man. He knew what he was talking about, he was very articulate and very sure of what he said, and very strong.

Look at all the stuff that he did. He wasn’t just a drummer who had a band and shit. He had the double quartet, the M’Boom thing, the Freedom Now Suite, all those different things. He was incredible. He was great. What about that documentary about him, where he plays with the hip-hop group. That documentary also has a clip of Kenny Clarke and a clip of Big Sid Catlett.

[END OF CONVERSATION]

* * *

Paul Motian (9-7-00):

TP: Vis-a-vis the electric bebop band, what was the motivation for going back to the repertoire that I suppose you began with?

MOTIAN: Well, that band started ten years or so even before that, but I didn’t do anything with it. I just had a rehearsal with different people. It was Mike Stern and Bill Frisell on guitar and Mark Egan on bass and myself. We had a rehearsal in my house, and I taped it, and then I kind of forgot about it. then ten years or so later, I was on tour with Charlie Haden, and Charlie’s son, Josh, who is also a bass player and has a band of his called Spain… I just mentioned it to Josh, about bebop music and what I was doing back then, and he said, “Oh, that sounds really interesting; I’d like to hear that. At that time I was playing at the Vanguard with Geri Allen and Charlie Haden, and I said, “Okay, in the afternoon let’s get together and we’ll have a little rehearsal. So we did, with Josh Haden and Kurt Rosenwinkel and another guitarist, Dave Fiuczinski. That was the late ’80s or so. Then I got interested in it again. About ’90 or ’91 or ’92, Kurt came over to my house and we talked about it, and then we put this band back together, and it was just two electric guitars, electric bass and drums. The bass player was Stomu Takeishi at the time, and Brad Schoeppach and Kurt Rosenwinkel on guitar. It grew out of that.

TP: You’ve played the whole realm of improvising and been on the forward tip of it at any particular time you’ve played in, playing with Lennie Tristano and Warne Marsh and Oscar Pettiford in the ’50s, and getting into the true outer partials in the ’60s, actually leaving Bill Evans to do that, with Keith Jarrett’s very influential band in the ’70s, and of course the trio with Frisell and Lovano that’s influenced so many younger musicians. Why moving back to bebop?

MOTIAN: Oh, I love bebop!

TP: Does it feel fresh?

MOTIAN: Yeah!

TP: Was it something you had to not do for a while to really appreciate.

MOTIAN: Well, no, it’s not a thing about that. It’s just that that’s the music I kind of grew up with, you know, when I first came to New York in the early ’50s, and it’s the music I love, and I was involved in it… I think it’s great music. There’s a lot of great players, a lot of great players that came out of that, from Dizzy and Monk and Bud Powell to Tadd Dameron.

TP: The tunes are unbelievable. It’s like an endless well of repertoire.

MOTIAN: Oh yeah! I just keep finding more stuff, more stuff. We played and recorded a Herbie Nichols tune recently, and someone was telling me about all his great music, and someone else was talking to me about Elmo Hope and all the great music he did. So there’s no end to it, man.

TP: One thing that distinguishes you is your direct contact with masters. You sat in with Thelonious Monk, and did you say once you’d sat in with Bird…

MOTIAN: No, I never played with Bird. I saw him play once, but that was it.

TP: I guess you came to New York in ’53, and you got into the mix pretty quickly.

MOTIAN: Mmm-hmm.

TP: How does the instrumentation affect what you do with the material? Also, what you do as the leader, as the drummer, in shaping the flow. What’s your intent in working with this music?

MOTIAN: I like to play good music. I like to play great music. I don’t know about any intent outside of that. It just keeps growing. I keep finding people, and… It started out, like I said, with just two guitars, bass and drums, then I said, “Well, it doesn’t have to be just that.” Then I added a saxophone, who at the time was Joshua Redman. Then we were playing in Ronnie Scott’s Club in London, and Josh could do half the week, and I hired Chris Potter to finish the week, and one night they crossed paths and two of them played. So I heard two saxophones, I said, “wow, I really like that,” and I hired two saxophones. So it got to that.

TP: It certainly gives you a lot of options. The band sounds very full now. People are doing spontaneous orchestrating. There’s always something going on.

MOTIAN: Yes. I wanted to get away from the usual thing of melody-solos-melody-end. So I try to arrange it. I try to make everyone aware. And I make them kind of be aware of it. I make them arrange it. I’m sort of like, “Step in it, man; go ahead; see what you can do. Why don’t you trade off with this guy and do this and that.” And they’re growing inventive about that. so it’s just growing into becoming more arranged and playing a lot of piano player’s music with no piano and stuff like that.

TP: It’s also interesting that there’s such a wide pool of strong young musicians who want to explore that music, which might not have been the case 20-25 years ago.

MOTIAN: Right. And I appreciate that. These guys are willing to go with me on tour. It’s rough out there! [LAUGHS] We went to Beijing, played in Shanghai… It’s been great.

TP: You travel a lot.

MOTIAN: Yes. But it’s not going all year long. You know what I mean? Maybe four months out of the year I’m on the road.

TP: But there are a lot of players who know your sound and want to articulate a musical experience that has the Paul Motian sound, whatever that may be. The next offering is from a recent collaboration of that nature.

MOTIAN: I was contacted by two French musicians, Bruno Chevillon, a bass player, and Stephan Oliva, a pianist. They really told me that they loved my music and they wanted to play with me. They said that they had arranged my music, and would I come to France and play a concert with them — which I did. It was very successful. People liked it a lot. Then we did it again at a festival in Paris. Then they arranged a recording, so we did a recording for the French BMG label. It’s mostly all my music, and I really appreciate what they did with it. It’s really great. We did play at a club in Paris for a couple of nights, too, which was a lot of fun.

TP: Did you do it before the recording as a sort of rehearsal.

MOTIAN: No, those gigs in Paris came afterwards. Before the recording we had played two concerts. That was it.

TP: What do you do when you go into a situation cold with musicians you haven’t known before, and you sit down and it’s unmistakably your sound imprint. You just go in and hear and play?

MOTIAN: I just play from what I hear. Sure. I sit down and play, and I react to what I’m hearing and play that. That’s it.

[MUSIC: Fantasm, “Interieur Jour”; Solal-Johnson-Motian, “Night and Day,” “Gang of Five”]

TP: Paul was saying that 37 years ago you performed with Martial Solal in his American debut at the Hickory House, and didn’t see him again…

MOTIAN: Right. Teddy Kotick on bass.

TP: You didn’t play together again for 35 years.

MOTIAN: Wow. [LAUGHS]

TP: Do these ironies present themselves in the moment of playing, or in retrospect?

MOTIAN: I guess so, yeah.

TP: You certainly sounded like you played together let’s say one week a year…

MOTIAN: Well, I played the Hickory House gig with Bill Evans one time, with Martial Solal another time, and with Joe Castro another time. That was a gig that went on for months. You played in this club for two or three months at a time. It was a steakhouse actually. I didn’t play with Martial for 30-odd years or more.

TP: You said he was a raconteur, very humorous. He’ll say, “Here’s the piano player” and point to the bench.

MOTIAN: Yeah, he’ll point to the bench. Actually Enrico Pieranunzi does that, too. [LAUGHS] These guys, I don’t know…

TP: It’s a European thing.

MOTIAN: Could be. He reminds me of Victor Borge, in a way.

TP: This record combines originals by you, Martial Solal, and a few rearrangements. You must have a book of a hundred or so compositions?

MOTIAN: No, not that many. About 50 or so.

TP: You’ve been composing for a long time.

MOTIAN: Not that much. But I don’t feel too bad about it Somebody told me Monk didn’t write that many songs either — 50 or 60. That’s fine with me. I was into it more… I’m not into it so much… I’m not doing so much writing now.

TP: So the ’70s and ’80s were a time when you were generating a lot of…

MOTIAN: Yes. Because I was putting together… Starting in ’76, when I put together my first trio with Charles Brackeen and David Izenson, and I started writing. I was studying piano and writing and trying to learn. Then it went to a quintet, and I had to write stuff for that. I did a lot of writing at that time.

TP: Let’s take you back to ’63 when you did those couple of months with Martial Solal at Hickory House. At that time you were still part of the Bill Evans Trio, which you left the next year. You spent the ’50s playing with Oscar Pettiford, you played with Zoot Sims and Al Cohn, you played with Lennie Tristano and Warne Marsh and numerous gigs. Let me take you into some well-trod territory with those years. You grew up in Providence, Rhode Island.

MOTIAN: Right. Born in Philadelphia, then the family moved up to Providence; I couldn’t have been more than 2 years old.

TP: You became interested in drums around 10 years old?

MOTIAN: I started at more like 11 or 12. I took some drum lessons and whatnot, went through the usual stuff. I started playing professional gigs I guess when I was still in high school ,which is the late ’40s.

TP: By then bebop had hit. Things like “Shaw Nuff” coincided with your beginnings as a musician.

MOTIAN: I used to listen to jazz radio from New York and I’d send away for 78 records. I used to hear records by Max Roach, Bud Powell and Monk, and I’d send to New York for them and get these 78 vinyl records in the mail. I listened to a lot of big bands when I was a kid.

TP: Who were the drummers who impressed you early on?

MOTIAN: The first drum teacher I had was a drummer in the neighborhood, who really wasn’t a teacher; I heard him playing one day and got really interested in it, and asked him to show me some stuff. He gave me a couple of lessons, and then I went to another teacher. But he played me a record with Gene Krupa on it, and that impressed me right away. Then I heard Max Roach, and like I said, I was sending away for records from Max.

TP: The early Charlie Parker releases, “Koko” and that sort of thing?

MOTIAN: Right.

TP: So it just developed from there. And you said were playing professionally in high school. Were you working as a musician and going to high school simultaneously?

MOTIAN: No. Maybe a couple of gigs on a weekend. I hooked up with a neighbhorhood musician or musicians in bands, and a couple of players from high school — maybe we played a couple of weddings and stuff like that. Not really that much jazz. Playing in clubs and bars, stuff like that.

TP: When did it become apparent to you that you were going to become a musician?

MOTIAN: I guess right from the beginning. I never thought about anything else, I never did anything else, and I didn’t plan it or anything. It just happened. I just went along with the flow.

TP: That seems the operative thing. You seem to go along with the flow and surround yourself with strong personalities, and you have a strong personality, and…

MOTIAN: Well, I love music, man. [LAUGHS]

TP: You mentioned that you joined the Navy because you wanted to go to the Navy School, because it was a great way to get a higher education and get it paid for.

MOTIAN: And not have to go to Korea to a war zone. The deal at that time was, I was about to get drafted in the Army. I was the right age for that. Then I heard that there was a school of music, that if you joined the Navy you could pick what you wanted to do if you volunteered. I heard about their music school in Washington, D.C., so that’s what I did. I volunteered for the Navy and went to that music school, and then I got ill and never really spent any time there — and then they shipped me out! [Europe]

TP: Were you playing over there?

MOTIAN: Yeah, I was in the band. I was part of a band that was the Admiral’s Band, the Admiral of the 6th Fleet in the Mediterranean. We were his band. Where he went, we went. When he transferred from one ship to another ship to another ship, we went with him. That was the deal.

TP: That wasn’t such a bad way to spend your Service time.

MOTIAN: No, I enjoyed it. Working out in the middle of the Atlantic Ocean with nothing else around except the sea and sky and air. It introduced me to Europe. It was great. I was 19 years old.

TP: You’re one of the many musicians who came up at the time you did who got a good deal of education in the Armed Services. Then you were stationed in New York, you were living around the Brooklyn Navy Yard, you were released and got into the scene.

MOTIAN: I got really lucky. Because when people got transferred… You did a tour of duty on a ship. I did I think two years. That was usually what happened. Then you would get transferred, and you have no choice; where they send you, they send you. I got lucky, man. They sent me to New York! It’s called the Central Receiving Station, which was across the street from the Brooklyn Navy Yard. But I had an apartment in Brooklyn. I’d go to work in the morning, there would be a band rehearsal, and then you’d go home, unless there was some dignitary coming into town who you had to play for or a parade. Otherwise, that was it. There were some nice musicians in that band, and we started playing then. Then when I came out, I just stayed in New York.

TP: You came here in ’53. Did you start hanging out right away?

MOTIAN: Oh yeah. I went everywhere. Wherever anybody played, I was there. I’d take my drums on the subway. Anything.

TP: You mentioned being at the Open Door quite a bit.

MOTIAN: Yes. There were a lot of things happening at the Open Door, a lot of sessions there. That was on Lafayette and Third Street, around that area. It’s all probably part of New York University now.

TP: Same buildings but much more expensive.

MOTIAN: [LAUGHS] I heard Charlie Parker there, man. It was incredible. And there were sessions there you’d go to. A lot of people, man. You played. It was great. There were other places. There was a place called Arthur’s Tavern in the Village that had sessions. There were sessions at a lot of places. You’d go to people’s houses. I met Bob Dorough; we used to have sessions at his house on the East Side up in the 70s. There was a pianist named Don Rothenberg who used to have sessions. I met Ira Sullivan there, and we used to play there. Every chance I got. There was a place up on 110th Street, a bar in Harlem where you lined up, man, took your turn and played.

TP: When did people start hiring you? You mentioned that Monk took you to Boston for a week around ’55 or so?

MOTIAN: No, that was ’60. January 1960. I played for a week at Storyville in Boston with Monk, Scott LaFaro and Charlie Rouse. I was scared to death!

TP: But by then, you’d already played with Oscar Pettiford, Lennie Tristano and Bill Evans. I’m just looking for how you began to form the network of associations that kick-started your career.

MOTIAN: Well, in those days, when all those sessions were happening, you were out there. You were quite visible. People heard you and people called you and people hired you. Tony Scott hired me and he hired Bill Evans. Actually, when I met Bill Evans, there was a clarinet player named Jerry Wald, who used to have a big band, then he had a small group. Through the grapevine, I heard he was auditioning people to take a band on tour. So I went to that audition. This was almost after I got out of the Service. I went to that audition and Bill Evans also went to that audition, and I heard him play and said, “Wow, who’s that piano player? He sounds great.” Someone said, “Oh, that’s Bill Evans from New Jersey; he plays really good.” So I was thinking, “Wow, I hope I gets this gig and he gets it. He sound really good.” So we both got the gig and we went on tour with Jerry Wald. We went to Puerto Rico, we went around the East Coast different places. It was a sextet with a vibraphone player and a guitar player, a singer. Then somehow, Tony Scott hired me and he hired Bill. We went on tour with Tony. That was kind of the beginning. I guess with Jerry Wald it could have been ’55. With Tony Scott, 1956-57, in there.

TP: You must have taken advantage of the opportunity of being in New York and being able to go around and study all the great drummers first-hand, who you could hear almost any time. I mean, Max Roach and Kenny Clarke and Art Blakey and Shadow Wilson and on and on. I know all those people impressed you, but talk about how it worked. Your transition from being talented to being a working New York professional.

MOTIAN: I don’t know if I can follow that path! But at Birdland at the time, the original Birdland, which was on Broadway and 52nd Street… I heard Art Blakey in there with his band. It wasn’t called the Jazz Messengers at that time. It was with Horace Silver and Curley Russell maybe. Anyway I heard that band a lot. Max Roach with Clifford Brown and Richie Powell; I heard that band. At Cafe Bohemia, Kenny Clarke playing with Oscar Pettiford and George Wallington. I was in those places daily, nightly, all the time, man, listening to those people.

TP: The most amazing education you could get.

MOTIAN: I thought that was par for the course. Everything happened like that.

TP: We’ll hear something that wasn’t released until a few years ago, the Lee Konitz-Warne Marsh Quintet at the Half Note with Bill Evans and Jimmy Garrison. You played quite a bit with Lennie Tristano and Warne Marsh, and Lee Konitz has been a friend and recording colleague for years.

MOTIAN: True. There was a club downtown called the Half-Note run by the Cantarino family, and they talked Lennie Tristano into coming out and playing. Lennie hadn’t played or performed in public in a long time, and he didn’t plan to. Anyway these people called him and got him to come out and play at the Half Note, and I played there a lot with Lennie in the late ’50s-early ’60s for two or three years. One time we played at the Half Note ten weeks. Ten weeks at the Half-Note, man. And Lennie kept me and used ten different bass players during that time, everyone from Teddy Kotick to Paul Chambers to Peter Ind, Red Mitchell, Whitey Mitchell, Jimmy Garrison, Henry Grimes… It went on and on. [LAUGHS]

TP: He was very specific about wanting his drummers to keep things within a certain area.

