Tom Mcdermott interview pt.1 →

Part 1- Tinnitus; working with Meschiya Lake; what makes a jazz player and why he feels he is not really a jazz player; interest in world music that relates to early jazz; 'Best of' record to be put out by Van Dyke Parks; Choro, Ragtime, Musette, and Tom's re-usage of the forms for improvisation; being from St. Louis and University experiences; forays into music journalism; the problems in rock journalism; Tom's music background; examples of his brother's musicality; being uncomfortable with pop music; affection for Brazilian pop music; Tom's process of composing in vernacular forms; Tom's harmonic language and process of deriving form.

Dave Capello in conversation Pt.4(conclusion)

Part 4- what happened when he got to New Orleans; falling into what he was trying to get away from; on the other hand...; punkfunk scene dying in New York and the reasons; getting into New Orleans and the beat and syncopation; hitting some hard times in New Orleans and leaving for a while- Ithaca; problems with the music press in New Orleans-suppressing innovation; insoucience; desire to push the limits; studying with Andrew Cyrille; more jazz pondering; the failure of imagination; bitter-sweet New Orleans; separating marketing from music; inspiring ideals embodied in jazz; where he is going now.

Dave Capello in conversation Pt.2

Part 2- Leaving "Heavenston;" going back to Kansas City and landing his first regular gig at a colorful bar; playing jazz in KC; Pat Metheny; playing jazz and the features of Kansas City jazz styles as that time; swinging and schmaltzy as an aesthetic; going to Evergreen in Olympia, Washington; playing at the Rennaissance Fair in Eugene, OR with the Flying Karamazov Brothers, Rev Chumley etc.; Tommy and the Snakes and other experiences in country music; back to Kansas City and then being drawn to New York in the late 70's by friend at Parsons; the New York scene- at Hurrah's, James Chance, James White and the Blacks; No Wave; getting into the publishing business and then writing through that; going to Hunter; meeting Bern Nix and the Theater for the New City; Crystal Field; William parker joins to make the Bern Nix trio; the aesthetics that were, how they came to be that way, and how they became so misunderstood; not wanting to be bourgeois in New York.

Interview with Hart Mcnee- Flautist/Saxophonist

Hart Mcnee was a very interesting local musical figure.  He died a couple of years ago but while alive he left quite a mark on all of us, friends, family or musical comrades.  He was from Chicago originally but he had moved at a fairly young age to San Francisco. Initially he was staying with his friend, the iconic guitarist Mike Bloomfield (an early hero of this site's author.)  Hart played all over the San Francisco blues scene primarily on baritone sax but especially known was his stint with Boz Scaggs.  He was also with Albert Collins, Otis Rush who he recorded with and others.  He had come from Chicago and knew many key bluesmen.  He was even driving Magic Sam home for a while.  His prime instrument for his own expression was flute and he will be remembered by all of us New Orleans friends as hugging that singularly marked bass flute.  

Hart was a close friend and I wish that I had gotten to interview him but this may be even better.  Here another really close friend, the film-maker, actor, and screenwriter Henry Griffin got a really vibrant interview with Hart not long before he died.  This interview was conducted May 8, 2006.

I'll never forget hearing his flute sound coming out of Cafe Istanbul on Frenchmen St early in the 90's.  A lot filtering through the doorways that particular summer was unremarkable but here was this very vocal, very driven, bluesy but un-cliched, large flute sound drifting onto the streets.  I could feel instantly that his phrases were bold and exploratory but immediately honest at the most human level and, peeking in the door, I just hoped that I would get a chance to play with this guy.  I was lucky and we fell in big from interest in blues and the same sorts of jazz musicians.  I was real amazed to find that he knew Bloomfield and others and I think he thought it was cool that anyone knew about that stuff.  over the years I got to play with him in many of my own projects and many others.  What fun! And I was proud of the fact that he liked my guitar playing because he openly detested most guitarists work.

Hart was a good deal older than a lot of us playing with him at that time and there was a lot about our wilder drives and things that we weren't aware of that he helped us to understand.  His honesty about where he was at and where he had been at helped clarify a lot of things.  At the same time, he wasn't what would be called mellow.  His drives and personality were loaded with obsession, vibrancy, unquestioning compulsive pushes towards everything that he may have found that he had an urge for.  But mainly, he had a drive for beauty and I think it made his death a lot simpler than it could have been.

All of this and much more comes out in this honest but humor filled interview.  I'll leave it in one part if you are interested in life, hang in until the end...

Hart Mcnee interview

- almost buying a gun twice; adventures in the army after attempting to dodge the draft, his sharpshooting abilities compared to Lee Harvey Oswald and the resulting suspicions; working with missiles and phobias entering into the picture; beginnings in music; getting a radio and being appalled by what the music of the day seemed to be; suddenly becoming aware of blues on the left hand side of the dial and wanting to be those artists; starting on tenor sax; how he got to be a professional musician; advice on how to get better in music; drugs and coming away from heroin addiction and drinking; cancer diagnosis and what's involved; whether phobias pass after being diagnosed with terminal disease; how he chose songs for his recordings; interest in Orixa songs, voodoo and involvements in ceremonies; the impact on his playing; the question of the healing power of music; his views of what happens after death; belief in the soul and the soul as a verb; what he would have done if he could've done it all over again; what would be the heaven of Hart's dreams.

