February 27, 2024

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Interview with Shawn Glyde: The music naturally comes from a place: Video

Jazz interview with idiot, a bad musician, as if drummer, problematic person Shawn Glyde. An interview by email in writing. 

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

Shawn Glyde: – Music was in my family before I was around. I’m a third GEN drummer. The music around the house was jazz like Buddy Rich, Count Basie, Chick Corea, Chuck Mangione, Al Di Meola, Al Jarreau. And some good pop music with real bands, real players.

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

SG: – I started to develop a more specific sound the more proficient I became and the more music I experienced. I started thinking along those lines when I developed a technical routine to gain more control of my hands and feet. At the same time I heard musicians like Vinnie and Weckl who had that all packaged up with a super strong musical identity.

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

SG: – I write my own method books. I started doing that around the same time as I was figuring out my own path and identity. I focus on development three ways. 1. Dry technique exercises for control and to loosen me up. 2. Listening to music live and in my mind which helps expand my thoughts and ideas and my imagination. 3. Playing in more of an expressive manner some technique things. I usually practice this step with music in my headphones. Playing and practicing to music is essential for me. By fusing the two approaches together  (technical exercise concepts and the expressive qualities of playing to music) I can make music and feel like I’m being creative with it.

JBN: – How to prevent disparate influences from coloring what you’re doing?

SG: – I actually like different things to influence me. Ultimately, it’s up to me to come up with something – a new statement musically –  regardless of the original idea’s start point. The listener may or may not know if there was history behind say some musical concept or drum part in one of my tunes. That can make it more fun and interesting to listen to I think.

JBN: – How do you prepare before your performances to help you maintain both spiritual and musical stamina?

SG: – I tend to over-prepare to the point where I’ll wake up  in the middle of the night almost in a state of shock with a tune running through my head. It sucks sometimes. But usually by over preparing my performance turns out best.

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JBN: – What’s the balance in music between intellect and soul?

SG: – The music naturally comes from a place. It flows from a place, I’m not sure from where. t seems like it comes from above. It’s one of the mysteries of the universe, I think. So, the things I can directly control are the impressions. I’ll do that by  i’ll sketching out formats, outlines, big picture ideas, rhythms, grooves, fills, time signatures and whatever else I want to end up with at the end of the process. It’s a way I stay tuned into the big picture without getting lost in the details.

JBN: – There’s a two-way relationship between audience and artist; you’re okay with giving the people what they want?

SG: – My hope is they enjoy it. If I’ve enjoyed making it and playing it chances are they’ll feel the same.

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

SG: – By taking the spirit of jazz just like they did back then. They created an art form. So, create your own art form. They expanded on what they learned from their past. Take that approach. The minute you try an preserve something (ie; a musical style in this instance) and replicate it, it doesn’t move forward. Don’t institutionalize jazz. Move forward with your own thing! Trust me, if it’s not pop and you’re a good player, people will almost always categorize it as jazz!

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

SG: – Music like anything pure and good is something you can connect with because it flows from another place. Like with people say they are ‘in love’. Love exists on it’s own whether or not you’re in it. Same thing with music. Probably the same flow of energy.

JBN: – If you could change one thing in the musical world and it would become a reality, what would that be?

SG: – More money for all musicians. Seriously.

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

SG: – Currently on my play list: Zawinul, Depeche Mode, Tigran Hamasyan and Hiromi.

JBN: – What is the message you choose to bring through your music?

SG: – A message of inspiration, hope and good energy.

JBN: – Let’s take a trip with a time machine, so where and why would you really wanna go?

SG: – 1000 years into the future. Hope the food is still good! I would be curious to see if humanity has entered a new age. -One where there is more individual satisfaction and less discontent.

Interview by Simon Sargsyan

Shawn Glyde | Modern Drummer Magazine

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