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Showing posts with label interview. Show all posts
Showing posts with label interview. Show all posts

Sunday, December 8, 2013

12 Questions for Ron Miller!



Enjoy the music from the video above featuring Gary Keller and Ron Miller live in Hilsinki while you read the interview!


Ron at home

There is so very much to tell you about Ron Miller that he tells you better on his website, so we'll give you "just the facts, ma'am".

1
) Born in Springfield, MA, raised in Hollywood, FL, lives in Dania Beach, FL. 2) Became a faculty member at a then evolving UM Jazz Studies department; teaching Jazz Composition, Advanced Improvisation, and Jazz Piano; directing the Monk/Mingus and Avant-garde ensembles, the Wayne/Herbie ensemble, and the Horace Silver ensemble. 3) Currently Professor Emeritus of Jazz Studies. 4) Authored "Modal Jazz Composition and Harmony Vol 1 (in 3rd printing) and Vol 2.


4
) Composition students under Ron include: Pat Metheny, Bobby Watson, Bruce Hornsby, Mark Egan, Matt Harris, Gil Goldstein & Jon Secada. 5) Ron has performed with: Ira Sullivan, Allen Eager, James Moody, Bill Pace, John Yarling, Rick Margitza, Kenny Wheeler, David Liebman, Tim Ries, Santi Quintans and Pat Metheny 6) His compositions have been recorded by Hal Galper, Danny Gottlieb/John Abercrombie, Red Rodney & Ira Sullivan, Gary Kelley (with Kenny Werner/Billy Hart) and Barry Ries (with Joe Lovano), to name a few. 7) He's a pretty fabulous pianist. 8) He recently released a terrific album
called "Peacock Park"with 7 of his finest compositions and a killer line-up .



The Questions:



1) Do you come from a musical family?

Yes. My father played guitar, his brother, my uncle played piano and violin. They both played by ‘ear’ and there were many family jam sessions. Another uncle played organ, my grandfather played violin. Two uncles on my mother’s side played trumpet, one was a professional playing with bands like the Dorsey band.

2) When did you begin playing music? Were you a diligent student as a boy?

My mother told me that as a toddler, I would work my way to the piano, reach up and pick out tunes. I started lessons around 10 years old. The lessons were not with a serious musician so I did not acquire diligence until my early twenties.


3) Is there a pianist who influenced you more than others? Is there a current, young pianist you are impressed with?

Early on I was more influenced by composers, so Horace Silver was my first big first influence, Then Thelonius Monk. As I got more interested in piano playing, the biggest influence was Herbie Hancock, then Joe Zawinul and McCoy Tyner. In my mature years, Bill Evans and classical pianist Arthur Rubinstein are a big influence. Of the younger pianists, I find myself listening to Fred Hersh more than others.

4) You've got quite the piano ($35k Seilor grand) at home! Does your wife have to pull you off of it? Do you have a practicing regimen?

This piano has a sound that I love. It is similar to a Bösendorpher, but darker; it has the famous Renner action. Yet, I do not play it as much as it deserves, but when I get ‘into it” I do spent much time on it as well as when working on classic pieces. Now, I tend to practice mostly prior to a jam or recording session. I have found that much musical execution is 90% mind, the rest physical.



5) You've had some amazing bands over the years. Does any performance of yours stand out as the most memorable?

For a few years.I played a weekly gig at a club in Hollywood, Fla. One Night Stan’s
Miller Keller Band at One Night Stans, Hollywood



6)
Your compositions are another part of your legacy. Is composing easy for you or a labor of love? Do you compose at the piano?


Composing is clearly my strongest talent. It is very easy for me. It all just ‘comes to me’ as if I am just a conduit of a massive source. I compose mostly in my head these days and realize my efforts sitting in my chair on my MacBook Pro with the notation app, Sibelius 7. Most of my previous compositions came from practicing rhythms, vamps, and melodic figures from which a composition evolved.


7) Do you remember what it felt like the first time someone else recorded your music?


I felt grateful, pleased, and honored.

8) As witnessed on your album "Peacock Park", your compositions are often serious or 'deep', but one walks away with an uplifted or positive feeling. Is this intentional?