MOTIAN: He never said anything about it, but you felt that your job was to keep time, man, and let these guys go and play. One time we were exchanging fours, and he said, “You know, Paul, your fours sound like a drunk falling down stairs.” I said, “Oh, that’s great. Thanks a lot, man.”

TP: I’ve heard that said about other drummers like Dave Bailey. Anyway, Lennie Tristano wasn’t in the house the night this was recorded.

MOTIAN: Yes, Tuesday was Lennie’s night off. He was teaching on Tuesday nights. So on Tuesday nights we would play sometimes without a piano player sometimes with. That particular Tuesday it was Bill Evans. Bill had been playing with Miles Davis, and he had just left and was about to start his own stuff. It was around that time.

[MUSIC: w/Konitz-Marsh, “April”; Konitz-Swallow-Motian, “Johnny Broken Wing”]

TP: The Electric Bebop Band plays a repertoire that mines the amazing compositions of the period when Paul Motian came musically of age, between 1945 and 1960… [ETC.] At once idiomatic and contemporary. The sound has evolved…

MOTIAN: We’re doing some of my music with this band, which is interesting. I have some very open kind of pieces where I like to have everybody playing at the same time and trying to make some music out of it. Interesting.

TP: In the next set, we’ll hear music with Paul Bley, who you’ve been playing with since the mid-’60s, and Keith Jarrett, with whom so many people heard you during the late ’60s-early ’70s. Let’s go through your bio again. You began playing with Bill Evans in Jerry Wald’s Sextet, and you’re on Bill Evans’ first trio recording in 1956 for Riverside. How did things develop? Did the trio work a fair amount up to 1959, when the next recordings are?

MOTIAN: Yes, we were playing. We were doing gigs. We didn’t go on the road. We played mostly around the New York area. Then Scott LaFaro came on the scene, the next record was with him, and then we did go on the road!

TP: In that interim, you were playing and touring with Oscar Pettiford. You were playing in one of his tentets, and he took an integrated band to Florida in ’57 or so.

MOTIAN: Yes, it was ’57. We played at the University of Florida, we played in Virginia. Went by bus from New York on quite a bus ride.

TP: You have an amusing story about Oscar Pettiford about the drumsticks.

MOTIAN: okay. We were playing at Small’s Paradise in a quintet with Ray Copeland on trumpet, Sahib Shihab on baritone saxophone, Dick Katz on piano, myself and Oscar Pettiford. At that time I had these very light, skinny drumsticks, 7-A’s, and I was playing with those. After the set, Oscar picked up one of the drumsticks, and he said, “What kind of sticks are these, man?” He sort of was bending them; they were almost like rubber in his hand. He said, “Get yourself some sticks, man.” So I went downtown to the drum shop, got some heavy sticks, came back the next day and played.

TP: He must have been a strong man.

MOTIAN: Yeah, he was great. He played great. People used to say, “Man, you’re playing with O.P. He’s death on drummers, man. How are you doing, man? What’s going on?” I said, “I guess he likes me.”

TP: Apparently so. And you were also playing a lot with Al Cohn and Zoot Sims.

MOTIAN: Yes, we used to play at the Half Note quite a bit. I loved those guys; they sounded so great. It always confused me, because it seemed like everyone always talked about Zoot and not many people talked about Al, and Al had this great big sound, played so great. Well, both of them; they were incredible. I couldn’t figure out how they… They used to drink so much. I couldn’t figure out how they could play so great and drink so much alcohol.

TP: I heard a story where Zoot Sims said he practiced that way.

MOTIAN: [LAUGHS] I guess so. And someone else told me another thing about Zoot, that Zoot walked into this bar on 52nd Street called Jim & Andy’s dressed in a tuxedo, and everyone freaked out. They said, “Zoot, what are yu doing in the middle of the day in a tux; what’s going on?” He said, “I don’t know; I woke up like that.”

TP: Let me ask you a question about drums. How has the drumset changed from when you started playing up until when you were playing with Bill Evans and to today? Has it changed palpably? Has the sound of drumming changed because of changes in the way they’re made?

MOTIAN: Wow. I don’t know.

TP: Are you very particular about the size and make and composition of the cymbals?

MOTIAN: No. I’m interested in sound. I don’t care what it looks like, what size it is. It has to sound musical. It has to sound right to my ears. People say to me, “Oh, we’ve got this rider that you’ve got to have this 18-inch bass drum. I say, “Man, I don’t care. It could be a 50-inch bass drum. If it sounds good and musical, I’ll play it. That’s the way I feel about it. Also, I like musical sounds, man. I want it to be pleasing to my ears. I don’t tune the drums to specific notes or anything like that. It’s just pleasing to my ears.

TP: When you go on the road for one of these long European excursions are you taking…

MOTIAN: No. I don’t take anything any more except for some drumsticks and brushes. Last tour I didn’t even take a drum key, and that was a disaster. Because no one seemed to have a drum key everywhere we went. So I dealt with it. So I have to deal with the drums, and that’s kind of a drag, but there’s no getting around it.

TP: Apparently, if recorded evidence is worth anything, which I think it is, I think people will know it’s you on whatever set of drums. But you’ve been an informed observer of drum construction for about fifty years now, so I wondered about your perspective.

MOTIAN: I guess the first drumset I had was during World War II, and the rims were wood instead of metal. Then they came up with more stuff. They just kept coming out with more stuff. I mean, cymbal stands that do certain things, boom stands…there was none of that when I first started.

TP: Before this digression, we were discussing your early years with Bill Evans. So the records came out in ’59, and the records became popular and an incredibly influential entity.

MOTIAN: Well, that kind of happened later. A lot of gigs we did, we didn’t have full houses and people screaming and clapping when we played. I remember playing in the Village Vanguard with Bill and Scott LaFaro with only 4 people in the club, and talking to Max Gordon and saying, “Hey, man, can we go home; there’s only four people,” and he says, “Oh, no, you’ve still got a table of people and you’ve got to play another set.”

TP: And it was probably the third set.

MOTIAN: Oh, in those days, man, we used to play from 9 or 10 at night til 3 or 4 in the morning. I didn’t see the sunlight. And we went from one club to another club to another club. You never went out of town. All the gigs were in New York. You went from one club to another, from Birdland to the Vanguard to the Half Note, then back to Birdland. Like I said before, we played ten weeks at the Half Note with Lennie Tristano, nine weeks at the Vanguard with Bill Evans and Gary Peacock. Then we’d go back to Birdland for three weeks, then go back to another club, and then maybe go to Boston for a couple of gigs and then go back. It’s the way it was. In those days you spent $2 in a taxi to get to a gig, and it took you maybe half-an-hour to get there, and you played for 6 hours or more. Now it’s like 8 hours on a plane, and play one hour, and 8 hours in a plane back. [LAUGHS] It’s quite different.

TP: It must make things sound different as well. Then as far as the Bill Evans Trio, as time goes on, there’s ferment in music in New York.

MOTIAN: Yeah, there was a lot going on.

TP: And you left Bill Evans to be part of it.

MOTIAN: Yeah, I left Bill Evans in 1964. I came back to New York and was playing with Paul Bley and the Jazz Composers Orchestra at the time. There was a lot going on.

TP: And your affiliations with that scene began during your tenure with Bill Evans. That’s when you met people like Steve Swallow and Charlie Haden?

MOTIAN: Well, I met Charlie when I was playing with Bill Evans at the Vanguard, and Scott LaFaro said to me, “You know, there’s a really great bass player playing over at the Five Spot with Ornette Coleman. I want to introduce you. I want you to meet him. Come on over. So I went over and Scott introduced me to Charlie. That had to be ’59.

TP: So you heard Ornette Coleman when he hit New York?

MOTIAN: Yes, at the Five Spot.

TP: In ’59 were you open to it? Did it sound right to you?

MOTIAN: Yeah, I was. You know, it was very different, and I was interested. Sure, I thought it was great.

TP: So basically, you’re aware of everything that was going on around you and you wanted to partake of it.

MOTIAN: Yeah. I was on the scene a lot. A lot more than now.

TP: You and Paul Bley have done numerous recordings, and we’ll hear from a Soul Note date from 1990 called Memoirs.

[MUSIC: Bley-Haden-Monk, “Monk’s Dream”; Keith-Peacock-Motian, “You And The Night and Music”]

TP: When did you begin playing with Keith Jarrett? ’68 or ’69?

MOTIAN: I’m not sure. When I met him was with Tony Scott. There was a club in the Village called the Dom. Tony Scott was playing there, and he called me. It was a Monday night. I was playing somewhere else, and I had the day off Monday, and Tony Scott calls and says, “I’ve got this gig for you, man,” and I said, “No, it’s my night off,” and he said, “No, come on, you’ve got to do this gig.” So I went and did the gig, and when I walked in the club Keith Jarrett was playing piano. I said, “Man, who’s that? Cat sounds great!” He said, “Oh, that’s Keith Jarrett; I discovered him.” Tony always said he discovered everybody. Bill Evans. Everybody. I think Henry Grimes was playing that night. So I met Keith then and we played. We played with Charles Lloyd together in ’68.

TP: So when Jack De Johnette left Charles Lloyd, you became the drummer with Charles Lloyd.

MOTIAN: Right. I did that for about a year. We did a very interesting tour at that time. We went to Laos and to Malaysia and Singapore, Japan, Okinawa, the Phillippines with Charles Lloyd, but Keith didn’t go because they were trying to draft him, put him in the army to go to Vietnam, so he couldn’t leave the country. A pianist named Jane Getz did that tour with us. But I had met Keith; we toured the country with Charles Lloyd then. Then when Keith wanted to put together his own trio, he called me and he called Charlie Haden, and he said the reason was that he always liked the work that I did with Bill Evans and the work that Charlie did with Ornette, and he thought that would be a good combination. That’s how that started. It had to be around ’68-’69.

TP: The sound of the music is palpably different than what you did with Bill Evans in the early ’60s, and I guess the role of the drums also becomes very different. Was it a transition for you?

MOTIAN: Yes.

TP: How did you approach that? Was it hard for you to change your mindset or did it happen very naturally?

MOTIAN: It did. Because there was a lot of stuff going on. Just little by little. When I first started playing with Scott LaFaro with Bill, I started breaking up the time and playing more open stuff, then that grew and grew and grew. Before I played with Keith, I was playing a little with Paul Bley. Then there was the Jazz Composers Orchestra where the music was getting more out and freer. Then joining Keith and seeing the way he played, that seemed perfect for me. I was really happy with that. It seemed like that was the way to go. It seemed like an improvement, it seemed like an evolution… Let’s play!

TP: At that time, did you change the drums you played?

MOTIAN: No-no.

TP: It was never about that in any way.

MOTIAN: No. It’s all inside.

TP: For you, in your learning process, were you ever someone who would internalize what other drummers were doing and try to do that as close as you could?

MOTIAN: Oh yeah. I tried to copy them! Yeah, man, until you find your own voice.

TP: Who were those drummers?

MOTIAN: Kenny Clarke mostly. Max Roach. Art Blakey.

TP: With Kenny Clarke it was the way he played time?

MOTIAN: Yeah, just the sound. And the way he played, and how he played, and how he got such music out of a little amount of equipment! Boy, when he was playing at the Bohemia, I was there every night checking that out. It was great. Then Art Blakey and Max. Listening to Max Roach on record and trying to play like that, to copy it exactly, and do the best you can that way. I remember listening to Charlie Parker and trying to play his phrasing on the drums, and stuff like that. That’s the way you learn. Then eventually, hopefully, you develop your own voice and take it out there!

TP: With Keith Jarrett it was a steady-working entity for about eight years.

MOTIAN: Oh yeah. It went on for a while.
TP: Dewey Redman joined when, in ’71 maybe?

MOTIAN: In ’72 at Slugs, the jazz club that was down at the East Village. Lee Morgan was shot on a Sunday night, they were closed Monday, and we opened Tuesday. And the vibe was very strange in that place! That’s when Dewey joined. That was ’72.

TP: Was the band very interactive? An equilateral triangle type of situation?

MOTIAN: Oh yeah. I mean it was his music. He wrote the music. We didn’t play standard tunes. Also, I had my first trip to Europe with Keith.

TP: So at the end of your tenure with Keith Jarrett you start forming your own groups.

MOTIAN: Right around ’76 is when I started doing that

TP: And I suppose your interest in composing music gestated while you were with Keith Jarrett’s band.

MOTIAN: Exactly.

TP: Was it again a gradual thing, you had to do this…

MOTIAN: Well, I never felt compelled, that I had to do anything. Like I said before, I play from what I hear and I’m listening and trying to make music, and integrate myself and my playing into the music, and go from there.

TP: I think your first record is in ’74 or so, Conception Vessel?

MOTIAN: My first record I guess was a trio with Charles Brackeen and David Izenson.

TP: I just want to take you up to the trio of twenty years standing with Joe Lovano and Bill Frisell. I personally was very struck by the records with Charles Brackeen and David Izenson.

MOTIAN: There were two. There was another record with J.F. Jenny-Clark, who died recently.

TP: But that particular sound and the Brackeen-Izenson trio; I’m interested in the personnel and in the way you were hearing. Basically you made a transition to being a bandleader, doing your music.

MOTIAN: Basically, the reason that happened is I was playing with Keith Jarrett, and at that time I was starting to think about doing my own stuff, and I asked the agent who was booking Keith, “If I put a band together, would you get me some gigs?” He said, “Sure.” So I put together the trio with Brackeen and David Izenson, and he got us one gig. In Michigan. That was it. And I was stuck with being a leader. Well, there you go. Okay, Paul, you got it.

TP: And I guess you kept doing it. Well, I guess part of your activity is that and part is these freelance assignments with various associates. Let’s hear the most recent recordings by the Paul Motian Trio with Bill Frisell and Joe Lovano, from a pair of recordings documenting the band at the Vanguard in ’95, Sound Of Love and You Took The Words Right Out of My Heart.

[MUSIC: “The Sunflower” & “Misterioso”]
TP: …one of the most influential bands of the ’80s and first part of the ’90s, when they played together with great regularity. Paul informs me that “You took the words right out of my heart” comes from a Bob Hope movie with Dorothy Lamour.

MOTIAN: When I first heard it was on a Thelonious Monk record. Monk was playing it. That’s what turned me on. Then I copied it off the record and started playing it. Then I saw a film that was made in the mid-’30s, in 1934 or something like that, called The Big Broadcast of ’34 or some year, with Bob Hope and Dorothy Lamour, and Dorothy Lamour is singing this in this film! But I heard Monk play it first.

TP: The process of hearing things backwards didn’t just start with this generation of musicians.

MOTIAN: That’s right.

TP: A few words about Lovano and Frisell, and the chemistry.

MOTIAN: It started out as a quintet. First it was Billy Drewes and Joe Lovano, Bill Frisell and Ed Schuller. Then it became Jim Pepper and Joe Lovano. We did three records for Soul Note that I like very much. I guess they’re hard to find, but I think there’s some great music there. We were playing one night somewhere in Italy, and there’s one piece of mine that just called for the bass to lay out, and for a few minutes it was only Joe and Bill and I playing. At that moment I thought I could play my music with this trio without having a quintet. Economics was involved, and I liked the idea of playing without a bass and just to give it a try. That’s how that happened.

TP: That trio became one of the more influential bands of the time. A lot of musicians speak of hearing that trio just as people like Joe Lovano or John Scofield cite the Keith Jarrett Quartet as having an impact on the way they thought about music. It gave them a sort of paradigm shift, hearing what you did with Monk’s music, or the three albums of deconstructed show tunes. Did you embark on those projects as concept records, or were they part of the imperative of what you were doing?

MOTIAN: During all the years of playing, there were a lot of songs that I felt associated with, songs that I played with Bill Evans, song that I played on commercial gigs or whatever, and I just wanted to record those songs that I felt close to and that I had experience with. So I added Charlie Haden, and we did two records also for JMT…

TP: It’s been a great producer-artist relationship.

MOTIAN: Yes. Except you can’t get those JMT records any more. They’re gone. That’s too bad. So we did three records of standard songs, called Paul Motian on Broadway. There’s a funny story that the cover designer for the first of those records walked to Broadway and took a photograph of me and threw it up in the air and took a picture of that, and put it on the album cover. Then the third one was the same band with the addition of Charlie Haden plus Lee Konitz.

TP: Did your choice of material have to do with personnel?

MOTIAN: No, I wasn’t thinking about that. I was just thinking about the songs. They were songs I felt close to, and I wanted to record them. I did a lot of research. I was checking out all the composers. There was some great music there — Richard Rodgers, George Gershwin, Harold Arlen, Cole Porter. I love that stuff.

