Saturday, September 24, 2011

An Interview with Eric Harland

I'm now working as a part-time freelance writer for Mercer County's Community News Service.  The managing editor knows I like jazz, so he asked me last week to write up a little pre-show feature  for the SFJazz Collective concert on October 5, at McCarter Theatre in Princeton.  I gladly agreed, all the more happy to do it because I would get to interview a member of the group.  

So yesterday, I talked over the phone with drummer Eric Harland for about 45 minutes.  He was a very gracious interviewee.  The writeup for the show is due Monday, and I'll post that when it's up.  But most of what Mr. Harland said won't go into that.  So, with his consent, I've posted an edited version of the interview, in a sort of narrative form, below.

Eric Harland
"It’s totally leaderless, it’s a collective, hence the name.  It was purposed that way so that it could be something that is continuously evolving," Eric Harland told me about the eight-piece SFJazz Collective, which is supported by SFJazz, the Bay Area organization.

"Usually an all-star band happens for a season or two and it dissipates," Mr. Harland said.  "This is the first time that something like this has been introduced in the music, and it's just so great to be able to compose, to rehearse, to play, to tour.  Pretty much, you're an artist in residence every year."

Every year since 2004, the members of the SFJazz Collective--different members go in and out--have each been commissioned to write one original composition and to arrange a piece of music from the songbook of a jazz icon.  Past arrangements have included those of the compositions of John Coltrane, Thelonious Monk and Ornette Coleman. 

For Mr. Harland, being a member of the collective (he joined in 2006, when he was 30) has given him the chance to write music. 

"For me, it was an opportunity to write, and see how I felt about being a composer," he said.  "The band catered to my musical growth, and the direction I needed to go."  "Plus, it’s great to be commissioned," he added.  

This year, the members of the band--including alto saxophonist Miguel Zenon, tenorist Mark Turner, trumpeter Avishai Cohen, trombonist Robin Eubanks, vibraphonist Stefon Harris, pianist Edward Simon, bassist Matt Penman, and Mr. Harland--have interpreted the songs of Stevie Wonder.  They already toured in the spring, with their 16 new songs, but are starting a fall tour in October.  And of course, Mr. Wonder is not a jazz musician through and through, but that is no impediment. 

I asked Mr. Harland if he thought this year's collective might get more attention, because of the Stevie Wonder connection.

"We came to Stevie because he himself is such a great composer and a great musician. Some people who don’t pay attention to jazz, there’s just something about hearing Stevie Wonder’s name that causes them to look in that direction," he said.  "But I think over all we just wanted to see—it was just pretty much an experiment—a new direction to see how it would sound.

"It’s music and the beauty about jazz is that you’re open to trying other things, not necessarily trying to always come up with the perfect solution—it’s about the journey, the experience.

"And because it’s all music, why wouldn’t you have Stevie in the same line as Coltrane, or Tyner or Ornette? It’s only we who come up with genres—it’s really music, it’s just expression.  Music has different languages, but at the same time, if something is groovy, it's groovy, and it doesn’t matter what the type is. It’s just music."

"The beauty about the band is that everyone is bringing in a different dynamic of the music, and they seem to balance each other out: uptempo, medium tempo, ballads, groove, orchestral," Mr. Harland said, when I asked him how the band planned its arrangements.  "It just happened, we didn’t discuss what kinds of tunes we would make."

And how much did they tweak the arrangements in rehearsal?

"When you’re writing, it’s more like you're sketching ideas, and sometimes in rehearsal some ideas work and some don’t, so you take them with a grain of salt," he said.

Is Stevie Wonder aware of the music they are making?

"Hopefully he’s listening to it and enjoying it," Mr. Harland said, admitting that he had not yet heard anything from Mr. Wonder.  "I’m hoping that he feels honored and that he feels the love that we put into the music.  I hope he feels the appreciation we have for him," he added.

Did he listen to Stevie Wonder growing up?