No intention. I compose what sounds good to me. Believe me, I am the biggest fan of my compositions. I am also the cook in the family, and like most cooks, I devise my recipes to please my pallet. That my family also enjoys my cooking completes the process. When others enjoy my music, it gives me the same satisfaction.

9) Who is your dream rhythm section?

Hard call, but, I would pick bassist Reggie Workman and drummer Joe Chambers. Their playing on the Wayne Shorter CD "Etcetera" is a good reference. Of course, the rhythm section on the CD "Blues For The Old New Age, Gary Keller Plays The Music of Ron Miller": drummer Billy Hart and bassist Drew Gress are both excellent for my tunes too.
Marc Colby, Billy Bowker, Mark Egan Ron Miller 1972


10) You've mentioned that Gil Evans is a compositional influence. What is your favorite work by him? Who is the consummate jazz artist for you?

I am more influenced by Gil’s arranging… too much so. I love his arranging on Miles + 19. Jazz artist - Wayne Shorter, classical - Rachmaninoff.

11) In addition to 35 years as Professor of Jazz Studies at the University of Miami, your books are taught and read all over the world. What do you hope a student walks away with after having been instructed by you?

To truly love music and to share that love and the beauty of his or her compositions with the world.

12) You entered computer programming as a 'backup career'. Is this something you recommend to aspiring artists & students?

There are a lot of musicians that have become good code writers the reason being that programming is quite similar to arranging where events occur in a time line. Many non-musician programmers don’t have that sense. There was a time when one could be a casual programmer. but the hardware is getting so complex these days and the competition so high I would be reluctant suggest any musician take time away from much needed work on music.

13) Is there a program or app you've developed that you are particularly pleased with?

I am pleased with the code I wrote for the app called Drum Thing. The code is very compact, sturdy and fast. Most of the app was written in regular C, the rest in Cocoa, apple's version of Objective C. And, the app sold very well until iOS apps hit the market. The app Patterns X is also popular and has been purchased by some ’name’ players.


14) Name 3-5 albums that are currently in rotation in the Miller home.
David Fernandez and Ron Miller


Well, I listen mostly to internet radio via Pandora or Slacker. My channels on Slacker include: Bill Evans, Gil Evans, Roland Kirk, Wayne Shorter, Charles Mingus. On Pandora: Ravel, Stravinsky, Mozart, Baroque, Respighi. I did recently buy "Domino" by Roland Kirk from the iTunes store.

15) Are there any performances or an album in the works?

In the works is a CD: "Steve Rucker Plays the Music of Ron Miller", Two concerts at Gusman hall, U.M. in March (one is with Danny Gottlieb, Marc Egan and Mark Colby, the other is a presentation of my compositions by the UM jazz faculty. I will play on a few tunes), finishing the book: "Jazz Composition, The Creative Process". A week long lecture/performance teaching gig in Manhattan in late spring.

Thank you Ron for doing the interview!!

You can hear Ron Miller on episodes 8 and 12 of our podcast! There is also a wealth of audio on his website from all periods of his career and from his famous RonJams. Below is a link to his album "Peacock Park" at CD Baby. Thanks for stopping by! - PCJ





Ron Miller: Peacock Park the Music of Ron Miller



Tuesday, June 4, 2013

Russell George Interview - Legendary NYC Session Bassist!

The following photos and visuals of amazing bassist/violinist and St. Augustine resident Russell George are posted to accompany our interview podcast with him (episode 22 - June 2013). We think you'll agree he's had one incredible life & career! Thanks to Russell for both the wonderful interview and the fun, intriguing photos.
Click on photos to view enlarged!



Russell at the Green Cove Springs Naval Base, July 1952


Marian McPartland with Roy Lundberg - drums
& Russell George - bass







Art Magyar - drums, Russell George - bass,
Marian McPartland - piano circa '60-'61