TP: In the last five-six years, as Lovano and Frisell both have such busy careers, it’s hard for that band to get together. But obviously, when you do hit, you hit with a vengeance. Just a few sentences about Lovano’s qualities, Frisell’s qualities, the simpatico you feel. You said for one thing about Joe Lovano that he remembers everything, that you can pick up something you did eight years ago, and he’ll remember it.

MOTIAN: Yes, that’s what’s great. I don’t want to think about it if I don’t have to. I give it to Joe, man. He’s great for that.

TP: Anything salient about Frisell, how his sound meshes with you?

MOTIAN: I don’t know. I just like it. I tried to put together a band after the trio with Brackeen and David Izenson and then with J.F. Jenny-Clark. I wanted to put together the quintet. I talked to ECM at the time and they said, okay, they’d record. I heard Michael Gregory Jackson, the guitar player, play in New York one night, and for the first time I heard the guitar sound with synthesizers or whatever, and I thought, “Wow, the guitar can sound like a violin; isn’t that great.” Then I was playing with Pat Metheny, and the quintet was going to be Pat Metheny and Michael Gregory Jackson and Julius Hemphill and Charlie Haden and myself, and it was going to record for ECM. We did a quartet gig in Boston with Michaael Gregory Jackson. But then it sort of didn’t happen, and the quintet I ended up with was the continuation of that. Pat was the one who recommended Bill, and I heard Bill getting this sound I’d heard before that could do so many things, and that got my interest up. So that’s how it started.

TP: So it gave you a broader orchestral palette, as opposed to the more monochromatic spectrum of the Izenson-Brackeen trio. This is the The Paul Motian Trio Plus One, from 1998. Core trio is Chris Potter and Steve Swallow, and coming in on tracks are Poo Kikuchi and Larry Grenadier.

[MUSIC: “Three In One” and “Sunflower”]

TP: Back to 1983 for a track with the Charlie Haden Liberation Music Orchestra, which you played with throughout the ’70s into the ’80s, and maybe the only big band I can remember you playing with as such. You didn’t do very much big band playing.

MOTIAN: Not much, no. The Oscar Pettiford Big Band for a little while. The Jazz Composers Orchestra was quite a big band. Charlie Haden.

TP: What memories do you have of the Jazz Composers Orchestra?

MOTIAN: Oh, I thought it was a great experimental kind of scene. There was some great music, the music was changing, getting more free. I met some good players. It was a nice scene.

TP: In ’64-’65-’66, who are some of the people you were playing with? Did you do gigs with people from the whole sonic range?

MOTIAN: It was mostly Paul Bley during that time. I never did play with Albert. I heard him a lot, of course. Also, there was a period for me during that time when I didn’t have that many gigs. Before I joined Keith Jarrett, there weren’t that many gigs. I took a bunch of commercial gigs. For a while I was playing floor shows and stuff like that in New York.

TP: So it was like taking a day job so you could do the things you wanted to do.
MOTIAN: Well, it was hard to do what you wanted to do in those days actually. For me it was. I mean, the time after I left Bill and then before I got with Keith Jarrett. Rock-and-Roll was more and more popular, and jazz was sort of not…

TP: Passe.

MOTIAN: Kind of. So there weren’t that many gigs around. I wasn’t hooked up with anybody special at the time. I did what I could. So I took a lot of commercial gigs, and sometimes didn’t gig at all, and no money, no nothin’!

TP: That was probably the last period when you could live in New York, however meagerly, and do that.

MOTIAN: True. Rent in an apartment… You could get by with $100 a month and have a decent apartment.

[MUSIC: Charlie Haden LMO, “El Segador”; Pietro Tonolo(?), “Wig Wise”]

TP: We’ll conclude as we began, with the Electric Bebop Band, drawing on the vast wellspring of music composed between 1945 and 1960, drawing on Tadd Dameron, Dizzy Gillespie, Thelonious Monk, Charlie Parker, Charles Mingus and Herbie Nichols, and some original music as well…

A lot of musicians who came up in the ’50s and ’60s played a lot of Latin music as rent gigs. Was that part of your scene?

MOTIAN: No. No. Didn’t do that.

TP: The show demonstrates the interconnectedness of personalities in jazz. It seems in this music there’s only two degrees of separation! I think this afternoon is a living embodiment of that in addressing the career of Paul Motian, who since arriving in New York in 1953 has played with or shared bandstands with or been in proximity to every major improviser you can think of, from Coleman Hawkins and Roy Eldridge and Thelonious Monk and Bill Evans and Lennie Tristano and Al Cohn and Zoot Sims and Paul Bley and Keith Jarrett and Dewey Redman and on and on, and always stamping his own sound on the music. So truly one of the legends of jazz music, and still thriving, about to go on a three week tour that will put you 20 flights in three weeks.

MOTIAN: Or so. One time we did a tour with the Broadway quintet, with Lee Konitz, Frisell, Lovano, myself, Mark Johnson. In three weeks we had 35 flights.

TP: So while 40 years ago, the life wasn’t the healthiest life, playing from, say, 9 to 4 a.m. every day, and the various hazards of the jazz culture, but now you’re going off flying every day on these extended tours.

MOTIAN: There’s always some dues to pay, man. If you don’t want to pay any dues, don’t do music. [LAUGHS]

[MUSIC: “Split Decision” & “Celia”]

* * *

 

Paul Motian (6-15-93):

Q: I’m very glad to introduce to the New York radio audience, his first WKCR appearance in 25 years, the drummer-composer Paul Motian, who is leading the Paul Motian Trio at the Village Vanguard this week, one of the most creative ensembles in the world of improvised music. Welcome back to WKCR, Paul Motian.

PM: Thanks. Nice to be here.

Q: This trio has been working together for 12 years, is it?

PM: Just about. I think so.

Q: How did you find these guys? Bill Frisell and Joe Lovano are now famous musicians, but in 1981 they weren’t.

PM: Yeah. I tried to tell people that in 1981. They wouldn’t listen to me!

Q; That they were famous?

PM: Yeah. [LAUGHS] I said, “These guys can play, man. Check ’em out.” Anyway, it takes time. I found them through the usual thing, word of mouth, other musicians. Yeah. Pat Metheny recommended Bill Frisell to me, and I think it was bassist Marc Johnson that recommended Joe Lovano. In the beginning, before this trio happened, it was a quintet, and before that it was a quartet with Marc Johnson, Bill Frisell and Joe Lovano and myself. Then Marc ended up leaving, he went with Stan Getz, and blah-blah-blah…

Q: Was there an instant empathy?

PM: Yeah, there was. I mean, there were other people involved, and then it just… When it got down to the nitty-gritty, it ended up with Bill and Joe and I. And it’s worked out great.

Q: It’s a group that takes the ethos of improvising to real heights.

PM: Yeah.

Q; Nothing is ever treated the same way on a given night.

PM: Right.

Q: That must be very stimulating to you.

PM: Yeah, hopefully. Yeah, it is. It is. Because we’re playing some of the same music we’ve been playing for years, and it’s always a little different. And especially now, since Bill and Joe also have their own bands and we don’t get together as often as we used to, it’s really taken another turn — and it’s great. I love Bill and Joe. We’ve been together now for this while, and we’ve done lots of tours together, a lot of gigs together, records, and it works out good. They are both very helpful. Joe is great, Bill… I mean, they remember tunes and arrangements, and you know, also have suggestions and things; we work things out. It’s been great.

Q: There are very few bands with that type of longevity around.

PM: Uh-huh. Well, I don’t know. What about the Modern Jazz Quartet?

Q: Well, I said very few. I didn’t say none! The band plays this mix of standards and your original music that you’ve recorded.

PM: Right.

Q: You must have a huge book by now to draw on.

PM: Yeah, there’s a lot. But I mean, sort of like it’s settled into a few favorites, as it usually does, ha-ha…

Q; Define “few”.

PM: I don’t know, about ten or twenty tunes. [LAUGHS]

Q: I believe this is the first time that this band or a band under your leadership has appeared at the Village Vanguard. Am I right?

PM: That’s true… There were other bands that were…you know, there were coop sort of bands with trios and stuff that I was part of. But this is actually the first time for my own thing, yeah.

Q: However, your history at the Village Vanguard…

PM: Goes back.

Q; …goes back maybe a year or two.

PM: Heh-heh, it goes back, yeah.

Q: You were telling me your first appearance at the Vanguard you can definitely pin down…

PM: To New Year’s Eve, 1956, with Lee Konitz. ’56, let’s see…thirty…

Q: 37 years ago.

PM: Something like that. And I think I may have played in there earlier, because I was in New York actually in ’53, even though I was in the Navy at the time, but I was living in Brooklyn… So in ’53-’54, I was in New York then already. So I could have been in the Vanguard before ’56. But I started keeping a record in ’56, so I know that for sure.

Q; [ETC.] Tell us a little bit about Motian in Tokyo. We’ll be primarily hearing your own compositions.

PM: This is a record that was done in Tokyo, in Japan, a couple of years ago, a live recording, mostly my compositions. I think there’s one Ornette Coleman tune on there, but it’s mostly my tunes. A lot of them were pretty new at the time. We were actually reading the music and stuff. But there’s some nice things on here. I’d like to hear this track called “Mumbo Jumbo” that we play pretty often.

[MUSIC]
Q: We heard three offerings by the core of the Paul Motian Trio, augmented by Lee Konitz and Charle Haden on the last two selections. That, of course, was “Tico, Tico,” preceded by “Handful of Stars.” That comes from the most recently domestically issued release by the Paul Motian group, Paul Motian on Broadway, Volume 3. [ETC.]

I’d like to talk to you about your background in music. You grew up in Providence, Rhode Island.

PM: Right.

Q: Did you start playing drums very early?

PM: I was about 12 years old when I started.

Q; Did it really start at 12? Were you doing rough-hewn, hand-made percussion, or banging on things?

PM: No, I took my first drum lesson from a neighbor who was a drummer at that time. I was around 12 then.

Q: Was there music around the house, in your family?

PM: The music around my house, in my family was sort of Middle Eastern music, Arabic music, Armenian, Turkish, that kind of music. Old 78 records, and the wind-up phonograph… That’s what I heard as a kid.

Q: Did you ever get to go out and hear music? Was music part of family functions?

PM: No, not really. They liked that music, the records that they had. They enjoyed that. But as far as I know, there were no musicians in the family or any big interest. As a matter of fact, my mother was against me playing drums. She didn’t want me to do that.

Q: It must have made a racket around the house.

PM: Yeah.

Q; So what happened? You just took to the drums…

PM: I just took to the drums. I did. I did. I loved it. And still do! [LAUGHS]

Q; So this neighbor gave you the rudiments.

PM: Yeah, he gave me one or two lessons. He really wasn’t a teacher. And then I found a more legitimate teacher, and then played in school in the bands, you know, in junior high school and high school, like that.

Q; When did you first start listening to Jazz and to Jazz drummers?

PM: I guess I heard… When I was in high school in Providence, Rhode Island, from the radio, from broadcasts from New York, from other musicians that turned me on to stuff. I remember I was in about the tenth or eleventh grade in high school, and someone took me to a record shop and played me a Charlie Parker record.

Q; So you heard Max Roach there.

PM: Yeah. Right.

Q; So what did you think about that at that time? How did that sound to you?

PM: I loved it.

Q; Yeah?

PM: Oh, I loved it. I feel for it right away. And then I started sending away for records. I used to send to New York for records, like 78 records. I’d get them in the mail.

Q: What were some of the records you were hearing then?

PM: I’m talking about Bird and Max Roach, some of those, and some big band stuff, like Count Basie and Duke Ellington and like that. But I guess it must have been radio. I was hearing stuff on the radio.

Q: Were you listening to that analytically, in terms of yourself as a drummer…

PM: No.

Q: …or just in the total sound of the music?

PM: Yeah, to the music. I wasn’t analyzing it, no.

Q: When did you start really being serious as a drummer with the idea that it would be your life?

PM: I don’t know. Probably not much longer after I got out of high school, and then went into the Service and played in the band in the Navy. I guess from then on… And then started… When I was in the Navy and I was stationed down South, I used to go to jam sessions and try to find places to play all the time. I was about 19 or 20 years old at the time. And around that time, I guess, I was getting pretty serious.

Q: Now, for a lot of musicians of your generation the Army really was a great musical training ground.

PM: Yeah.

Q: Was that how it was for you?

PM: Well, in a way. I mean, the reason I went into the Navy was… It was during the Korean War, you know, and a lot of friends of mine were getting drafted and getting killed and stuff. And then I heard that there was a music school, that the Navy had a music school, that if you joined, enlisted, you could go to this school. Which I did. But it ended up I didn’t go to the school very much because I got sick, and I was in the hospital, and then they shipped me out! [LAUGHS]

But I met a lot of great, interesting people during that period, and I’m still friendly with some of them. And one of them is a bass player, Jack Six, that plays with Dave Brubeck — a close friend.

Q: Other well-known musicians you came in touch with?

PM: No. But I mean, through that music school… I know Bill Evans went through that school, and so did Eric Dolphy.

Q: What school is that?

PM: This is called the Navy School of Music in Washington, D.C. I didn’t see them, I didn’t meet them there at that time. But they were in there sort of. We kind of, you know, passed…

Q; Well, you wound up, as you said, in New York in 1953 or so.

PM: Yeah.

Q: Was that also through the Navy?

PM: Yeah, I was stationed in Brooklyn.

Q; Were you in a band?

PM: Yup. But I was living in… I had an apartment in Brooklyn. And we used to go in at 9 o’clock for a band rehearsal, and have a rehearsal, and then go home. Unless there was some function that you had to take part in, play in a parade or something like that — you did that. And I was there for about 10 months, I guess.

Q; So you got to New York in ’53, and I take it you took full advantage of the opportunities of being in New York.

PM: Oh yeah. Yeah, sure. Then after I got discharged, I stayed — stayed here.

Q: So you hung out a lot, you heard a lot of music.

PM: Yeah.

Q: Did you go to Birdland…

PM: Yeah.

Q; …and different clubs…?

PM: Yeah! Saw Bird play at the Open Door. There was a place called the Open Door. It’s down where NYU is now, Lafayette and 4th Street or 3rd Street, something like that. I saw Bird play there one afternoon. And actually, I got to play with Thelonious Monk there once. I went there to hear Monk, and Arthur Taylor was supposed to be the drummer and he wasn’t there, so Bob Reisner, who was running concerts at that time, knew me, he’d seen me around town, and he said, “Paul, if you want to play with Monk, go home and get your drums — you can play with Monk.” I said, “Wow, great, man.” So I ran home, got the drums, and played that night with Thelonious. That was at the Open Door. And that was in 1955. Because Donald Byrd was playing at the time, and recently I ran across Donald Byrd in Europe, and he told me he’s got a picture of me playing with Monk that night — that afternoon or whenever it was… I don’t even remember if it was night. I guess it was night. That was in ’55, man.

Q: ’55? I guess that’s before…? Was Monk’s cabaret license reinstated at that time?

PM: I don’t know.

Q; I take it you were also gigging around this time.

PM: Right.

Q: You were working with a number of people.

PM: Actually, I met Bill Evans at an audition for… There was a clarinet player at that time named Jerry Wald. He was putting a band together. He was auditioning musicians for some gigs on the road, a sextet — he had a sextet. And I went to the audition, and that’s where I met Bill. I think that was in ’55. And at that time also I was playing with Tony Scott, also with Bill Evans playing piano. And doing… You know, gigging around town, doing gigs, doing commercial gigs, doing jam sessions, doing whatever.

Q: I have here a liner note to a 1957 release that you appeared on with Warne Marsh, by Nat Hentoff, and he says: “He has worked with Oscar Pettiford, Tony Scott, Don Elliott and Zoot Sims, among others.”

PM: Mmm-hmm.

Q: Was that a one-off thing, or a semi-regular thing?

PM: Well, I was playing one night at Birdland on a Monday night, which was the off-night in Birdland; I was playing in there one night with Sonny Rollins. And Zoot Sims came in and heard me, and hired me — he took me to Cleveland with him for a gig. That was the first time I met Zoot. So that was in the mid-Fifties, probably ’55, ’56, something like that.

Q: What was it like working with Oscar Pettiford?

PM: Great. Oh, I loved him. People used to say to me, “Hey, man, how are you getting along with O.P.?” You know,, they’d say, “He’s death on drummers, man; he kills drummers.” And I said, “Man, I don’t know. He must like me!” [LAUGHS] But one day we were playing at Small’s Paradise, and after the set he grabbed my drumstick. At that time I was using these drumsticks that are called 7-A. They are very thin and very light. And he took the drumstick and he said, “What is this, man?” — and he started to bend it. He said, “This ain’t no drumstick, man.” He says, “Go get you some drumsticks.” So the next day I went down and got me some heavier sticks!

