Gordon James interview page 2

Jazz Monthly: Mm hmm.

GJ: That’s kind of where I got my Jazz roots from because this was a huge group. It had a sax section. It was like an orchestra almost and a lot of the players in the band were really good jazz players so that’s where I was first introduced to it, through a lot of these guys in the band and I got the bug you know (laugh). Not that I hadn’t heard Miles and Dizzy and people like that but it’s like I was re-introduced to them for the first time and I started playing along with the records and just really got the bug and decided that’s the direction I wanted to go, you know, with jazz.

Jazz Monthly: Yeah. And you know Gordon, again I’m sure you were influenced by… what I call the "Pillars and Posts" of Jazz Trumpet playing. Of course: Louis Armstrong, Roy Eldridge (Little Jazz), and Dizzy of course you mentioned and Miles. But I know that Freddie Hubbard he was really, not that the others didn’t influence you, but he was the guy for Gordon James, wasn’t he.

 

GJ: Absolutely. I mean I would have to say Miles and Freddie, but I would say my style is more like Freddie’s. I just always loved his kind of melodic approach. Chet Baker was another guy that really influenced me. I like the melodic approach and I like that big fat sound that Freddie had. He had just such an amazing, beautiful tone.

Jazz Monthly: Yeah we just lost him right after Christmas. He just died a few days after Christmas.

GJ: I know what a shame. Gone too young.

Jazz Monthly: Yeah. So let’s talk about some of your CD’s. I know your first album was called “Candlelight Love” and that was, I guess, almost fifteen years ago.

GJ: Yeah around ’95 or something like that.

Jazz Monthly: And then your second was “Shades Of Brown.” And you got great reviews on that. And the third was called “After Hours.” And that brings us to the latest CD and I said I love the title, and before we even talk about that, who came up with the title… and, who ever did come up with that title deserves a raise Gordon. (Gordon Laughs). It’s called: “In Joy.” Who did come up with that great title?

GJ: Thanks. Thanks a lot! Actually it was my title…

Jazz Monthly: Well then you have to give yourself a raise. (Both Laughing)

GJ: Well, it kind of came out of the fact that the thing that I loved the most about music… I mean I love recording and I love composing, there’s nothing like going to the studio and watching something come together… but that doesn’t compare to me to actually performing live. And the feedback and communication that goes back and forth between myself, the band and the audience…

Jazz Monthly: It’s like a Symbiotic relationship, isn’t it?

GJ: Yeah, it’s just a beautiful thing. I mean you can feel it in your heart, you can feel it in your bones and you can see it in the people’s faces. They way they are moving their bodies. When I started thinking about that I thought, “Well this to me is what music is all about. It’s about conveying that feeling of Joy and celebrating and doing that together with whoever is listening to it, and whoever is performing it. When I started thinking about it that way I decided to call this CD “In Joy.” It’s really what music is all about to me. Sharing my joy with the audience. Whether they are hearing the CD or hearing it live.

Jazz Monthly: Yes, well I urge our readers to check it out if you haven’t already because you’re in for a real treat. I saw somewhere that you were described as a “seasoned performer.” Now that’s meant to be a compliment… right?

GJ: Ah yes… absolutely. (Laughing)

Jazz Monthly: A “seasoned performer.” Don’t worry you’re not a veteran yet so (Both Laughing) but you are a “seasoned performer.” We are laughing now, but on a serious note the word “seasoned performer” I think is really very fitting for you because, one thing I found…. I’ve been listening to your latest CD “In Joy…” You play with taste and style and great musical judgment. And that’s what music is all about, not just chops, right Gordon?

GJ: Absolutely, I mean it’s always been my thing and I think younger players… and myself when I was younger… you have that tendency to want to show off your chops and your technique and you think that’s what it’s all about. It’s like playing as fast as you can, hitting as many notes as you can, and impressing people with that. But as you grow more seasoned and get more experience under your belt, I think you find out that’s it’s not so much the quantity but the quality of what you’re saying. You can say more with less notes. It’s like picking and choosing the right notes and being more melodic and… not over playing. I think it comes out to be a more pleasant listening experience for the listener.

Jazz Monthly: Yes, your point is well taken. And that often does come with maturity, doesn’t it?

GJ: Yes. I used to work with this keyboard player years ago. He was a young guy and he had amazing chops and his solos might be around fifteen minutes long and I can see he could play fast but (laughing) but what are you saying?

Jazz Monthly: That’s almost like... I’m half joking now... when William F. Buckley, who was a brilliant man, would use a lot of million dollar words but after he talked sometimes people would go: “What the heck did he say?” (Both Laughing)

GJ: Exactly.