Russell & Ross Tompkins at the Playboy Club.
Russ also did a (clothed) stand in for a shoot!
L-R: Roger Kellaway - p, Russell - b,
Bobby Hackett - tp, Nick Stabulas - d,
Marshall Brown - tb. Cape Cod
L-R: Marshall Brown, Run Lundberg,
Russell George & Pee Wee Russell. '63
Photo by 'Popsie' Randolph
L-R: Joe Newman - tp, Ron Lundberg - dms,
Russell - bass, Ross Tompkins - p
at Embers (NYC) Aug 1965
Russell George with Anita O'Day
at the Half Note (NYC) 1966
L-R: Roy Burns - d, Russell George - b,
Ben Webster - ts at the Metropole 1966.
Photo by Planetary Photo.
L-R: Russell George, Ruby Braff,
Bud Freeman, Buzzy Drooten.
Photo by Jack Bradley Jazz Photography.
L-R: Tom Whaley - dm, Russell - elec bass,
Red Rodney - tp, Jerry Dodgion - ts,
Joe Beck - guitar. Good grief,
what a killer line-up!! Club Med
What a day!!
A once in a lifetime
jazz nativity!
A cap-off to a long & illustrious
career on bass!















































































































 












Several artists graciously contributed their sound recordings to enhance the interview. Consider purchasing some excellent jazz via the Amazon links below to both support the artists and Palm Coast Jazz!




Visit wonderful vocalist Ed Reed's site by clicking here!

Visit astounding bassist Ray Parker's site by clicking here!

Thanks for visiting Palm Coast Jazz!

Friday, April 19, 2013

12 Questions (+ 2) for Valerie Gillespie!

photo by Jennifer Smith

Valerie Gillespie is about as talented as they come. Astoundingly proficient on soprano, alto, tenor and baritone saxes as well as flute, she's also a vocalist, with a natural, easy-going, soulful sound. She's played with artists like Chick Corea, Bobby McFerrin, Ray Charles, Rosemary Clooney and even the Xavier Cugat Orchestra. Comfortable in both jazz and classical settings, she also plays with many top symphonic orchestras and is hence one of the busiest musicians in Tampa. So busy, in fact, we felt guilty asking her to do the interview! She cheerfully obliged in between an orchestra gig, teaching a jazz vocal master class and her long-running stand at The Garden Café in Dade City. Because her talents span so wide a territory (we didn't even get into the motorcycle riding), we had to add a few extra questions!


1) Your dad was a singer, did you learn a lot from him? Do you hear him in yourself when you sing, or even play?

Yes! All the tunes I learned as youngster, I learned from him, always by ear.  He'd come in to my practice room (the breakfast nook) and sing tunes to me, and I would just copy them by ear.  It was good because it improved my ability to do any song in any key.


2) What was your first professional gig?

I think I was about 13, and played at the local Elks club with an organ player who played jazz tunes.  The thing I remember about that gig is that I needed to work on remembering the bridges to tunes.  The way most tunes are laid out, the A section is done 3 times for every 1 time of the bridge so I sometimes had to have him play the bridge because I couldn't remember it.  It was a great learning experience for me.



3) Along with a masters in jazz saxophone (USF), you also have a bachelors in classical (Carnegie-Mellon). Is there a favorite composer or piece that you love to play in that milieu?

Just yesterday I listened to Stravinsky's "Firedbird Suite".  He is probably my favorite, but I also love Debussy, Mussorgsky, Bizet and Ravel.  I perform with the Florida Orchestra frequently, and usually end up having solos in the works for which they call me.  This evening is our third performance of Leonard Bernstein's "On The Town" and I have two sultry solos in the third movement.


photo by George Lindsay - Tungsten Photography
4) So far – what has been one of the most memorable onstage jazz experiences for you? Classical?

There are so many, but one that comes to mind is doing a concert with Bobby McFerrin with the Florida Orchestra.  It was mostly classical, but at one point he started to do a jazz jam on Blue Monk with the bass player, and then pointed to me and had me take a solo… it was completely impromptu!  I had a blast, and what an adrenaline rush!  For classical
it would probably be the time I played Pictures at an Exhibition, and the conductor Vladimir Verbitski loved it so much, he brought me out onto the podium... 4 nights in a row. That was truly an honor.

 

5) Name 3 albums (any genre) that are currently getting a lot of rotation in your home or ipod.

Ingrid Jensen- Project O, Kenny Garrett- Pursuance, Tierney Sutton- Blue in Green


6) Who do you look to as the ideal jazz instrumentalist? Vocalist?

Kenny Garrett-saxophone, and Ella Fitzgerald-vocalist.  I love these two specifically because they play and sing with such control and yet such abandon, and those are the qualities that draw me to jazz.


7) Tell us about your saxophones/flutes!

