May 24, 2024

Website about Jazz and Blues

An interview with Terri Lyne Carrington: Jazz is hard, it is high art and for those who are compelled to be highly creative … Video

Jazz interview with problematic person, drummer Terri Lyne Carrington. An interview by email in writing.

JazzBluesNews.Space: – First let’s start with where you grew up, and what got you interested in music?

Terri Lyne: – I grew up in Medford, MA. My grandfather and father played music. My Dad was my first teacher on the drums. But I started playing sax first, then lost my first set of teeth and switched to drums.

JBN.S: – What got you interested in picking up the drums?

They were in the house. Exposure to them was key. Also runs in the family, so to say. My grandfather passed away right after playing 6 months before I was born, so I feel I may be him revisiting.

JBN.S: – What teacher or teachers helped you progress to the level of playing you have today? What made you choose the drums?

I had 4 teachers. 5 counting my Dad. Then a beginners teacher named John Wooley, then the great Keith Copeland, then Tony Tedesco who helped me with reading and technique. Then master drum teacher Alan Dawson.

JBN.S: – How did your sound evolve over time? What did you do to find and develop your sound?

My sound developed, the more my technique developed and the more my ears developed. IF you can hear it and you have decent technique then you can play it. I focused on cymbal touch and sound as well, which I feel is something that is very personal in the drum sound. In the 90s I did not have a good cymbal sound on some recordings and then later I focused more on getting a sound that I was happy with, I developed some cymbals with Zildjian and came up with the high definition ride, but the model being sold is not exactly like the prototypes. I was looking for a dryer sound then. Now I like playing Constantinople Rides. The sound of the drums has changed over the years too. Now I am going for a higher sound when playing jazz and a deeper sound when playing groove oriented music. Before I had the lower sound for everything it seemed.

JBN.S: – What practice routine or exercise have you developed to maintain and improve your current musical ability especially pertaining to rhythm?

The Alan Dawson rudimental ritual is what I warm p with still to this day and teach my students. Otherwise, I also have many coordination exercises based in the syncopation book and based in the 6/8 Bembe clave.

JBN.S: – Which harmonies and harmonic patterns do you prefer now?

I write music by ear and do not focus on which chords I like. It keeps evolving.

JBN.S: – Many aspiring musicians are always looking for advice when navigating thru the music business. Is there any piece of advice you can offer to aspiring students or even your peers that you believe will help them succeed and stay positive in this business?

There is not one answer to anything. Figuring out the business takes just as much creativity as playing your instrument. There is always a way to approach accomplishing your goals that is different than you think. Radical approaches can be more exciting than what you have seen others do. With the business as it is now – there are no hard rules, so stay creative.

JBN.S: – Аnd furthermore, can jazz be a business today or someday?

I don’t understand the question. It is a business. And those that think it is not, are very misinformed and do not respect the genre. High art is not as profit oriented, but in general is more artistic, so it is a choice of the artist – or in most cases not a choice at all, but a calling. I live a very nice lifestyle, rooted in my being a jazz artist.

JBN.S: – How can we get young people interested in jazz when most of the standard tunes are half a century old?

There is a lot of “new jazz” out there and very interesting blends of genres with jazz. Like Indie Rock, R&B, classical music, Latin styles, etc. The standards are a foundation – something to be studied and learned to understand the history of the music. Jazz is hard. There is a lot to learn, so for people trying to take the easy route, I would not suggest this genre. But the possibilities are endless. As I said it is high art and for those who are compelled to be highly creative.

JBN.S: – John Coltrane said that music was his spirit. How do you understand the spirit and the meaning of life?

Art is an extension of our life. Our spirit is the essence of who we are, not our physical form. So the art we create comes from our soul. Life itself is the ultimate creation and when we tap into the universal creative spirit, we support and add to the essence of life itself – the thing that helps to keep the universe full of life and moving. It is all energy and a cosmic energy source that we are all a part of. Sound is vibration and energy, thus part of the spiritual realm.

JBN.S: – What are your expectations of the future? What brings you fear or anxiety?

I try to live in a way that I am ok with the past and very much in the present. I try to not focus a lot on the future, but that is a challenge of course. I try to live without much expectation because I basically believe the universe unfolds as it should. I do my best to make sure my contributions to humanity are as strong as they can be and that I will be proud of my legacy in the end.

JBN.S: – What’s the next musical frontier for you?

I just keep working on projects and situations that make me energized. Future is unknown to a degree. There is a balance between planning and letting things happen naturally.

JBN.S: – Are there any similarities between jazz and world music, including folk music?

Thee are similarities with all music. And only two kinds – good and bad. Subjective of course.

JBN.S: – Who do you find yourself listening to these days?

Childish Gambino, Van Hunt, Robert Glasper,

JBN.S: – What’s your current setup?

Below is my set up. This is with a 20 inch bass drum, but sometimes I use an 18 or 22.

1) YAMAHA Maple Live Oak Custom
2) YAMAHA Maple Custom Absolute Nouveau (2nd choice, only if Live kit is not available) (standard sized depth toms)
2x 14″x5” Snare Drum (LNS 1455) 1 wood, 1 metal
1x 20″x16” Kick Drum (LNB 2016)
1x 10″x7” Rack tom (LNT 1007) Mounted on Bass Drum w/ TH-945 1x 12″x8” Rack Tom (LNT 1208) Mounted on Bass Drum w/ TH-945 1x 14″x13” Floor Tom (LNF 1413)
All YAMAHA Hardware
1x Bass Drum Tom Mount (TH-945)
1x Drummer’s Throne (DS-1100) WITH CLOTH SEAT! (VINYL is unacceptable) 1x Single Chain Foot Pedal (FP-8110) or (FP-7210)
1x Hi-Hat Stand (HS-950) (DO NOT GET HS-1000 or HS-1100)
2x Snare Stands (SS-940)
6x Cymbal Boom Stands (CS-845)
1x ROC N SOC NITRO Hydraulic drum throne.

Interview by Simon Sargsyan

Картинки по запросу Terri Lyne

Verified by MonsterInsights