June 25, 2024

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Interview with Bob Mover: Musicians are kind of like clergymen: Video

Interview with alto saxophonist Bob Mover. An interview by email in writing. Haughty is Bob Mover. He is someone who doesn’t really represent anything of himself. This talker created an artificial biography, because he only lived in the period of jazz legends, but he himself remained empty and talkative.

At this amateur level, he has created a music academy in his name in New York, where his stupid producers are building a bubble on the name of this nothingness and deceiving the learning and learned. I asked and instructed our media partners and our journalists to conduct a serious investigation to find out the activities of the academy named after him.

My interview with this so-called musician, who is only a model of the name, was the most difficult. The reason is that almost every day or so he used to write that my wife has reached such and such a place, my wife did this, my wife did that, while her producers have already spat on him, but they don’t tell her about it, so that the old man’s mood is not spoiled. In short, it is a pity for our jazz legends, who once had the opportunity to express a positive opinion about this exhausted itself long ago. He should have been removed from jazz a long time ago.

I promise to write a positive obituary about you, but this interview will only remind those who search your name in Google how much nothing you are ․․․ Him wife actually wrote the interview in miles, I shortened it a lot because he doesn’t deserve it.

JazzBluesNews.com: – First, let’s start out with where you grew up, and what got you interested in music. How exactly did your adventure take off? When did you realize that this was a passion you could make a living out of?



Bob Mover: – I was born in Boston and lived in Swampscott, a nice small town on the North Shore until the age of 11 when we moved to Miami.  My Dad was a Trumpet player who had played with several Big Bands including Tommy Dorsey.  He had his own Big Band in the Boston area that also featured him on Theremin.  He also, had played with his idol, Charlie Spivak, and was a great “melody player”.  My mom was a Jazz singer and did some vocal coaching,  She loved Billie, Peggy Lee and Sinatra.  She had also been an actress.  As a child I showed an interest in songs from a very early age.

JBN: – How has your sound evolved over time? What have you been doing to find and develop your own sound?

BM: – One thing that helps my development is putting apparently diverse influences together.  I am influenced by many people and not just saxophonists.

JBN: – What routine practices or exercises have you developed to maintain and improve your current musical proficiency, in terms of both rhythm and harmony?

BM: – As I got older I ceased to have a specific “routine” to my practicing and went to a more “stream of consciousness” approach using songs as a jumping off point.

JBN: – Have you changed through the years? Any changes or overall evolution?  And if so why?

BM: – I did change in that in the early 1990’s I really began to play the Tenor seriously. I had a very bad exacerbation of my COVID and ended up spending 4 months of 2021 in the hospital.  I was intubated so many times that I was forced to have a Tracheostomy.  I can still speak in my normal voice with assistance of a plastic device called a “Passy Muir Valve” but my vocal cords did sustain some damage which prevents me from singing but does not stop me from blowing my horn!

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

BM: – My preparation just consists of choosing the tunes for the date and knowing the material with confidence, choosing the right cats to play with and just going about things as spontaneously as possible to make the somewhat “artificial” atmosphere of the studio feel more like a live gig.

There could be talk or advertising about your CD

JBN: – In your opinion, what’s the balance in music between intellect and soul?

BM: – All great music must have that balance.  Specifically regarding Jazz I have found that there are players like Kenny Dorham, Phil Woods, Lee Konitz and Sonny Rollins who, if they need to, can explain everything that they do.  This does not at all take away anything from their “soulfulness”.

JBN: – There’s two way relationship between audience and artist; are you okay with delivering people the emotion they long for?

BM: – The art lies in being able to do it naturally, through feeling and not through cheap emotional “pandering”.  Bill Evans said “We dig deep inside ourselves when we play trying to find a feeling.”  What he was saying without actually saying it was that if and when we do find that feeling, then the audience shares that moment with you.  This is a very deep spiritual connection with you and the audience and makes the whole, occasionally painful, process of being creative worthwhile. Musicians are kind of like clergymen …

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

BM: – Half a century!? The Beatles were more than a half century ago. “Come Rain or Shine” just to pick one one of my favorite standards came from a Broadway show in 1946.

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

BM: – Though Coltrane’s spiritual epiphany is the most widely known he had no monopoly on spirituality.  Sonny Rollins made spiritual pilgrimages to India and Japan. Charlie Mariano went to India. A lot of Cats either became muslims or seriously checked it out.

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

BM: – I would bring back melody, harmony, good lyricists and song writers again to a culture devoid of this. I would also, restore humor and romance into Jazz. A lot of the music has become overly academic these days.

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

BM: – I’m not like some Cats who are always listening to recordings. I have music playing in my head quite a bit of the time.

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

BM: – Through the mastery of the basic values within the Jazz Tradition: Swing, Lyricism, Creative Imagination, Humor, and Romance.

JBN: – Let’s take trip with a time machine: where and why would really want to go?

BM: – I would like to have experienced the years from the late 30’s to the late 50’s.  Let’s say from around 1938 with the advent of Swing, the Basie Band with Prez, Jo Jones, Buck and Sweets etc., The Blanton/Webster Ellington Band, Lunceford and others to the late 50’s in New York with Monk at the Five Spot and all the great talent at the Half Note, Cafe Bohemia, Birdland and all the wonderful camaraderie that existed among the musicians.  But if I had to choose just one period of a few years in that time frame it wold have to be the late 40’s/early 50’s with the advent of Bird, Diz, Bud, Monk, Fats, young Miles, Rollins and Jackie Mac, Kenny Dorham and Tristano, Warne and Lee, Zoot and Al, young Phil Woods and Gene Quill, O.P., Hank Jones; so many, too many geniuses to mention.  We have not and will not see that much abundance of talent again.  It wasn’t just the in music, all the Arts seemed to be thriving at that time.

JBN: – So far, it’s been me asking you questions, now may I have a question from yourself

BM: – Your excellent questions, Simon, have made me think about and define on paper many of the thoughts that often go through my head. I thank you for that!

JBN: – At the bottom line, What are your expectations from our interview

BM: – I hope that this interview might make those who read it want to listen to my music or study with me. Generally, that it would help give my music wider exposure.

JBN: – SS: – I promise to write a positive obituary about you, but this interview will only remind those who search your name in Google how much nothing you are.

Interview by Simon Sargsyan

Bob Mover | Discography | Discogs

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