Saxes alto, tenor, bari I play Selmer Mark VI, soprano I play a Yamaha Custom. Clarinet, I play a Buffet.  Flute, I play a Yamaha.




Valerie on Bari sax - photo by John DePaola
8) I'm sure you hate this question... if you had to be stranded on a desert isle with only one horn, which would you choose? (or would you hide your soprano and flute in the bari?)

My alto sax, definitely.  It seems to be my natural voice, and feels the most comfortable to me.  I would probably be tempted to sneak the flute and clarinet in as well, though.  'Clara' and I have a secret love affair going on… Don't tell anyone!


9) Is there a composer that you love to sing?

Cole Porter and George Gershwin are two of my favorites, and anything with Johnny Mercer lyrics.  Oh, and also Billy Strayhorn….  So many songs, so little time!


10) As an artist, do you have specific goals that you are trying to achieve when you perform?

On horns, I am trying to create a good shape to the solo, so that it has a definite peak.  Sort of like an author writing a book with a good climax.  Vocally, I love a good ballad, and the key for me is to be understated, not to push too hard.  I always like a relaxed tone, so the warmth is there.  That seems to be my strength vocally, so I try to make sure that comes through.


11) Which of your albums do you feel has come closest to sounding and relaying exactly what you wanted it to?

This is a tough one… I find that I like certain tracks on each CD. If I had to choose, I might be inclined to say "Lush Life" because that is my all-time favorite tune, and I was thrilled to get to record it… "Rough Around the Edges" has been very popular, though, in fact, I'm going to have to place an order for some more, so I guess that one was successful, as well.


 

12) As an adjunct at USF - what's the most important thing to impart or inspire in a student?

Probably getting the student to feel motivated just for the sake of music, not for any particular performance.  If they can practice consistently simply because they want to try new things, then I feel I have really done my job.  And probably the best way to keep that in the forefront is to do a lot of listening.


photo by Alex R. Spassoff
13) I've noticed that even though their are plenty of female jazz musicians out there, many of them very famous - it still seems to be a 'man's world'. I don't see many famous jazz men hiring women, and I don't see women equally talented as their male counterparts reaching the same status. Do you agree? Did you have struggles in this area? Do you have advice for young ladies going into jazz?

I have usually been the only woman in the band, with the exception of some great players like Ingrid Jensen and Anat Cohen, but it does not bother me at all.  I've always been treated with the greatest respect, I think because musicians are only interested in whether you can play or not.  As soon as they hear that, then they're unconcerned with anything else: they just want to play!  My advice to women is practice hard, make sure you have a GOOD sound, and that you know your stuff.  Don't worry about anything except that you play with confidence.

14) What's coming up for you?

I have been doing some jazz festivals and jazz vocal workshops lately, and as far as the band goes, I am looking to add to our repertoire with some obscure ballads, and hopefully some originals.  Also, June 7th & 8th I'll be at Heidi's in Cocoa Beach.  Maybe I will have a couple of originals by then! 


We asked Valerie to choose a video of her performing for this article - she chose a sizzling live version of Chick Corea's "Got a Match?", also featuring flute sensation Jose Valentino on flute! (former student)



Thank you Valerie for a highly entertaining interview. Keep an eye out for appearances by Valerie throughout Florida & don't miss 'em! You can hear her exceptional playing and singing on episodes 11, 13 and 16a of our podcast. Her music is available at iTunes and CD Baby. Below are some purchase links for Valerie's excellent albums on Amazon. Treat yourself! - PCJ








Friday, March 15, 2013

12 Questions for Jamie Ousley!

Jamie Ousley perfoming at Arturo Sandoval's club in Miami
Jamie Ousley has been a favorite at Palm Coast Jazz on our podcasts and otherwise. A master of his instrument, he's one of the most in-demand bassists in Miami. Some of the world-class artists he's performed with include Ira Sullivan, Arturo Sandoval, Benny Golson, George Shearing,
James Moody, Dave Liebman, Maria Schneider, Vince Mendoza, Nestor Torres, Bucky and John Pizzarelli, Harry Allen and Bob Berg. His cds are a joy to listen to and filled with his appealing compositions as well as clever arrangements of standards, pop songs and classical works; all handled with finesse and dexterity by brilliant musicians. Finally - he's the nicest guy! We hope you enjoy our short interview, as well as the video & links underneath.