But Oscar was great, man. I learned a lot. He was a great bass player.

Q: Did other people give you… Was that type of advice-giving…?

PM: Yeah.

Q: That was a kind of frequent thing?

PM: Yeah, sure.

Q: What are some other things that people told you that you can relate to us?

PM: Monk asked me…he said, “Sing me your beat.” [HEARTY LAUGH] And I went, you know, “DING-DINGADING-DINGADING.” He said, “No, no, man. He said, “DU-DING-DING-DADING-A-DING…” [LAUGHS] I mean, stuff like that; you know, that came up.

Q: Do you think there was more collegiality among musicians then? That musicians were more open with each other in a certain way…?

PM: Yeah. Yeah, I think so. I don’t know if it was more or less. But I got along pretty good! [LAUGHS]

Q: I guess where you really came to prominence in the broader world of Jazz was through your work with the Bill Evans Trio.

PM: Yeah, I guess so.

Q: You’d worked before that, you were on records, but this is where your name really became…

PM: Yeah. It’s funny, too, because I mean, at the time you didn’t really think about it. And I remember when we did the Village Vanguard and we did the Vanguard recordings, which was the last time we played together, and as we were packing up we kind of said, “Well, let’s try and play more; let’s try and do some more things and play more often” — and that it would really be nice to make a music that didn’t have a date on it. And at the time I didn’t realize… One never thought about if that would happen — and actually it somehow.

Q: I guess the first recordings by the trio were in 1956.

PM: Mmm-hmm.

Q: But were you working fairly steadily together from then through the first records that really made their splash?

PM: Oh, I don’t know about steady. We worked… We didn’t work 365 days a year, you know, but we put in a few months a year. But I was pretty tight with Bill. We used to hang out a lot and play at his house a lot. But it was always music, you know. I mean, we’d be involved in it one way or another. If it wasn’t actually a gig, it would be a session I’d play or go somewhere. I used to take my drums on the subways, on the ferries, on the buses all over.

Q: We’ll hear a few selections from Portrait In Jazz, Scott LaFaro’s first session with the Bill Evans Trio. These are selections you picked out amongst the…?

PM: Well, it’s all good, man. I like this record. I think this is one of my favorites, if not my favorite Bill Evans Trio record.

[MUSIC: “Turn Out the Stars (Paul Motian/Bill Evans, JMT)

“What Is This Thing Called Love,” “Come Rain Or Come Shine,” Portraits in Jazz, Bill Evans Trio.

Q: Before we continue, just a few words about Bill Evans and your sense of him as a person, a colleague, a friend.

PM: Well, I always kind of felt like he was an older brother, you know. He was a couple of years older than me. We were very friendly. We hung out together. Close friends. Great pianist. He influenced a lot of people. I had great times with him. I’m glad I have those memories, man. It will last forever. Great music.

And this thing you just played, “Turn Out The Stars,” I never played that with him, actually. I guess he wrote that after I had left. So that was a pleasure to do that. It was a pleasure to do the record.

Q: You said that in the late Seventies you were starting to really listen to the compositions…

PM: Oh yeah.

Q: …and get that together with him somewhat.

PM: Well, the thing was that when I left Bill, it was in 1964 or something like that, and then I didn’t see him, or we didn’t really hook up for many years — you know, ten years, fifteen years went by. And then, a few years before he died, I guess about four years before he died, we got together. He had a birthday party at his house, or it might have been a Thanksgiving party or something where he was living in Fort Lee, New Jersey. And I went there, and we hung out, and it was great to see him and great to hang out with him again. I took him a tape. I had a tape from an old radio broadcast that we had played together on from Birdland, and he played that. And it was nice getting back together with him again.

At that time, I was kind of getting into writing more, and… Actually, he called me. He asked me to play with him again. He called me and he said Philly Joe Jones was playing with him, and had just quit, and would I play with him again. And I had to turn him down, because at that time I had just formed my own trio with David Izenson and Charles Brackeen, and we were about to go to Europe on a tour. So I had to turn him down. And then when I was on tour in Europe, I was thinking, “Gee, it’s nice to get back with Bill and to hang out with him. I can learn so much from him, and now that I’m into writing music…” But then he died, so that was the end of that.

Q: Was that sort of the genesis way before of this project, of the Bill Evans project?

PM: No, not really. This Bill Evans project came up much later.

Q: Well, it’s one of a number of concept records, for lack of a better word…

PM: Mmm-hmm.

Q: …that you’ve done for JMT. There are three volumes of Motian on Broadway…

PM: Right.

Q: …with your own singular reorchestrations of…

PM: Standard songs.

Q: …standard songs, so to speak, and this, and there’s also an album of your orchestrations of Monk’s music as well, Monk in Motian.

PM: Well, the Monk In Motian idea was from the record company. They approached me. That was my first record for JMT. And Stefan Winter from JMT Records approached me about that. He asked. He thought it was a good idea if we did a Monk record with the trio. So that was kind of the beginning. And the Broadway records are songs that I just love and that I have been associated with through the years. And I think that the writers of those songs from that period, the Twenties, Thirties, Forties are some really great, great music! And I researched it and picked out the songs that I felt close to or ones that I liked, and tried to vary the different composers. Then I started reading autobiographies and biographies of George Gershwin and Cole Porter and Harold Arlen and…heh-heh, on and on. So I spent a lot of time researching that and picking out the tunes — it was a lot of fun.

Q: You also would have been playing in situations where this music was being played…

PM: Right.

Q; And I’m assuming behind vocalists as well.

PM: Sure.

Q: Who are some of the vocalists you’ve performed with over the years?

PM: [LAUGHS] Well, I did get to play with Billie Holiday once. That was great.

Q; What was that like?

PM: That was incredible. She was in the audience. I was playing with Tony Scott at a club called the Black Pearl, which was on First Avenue up in the Seventies somewhere; First Avenue, Second Avenue, somewhere on the East Side. Sam Jones was playing bass, Kenny Burrell was playing guitar, it was Tony, myself, and I think Jimmy Knepper was playing trombone. Billie Holiday was in the audience. And Tony just… Tony Scott got to the microphone and just started saying, “Ladies and gentlemen, Billie Holiday. Let’s have her sing, get her up here.” And she was shaking her head, no; she didn’t want to get up there. But Tony was insistent. So she came up. So I got to play a couple of songs with Billie Holiday, which I love! I was in Heaven playing with Billie Holiday. I also played opposite her at one time, once or maybe twice.

And other singers…I remember playing with… Well, when I was playing with Oscar Pettiford, somehow we ended up… We were playing at Birdland with Chris Conner. I remember doing a gig or two with Anita O’Day once. Like that. Not too many, though.

Q: But all the music on these project albums has a real visceral connection to you?

PM: Sure. Well, I mean, they’re songs that I feel connected to.

Q: It’s part of your life experience in a very tangible way.

PM: Sure. I would say that. Mmm-hmm.

Q: When you’re thinking about the reorchestrations… I know we’re kind of shaky territory talking about why you make the kinds of creative decisions you make…

PM: Mmm-hmm.

Q: The melodies are always there, but they are always twisted in a certain way. Maybe just take one of the songs, and talk a little bit about why you decided to treat it the way you did.

PM: Well, I don’t know. It wasn’t anything written out. There was just my ideas about who should play where and when and with who. I mean, that kind of thing. That was all. There was nothing really…

Q: So you’re leaving a lot of the content to your musicians, Bill Frisell and Joe Lovano.

PM: Yeah. I mean, I may have an idea about, like, who should play the first solo, or who shouldn’t, or who should lay out here or lay out there, and when people should play together, you know, depending on how I hear it. And I would explain that to them or tell them about it, and try and do that. And we may have tried something that didn’t work, and I might want to change it or not, you know… It was like that. It wasn’t anything… I didn’t sit down and write stuff on paper.

Q: Another area of music that’s touched you very closely is the Bebop music of the 1940’s and early ’50s that you came up under.

PM: Sure.

Q: You’re currently leading a new band that I guess has been together maybe a year now…?

PM: Mmm-hmm.

Q: Paul Motian and the Electric Bebop Band. [ETC.]

PM: Bebop, that’s the music I grew up with, man. I mean, that’s…. And I love it. And I just wanted to play the music, but I didn’t want to do it in the sort of standard way with trumpet-saxophone-piano-bass-drums. I wanted to do it a little different. And the idea was to have two guitars, two electric guitars, electric bass. It started out like that. Then later on I added the saxophone. The music that I grew up with, the music that I loved…

Q; How did you recruit these musicians?

PM: How did I recruit these musicians…? [LAUGHS]

Q: Josh Redman is the tenor player in the group. One of the guitarists is Brad Schoeppach…

PM: Brad Schoeppach and Kurt Rosenwinkel. You know, the same way that the trio stuff happened, and before the trio, the quintet — from word of mouth. Actually, I think Bill Frisell recommended both of those guitar players. Bill heard Kurt Rosenwinkel in Boston in a band. And when I was putting this thing together, I was… Actually, the first time I tried this was about ten years ago, and I had it with a band with Bill Frisell, Mike Stern and Mark Egan. We did a rehearsal at my house, but it really didn’t work. But at the time, we were kind of playing my music and not so much Bebop music. So that was kind of the beginning of the seed or whatever you want to call it.

And then it was kind of like word of mouth; someone would recommend someone. I had a couple of other guitar players. But the two that ended up on the record and now that did the tour with me, it’s working out real well.

[MUSIC: “Scrapple From The Apple,” Paul Electric Bebop Band; “Gaia,” Kikuchi-Peacock-Motian, Tethered Moon; “Monk’s Dream,” Bley-Haden-Motian, Memoirs; “Birth,” Keith Jarrett-Redman-Haden-Motian, Birth.]

Q: That set reflects one particular musical association with Keith Jarrett, who you played with from the late 1960s until the late 1970’s.

PM: Yeah, about ten years, I think. I think there’s maybe 13-14-15 albums I did with Keith.

Q: It was a very popular group at that time.

PM: Umm… I don’t know. [LAUGHS] It was fun. I loved the music. We had fun. It was great. And we did work fairly often.

Q: Do you find that the albums reflect the true quality of the group, for the most part?

PM: Mmm…yeah.

Q: Yeah?

PM: [LAUGHS] Sure.

Q: What was your hook-up?

PM: With Keith? Actually, Tony Scott called me to play with him at a club that was down on Eighth Street. What was that called? I forgot the name of that place already. So I went down with Tony, and when we walked into the club, Keith Jarrett was playing piano with Henry Grimes on bass, and I don’t know who else, and they were playing “The Song Is You.” And I said, “Hey, Tony, who’s that guy? He sounds great” — the young piano player. He said, “Oh, that’s Keith Jarrett. And that’s when we met, and that’s when we hooked up.

And then we started playing together a little bit. Then after Jack DeJohnette left, I played with that band for about a year or so. And then we did his trio stuff, and then it became a quartet. The quartet started in 1972. I remember we played at that club down on the Lower East Side where Lee Morgan got shot… What was the name of that place?

Q: Slugs.

PM: Slugs! Right. That’s when Dewey joined the band. We played in there the day or two days after Lee got killed in there. It was a very strange vibe! It was! So that’s how it started with Keith, hearing him at that club downtown and then getting together and hooking up.

Q: And during the existence of this band is when you start putting together your own groups and recording under your name for ECM.

PM: Yeah… I was actually thinking about Keith… When Keith formed that trio with me and Charlie Haden, he said that he had always wanted to do that because he admired my work with Bill Evans and Charlie with Ornette, and he always wanted to do that.

But anyway, I wasn’t really writing then. It was after that that I got into it. I did write a couple of things when I was back with Bill Evans, but I never pursued it too seriously.

Q; Your collaboration with Charlie Haden continues, particularly on record.

PM: Right.

Q; I don’t know how much you get to perform together in concert situations.

PM: Well, not so much any more, since he’s living in California now. But I’m still part of the Liberation Music Orchestra. As a matter of fact, we’re going to be doing a European tour next summer. And this coming September, we’re doing some gigs with the Liberation Music Orchestra, at the Monterrey Festival and a couple of other things during September. But I haven’t seen him now for a while. But yeah, we’ve been involved with different groups together.

Q; And does your relationship with Paul Bley go back to the Sixties, Fifties…?

PM: Oh yeah. Sure. With Paul Bley and Gary Peacock, we did a recording back in the mid-Sixties, a little later, that came out eventually on ECM…

Q; Was that the one with John Gilmore?

PM: No, this was before that. And I remember playing with… We used to play at a club down in the Village, around the corner from where Visiones is now; I forgot what that was called. But that was with Paul Bley. We used to make a dollar, two dollars a night! And it was Paul Bley, Gary Peacock, John Gilmore, Albert Ayler and myself. It was a hell of a band.

Q: Now, in the early 1960’s, you were working with Bill Evans, but you were also involved in a wide range of…

PM: Right.

Q: It seems you’ve always been involved in things that would just totally confuse anybody…

PM: [LAUGHS HEARTILY]

Q: I mean, to think of you playing with Bill Evans and Albert Ayler at the same time…

PM: Uh-huh.

Q: Do you feel that all things are possible in music?

PM: Yeah, man. It’s all music, isn’t it? I mean, that’s the main thing. I mean, when I was playing with Bill, I was also playing with Lennie Tristano, I was playing with Zoot Sims and Al Cohn, Oscar Pettiford — a lot of people. I mean, just playing with Bill, I don’t think I could have made a living actually. We didn’t work that much.

Q: You had to be flexible over the years.

PM: Yeah.

Q; You certainly seem to epitomize that. We’ll now hear a set of Paul Motian Trio recordings… [ETC.] I guess I first really became aware of you as a writer in the late 1970’s with the release of two albums on ECM when you had the superb saxophonist, Charles Brackeen, in your band, and David Izenson was the bassist early on. [ETC.]

PM: Mmm-hmm. I think it was around 1976 when the Keith Jarrett band broke up; that was the end of that. And I kind of wanted to see if I could do something on my own. I can’t remember how or why I got together with Charles Brackeen somehow… It might have been from his record. He did a record called Rhythm X…

Q; With Blackwell and Charlie Haden.

PM: Right. And David Izenson, I can’t remember the specifics.

Q: You probably had hooked up at some point…

PM: Well, I knew David from before. I mean, we had played together and we had done some projects together. And I was starting to write; you know, I was starting to write some music. And I was with ECM, and at that time ECM put together tours, European tours. So we did the record and we did a tour. And that’s how that was.
Q: The date on the record is 1977. We’ll hear “Dance,” the title track, and then a few more contemporary recordings by the Paul Motian Trio… [ETC.]

[MUSIC: “What Is This Thing Called Love” and “Come Rain Or Come Shine,” Motian on Broadway, Vol. 1.

PM: We still play “Dance.” It’s one of the pieces that stayed with us, stayed with me.

Q: So there’s really a process of weeding out.

PM: Yes, there is.

Q; You write prolifically, and then you decide and establish…

PM: Yeah. You know, depending on what seems to work best of the ones that I choose or we choose.

Q: [ETC.] We’ve mentioned many different projects you’re involved with. There’s the Electric Bebop Band, you perform still with Paul Bley…

PM: Occasionally, right.

Q: The Charlie Haden Liberation Orchestra. What are some of the other…

PM: I just did a record with Paul Bley and Steve Swallow, and the trio with Masabumi Kikuchi and Gary Peacock is ongoing. I just did another record and a tour in Europe with bassist Marc Johnson and a very nice pianist, Enrico Pieranuzzi. And there’s more… I’m afraid that now I’m going to leave out some people; they’re going to get mad at me. But I mean, I’m involved in a few things. For me it’s all music, you know. Anything that’s happening that’s musical to me or to my taste, I’m going to get into it.

Q: We’ll conclude with two dates from a 1958 recording with Warne Marsh and Lee Konitz that produced two records. You played a fair number of times with Warne Marsh, Lee Konitz…

PM: Right, with Lennie Tristano. I’d say in the late Fifties, ’57, ’58, ’59, in there, ’60…

Q: A few words about Warne Marsh.

PM: Oh, wow. Well, a great player. As I was saying before, there was one night in particular we were playing at the Half Note, where he played so great that it just shocked me. It was incredible. A really great player.

[PLAY “YARDBIRD SUITE”]

Q: You hadn’t heard that for a while…

PM: Yeah, it sounds great.

Q; You mentioned with the trio that when selecting the standards, you did a lot of research.

