I'm naturally going to react to that and he'll bring out elements in my musical character that were lying dormant, because I'm relating what he's playing.
From Benny Green
I have similar feelings, actually. The intimacy of a club: you can see the people, you can almost feel them; you can't beat that. People will say things, and shout out, it's almost like they're up on the bandstand with you.
Just to be around that, to feel a part of it and be able to integrate the experience while I was with the Messengers, of going and playing gigs with other drummers, gave me the chance to realize that it was not just me that was making it happen.
Art was carrying me a lot of the time. When you're accustomed to playing with Art, and you play with other drummers, it's as if the bottom dropped out.
He would catapult you forward, and that was his intention with the Jazz Messengers. He would take young people with a potential and help them develop a voice as a player and as a writer.
Actually, I've had very little classical training, although I love listening to classical music very much.
The first jazz pianist I heard was Thelonious Monk. My father was listening to an album of his called 'Monk's Dream' almost every day from the time I was born.
Prior to that, I had associated this music with older people, like my father.
I didn't know when I was growing up that this was a very special program, that this wasn't going on in other parts of the country. Now I realize that I was lucky.
Any time I need to get a serious attitude adjustment, I put on one of their records, and there are examples there for all time to keep us honest and keep us reaching; they'll never be eclipsed.
4 perspectives
2 perspectives
1 perspectives