"I mean, who didn't listen to Stevie growing up?" he said.  "Everywhere I went, it was always Stevie.  His songs just relate to everybody.  I think his music reaches everybody in the world.  It’s so moving and so fulfilling.  I couldn’t imagine not listening to Stevie wonder.  Probably in the generations to come, there might be a lot of people who will be like, 'Stevie who?'  But there’s so much honesty in his music and lyrics that has become a part of the American vernacular." 

Why did he choose to arrange Mr. Wonder's song "Do I Do"?

"I chose 'Do I Do' because it has that fantastic Dizzy Gillespie solo in it," he said.  "And what jazz trumpeter is not influenced by Dizzy Gillespie?"

At this point in our conversation, I had pretty much gotten what I needed for the short article I'd be writing, but Mr. Harland seemed more than willing to keep talking, so I continued with a few more questions.  I asked him about how it is playing in the Charles Lloyd Quartet, with Jason Moran on piano, Reuben Rogers on bass, and that elder statesman of jazz, Charles Lloyd, on saxophone. 

"I love an honest gentleman," he said of Mr. Lloyd.  "He's a great friend, and the band is really great.  You can’t beat that chemistry in the band."

If you didn't know, there are jazz musicians pouring out of Houston into New York every year--great jazz musicians.  Mr. Harland is one of them, so is Jason Moran, and others include the pianist Robert Glasper, the drummer Kendrick Scott, and the guitarist Mike Moreno. 

So I asked Mr. Harland how he feels about that, if it's at all surreal, if he's shocked that he grew up with so many of his colleagues. 

He told me that Jason Moran's grandparents' house was ten houses down from where he grew up, though he officially met him in high school, at the High School for the Performing and Visual Arts.

"On a certain level, we all just wanted to play music, and we didn’t think about any other option," Mr. Harland said, comparing the environment of the school to "Fame," a musical film from 1980 about a group of students in the New York High School of Performing Arts.

"It was a school filled with artists and you just worked on your craft all day," Mr. Harland continued. "And we had fantastic teachers to keep us in that realm of music and we had each other and were motivated to play all the time and to check out all kinds of music—the archive at the school is just great.

"And we were just digging in and checking it out and having opinions about the music and having discussions—and that’s something your don’t normally see in high school.  But by having that in high school, it allowed us to be more present with the music.

"Then there's the competition factor—you know, friendly competitiveness.  If your friend is doing well, you feel like you have to rise to the challenge, and we all kind of motivated each other.  We also knew that it was important to be an individual, to force yourself to be an individual.

"And the product of that is what you see today, all these fantastic musicians, everybody doing their own thing, nobody borrowing from somebody else's success.  It's like a Houston magic, something you cultivate down there.  And outside, people pay attention to it for some reason.  I think it really is something special; it's real.  And everything is real, you know, but I don’t know, there's something about it.  It's definitely love. 

"When I hear my colleagues play, I'm always moved, and I can't say I'm always moved by everything I hear.  I like something that moves me, whether it's intellectual, in the heart, chills in the spine, I want to feel the experience of music.  Houston is just pumping 'em out every year.  I think every city should have that dynamic, just that appreciation for each other.  I know Philly has a really strong brotherhood, and a lot of great musicians come out of Philadelphia."

Mr. Harland now lives in Pennsylvania.  He has a family, and enjoys the bucolic side of life.  "I like living in Pennsylvania because there’s a lot of countryside, and a lot of time to relax, and just be," he said.  "It’s beautiful."

By this time in our conversation, I had to go, and was surprised that Mr. Harland was still talking to me.  He seemed completely willing to go on for another hour.

Before I hung up, he said he hoped I'd do my best in whatever I do.

I told him I'd try.

"We’re all trying," he said.  "Its not about achieving perfection--it’s about the experience, which is a little different."

Saturday, September 10, 2011

Enjoying Jazz

This week I interviewed for a freelance reporting job at a local newspaper in New Jersey.  There's a preponderance of jazz-related writing experience on my resume, and the man I was interviewing with pointed this out.  Most potential employers do.  I expect them to, but I'm never completely ready to explain why, or how, it's all there.