PM: Mmm-hmm.

Q: Do you sing? Were these songs that you were coming up with even before you were playing?

PM: No. No, I don’t sing. But when I was researching, I was also trying to get into the lyrics, too, and try to really check them out…

[ETC.]

[-30-]

* * * *

Paul Motian Colleagues (Stefan Winter, Lee Konitz, Bill Frisell, Joe Lovano, Paul Bley, Keith Jarrett, Brian Blade, Joey Baron):

TP: I’d like to speak with you about Paul Motian. In a sense, he’s commenting on a life and history lived in music — fifty years of experience as a professional musician. There’s a direct correlation between his association with your label and the flowering of what had been the beginning of a creative renaissance for him in mid-life. He’s been able to take projects that he was beginning to fully articulate in the ’70s and ’80s, and with you was able to realize their fullest implications. Again, what was the appeal for you? What qualities did he embody in his persona as an instrumentalist and as a composer-bandleader that made him someone you wanted for the label?

STEFAN WINTER: I discovered jazz very late, when I was around 20 years old. [43] I knew about jazz before I was 20, but there was nothing that I would say hit me. I came from Classical music, I started at that time in Classical music, and by whatever coincidence, I heard a Keith Jarrett album which I have to say is still one of my favorite albums. It was the first what I call jazz album I really heard, and I still love it. It’s the album Somewhere Before with Charlie Haden and Paul Motian. It’s a live album. As far as I remember, it was released on Atlantic. This album is for me absolutely beautiful. Keith on the one side is playing some free pieces, and on the other side I think he is playing maybe a Joni Mitchell song. He is touching so many different fields, and he is reflecting on this album a lot of things, and I was totally touched by it. I also loved what Paul and Charlie were doing on that album.

A couple of years later I had the opportunity to meet Paul. I think it was Tim Berne who said to me, “Ask Paul to make a Monk album.” I thought this was a great idea, and I asked Paul, “Paul, what do you think about doing a Monk album?” and Paul immediately said, “Yeah, let’s do it.” That’s how we started our relationship.

TP: You have a knack for knowing how to market an artist in the best sense of the word, by giving them projects that allow them to strike a chord and yet be entirely themselves within a frame, which would describe the Motian Meets Broadway series and Motian Meets Bill Evans. Those records gave him a certain definite identity among the jazz audience beyond being a superb drummer.

WINTER: I am trying to think about where a musician or where a personality is coming from. I think everything you’re doing has to be connected with yourself. If you’re doing something that is connected with yourself, I think you give also the listener a certain kind of identification. Again, it’s like watching a movie, and if you can identify yourself with a certain character or with a certain time period of your life, then I think this movie will talk to you in a very specific way. If I start to work with artists, I m trying to listen to them and to hear where they are coming from, and when we are sitting together and drinking a glass of wine or whatever, just to talk about this and talk about that a little bit. The best is if then these artists start to realize that they want to do this and that project. I think it’s important that it’s not coming from me and I’m not saying to someone, “Let’s do a Broadway album.” That’s not how it happened. How Paul and I work together, we talked about it. We talked about where he’s coming from and what he loves and what he wants to do, and then this idea came out. Paul himself said, “What do you think about doing a Broadway album?” Basically, I was waiting for something like that. Then I’m just jumping on it and pushing that this was happening. Because an idea by itself doesn’t mean anything if you don’t realize it.

TP: Again, can you elaborate the qualities Paul Motian embodies that make him such a distinctive artist to you.

WINTER: I learned a lot from Paul from the way Paul works with his so-called sidemen. Paul is giving his sidemen, or the people with whom he’s working, a lot of freedom, and basically he giving them space to develop in his group their own personality. I would say Paul is for me like a godfather. I learned from him to watch people, to see what they can do, and then even support them or do something for them so that they really can develop their own language and their own style. I think that’s what he did, in a way, with Bill Frisell and Joe Lovano. Paul is also able, like when he’s playing together with Charlie Haden, to respect other people and to work together with them and just give his identity, to add it together with their identity, and then build together something new out of it.

TP: So it really transcends instrument and technique. It has to do with the development of tonal personalities.

WINTER: It has a lot to do with tonal personalities, and I think it has a lot to do with how you look at music, if music should be made in a certain hierarchy, like how we know it from the Classical world, like there is a conductor and he is telling the people what to do, or if we look at music that it is played by individuals and we have to respect these individuals. I think Paul is one of the key people who is respecting individuals. I think how he played together with Bill Evans (and I still love today to listen to these albums) or how he played together with Keith and then later on in his own groups, like in the Broadway groups or in his trio with Bill and now with the Electric Bebop Band, he is opening up a world for other musicians so that they can develop their creativity.

TP: Particularly with the Electric Bebop Band he’s doing what you would think of as repertoire music. I had been not so impressed with that band, but when I heard them at Sweet Basil last time they were treating the music in an utterly creative way.

WINTER: I think this is very important, what you are saying now. Because even if he is playing with young musicians bebop music, he is giving them the understanding that they have to make their own story out of this text. For me it is boring if I hear today a musician who is playing as another musicians played 40 years ago or 30 years ago. It doesn’t give me anything. But if I hear that somebody has his own style and own language, but he can also work with traditional material, this is incredibly nice. And this counts also for Classical music. If a Classical musician is able to turn the text, for example, of Schubert’s music into his own music, if he can interpret Schubert like it’s his own music and make it to his own thing, then it makes sense to listen to it again. The repertoire by itself doesn’t mean anything. I think it’s really just some written notes on the piece of paper. The question is what you do with it. If there is somebody who is turning the text into his own language, that is his own text, then the music talks to the listener. Then it’s talking to me. I think that’s what Paul is doing. Paul is like the master of everything that he is playing. If he is playing his own music, his original music, or if he is playing Monk’s music or Bud Powell’s music or Broadway songs, he is making his own music out of it.

[BREAK]

TP: Let me take you back to the ’50s and recall your early encounters with Paul and what the affinities were? You worked together quite a bit from ’56-’57 on. Earlier?

LEE KONITZ: I don’t know about “quite a bit,” but we did work together, and I always liked Paul very much. He played with Lennie’s group a few times. Once I remember at the Half Note where the record came out with Bill Evans playing instead of Lennie, Paul and Jimmy Garrison really sounded great together, and Bill was sitting back a lot, not being part of the rhythm section too much, for whatever reason. But they sounded beautiful together.

TP: Do you have any particularly vivid memories of early encounters?

KONITZ: No, not really. I didn’t know Paul that well. I just loved the way he played. He played like a man who was listening and interpreting what he was hearing immediately.

TP: That was always part of what he does.

KONITZ: Always. Yes, as far as I know. In all the contexts that I heard him with Bill and with Keith Jarrett especially, and to the later days when he played with his own different situations, he was always very much interested in what everybody else was doing.

TP: Do you remember when you first did play with him? Was it the period when he was playing with Lennie Tristano?

KONITZ: That’s what I remember most. I’ve forgotten a lot of thing, and it’s kind of embarrassing to admit to that.

TP: In our conversations he’s painted a picture of the New York scene in the ’50s where people would play month-long engagements at one place, then go into another place for a week, and let’s say the Half Note to the Vanguard…

KONITZ: I was the second band in the original Half Note for 13 weeks. I recall that. I’m wondering if I recall accurately. Mingus opened the club, he was in for a long time, then he moved on to the Vanguard or something, and recommended me. Then he wanted the gig back and tried to talk them out of having me there. That was extraordinary. Usually a week was still a good period.

TP: What are the advantages and disadvantages of playing 13 weeks straight?

KONITZ: Well, the obvious one is that you get to play a lot and get to pay the rent with a minimum of anxiety for that two months or three months. And mostly the opportunity to be out and playing.

TP: So not too many disadvantages to the situation except for fatigue or getting into a rut.

KONITZ: Yeah, you can get into a rut if you don’t stay fresh.

TP: You’ve developed a rather substantial friendship with Paul, yes?

KONITZ: I feel very close to Paul these days especially. He’s done some things recently that were very sweet, and I appreciate it very much.

TP: When do you recollect that your friendship started becoming something more than professional?

KONITZ: Well, we both lived in the same place on Central Park West for a while, and although I didn’t really see him that much, there was that kind of affinity. He asked me to do the project with Joe Lovano and Bill Frisell and Charlie Haden, and that kind of endeared me a little more. Being asked into that environment was really nice. Most recently, I was playing in Vicenza, Italy, and I had a big kind of unpleasant scene with Ray Brown one night, and the next night Paul was in with Bill Frisell, and he cancelled that out immediately by extending himself in a very spontaneous way. So it’s just been increasing. Now we’re supposed to play… I asked for this Duos on the Hudson in October. I was supposed to do it with Martial Solal, but he didn’t do it, so I recommended Paul. I’m really looking forward to that.

TP: You were talking about his listening, and perhaps that’s a sufficient description. But is there anything more you can say about Paul in relation to his contemporary trapsetters of the ’50s and ’60s?

KONITZ: Well, Paul has a great sense of time, and that’s still the function of the traditional playing, and doing it with everybody else in the year means that you can do it with the right volume and get a sound. That’s still kind of a special ingredient for that instrument. There’s still a tendency to overplay the instrument. Joey Baron is another guy who can do that. There’s a lot of fine drummers who are very interested in what’s going on, and try to get a sound and a blend. But Paul was one of the first ones that really did that.

TP: Did you play with a lot of different drummers with your bands in the ’50s? On some of these ’50s Verve records, there’s Dave Bailey, Shadow Wilson on one of them, Nick Stabulas maybe. Was it difficult to find a drummer who suited you? Were there more of them around in the ’50s?

KONITZ: No, I don’t know that there were more around. I was just really trying to find out how to play with a rhythm section, and the drummer was the most problem for me usually in terms of getting a natural balance. So I always appreciated when someone like Paul was available to play with.

TP: Well, it sounds like he was pretty much an infinitely adaptable drummer. He played with Oscar Pettiford, he played with Lennie Tristano. Those are two very different concepts of what the beat should be.

KONITZ: Well, that’s to be considered in his overall ability to play. I just know him from my standpoint really, but I know that he did all these other things, and that just indicates how much he loved the music and could adapt to it.

[BREAK]

TP: But the first thing I want to ask is, at the point when you joined Paul were you pretty much aware of his persona as a drummer, and what at that point did his persona as a drummer mean to you?

BILL FRISELL: Yes, I was very much aware of it. For me, it was sort of like getting the Miles Davis phone call. I had been in New York for a couple of years, and things were getting gloomier and gloomier. It seemed like I was doing more weddings… I was getting pretty discouraged. I was getting to play a little bit of music of what I wanted to do, but I was getting kind of dark. And then, sort of out of the blue, the phone rings and it’s Paul. Oh my God, what’s this? It totally freaked me out. Because this was a chance to… I had done a few little things, mostly jam session things, or I was playing with Bob Moses a little bit, doing little things around town. But this was what I sort of think of as the first chance for me to really… He wasn’t calling me because I was a guitar player. He was calling me for…he wanted my personality, me as an individual. There’s a pretty big difference between working as a guitar player and trying to fill in some role that someone…

TP: You worked quite a bit in the ’80s as the trio, and less so in the last eight-nine years. Would you say that experience of working and rehearsing with him is something that helped open you up and helped you find your sound?

FRISELL: Yes, because it was just wide-open. It’s still like that whenever we play. That’s what’s amazing. We’ve been playing for 20 years, and every time we play, I still don’t know what’s going to happen.

TP: It seems that he takes pains to make it that way.

FRISELL: Yes. Every note he plays is like the first and last note that he’s ever… Every time he hits the drums, it’s like somehow he has this way of surprising even himself — and of course, it surprises everyone else. You know people say he plays like a little kid. He hits something and it’s like, “wow, what is that?” But at the same time, there’s this virtuosity in there, too.

I don’t know how he has managed to… Well, there’s some kind of genius in that, where he’s so deft and he has the technique and everything, but it never… The music always overshadows the instrument somehow. Ornette said something once… He did a recording, and he did two takes. He said, “the first take I played the song, and the second one I played the music.” There’s something about Paul that’s always…it’s like he doesn’t play the drums; he plays the music.

TP: But that said, is he unique amongst drummers you’ve played with? You’ve played with a strong personalities who are drummers. Would you say that the qualities you’re describing are the salient aspects of what makes him him, and not so much the actual ideas he executes on the drums?
FRISELL: Oh man, that’s a hard question. There’s nobody else on the planet like him. He’s absolutely unique. Also, there’s that history. It’s such an honor to stand next to that… I really don’t get that from anyone else, where his experience… When you play a tune with him, he played with Oscar Pettiford and Monk and Sonny Rollins, and he sat in with Coltrane and everything else that everybody else knows. These days that’s going pretty far back into the deepest recesses of the history of the music. So when we play a standard tune or a Monk tune, to get to do it with him, it just takes on a whole… That’s pretty rare these days. It’s really first-hand. He’s handing it to you straight from the source. He didn’t learn it off a record. He learned it from playing with those guys.

TP: When I saw you last August, it was the first time you’d played in the year 2000.

FRISELL: Right. And we haven’t played since until this week at the Vanguard. That’s what it’s been over the last few years. We play usually a few times a year. We haven’t rehearsed in I don’t know how long. At the beginning, when I first started playing with him, we rehearsed for like nine months before we ever did a gig, and at the beginning there was a lot of working out of arrangements… Not so much talking about stuff, but it was more worked out. We tried to figure out what we were doing. But then after a number of years, it got to be where we don’t have to talk about anything.

TP: I don’t know how you’re listening to the music as it’s going on. Do you see the not-rehearsing affecting the music in any particular way? My sense hearing you last night is that you’re talking as many if not more chances than ever, but there’s something very clear about it. That probably has to do with you and Joe continuing to grow and grow and become more defined in how you think about things.

FRISELL: I hope so. Sometimes I wish I could come outside of it and see it from the outside. When we start playing, it’s like you just enter into this thing. It’s like whatever kind of real intense sort of conversation that we’re having. I’m not really sure what’s coming out the front. It’s like I just jump into this thing and you’re in there, and when we finish playing I come out of it. So what you’re saying is encouraging. I hope it’s clear.

[BREAK]

TP: Paul said that Bill D’Arango recommended you to him? He told Paul that you and Billy Drewes played well together.

JOE LOVANO: Bill might have mentioned me to Paul. Paul knew Bill. But Marc Johnson was rehearsing with Paul and Bill Frisell as a trio, and they had some saxophone players come up. Paul was wanting to have a quartet at that time. Marc and I had played with Woody Herman together and we were playing with Mel Lewis, and Marc told me he had been telling Paul about me. Then one Monday night Marc said, “do you want to come up and play with Paul this week?” I didn’t even talk to Paul. I went up there, and we played quartet. From that moment, we started to play, and it was a quartet. Right at that time Marc got the gig with Stan Getz. Then I got Ed Schuller on the thing. Then we played as a quartet for a while. Eddie and I and Bill and Paul did one gig in Boston, and Paul wanted to have two horns, and I got Billy on the thing. It was a quintet for that first tour we did, and recorded Psalm.

TP: You played and recorded extensively with the trio for a decade. That was a rather frequent gig.

LOVANO: Yes, all of the ’80s. We went to Europe two-three times a year for a long time, most of the ’80s. We were recording for ECM at the beginning, and then Soul Note, when Jim Pepper joined the band. Then the trio emerged in 1984 really on a quintet tour with Pepper, and we recorded for ECM, It Should Have Happened A Long Time Ago. Throughout the ’80s I was in heaven, man. I was playing with Paul, Mel Lewis and Elvin. In 1987 especially I toured with the three of those cats, and for the whole year I was playing in the most amazing situation.

Paul is one of the rare drummers that dares to be so creative and free from within the world of swing. He knows how to accompany in any direction. He could play for anybody in whatever style. But to play with him, how he… He plays with total feeling, and creates such an amazing texture within the form of a tune. Especially with the trio, with no bass, within the structure that we play, Paul plays with all different elements within the music. He plays like a pianist, where he’s playing the melody, he’s playing the changes, he’s playing the rhythm, and he doesn’t have to just play a repetitive beat. He leaves a lot of spaces. There’s a lot of counterpoint and things that happen. Paul is one of the most creative musicians in jazz.

TP: It often sounds in the trio like you’re the one who’s playing the time.