1) It’s clear from your albums that you embrace many kinds of music, including world, rock & classical. How did you get turned on to jazz?

I started playing jazz in my high school jazz band, but I didn't really even know what jazz was at that point. I really got seriously into jazz in college. I had the choice to go down the classical or jazz paths, and I chose jazz because it's always new.



photo by Jacek Andrzej Gancarz
2) Was bass your first instrument?

Violin was my first instrument, beginning with suzuki lessons at age 5. I switched to bass when I was 12, and I was lucky enough my public school program had orchestra.

3) A question for fellow bass players – tell us about your gear…

I play a 1983 Horst Gruenert double bass from Germany, which I feel very lucky to have! I use a fishman full-circle pickup and acoustic image amp. I just ordered one of those new DPA bass mics, so we'll see how that goes.



4) Name 3 albums that are currently getting a lot of rotation in your home or ipod.

Tony Bennett: The Art of Excellence
Fred Hersch Trio: Alive at the Vanguard
Hilary Hahn: Bach Partitas for Solo Violin


5) Who do you look to as the ideal jazz instrumentalist, bass or otherwise?

Ray Brown is my bass hero. Bill Evans, Keith Jarrett, Charlie Haden, and Sonny Rollins are my favorite improvisors.

6) Name a favorite rhythm section of yours.

Bill Evans, Scott LaFaro & Paul Motian. They pioneered and developed interaction and conversational aspects within a rhythm section. "Waltz for Debby" remains one of my favorite recordings of all time.

Jamie performing with jazz legend Ira Sullivan
7) What was your first professional gig?

I guess my first professional gig was with my high school rock band "Cataclysm." I think we made money? We played for an after-prom party at a YMCA... Our band slogan was "Music so bad, you have to spank it!"

8) So far – what has been one of the most memorable onstage experiences for you?

The first that came to mind was one particular night at Arturo Sandovall's old jazz club on Miami Beach with jazz legend Ira Sullivan. Brian Murphy was on piano and John Yarling on drums... I've played with this same band dozens of times, but this particular night I had the most profound feeling of being in the "zone" or groove, whatever you want to call it. I remember the experience as being almost like I was an observer and laughing at the fun musical banter John & Brian were having. It was effortless to play and there was no possibility that any note could have been wrong.


9) Does composing/ finishing pieces happen easily for you or do you labor over it?

Definitely not easy! Occasionally ideas (usually the best ideas) come easily and without effort, but even those take a lot of work and editing to finish. One exception is a song off my first CD titled "Epiphany" in which I purposefully sat down to write a song in one session, start-to-finish, in a stream-of-consciousness style, just accepting whatever notes popped into my head next. It took about 2 hours.


10) I consider all your albums “successful”, but “A Sea of Voices” did very well on the Jazzweek charts. Was this a surprise for you?


It was definitely a surprise, but it was also a goal of mine to reach the top 10. A Sea of Voices reached #8. . .so I guess I have to set the goal a little higher next time!



11) Do you have specific goals as an artist, or for the music you compose/release?


Philosophically, my purpose is to contribute to and touch peoples lives with my music. But I don't always think about that every day. My biggest practical goal is to become known well enough so I can travel the world playing music. I really enjoy experiencing other cultures - which is a great part about living in Miami.

Photo by David Schanzer
12) What’s coming up for you?

I just submitted a proposal for a grant at my university to make a bass & vocal duo CD, so we'll see how that goes. I have a couple of fun trips coming up. Next week I'll be in Costa Rica playing a Jobim Bossa Nova with Strings concert with vocalist Rose Max and the National Symphony. I'll be playing with Joe & Austin (the guys from my last CD) at the Nashville Jazz Workshop in April and in the Boston area in August.



We asked Jamie to supply us with a video of his choice. Here's what he had to say about the video below: "Here's a youtube video collage with my song "Loving Beauty" from A Sea of Voices. These are some of my personal photos over the past few years traveling, and the studio 'rough mix' from the session. . .it was a first take!"




Thank you, Jamie, for doing the interview, and for all your contributions to jazz in FL, and around the globe! You can enjoy full-length tracks by Jamie Ousley on episodes 7, 9 & 13 of our podcast: and you can treat yourself to his excellent albums at iTunes and Amazon. - PCJ