#darrell grant

The New Black album review @ All About Jazz

” data-original-title=”” title=””>Wallace Roney on trumpet—all of whom would go on to make major statements of their own in the music. In 2019, some twenty five years later, Grant had the opportunity to revisit the album repertoire at Birdland, convening bassist ” data-original-title=”” title=””>Clark Sommers, drummer Kendrick Scott drumsb.1980 ” data-original-title=”” title=””>Kendrick Scott…

The best thing about the road is the stories.

They put the"oral" in the jazz oral tradition.  They are our badges of honor, our rites of passage, and the means by which so much about the music is passed on.  You know you are a jazz musician when you have road stories.

Many of my stories come from traveling in the company of these three distinguished musicians.  In retrospect, I have them to thank for much of what has become my story in this music.

Don Braden included me on his 3rd Criss Cross Records "After Dark,"  which led directly to my having the opportunity to record my own debut on that label-"Black Art."

Cecil Brooks III was a model of the musician/entrepreneur long before he opened his own jazz club "Cecil's.  He gave me the lowdown on publishing, performing rights royalties, as well as the piece of advice that changed my life and led me to leave New York and take a teaching position in Portland, Oregon.

"Don't worry about leaving the NY scene," he said, when I was debating whether or not to make the move.  "Wherever you are, that is where the scene is.  You are the scene."  Which was exactly what I needed to hear, and has been a mantra for me ever since.

Joris Teepe put the quartet together and booked the tours that brought us to Europe.  He opening his home in Amsterdam, and made that city feel like home to me.  He organized the studio session in Monster, Holland that became my third record "Twilight Stories."-the title tune of which was written a one in the morning after a quartet gig in Germany,  He started a noted jazz school at Groningen University in Holland (and he plays the upright bass left handed.)

The three of them gave me my most memorable road story:

We were on a tour in Northern Europe and our German tour van was stolen out of the parking lot of a Polish jazz club during a soundcheck, leaving us stranded 1000 kilometers away from our next night's gig.  The subsequent day involved, among other things: a trip in the back of a cargo truck to a closed train station, a dash for the East German border, hustling suitcases & a bass through the Berlin subway station while Joris tried to rent a new van to take us to the sold out gig in West Germany, and then sitting at a standstill for 3 hours on the ring-road out of Berlin waiting for them to clear construction, after which… we never made the gig.

Thanks for the miles & the milestones, gentlemen.  For many hours of wonderful music, life experience, road conversation & modelling how one makes it in this business.  Your scenes – which include successful jazz clubs, critically-acclaimed recordings, International music schools, recognized contributions to jazz education, and so much great music all along the way – continue to inspire me.

Here's to more stories.

25 years ago today- January 6, 1987-  I had a gig at The Bitter End in New York City with singer-songwriter Kim Lesley.  I worked with a lot of singer-songwriters in my first few years in New York.  It's only now that I truly appreciate the chutzpah it takes to go that route: to write the material, to put it out there, to assemble a band, to rehearse said band, to make the demos, to hustle the gigs, engage the "star-maker machinery" as Joni Mitchell says, to rinse & repeat- for years.

These days there are books, how-to videos, workshops, Soundcloud, Bandcamp, ReverbNation, support groups, entire college degrees for Pete's sake, to help you make it as a singer-songwriter. But the two things still required- heart & good songs- haven't changed, and Kim had them in spades. 

I met Lenny White through her, and guitarist Greg Skaff , and bassist Zev Katz  and guitarist Ronnie Drayton.  I played some great music, and was inspired by watching her raise her young daughter Jasmine and strive for things that mattered.

Thank you Rev. Kim Lesley for Living on the Line, "I relate to You Thelonious," "Sassy," "You Know What I Want," "Take a Song to Heart," "Girls in the Groove," "London Town" & all the other songs I can still hear in my head.

Back when I first moved to NYC, there were a couple point of entry venues into the jazz scene.  One of them was the club Visiones at 125 MacDougal St. in the heart of the Village.  They had a knowledgeable musician who booked there-Gust Tsilis. And they were open to new acts. Plus it was a good place to hear music.   Maria Schneider's big band got their start with a Monday night residency there.  Pretty much every band I played with worked there at some point. 

My first gig under my own name at Visiones must have been about 1988. I had been in NY maybe around a year.  It was before I got the gig with Betty Carter and it was a big deal.  I had a quartet, I believe it was with Troy Davis on drums and Wayne Robers on bass, and I hired Monte Croft to play vibes with me.

A year or so later Monte and I both wound up getting our first record deals. His on Columbia, mine with my group Current Events on Verve/Forecast. 

The reason I've never forgotten this gig, is because Monte showed up without any music.  Not because he had forgotten it.  But because he had memorized my book.  Let me repeat that. We had never played together. This gig couldn't have paid more than $75.00 and he memorized my 2 sets worth of music- originals, arrangements what have you.  I hadn't even done that!.

To this day, every aspiring young musician in any class I've taught has heard me tell this story.  You want to make an impression on someone?   Care.  Care beyond what is reasonable.  They will never forget it.  Guaranteed!

Thank you Monte for that gift, and for providing me an example I'm still trying to live up to. 

NYC Memories- Shout Out to the early Days

The reason most young jazz musicians move to NYC is to be surrounded by incredible players, to have access to the music 24/7, and to learn.  My decade in NYC was no exception.  There were so many musicians, old and young, that I learned from and that helped me along in some way.

As I get ready to play in NYC again in 3 weeks. it seems appropriate to give some shout-outs to those who  played a special role in my NYC journey- beyond just being incredible musicians. 

#1:  Gene Jackson-drummer extraordinaire, tech geek, very funny guy, from whom I purchased my 1st-ever computer.

NYC Memories- Sessions Any week that has two record dates in it is by definition a good week.

On December 14, 1993 I went into RPM Studio in Manhattan with Brian Blade, McBride & Wallace Roney to record what would be my first CD under my own name-Black Art.  The man the recording desk is the legendary producer for Criss Cross Records Gerry Teekens. You might call him one of the original "Kickstarters" of my generation of jazz players. Just take a look at this role call of recording sessions. That is a lifetime of music

NYC Memories- Today is the birthday of the great Tony Williams (December 12, 1945 – February 23, 1997)  who I had the incredible privilege of playing with in 1993. Found this gig book entry about a 3 week tour of the Blue Note clubs in Japan.   Good memories. Wish he was still here to know how much we treasure his playing and his music.