LOVANO: Well, we’re all implying the tempo as we move around. the tunes that we’re doing have really formal structures. Some are just a melody and are very free, but we’re approaching them and trying to create inner structures. But the implied tempos let’s say in one chorus of any given tune… A tune like “Crepuscule With Nellie,” let’s say. One time through that chorus can move at different paces throughout the chorus. Sometimes we can move through the whole form quickly. Sometimes we’ll stretch out a certain chord here or there, or a certain phrase. We’re trying to actually create the music as we’re playing. So the structure and melodies and harmonies are all there, but the freeness in the way we’re putting the time together… So there could be implied tempos on certain phrases or chord, and we’re just trying to follow each other and build it together as a group, instead of just counting a tempo off and letting the beat kind of give us the way of playing. Paul is one of the few cats you can play like that with and create that magic.

TP: When did you feel that the group came into its sound? Around maybe ’87 or ’88? Paul said that you rehearsed extensively the first few years.

LOVANO: We were playing a lot. We used to play at my pad all the time, and up at his place. Mainly we’d rehearse for recordings or for tours and stuff, and putting a lot of repertoire together. That was so great, because now we have such a deep reservoir of compositions and things we can draw from, and throughout an evening cover a lot of different music, from Monk’s music and Bill Evans’ music, standard Broadway tunes, some of Billie Holiday’s music and Paul’s originals. Both Bill and I have had the opportunity to have Paul play with us in our ensembles and record with us, too. That’s been really a great and beautiful education. Paul is on my second record for Soul Note, Village Rhythm and he’s also on a record called Worlds: Live At Amiens, that actually Bill and Paul are on. There’s some trio moments on that recording. It features Gary Valente and Tim Hagans as well.

TP: When you first met Paul, you’d first heard him playing with Keith Jarrett in the early ’70s, and you had to have known the Bill Evans stuff, and probably the stuff with Paul Bley as well…

LOVANO: His way of playing I was attracted to years before I ever met him, or even heard him live with Keith. The sensibility and the tone he played with, and the way that he was such a… He wasn’t just a drummer in the Bill Evans Trio. It was a trio experience when you listen to those recordings. I was drawn into that style and way of playing from digging the stuff that Max Roach was doing. I heard Max in Paul’s playing early on, in his sound and the way he tuned his drums. At that time he was playing more kind of traditional as a drummer, but not really. He made the Bill Evans Trio be so creative like that. Any other drummer in that group, I don’t think Scott LaFaro would emerged, and the way they played together would have never happened.

TP: He says that developed that way of playing through listening to Scott LaFaro, and it become logical that that was the way to do it. As he puts it, he follows the sound.

LOVANO: Well, there you go. You play with the people you’re playing with at the moment, and you don’t really think about it, and stuff happens.

TP: But then he’d do ten weeks… We went through his gig book from ’57 to ’60. I put it all on the tape. He’d have ten weeks with Lennie Tristano at the Half Note and with Eddie Costa the other two nights, or almost five consecutive months with Bill Evans, or Al Cohn and Zoot Sims.

LOVANO: He was playing in different ways and having fun in every situation. And you know what? A lot of the stuff I’ve been doing in the last ten years has been a lot like that, too. Playing in different groups with different… It’s your personality and your tone, but if you can execute your ideas within the different genres and feelings in the music, man, it’s so expansive. Playing with Paul and digging his career and the way he’s done that has given me a lot of confidence to put myself in different situations a lot. I’ve learned so much from him.

TP: Would you say that’s the main impact that being with him has had on you as far as your own career?

LOVANO: Well, that has been one big thing. And compositionally and also just putting ensembles together and trying to play with people and create music together with trust.

TP: Can you break down compositionally the impact and say a few words about his tunes?

LOVANO: Well, yeah. As a player, as an improviser, all the songs that you play and study, no matter what they are, teach you something about how you can put ideas together for yourself. If you wanted to. Some cats play and they never write. There’s a lot of great improvisers and players who only play other people’s music. But I’ve tried to learn from every tune I’ve studied, to try to put ideas together with their own melodic invention or harmonic structures. Experiencing Paul’s music and playing with him, from his roots, the kinds of tunes he’s written from playing with Keith or Bill Evans… When you’re actually there and experiencing the music, it gives you confidence and ideas. It’s hard to say how. But a lot of my tunes… I do a lot of writing on the road. Trio Fascination, let’s say, with Elvin Jones and Dave Holland, we were on tour with Paul and Bill prior to that recording, the year before or something, and I was preparing for that date. After gigs, after we’ve played in such a creative way, man, I’m just full of ideas. I go back to the hotel and I’m hearing all these things. Of course, it’s 2 in the morning or whatever, you can’t take your horn out, but I sit and starting writing out ideas and sketches and stuff. I put a lot of my tunes together like that on the road, being inspired from a performance or something that happened during the gig. Touring with Paul all these years has been one of the most incredible, creative parts of my life.

TP: And that said, it’s obviously harder and harder to get the trio together. If it weren’t so satisfying, it probably wouldn’t exist any more, because it seems you and Frisell have to make a real effort to get the thing to happen.

LOVANO: And Paul, too. He has several different things. In the last four or five years, of course, Bill and myself have had a lot of bands and we’ve been on the road a lot as leaders. Paul also has been doing a lot of different projects with a lot of people himself. When we come together, it’s a real special moment. Last year we played one set all year, at Carremour. Man, I was looking forward to that set for months and months and months! Even though, yeah, okay, it would be great to play a three-week tour or something. But just that one set was perfect. At this point, it’s nice to come together like that. Because most of the ’80s we were on tour quite a lot. It’s been a thrill playing with Paul. He’s one of the most creative musicians in this music.
JL: [1995] Paul is a melody player all the way. All the music that he has experienced through the years, playing with the Bill Evans Trio and the things with the Keith Jarrett Quartet with Dewey and Charlie, those were the first things that I knew from records of Paul. I loved his playing, like, immediately. He was someone that was coming from Max Roach in the early days, but yet had his own feeling, and created his own atmospheres when he played. To play with him was a real dream of mine through the years.

I remember the first time I saw him play with Keith in Boston, I think it was in ’71 or ’72, and it was the quartet with Dewey and Charlie. Man, I went every night! Oh, man, it was the most happening quartet I ever saw live. The music just took off, every note everybody played. They were into what each other was playing. And it was maybe the first time I’d watched cats play that played like that. I was used to hearing Stitt and other groups that just played tunes that they’d known and played all their life. Keith’s group, when they played all their original pieces, the way they improvised together, the tempo changes, and just how they were listening constantly to each other, and shaping the music as a group — that was the direction I wanted to go in, right from that moment.
TP: Paul Motian and I went through his gig books, and talked about a very dramatic moment when he left Bill Evans at Shelley’s Manne Hole in California to join you in New York. He says that playing with you opened him up in many ways. When did you first hear Paul, what are your early impressions of him, and what chemistry allowed the two of you to work together so felicitously in the mid-’60s?

PAUL BLEY: We’ve been playing together so long, I can’t really answer the question. I don’t remember not working with him. I do remember that he and Sonny Murray were two of maybe a dozen players that introduced free playing to drumming. The drums were the last instrument to get free. Because the bass players were free, the horn players and the pianists were free, but the drummers felt a need to keep time. And eventually, one day in 1964, somewhere around the Cecil Taylor-Albert Ayler post, the drums woke up one day and said, “You know, if these guys are going to play waves, I’m going to play waves.” Now, up until then, through the Ornette period, the audience was still with the musicians. It was difficult, but they could understand the fact that it was done against drum time, and that meant they saw the continuum. Anyway, the drums were the last to realize that there was no necessity to play time, because everybody else in the band was playing waves. Now, the public thought that that, instead of being an incremental advance, was a revolutionary advance, and after having lost a good percentage of the audience by the other musicians playing free when the drums played free, the audience just said, “Forget it, get me a Capitol record of the Beatles, I don’t want to hear about it any more,” and they made a right turn. That left the musicians high and dry with the label “avant-garde.” The mainstream was over, and now the musicians were on their own. Even though not one musician in New York had changed their style, the fact that the drummers joined them made it extremely radical, even more radical to the public than the microtonality that preceded it.

TP: I would presume that you heard Paul with Bill Evans, or with Lennie Tristano or Al Cohn and Zoot Sims and those gigs where he was playing time, which was his quotidian for most of his first decade in New York?

BLEY: Right. I heard him in all those gigs..

TP: And what about what he was doing in those gigs made it evident that he would be able to make that transition in as sensitive a way as he did?

BLEY: Well, there was nothing in those gigs which indicated that he would make the transition. Of course, I had the same situation with Barry Altschul.. He was a recording engineer assistant, which meant that he got to sweep up the recording studio after the record session. We had a chat, and we talked about the fact that there hadn’t been free Latin, there hadn’t been free Indian, there hadn’t been free any of the other genres, that “free” just meant playing as fast as possible and as loud as possible and as free as possible for as long as possible! It was a single stroke that everybody jumped on, regardless of the instrument. I thought at the time that all the history of jazz could be advanced by using those principles. Barry agreed. So we had this chat, we had dinner and so forth, and we put together a trio which in ’65-’66 was at the same point as Paul was. He and Barry and I, in terms of drummer and keyboard, were simpatico. I took a band with Barry to Europe. I didn’t take Paul to Europe. Paul had heard that band… This is not gospel. My memory is not worth quoting without checking with the other people.

TP: But what do you remember about this gig on McDougal Street with Albert Ayler, John Gilmore, Paul, Gary Peacock and you?

BLEY: I remember a lot about that. It was a snowy winter (I’m not sure which month), and I had gotten a call from Gary, who was going to be the bandleader at the Take 3, which was on Bleecker Street (not McDougal) just opposite the Village Gate on the second floor. So Gary called and said he had this gig, and we were going to do a double gig. He and I and Paul would be the rhythm section for the double gig, and on one of the gigs it would be Gilmore and on the other gig it would be Albert Ayler. So we did one set with the one and one set with the other. The drummer also changed, as I remember. Paul was on one of the gigs, and Sunny Murray was on the other. The recording that came out for that on my label was the Gilmore record with Gary and Paul. The one with Albert and Sunny Murray was not a recording. And it paid $5 a night.

I accepted the job two or three weeks in advance, and after accepting the job I got a call from the drummer who was working with Miles at the moment (this was in December-January, snowy New York City), and he said, “How would you like to come down to the Caribbean and do a month with a band…” It was an all-star band in the Caribbean. I really got pissed with him. I said, “I’m really angry about this.” He said, “Why?” I said, “I just accepted a $5 gig with Gary Peacock and Paul Motian and John Gilmore. I would have loved to go down to the Caribbean, but the reason I am going to stay on Bleecker Street is that I have the feeling that jazz is going to change on this gig.” That was my quote. And you know, I’ve been doing crystal-balling for a while.

TP: But this wasn’t the first time you played with Paul. The first time was after he left Bill Evans in California in ’64. Had you ever played together before that?

BLEY: I’m positive we had, but I don’t have the record.

TP: So basically we could say that Paul, while playing with Bill Evans and Tristano and Al and Zoot is partaking of the events that were percolating in New York in the early ’60s.

BLEY: Yes, you could say that.
TP: Let’s jump ahead in time. You play with Paul until about ’68-’69, and then you go electronic and Paul goes with Keith Jarrett? Is that pretty much how that works?

BLEY: I’m very bad with the dates and times. [ETC.] Check the book. I wrote the book so I could get the dates straight!

TP: But in the last 15-16 years, the relationship has flourished, resumed and become quite fruitful. Maybe more like the last 12-13.

BLEY: Well, it was always on… Same with Gary. There was always a strong relationship. It’s just that the philosophy with these musicians is you don’t marry your mates, you’re promiscuous.

TP: Can you break down the qualities of his playing to you, how you hear him within the lineage of drummers, or other drummers that you play with. Give me some sort of paragraph or two about his sound.

BLEY: Well, the joke about Paul Motian’s is that it sounds like he fell down the steps of the Village Vanguard with a full set of drums, and it made a great idea.

TP: Is that the soundbyte? Please be a bit more elaborate than that on how you hear drums through the medium of Mr. Motian.

BLEY: In the case of Paul, he has since that time where I quote him… There is a famous painting of a woman walking the stairs, where she’s all disjointed (“Nude Descending the Staircase” – Duchamp). Well, that’s exactly how I heard Paul in that period, in the ’60s, was random. Now, the update on Paul in the last ten years is that in terms of the soloist he’s become an idea man as opposed to a language man. So I hear one idea on the drums, and there is a silence, and then there is another idea, and it has nothing to do with accompaniment per se. It’s way beyond that. He’s playing as many ideas as the people he’s playing with, and sometimes more vividly because of the silences.

[BREAK]
KEITH JARRETT: Let me get dumb. When tape recorders go on, things are never as good as when they’re off.

TP: This is for “Downbeat” and it won’t be so verbatim.

JARRETT: Okay. Then I can say anything at all. I was only kidding.

TP: A very basic question. In your formative years, when were you first aware of Paul Motian’s identity as a drummer?

JARRETT: Oh, it must have been with Bill. Actually, I wouldn’t say that was the first I was aware of his identity. The first I really knew of his identity was when I heard him play with a free player in Boston named Lowell Davidson. I don’t really remember much about what he did. If there’s a way to say this, maybe it was somewhere between Cecil Taylor and Paul Bley or Bill Evans, but that would be a very banal way of saying it. He had a touch, so that probably presented a little more of Bill’s direction. I thought Lowell’s playing was interesting, but what struck me is that when I heard Paul on a tape, I didn’t know who it was and I didn’t know who it could be. Then at some point I ended up sitting in at the Dom, on 8th Street, with the clarinet player…

TP: Paul ran this down. Tony Scott told Paul to come down on a Monday night, that he had to hear this piano player, who was you. So that was the first time you played with Paul.

JARRETT: Right. I hadn’t met him, but I had heard him with Bill in Boston when I was coming through town with Fred Waring and his Pennsylvanians when I was 15 or 16. The bass player in that organization and I both went to the Jazz Workshop, and I saw Bill there. Paul was sitting, looking really like businessman in his suit, the way some of the pictures from those early Riverside recordings suggest, and he was sitting pretty still, using brushes. Then the next I knew, I was hearing this Lowell Davidson tape with Paul, and I thought, “Who is the drummer?” I must have found that out when I heard the tape, but I can’t remember the circumstances.

TP: Did you hear him with Paul Bley as well during the ’60s?

JARRETT: No, not that I know of.

TP: Let’s get to your recruiting him for your trio when you formed it, not so much the how you did it, but the why.

JARRETT: Well, the Why was that the enormity of the difference between how he played with Bill and how he played with Lowell (and maybe there were other players he played with in a free context) made me think that he was not one of those players who would decide ahead of time what he liked and what he didn’t. It’s true. I mean, the guy worked with Arlo Guthrie while he was playing with Charles Lloyd! He doesn’t seem to have any categoristic…if that’s a word; it’s probably not…he doesn’t have a thing about categories. A lot of players maybe would say they don’t, but in their playing you’d hear that they prefer certain things. Paul is open in a way that… Paul likes music, and he was actually the first drummer I ever knew and probably the most vivid example of a drummer who liked music above his own involvement in it. Like, he would request that we play ballads in the early trio with Charlie.

TP: None in your experience had, I take it.

JARRETT: Well, not in the consistent way Paul… Paul just loved good songs. And that was one of the principles I would look for in a player, somebody who… We would be listening to Bartok together. We’d be listening to whatever was good.

TP: I’d forgotten before calling you about that year with Charles Lloyd, which Paul said was 1968. So you’d spent a good deal of time on the road with him by the time you had the trio.

JARRETT: Actually, he was in the trio first. I’m not sure about the chronology. I’m writing my own book, and I’m still not sure of the chronology. I think we started rehearsing… If my memory serves, I was rehearsing with Paul and Steve Swallow the very first time for a possible gig at the Vanguard. Whether it was for that or for a record, I don’t know, but we were allowed to use the Vanguard to rehearse, because we had no other place. And Steve was too busy with I think Gary Burton at the time, and he didn’t know if he could do both things. Then I used Charlie. That was probably ’65 or ’66, and at that time maybe I had started with Charles and Jack was in that band. Jack was in the band a couple of years more, if I’m not mistaken. Paul might have joined the band at the cusp of the end of the ’60s.

TP: [ETC. on dates] I guess it was about an eight-year steady musical relationship, until about ’76. Can you discuss how associating with Paul impacted your concept of music and composition and improvising, how the feedback went from him to you.

JARRETT: That’s not exactly an easy thing to know, not to mention answer.

TP: Speculate.

