| Kevin Hays |
| 30-10-2002 00:00 |
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Do you think that NY jazz is a style of jazz?
I don't think one can generalize as in "NY Jazz". There are many musicians in New York with different approaches to music. The world has gotten too 'small' for anyplace or anyone to be isolated with regards to style or influence. With this said, I think that as in any community, ideas are shared, 'local' musicians play together, hang out in clubs and in each other's homes. So obviously there would be some similarities between the individual players and groups, particularly among musicians of a certain generation.
Do you feel that you miss not having seen some of the good classical jazz players like Bud Powell, Sonny Clark, Albert Dailey or Bill Evans?
I've not thought that much about it. Of course I would have loved to hear these players live. To be around these greats. I would have loved to see Duke Ellington, Art Tatum and others. Billie Holiday! I do feel fortunate that I have had the chance to hear and in some cases play with some of these great musicians. I remember hearing Phineas Newborn in NYC not long before he died. He was past his prime of course, but there were some magic moments. That touch!
To be a better jazz musician do you think it is necessary to attend a music school? What about Erroll Garner?...
I don't think that music school is absolutely necessary to become a jazz or any other type of musician. But good teachers are indispensable. What about Erroll Garner? Was the rumor that he didn't go to school or couldn't read? I don't know. There are handfuls of musicians with this same story. Music has little to do with school but a lot to do with study and joy. Where and how that takes place, it seems, matters little.
What subjects did you study at Manhattan School of Music?
Miles refused to attend Juillard...
Well I only spent a semester at Manhattan. I went to Europe to play for a few months in Spain and Germany. When I was at school I took lessons from Harold Danko (though I was still studying with my teacher Eleanor Hancock). There was music history as well. I wasn't that interested in much else but improving my playing back then so I'm afraid I didn't take full advantage of that resource. Youth!!
As a sideman you already have a very good discography, Joshua Redman, Chris Potter, Harper Bros. Seamus Blake, Mark Turner, among others. Do you feel more comfortable playing with musicians of your generation?
It's not necessarily that I feel more comfortable playing with musicians my age. But this happens naturally. You come up together, play sessions, make demos and CD's. So there's the affinity. More importantly it's the musical rapport between the players; older or younger. Of course more of my generation are touring with their own bands, playing their own music, and growing together, which I think is very important. If all I did was play as a sideman with older, more established artists, and didn't play my own music and that of my peers, something would be missing for me.
And playing with giants like Roy Haynes, Joe Henderson, Sonny Rollins does respect help your music?
Well, these experiences have been very precious to me. The opportunity to play with musicians of this caliber has been thrilling. I was just relating to a friend recently about when I was roommates with Bill Stewart in the early Nineties and I came home to a phone message from Joe Henderson. Bill said, "Joe called". I asked "Joe who?" I almost had a heart attack!
Playing with Sonny was an amazing experience as well. The intensity with which he plays is awesome; he gives everything when he's playing. He would play nonstop for a solid hour in his dressing room before we stepped on stage.
How is the jazz scene in the USA? Many gigs? And how about the New York scene?
Things seem a bit precarious. Most likely this is the result of the current World 'scene'. But there are gigs and people come to hear the music. We need music now 'more than ever'. With all the strife and pain in the world today, people need to be reminded of who they really are, in New York and everywhere. Humanity needs a mirror, not just to see our shortcomings, but also our beauty.
Do you agree with the critics when they write that your way of playing reminds them of a younger Paul Bley?
I rarely agree with critics. They also say I play like Monk, Bill Evans, Herbie and McCoy. I love all these players. I hope I sound like myself. It would be nice if we more often looked for that something unique that should be cultivated than always needing comparisons in order to validate ourselves. The former practice might help us grow. In the end, I think we sound like ourselves. Our style may be highly derivative but no matter how much we may try to hide or play like someone else, there we are!
You play the electric piano? Why?
I enjoy it. It has me playing differently than I would on piano. Plus it's another texture, especially if I'm using effects.
What are the main characteristics that define the music so called jazz?
I won't define Jazz for anyone else. For me? Spontaneity, faith, curiosity, communication, timelessness, definitionlessness.
Are you a jazz musician?
I am a musician.
The acceptance and popularity of jazz in Europe is a fact in comparison to what happens in the USA. What's the difference between Criss Cross label and the other big labels such as Blue Note or Verve?
I don't know really. Record companies, or any entity which produces art, is in a bit of a bind. They want (hopefully) to present good art and they need money to stay in business. Too often these valuations become confused. Priorities get cloudy. At the same time I don't believe recordings should be made just to be made. There's so much material out there. The new media (internet) makes perfect sense. We will have a choice. And artists who are doing something fresh can be heard all over the world without even a small record deal! I think this is very exciting.
Are reeditions unfavorable for young musicians like yourself?
I don't think so. Great music should be heard. Again, it seems the internet is going to eventually render the record companies obsolete anyway.
Is jazz in limbo since John Coltrane's death?
Some musicians may be in temporary limbo. Jazz is fine.
Who is your favorite oldest pianist (dead or alive).
I don't have a favorite. (Herbie's pretty great though!)
And your youngest favorite?
A great guy is Bill Carrothers. I also heard Brad Mehldau recently. He sounded wonderful.
What kind of jazz will you'll play in trio when you next come to Portugal for Figueira da Foz Jazz Festival 2002? The one played by drummer Al Foster or by pianist Kevin Hays?
I'm not sure of your question. When I play with Al this fall it will be his music. The next time I come to Portugal with my group it will be my music |
José Duarte |
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Escritos e entrevistas
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Festivais
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- não há festivais agendados
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