Hart Mcnee Interview

Interview with Jeff Albert, Trombonist and curator of the Open Ears Series. Part 1

Jeff Albert is more than a musician.  Like a few others interviewed here he has contributed to the New Orleans music scene through the Tuesday Open Ears series at the Blue Nile.  The series allows an open forum for a wide variety of musical performance.  It is a rare night where one can witness any sort of musical exploration. Through improving the breadth of what is presented he has contributed to  the formation  of musical groups and associations of musicians that otherwise would not have a place to develop their playing and ideas.  It also brings in adventurous groups from outside New Orleans.  Jeff has developed his own expression and his self- understanding steadily over the years.  He has learned a great deal from his own associations with musicians and gigs and he shares a lot about those experiences here.  There is also interesting information about the trombone and electronic music.

More on Jeff and the Open Ears Music Series can be found at www.openearsmusic.org

Part 1- How the open ears series came about, what it is, whether it is still doing what he wants, what it's relationship is to the reconstruction after Hurricane Katrina; influences of Chicago improvising musicians and how he formed alliances with those musicians; improvisation itself, what the relation is to jazz; tradition and lineage in improvisational music; early biographical information -growing up in Lafayette; starting trombone in band class and the pros and cons of that level of music education.

Jeff Albert Interview pt.1

Interview with Rex Gregory pt. 3

Rex Gregory is an extremely talented, but also very disciplined, instrumentalist.  He plays with a wide variety of people around town in a number of styles, many of them not fixed genres.  Part of this comes from a great talent for getting with the "conversational" style that emerges when groups of players get together to improvise.  Basically, he's quick!  He's also young (27.)  He plays flute, all the saxes, and clarinet and last year he released his first album as a leader, An End To Oblivion.  He is very comfortable dealing with ideas both "intellectual" and  in music. He enthusiastically tackles areas where he has no understanding and he is quite well read as a result.  If you check his blog at http://rexgregory.blogspot.com/ you can see he writes confidently too whether you are in agreement with his opinions or not.  I felt this was an entertaining interview because Rex is comfortable with shooting off opinions.  His website is at http://rexgregory.com/  The last section of this interview got into some very interesting areas that show a lot of the inner symbolic possibilities that are available in the basic elements of music.

This is the most conversational interview to date.

This conversation happened outdoors so there is some wind noise. On the other hand it seems comfortable and you get the sounds of the Marigny on a pleasant late spring day.

Part 3- The word "Jazz", Duke Ellington, genres, blending in, the state of modern jazz in New Orleans, his record An End to Oblivion, influence of All the rest is noise by Alex Ross, 20th century nihilism(?), why we are in a retrospective age and the retrospective mind frame, the impact of mass communication. 

rex gregory interview pt.3

Interview with Rex Gregory pt. 2

Rex Gregory is an extremely talented, but also very disciplined, instrumentalist.  He plays with a wide variety of people around town in a number of styles, many of them not fixed genres.  Part of this comes from a great talent for getting with the "conversational" style that emerges when groups of players get together to improvise.  Basically, he's quick!  He's also young (27.)  He plays flute, all the saxes, and clarinet and last year he released his first album as a leader, An End To Oblivion.  He is very comfortable dealing with ideas both "intellectual" and  in music. He enthusiastically tackles areas where he has no understanding and he is quite well read as a result.  If you check his blog at http://rexgregory.blogspot.com/ you can see he writes confidently too, whether you are in agreement with his opinions or not.  I felt this was an entertaining interview simply because Rex is comfortable with shooting off opinions.  His website is at http://rexgregory.com/  The last section of this interview got into some very interesting areas that show a lot of the inner symbolic possibilities that are available in the basic elements of music.

This conversation happened outdoors so there is some wind noise. On the other hand it seems comfortable and you get the sounds of the Marigny on a pleasant late spring day.

Part 2- how Rex started on saxophone, background in Texas and music in his family, university selection,  what was serendipitous about University of New Orleans instead of New York, herd mentality in New York, tribalism, influence of the previous generation of jazz musicians from Texas, Robert Glasper, Claudia Quintet, studies with Ed Petersen, studies with Brice Winston

rex gregory interview pt.2

Interview with Rex Gregory

Rex Gregory is an extremely talented, but also very disciplined, instrumentalist.  He plays with a wide variety of people around town in a number of styles, many of them not fixed genres.  Part of this comes from a great talent for getting with the "conversational" style that emerges when groups of players get together to improvise.  Basically, he's quick!  He's also young (27.)  He plays flute, all the saxes, and clarinet and last year he released his first album as a leader, An End To Oblivion.  He is very comfortable dealing with ideas both "intellectual" and  in music. He enthusiastically tackles areas where he has no understanding and he is quite well read as a result.  If you check his blog at http://rexgregory.blogspot.com/ you can see he writes confidently too whether you are in agreement with his opinions or not.  I felt this was an entertaining interview because Rex is comfortable with shooting off opinions.  His website is at http://rexgregory.com/  The last section of this interview got into some very interesting areas that show a lot of the inner symbolic possibilities that are available in the basic elements of music.

This conversation happened outdoors so there is some wind noise. On the other hand it seems comfortable and you get the sounds of the Marigny on a pleasant late spring day.

Part 1- Rex talks about getting back to jazz and what he means by jazz, jazz competitions and whether there is a place for competition in music, Beethoven and Viennese classical music.

Rex Gregory Interview pt. 1