JARRETT: I don’t know. See, already I was in some way affected by the Middle East in terms of philosophy. I was involved in Sufism and Gurdjieff, and a lot of Paul’s heredity was involved there to some extent, being Armenian. He has this way of tuning his drums that isn’t a traditional jazz way. At least he did. We’d go into a studio, and they’d want to use a mute on the bass drum because it sounded too much like a real drum, and he never wanted to do that. If I was going to say how that kind of thing was working from Paul to me, it was that he was presenting that side also. Jazz drummers are generally jazzy, and Paul isn’t particularly jazzy. He sounds to me very much like who he is in terms of his background and his… His Armenian-ness comes through.

TP: He did say his parents played that music, and he has vivid memories of it from pre-school, and it had a huge impact.

JARRETT: Yes. He plays like he’s on a caravan. You know? [LAUGHS] I think what he ended up being able to contribute was this feeling of openness that wouldn’t have come if he were — I don’t know — even a hip jazz drummer. We had a group whose strangeness was both accidental and on purpose, the way we played. Everybody was an individual. And Paul was definitely not going to play like any other drummer, nor would he be able to be forced to at gunpoint. [LAUGHS] He just wouldn’t do it! Sorry! That was good for me, because I was younger than the rest of my band. I needed to know that there was this kind of openness that was deeper than just a whimsical thing. Now, if I were the same age now, I don’t know who I’d be able to have in my band. If we were talking about being the same age as Paul and Charlie. If I was told by a George Avakian type of guy “you can choose anybody you want and I’ll produce an album,” man, that wouldn’t be easy.

TP: Well, none of us would be the same person if we were a different age than what we are.

JARRETT: That’s true. That’s why “ifs” are important.

TP: I think you’ve given me a sense of that essence. I know you haven’t played together very much since the early ’80s. I do love that one record from the Deer Head Inn, which I think is very special. Can you address how you’ve heard his concept and playing evolve in the last 25 years?

JARRETT: When something evolves, it’s something… I don’t know what people think of when they hear the word “evolve.” Sometimes I think they think it’s a linear thing. You know what I mean? I don’t see that with the greatest players, and with Paul I don’t see it either. If it is evolution, which I think I would say it is, I might define it as remaining in some way yourself while being more and more inclusive of things, and Paul has certainly been able to do that. I never heard him swing as hard as he does on that Deer Head recording, and he wasn’t playing much, nor does he ever play that much as far as technical stuff is concerned. But I’ve played “Bye Bye Blackbird” with my present trio quite a few times, and that version on the Deer Head in terms of swing would stand up under all circumstances!
I think he was surprised, too. I don’t know if he had swung… That’s what makes Paul special. He probably didn’t know… It’s not like he brings his tool kit with him. He just brings himself along, and if something starts to click, he falls right in. It’s almost like he has no choice.

That whole quartet was like that. Although Charlie and Dewey had much more preference…they liked and didn’t like certain types of things. Paul would play everything, no matter what it was; he would try to find something that was appropriate to it. Otherwise, how could he play with Arlo Guthrie and enjoy it? But there is something that closes up in some players… Even though people would say they’re evolving, I might not agree if whatever that is closes on them or they close it themselves. Their playing can evolve, but I don’t think that’s necessarily the same as keeping the doors open. And that’s what Paul has done. He’s kept the doors open.

TP: Let me take this from one other angle. If you put on something representing Survivors Suite and then heard him on a record from 2000, is that instantly recognizable as the same tonal personality?

JARRETT: I don’t know, because actually it’s been so long since I’ve been listening. I’ve not been listening to anything for a while. But it’s a fair question. I have a feeling that the answer would be that I would recognize Paul right away. But it wouldn’t be because he has gimmicks. It would be because he’s always himself.

TP: There are no stylistic tropes. It’s his process of functioning in the moment all the time.

JARRETT: Yeah. It’s almost as though he’s purposely eliminated stylistic sophistication in order to stay pure. But that can really be a problem. If you get hipper and hipper, then all you’ve got left is hipness.

[BREAK]
BRIAN BLADE: I’m a big fan of Paul Motian. When you hear him… Or particularly Elvin Jones. Just one strike of the cymbal, there’s something transcendent in the sound.

Johnny Vidacovich introduced me to Bill Evans records. I sort of discovered them when I went to school, but he wanted me to listen a lot to Paul Motian, because he liked Motian a lot. He possesses this amazing looseness that is so lyrical, but also at the same time the pulse. A lot of people sometimes miss it, that Motian really moves the music and gets inside of it. It’s quite a different approach from records where you hear Art Blakey or Philly Joe Jones play the drums. But at the same time there is this swing and, like I say, this pulsation that injects the music with a good feeling.

[BREAK]
JOEY BARON: Around a certain point, I started hearing another kind of groove that was going on, and that’s the kind of interplay that wasn’t necessarily about stating 4/4 all the time. It was more like a floating kind of time, more like a circle than a straight up-and-down hard groove, like Paul Bley and Bill Evans, that kind of school — the way Paul Motian would approach playing a ballad. To hear him play a ballad was really incredible, because he made it interesting rather than just a straight boom-chick, which a lot of drummers did. He really played a ballad. That was also a really big influence, because ballads are great to play. There’s lots of time to listen to what’s going on, to think about and comment on it. That was a whole different approach that I started listening to parallel to Oscar Peterson, Red Garland and Wynton Kelly. I was kind of interested in being able to do both, because I liked them both. I didn’t bring with me this record called Ramblin’ by Paul Bley with Barry Altschul and Marc Levinson, who now makes high-end sound equipment. Hearing the way they played on that record, sometimes you couldn’t tell where the time was. Was it that important that you couldn’t tell where it was? The feeling was just incredible. It was a very forward-moving feeling. That intrigued me as well as the straight up-and-down kind of grooves that were coming from people like Oscar Peterson, Wynton Kelly and Red Garland.

An Uncut Blindfold Test With Paul Bley, Around 2002

I’m not sure exactly what year Paul Bley agreed to sit with me for the DownBeat Blindfold Test, but given the track datings, it was probably 2002. He was playing the Blue Note, staying in an apartment on W. 9th Street with a questionable sound system. We’d become acquainted not long before, when he and Gary Peacock joined me together for a few hours on WKCR, which is a show I have to retrieve and transcribe some day. Anyway, it was fun to do, and hopefully the transcript will be both entertaining and illuminating.

* * * *

I have something to say as a little preamble.  Mike Zwerin, a number of years ago, invited me to review records, thinking since I was so poor at the time that I might be able to make a little pocket money.  He was living in New York in New York at the time, so you know how long ago that was.  He handed me a giant stack of LPs, maybe 20 LPs, and I said, “Wow, this is going to be fun; I’m looking forward to it.”  So I got home, put on LP-1, listened to it, and by about 10 LPs… He was sitting with me actually.  I had nothing to say.  He said, “You’ve heard all these LPs and you haven’t said anything.”  I said, “there was nothing worth talking about.”  That was the end of my disk jockey career.  I think I gave him one paragraph.  By that time he was playing the organ trios, the Prestiges… [LAUGHS] How am I going to talk if you bring records that don’t require any talk?  So I hope this is not going to be the same situation.

1.    Ornette Coleman “Mob Job” (from SOUND MUSEUM: HIDDEN MAN, Verve/Harmolodic, 1996) (Coleman, as; Geri Allen, p; Charnett Moffett, b; Denardo Coleman, d) – (5 stars)

Well, I’m not a fan of tempo medleys.  It started at one tempo and proceeded to another.  There was no reason not to have the written material be in the same tempo as the track was going to be in. [ALTO SAX ENTERS] Definitely Ornette Coleman, of course.  Well, it’s a waste of time with the pianist.  There’s a good reason he doesn’t use piano.  See, the horn player can make the transitions to wherever he wants to go at any time, but the piano player actually has to change their mindset to get rid of the key center. [Any idea who the pianist might have been?] I don’t care. [Did you think the pianist worked as successfully as possible under the circumstances?] I’m not really concerned about the pianist. [How many stars?] Stars! [LAUGHS] Anything with Coleman deserves 6 stars. [When do you think it was from?] It sounded like a home recording.

That was fun!  I had my own label.  But I couldn’t afford myself.

2.    Ahmad Jamal, “Aftermath” (from OLYMPIA 2000, Dreyfus, 2001) (Jamal, piano; James Cammack, b; Idris Muhammad, d) – (5 stars)

Wonderful trio, very exciting, they played really well together.  My comments are not really about this trio.  Let’s go all the way back to the beginning of what we’re talking about.  Music is language.  It’s conversation.  If it’s language and conversation, it should not be repetitive..repetitive..repetitive..repetitive.  You got it the first time I said that word.  The next three times I said it was adding to a level of redundancy…redundancy… Now, we’re not talking about profundity.  We’re talking about language, and aspiring to be ideas.  Not profundity.  We haven’t gotten anywhere near that.  That’s not even on the table.  So if it’s language, let’s remove all repetition, because it’s insulting to the listener…insulting to the listener.  You get my drift?  Anything you play twice is once too much. I loved it.  I loved the drummer.  I loved the bass player.  I loved everything.  It was on a very high level. 5 stars. Ahmad Jamal would be my guess.  He’s come a long way.  He’s a good friend, by the way, but I don’t really know his recent work.  But we’re very close, because we have been in hotel rooms all night in Bologna, Italy, etcetera, etc.

I’ll tell you a funny story, which may or may not be included.  It was 5 in the morning in a hotel in Bologna, and Ahmad had just got off the phone.  I said, “Ahmad, you’ve been on the phone a very long time.”  He said, “Yeah, I just blew the amount of money I earned tonight on the phone.” I said, “Well, Ahmad, doesn’t that indicate it might be time to go home to Chicago and do it in person instead of on the phone?”

3.    Tommy Flanagan, “How Deep Is The Ocean” (from SEA CHANGES,  Evidence, 1997) (Flanagan, p; Peter Washington, b; Lewis Nash, d) (no rating)

May I have this dance?  The last time I asked somebody to dance was the opening night of Ornette at the Five Spot, playing opposite Benny Golson and Art Farmer.  They sounded really good, and they played the first set, and it’s a wonderful band and way out there.  And then Ornette went in and did his first New York set ever.  And I thought, “Wow, everybody’s completely blown away.”  But then Art Farmer and Benny Golson went back on the stage and did the second set, and I asked the bartender to dance. Today is the second time I’ve ever asked anyone to dance.  Ornette had turned Benny Golson into the orchestra at the roof of the Taft Hotel on 7th Avenue and 51st Street overnight.  A single set. [Unlike most of the people in the room, you knew what you were in for.]

4.    Keith Jarrett, “Prelude To A Kiss” (from WHISPER NOT, ECM, 2000) (Jarrett, p; Gary Peacock, b; Jack DeJohnette, d) (5 stars)

What is the real meaning of the initials NEC?  I’ve had a lot of fun with that at the school. Oh, what’s the real meaning of ECM?  Do you know that?  Easily Castrated Musicians.  We can do this all day, Ted. [You’re good at it.] Thank you. I collect them.  Poor Duke. [You’re tough.  Unlike most musicians, you are not imprisoned by tact.] Poor Duke. [LAUGHS] [Do you play Ellington’s tunes?] I know all of Ellington’s tunes.  I knew them all when I was in short pants.  But when a musician dies, it’s time to give other guys a chance. [But you still play older things from the songbook.] Oh, if you pay me, I will play… [So if I paid you whatever your fee was, you would do an Ellington…] Absolutely.  Of course.  We aim to please, as they say in the bathroom urinals.

The problem with the recording of bass  is it’s the least accessible instrument to listen to.  God forbid somebody in the audience coughs, or there goes the solo.  You ask yourself why is the bass so possible in that standard format, that trio format.  The trio format is flawed.  If you’re going to put three musicians, it should be because they’re three musicians, and the fact that one plays the trombone and the other plays whatever is not the point.  You’re hiring individuals.  Any format is already dead.  Big band, string quartet, piano trio.  The fact that it already preexists the occasion means that everything is uphill.  Because it’s not an original format.  So you talk about lack of originality. [Doesn’t the logic of that lead that you eventually run out of formats, and nothing will be original?] There are no formats.  There’s only great players. [It’s only the individual.] A collection of great players.  We’re in a new century now.  It’s time to give all the old ideas a rest.  They’re no longer valid just because the century changed.  Your time is up.  It’s expired.

You know, if a 7-year-old played only white notes, they could sound this good.  It’s called modal.  The Aeolian mode, in particular.  Ah, a modulation.  It’s very nice, and she will go to bed with you.  Whoever you’re listening to this with. [Is it recent?  Older?  Older musician?  Younger musician?] First of all, all eighth notes are not created equal.  It’s a little too simplistic rhythmically.  He’s doing a very good job.  He’s a very fine pianist, and it’s a very nice track and so forth. But it’s not worth discussing.  I’m looking to be offended. [It seems the things that offend you are things like this.] No-no, I mean offended in a good way. [LAUGHS] I think it was very well done.  I’d give it 5 stars.  For what was attempted, it was a big success. [No idea who it was?]  No. It could have been anybody working on 8th Street. [It was Keith Jarrett.] Oh.  Well, I’m sorry to hear that. [It’s his post-illness record.] Well, he certainly has bounced back recently, kicking ass with the trio.  Boy!  He has my 1964 date, “Turning Point” on Improvising Artists, the one with Gary and Gilmore… He’s got that down pat with Gary!  He took over that.  That’s a big step for him.  He went out of standards all the way to 1964.  And who knows, we’re looking forward to 1974.

5.    Kenny Barron, “Beneath It All” (from SWAMP SALLY, Verve, 1995) (Barron, p., keyboards; Minu Cinelu, percussion) – (5 stars)

I love this recording.  This is the first new information you’ve brought me today.  The town crier in the old days used to stand in the town square, and say, “Hear ye!  Hear ye!  I’ve come to inform you.”  And if he had nothing to say or said something that the town already knew, they would get upset, because he summoned them into the town square and told them something they already knew.  It’s wonderful!  The piano player did not need the rest of the band.  But they were great, the way they went into what I call a second CD’s worth of music.  We’re really talking about two separate issues.  The piano player did not need help.  It engaged everybody in their curiosity minimally, and there was no way to predict where he was going to go.  And the fact that we happen to have this wonderful band hit and do great things was just a wonderful plus.  But I personally could have stood a lot… I could have heard a CD worth of the piano player, and I probably wouldn’t have interrupted it with this conversation.  I loved it, and I loved the second part.  It just goes to show that you’re going to have to go to a foreign country to get some fresh input in jazz.  You need foreigners.  You need people who speak a second language to be added to the stream of music.  It’s such a wonderful situation now, where the world has sent everybody… Airline tickets are so cheap, that you can hire a band where every player comes from a different continent, a different city, and they can play together at the drop of a hat — and they all live in Brooklyn Heights.  It’s just a wonderful situation!  When anyone talks about jazz not in a great period, it’s just that they’re not widely enough informed. [So you thought that the piano player was not American?] Well, certainly the band didn’t play this good off of being a bebop band.  So I assume that he comes from the same country as the rest of the players.  So I cannot guess who this is. [Well, it was only two musicians.] Ah.  [It was Kenny Barron and Mino Cinelu.] Wow! [And Kenny was playing piano and synth.] [LAUGHS] Wrong!  Wrong like a mother!  No wonder Kenny is as loved as he is.  A monster!  Kenny’s a monster!  Six stars. [LAUGHS] Fuck you, Kenny Barron! I hate him.  I’m going to tell him that next time I see him, too.

6.    Hampton Hawes, “Soul Sign Eight” (from HAMPTON HAWES AT THE PIANO, Contemporary, 1976) (Hawes, p; Ray Brown, b; Shelley Manne, d) (5 stars)

There’s no need to go any more.  It’s beautifully done, well-played, etcetera, etc., but it’s nothing that harmonically and rhythmically wasn’t done in the ’50s.  If you’re going to redo something, redo a style where your triads are quite simple, you’re staying within a key, you’re not adding anything to the literature of the music… I mean, the purpose of making a record is not to redo your own stuff or somebody else’s stuff.  The purpose of making a record is to add to the literature of the music, which means you’re bringing in some elements that are not widely available, and you’re indicating to other musicians that following along the suggestions that you’re making with this recording of yours might be of some interest and it might be of some utility to somebody who is playing.  If the record is already in existence… My rule is that if it’s already for sale at Tower Records, buy it.  Don’t make it up. [And you have no idea from the sound or the touch or the style who this might be.] First level players.  It could be one of a number of people.  And I was very happy for them.  It’s nicely recorded.  But, my first record on Wing Records in 1953, contained this information.  I outgrew it, and I hope this pianist does the same. [AFTER] [One reason I played this is because it was a person who developed his own sound and was doing it in the ’50s, and so the sound, therefore, from my impression, would be unto him.] For Hampton Hawes, it’s a big accomplishment.  This is a big accomplishment.  It’s the best Hampton Hawes I’ve ever heard — by far.  Still containing no new information, but well-played.  5 stars.  It a big accomplishment.  I love Shelley Manne in rhythm sections.  The rhythm section was nice, man.  “Way Out West,” Shelley Manne?  Wow.  What an imaginative drummer.  I worked with him.  We played the Antibes Festival in France.  But I’d rather let that track rest.