I'm also never really sure what posture to take.  Just because I've done a bit of writing on jazz doesn't mean I know anything substantive.  Should I drop a name?  Go into a little history?  Say which critics I like?  What I do is wait to see what they say.  If they ask me a question, I'll try to answer it.

This man asked me who my favorite jazz musician is.  This is a particularly tough question for me to answer.  I love and respect so many jazz musicians--dead and living--including Lester Young, Oscar Peterson, Paul Motian, Ethan Iverson, Benny Goodman, Al Grey, Jason Moran, Joshua Redman, Johnny Griffin, Red Garland.  I could go on, for a while.  In this situation, I said that, lately, I really enjoy the music of the clarinetist Anat Cohen.  He hadn't heard of her.  I then went on to explain that, although I don't consider myself a jazz critic, I mainly listen to jazz with critical ears now.  I don't really enjoy it in the way that I used to, I said.  

What was that way I used to?  Well, in high school, listening to jazz, for me, was an exciting process in which aspects of the music were revealed by degrees as I continued to purchase CDs and listen and read the liner notes and memorize the personnel.  I wasn't only learning about the music itself; it was teaching me something, about the importance of paying attention, of subtlety and grace and precision.

I started this blog after a summer spent writing and studying jazz criticism with Ben Ratliff, the New York Times music critic.  Also that summer I took a course at the Rutgers Jazz Master's Program in Newark with the jazz historian and musician Lewis Porter.  I was breathing jazz after I'd finished my work with Ben and Lewis.  I wanted to continue thinking and writing about it.  Yet at the same time, I didn't want to lose my innocence, if you understand.  I didn't want to become too conscious of my consciousness of jazz, to make too much of a good thing.  I thought that might make the music less enjoyable.

Ultimately, it didn't, because writing is important to me, and I want to become a better writer; and jazz is important to me, so I write about it, among other things.  I also play the drums, and I'm usually the most refreshed after I listen to a good jazz drummer.

When I started this blog, I wanted to leave some of the mystery of jazz intact.  It lured me in in the first place--I owe a lot to mystery.  That's why I write so much about my life and how it relates to jazz.  That relationship is hard to figure out.

So it's a different kind of enjoyment that I get from this new partnership I have with jazz, and music in general, and for that matter, almost everything.  Yet it's fruitful. 

Sometimes I can't tell what a piece of music has told me, or how it's made me feel, until I sit down to write about it.

Friday, September 9, 2011

The Business of Jazz

Is this news?

In June, I went to the Jazz Journalists Association Jazz Awards.  I had a great time, and although I was slightly intoxicated (who serves 9.4% beer, for free?) for a chunk of it, I made some good connections.  I met Howard Mandel, the president of the Association, and David Alder, past editor of

It was agreed that I would become the new editor of that website's news stream, and I was, for a couple of weeks.  I wrote some news stories on jazz, but the editorship turned out to be too much work for one person working remotely from a computer.  So I stepped down.

About a week ago, I got in touch with Howard, to offer my services again.  We concluded that I could not handle the editorship on my own, and wouldn't.  But I could still contribute to the website in some way.  He decided that we should add a section to the website that aggregates stories of interest to those in the business of jazz and music--to musicians, academics, journalists.  I'll be managing that section.

This doesn't mean human interest stories (though I do love them).  Patrick Jarenwattananon does a great job of that with his weekly "Around The Jazz Internet" roundup at A Blog Supreme.  So does Tim Wilkins with his "Morning Cup of Jazz" over at WBGO's website.  And, when he was doing it, Eli Aleinikoff's "This Week in Jazz Blogs," on the JazzTimes website, was pretty good.

I'm going to start an RSS feed, to try to keep track of all the jazz-related esoterica that will pop up around the Internet.  But I might need some help.  We're looking for news as it relates to the business of jazz music.  A new television series on jazz is being created?  Someone bought  Ethan Iverson got a book deal to edit that jazz and race reader he keeps on talking about?  We'd like to know about it.

So if you think you know of something in this vein, post it in the comments section, or email me at (excuse all the dots).  I look forward to hearing from you.