7.    Gonzalo Rubalcaba, “Oren” (from SUPERNOVA, Blue Note, 2001) (Rubalcaba, piano, keyboards; Carlos Henriquez, b; Ignacio Berroa, d)

You know, it’s a similar situation here to when someone wants to tell you a joke.  You start before they start the joke with an open mind and a positive frame of mind, willing to accept the premise of the story and looking for the punchline at the end, and so forth.  But as the story keeps going on like the beginning, just continuously, time is the enemy of the joke.  Because you’re waiting for the punchline.  It’s called the suspension of disbelief.  I’m sure you know the term in poetry.  It was suspended.  I enjoyed the high production values.  The pianist had a very nice touch.  The fact that it had only one chord in it was a little abrasive, and that that method was going to run out of time even faster than it would normally.  Because one chord is one chord is one chord, etcetera.  As the country-western musician said, “Three chords and the truth is the definition of country music.”  I thought that was nicely coined.  But this one only had one chord!  And it wasn’t even Country-and-Western.  I prefer to wait for the movie. [Any guesses?] I’ll have to see the film and be reinterviewed.  It certainly wasn’t worth listening to without a film accompanying it.  Well played.  No disrespect to the musicians.  And a pretty melody, by the way. An original melody.  It’s like the organ trios.  The only question is why. [Pleasing the people.] [LAUGHS] Oh, by the way, pleasing the people is the exact wrong premise for young musicians… [I’ve heard you say this.] Thank you.  You know all my rants. [I think you have your contradictions.  Would you care to bestow stars?] Stars.  As I said, when I see the film and listen to this film score, I’ll be happy to rate it at that time.  [Well, I need to play it a little more, because I can’t print anything you’ve said if you won’t give it stars.] [LAUGHS] You may not have brought enough records.  If you had brought a real package of records, we could have done this and been out of here in 40 minutes.  I could have said, “Forget it, keep it…” [Can’t you just please me and give some stars here?  You can even give it a pro forma five stars.] No-no, five I can’t give.  You need a star system that says “I have nothing to say.” [Then you can say “for the way it was played, such-and-such stars.”] But how about unrated?  They do that in porn movies.  Unrated it. [This isn’t a porn movie.] Well, it gives you a license to make an escape without… [Not according to my editor.] Oh, he wants stars, huh? [He wants stars.] Have we run out of alternatives.  Is that the problem?  It’s not possible for me to deal with this level of… I’m very loathe to give somebody a very low rating.  Which is why you need to be able to interviewee a pass.

8.    Vijay Iyer, “Atlantean Tropes” (from PANOPTIC MODES, Red Giant, 2001) (Iyer, p; Stephan Crump, b; Derrek Phelps, d) – (5 stars)

I’ll give it 5 stars. The plusses far outweigh the minuses. The plusses are of no use to the musicians.  When somebody comes up to you at the end of the set and says, “That was great,” there’s no new information.  We know that was great.  That’s why we played it.  Let’s talk about the minuses.  I always prefer to couch profundity in humor.  Someone was interviewing Albert Einstein, and they were trying to impress Einstein with their insights.  Einstein, who was a violinist, turned and said, “that’s very profound, but not very funny.”  So you need to be more than profound.

Now, this is definitely one of the top things you played today, and there’s nothing I can say negative.  I just have a small facetious aside to make.  And I admonish musicians with these facetious asides.  This one is: If you use up all your eighth notes in your youth, you won’t have any left to play in your old age.  Doesn’t matter what the instrument.  I’m not supposed to know what you’re doing.  If I know what you do, I don’t like it.  So you’re constantly supposed to elude me.  It was incredibly well-composed, well-played, the horn player was great, there was unity through the whole track, exercise of the imagination, beautiful use of chords — the list goes on.  It’s almost a masterpiece.  I might say it was a masterpiece.  Today it was definitely a masterpiece, based on what else I’ve heard! [LAUGHS] But remember, we’re in the post-Albert Ayler-Paul Motian-Sunny Murray period.  You can’t get away with meter any more, certainly as an entry level artist and a new artist.  You can’t get away with meter.  I gave my metronome away when I was at Juilliard. I broke mine.  They need to be smashed.  Because breathing is not metronome.  Breathing is circular.  Up and down phrases, rushing through… [What about the heartbeat?] The heartbeat is also not metrical.  It’s PAH-BOOM, PAH-BOOM.  And you can’t measure it exactly right.  If you’re walking around the room, it’s definitely not metrical.  And remember, you’re in a new century.  It’s such an exciting time.  This is the perfect time to wipe the blackboard clean and start with a fresh page.

9.    Brad Mehldau, “Quit” (from TRIO PROGRESSION, Warner Brothers, 2001) (Mehldau, p; Larry Grenadier, b; Jorge Rossy, d) – (5 stars)

Are you going to continue to play Keith Jarrett for me all day today?  It’s no small accomplishment to play Keith Jarrett.  The problem is, he was there first.  It’s who you avoid that’s more important than who you support.  It’s not hard to draw up a roadmap of who to avoid.  Just check the “Downbeat” Readers’ Poll.  If it’s already been recorded, it’s not a good idea to try to improve on it. It’s a magical track, by the way.  These players are all great players, and a masterful track, and very worthwhile doing it — and if I owned the label, I would support the production.  But I fear for the pianist. [Why do you fear for the pianist?] Because when you are born into a world of giants, you have to be an iconoclast.  There’s no way to treat them on their own terms, because you lean to their sensibility.  You’re at risk.  So you can’t work through them.  You have to destroy the icon. [So you’re postulating the Oedipal theory of music history.] Well, I don’t know if I’d put it exactly in that slant.  But what I’m saying is that it’s who you hate that’s more important than who you love.  And if you hate somebody, then I won’t recognize who you hate. But if you love somebody, it’s going to defeat the whole purpose, see, because you always get hurt by the one you love.  That’s a nice turn of phrase. [I’ve heard it.] Thank you.  Unfortunately I’ve heard it before! [Was that an older or younger player?] It was a masterful player, whatever age.  Way on top of it.  Certainly I much prefer somebody who is that developed than somebody who had less to offer.  There was certainly a lot to listen to.

You know, the trouble with being a bass player is that if the piano player can play faster than you, you should go home. Why would you want to play with somebody who can’t move through the music, move notes at least as fast as a pianist, which would be the reason to not ever play with a pianist.  See, if I play with you, without any other value judgments, we want to be equals.  We want to play equally. So the way the trio in this case solves that problem is either the other players play down, play less than they can, to be polite and accommodate the less facile musician.  Just as at a dinner conversation, if you’re the young person at the table who can’t keep up with the conversation, it’s the responsibility of the other people to speak slower and leave a lot of silences, and invite the other person to air their side of the conversation.  Playing in a trio, for the piano player to be running at the mouth and… If you have Gary Peacock on the bandstand, that’s not a problem.  But if you’re going to play with a player who is really a time player, you have to really… The whole date would be about making this person equal to the other players.  That’s the whole premise of the date.  You can’t go past somebody.  You have to take them with.  The audience judges the band by its weakest player. Not by the accomplishment of the best player, but by the difficulties. [AFTER] It’s too late for him.  If there was no Keith Jarrett, there would be room for a Brad Mehldau.

10.    Sonny Clark, “Tadd’s Delight” (from SONNY CLARK TRIO, Blue Note, 1957/2001) (Clark, p; Paul Chambers, b; Philly Joe Jones. d) – (5 stars)

Hey, Tadd Dameron!  Beautiful.  A very nice sentimental tune, very well played, very enjoyable, well written.  I did know the composer, I think — Tadd Dameron.  It was perfect of its generation.  It was beautifully played.  The piano player sounded good.  Somebody like Hank Jones would be perfect playing this material. I was amazed how good he sounded, Hank Jones, and this pianist equally well.  So who is it? [Do you think it was of the time?] Oh, very much so.  The way the recording sounded, too. Six stars. [AFTER] I don’t know his work.  I know of him, of course.  I was in California for two-plus years, and worked every night for two-plus years.  We had one night off.  So Sonny must have come by the Hillcrest Club and maybe said hello or something. But I was too busy to socialize.

11.    Wayne Shorter, “Atlantis” (from FOOTPRINTS LIVE, Verve, 2002) (Shorter, ts; Danilo Perez, p; John Patitucci, b; Brian Blade, d) – (5 stars)

I love it.  It’s really beautiful.  But please, don’t bring a concert audience into my bedroom.  The fact that the concert audience liked it was reason enough to discourage me.  It’s not a commercial.  So don’t tell me somebody else liked it.  I’m the person who’s supposed to like it.  By the same token, don’t grunt and groan on the bandstand.  Let the audience do it.  In a live performance they’re supposed to do the grunting and groaning as a result of your playing, and enjoying themselves.  The problem is that when you write a tune, you’ve pretty much told the players that you’re going to be at this place on the map at this hour, playing this hour, playing this harmony, and then when the bars continue at this place in time you’re going to be at this place harmonically, and that’s called ornamentation.  Ornamentation is not improvising.  Ornamentation is a pre-set set of changes in which you play those changes as prescribed.  Now, to try and create melodies with all this information that’s fixed and given is almost impossible.

So they did a beautiful job.  But once again, I mention it’s 2002 now.  It’s too late to tell the players what notes come where.  It has some beautiful augmented harmonies in it.  The joke about augmented is that the player had an diminished sensibility and an augmented ego.  That’s the joke.  You’re not supposed to tell me that it’s all augmented chords.  I’m not supposed to guess that.  You’re supposed to keep it from me.  The same with electronic jazz.  If I can tell what the setting is on a synth player, then I don’t like it.  The idea is to design something that tricks me and fools me, and I have to go find the guy and say, “What was it?  It’s wonderful!”

So it was very well played, and beautifully done, and for what it was, it was a great accomplishment.  Now, once again, you may have brought the Latin world into it; it’s 5/4 and all that. I think there’s a Spanish name here with the piano player.  I could say…not Rubalcaba… There’s two guys; they both work for my agent. It wasn’t the one who played simplistic track… Danilo Perez.  Danilo is a good friend. [I know that a lot of the Spanish players have listened to you a lot.] Which is strange, because the album that I really wanted to make, the Spanish album that I wanted to make, having spent some time in Florida with some of my best friends in that part of the world, I have really only been able to suggest in my earlier playing the possibilities of what that leads to. [Any idea who the tenor player was?] No.  But very nice use of space.  Great use of space.  Very sensitive.  I’m impressed with your tracks.  It’s been illuminating, the things you’ve played for me today.  As a matter of fact, when you come up to me on a tour and you show me a really good photograph you’ve taken of the band, I take the photograph! I say, “You make yourself another copy.  I’m taking this!”  There’s definitely three keepers so far.  You’re going to have a lot of trouble leaving the room with it under your arm. [AFTER] Wow. Amazingly sparse playing for Wayne.  Wow. Wonderful.  Very good.  It really turned me on.  Five stars.

12.    Cecil Taylor, “Looking, Second Part” (from LOOKING (Berlin Version), THE FEEL TRIO, FMP, 1990) (Taylor, p.; William Parker, b; Tony Oxley, d) – (5 stars)

I can’t listen to any more of this, because it’s too influenced by Cecil. [But it is Cecil.] Of course.  If you play trumpet and sound exactly like Louis Armstrong, you’d better be Louis Armstrong.  But what more is there to say?  It’s Louis Armstrong.  Cecil is to be avoided like the plague if you’re a pianist.  If you’re a drummer, it’s not a problem. [Why do you have to avoid him if you’re a pianist?] Because he did it before you were out of knickers. [But not before you were out of knickers.]  I’m very fond of Cecil, which is why I’m trying to protect him from his imitators.  At one point, we thought that we’d do… We’ve played on the same bill, at the same festivals and all that, and at one point I thought that he would do the ballads and I would do the fast, frantic stuff.  But then, brilliant as he is, he went on and did the ballads himself!  Cecil is wonderful.  He’s one of these wonderful, wonderful musicians who are much more than just musicians or instrumentalists.  Their personalities color life itself.  It’s been a blessing to be in his presence.  End of story.

I remember in the ’50s he played with Steve Lacy.  He was a wonderful combination with Steve, like hot knives with butter.  A perfect antidote.  That was one of the great combinations, like Roswell Rudd with John Tchicai.  The Jazz Composers Guild had these wonderful ensembles that were perfectly framed, and Cecil, of course, belonged to that period.  Whenever you’re in the presence of giants, be very… If you’re a professional musician who is responsible for the life of that instrument that you play, when you’re in the presence of giants… You would think that would be a good thing, like you paid a lot of money, great expectations — most probably you’re going to be even more than satisfied.  So everything seems positive.  But if you are a good musician, you have a lot of problems, unless it happens to be the Count Basie Orchestra with Joe Williams or something and it’s not about anything except having a good time… If you like it too much, you’re at risk.

It’s not a recent recording.  It doesn’t sound like it was done in the last year or the year before.  1990?  That’s old Cecil.  Six stars.

13.    Matthew Shipp, “Paradox X” (from NEW ORBIT, Thirsty Ear, 2001) (Shipp, prepared piano; Gerald Cleaver, d) – (5 stars)

With your permission, I’d just like to make a one-line joke.  I wasn’t prepared to hear this.  That’s the funniest thing I can come up with.  5 stars. I loved it.  It’s very nice.  It was a drummer’s tune.  It was set up for the mallet player, who did a beautiful job.  It’s amazing how it engaged you.  I liked it.  But I prefer my joke. [AFTER] I’ve met Matthew in airports.

14.    Art Tatum, “Cherokee” (from THE COMPLETE ART TATUM SOLO MASTERPIECES, Pablo, 1954/1991) (Tatum, piano) – (5 stars)

Saved the best for last! [LAUGHS] Well, I think the interview is over.  The art of playing piano.  Wonderful!  I’ve been having a problem with the tunes that are very popular — looping them.  The very fact that the tunes are 32 bars, repeated over and over and over again, somehow that lingers beyond the performance, and I might be playing “Cherokee” for three days and nights.  That’s a serious problem with looping. Because if you do anything twice, you may have set me in motion to an infinite repeat. [Are you saying that hearing something like that might trigger something in you…] No, it’s not a need.  It might actually loop… The 32 bars may continue repeating even after the gig is over or the CD is off.  The tune may go on ad infinitem for hours or even days.  So I prefer to only listen to unfamiliar things that I can’t identify, which is good.  It’s not possible to loop.  I call it looping.

When Tatum died, the rest of the world said “thank goodness he’s gone!” You couldn’t be a pianist and be on the same planet with Tatum.  And it’s amazing, because the content was almost nil.  I mean, it’s how he played it.  It’s the fact that he could play everything so well that was great.  It wasn’t what he played.  I mean, there are guitar players, like Tiny Grimes, who played an equivalent intellectually.  But this is a perfect case of ornamentation to the Nth degree.  Which means you can do a bad thing great… A bad thing done in a great way is better than a great thing done in a bad way!  You can play with that sentence and look for meaning.  But all the rules can be broken by somebody like Art Tatum.  Because if you’re looking for linear creativity in terms of improvisation in this period, that’s a minor accomplishment compared to the fact that he can make that instrument sound like no one has ever played it before.  When this guy was on the planet, he threatened every living pianist, Classical or Jazz.  When you’ve got a giant roaming the planet, you know, with the trees rumbling and the dinosaurs hiding in the bushes and so forth, well, that’s a very bad time for an aspiring musician.  You have to wait until this guy passes before there’s even room to THINK about what you want to do.  Jazz history is full of giants on particular instruments that have… I mean, if you were an aspiring tenor saxophone player that didn’t wear a hat, Lester Young defeated your purpose.  Each instrument has its nemesis.  That’s the word I’m looking for, is “nemesis.”  You’re supposed to be the first one to recognize that there is a nemesis, and it can affect you greatly and threaten your existence if not your livelihood.  So it’s serious business, attempting to be the 11th person to play this instrument or the fortieth person to play this genre or the hundredth person, and so forth… A serious business.  You can’t go in there without a thought in your head, looking for an “inspiration.”  It’s not going to happen.  Six stars.