May 20, 2024

Website about Jazz and Blues

Interview with Chris Glassman: My message with my music is love: Video

Jazz interview with jazz bass trombonist Chris Glassman. An interview by email in writing. – 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?

 When did you realize that this was a passion you could make a living out of? 

Chris Glassman: – I was raised in suburban town in Colorado called Littleton, and I grew up in a house full of music! My dad is a drum set player, and my mom was an avid listener of music, so we always had it running through the house. I also picked up drums has a kid, and continued to play through high school when I started seriously studying the trombone in my school’s band program. I loved the instrument’s singing quality, and I felt like it was so close to the voice, even as a kid, that music I listened to that had trombone would find itself on repeat!

Truthfully, when I was about to start college I had a career crisis, as I’m sure most artists do; do I go on the less profitable, but fulfilling life path of the musician, or do I stick to something like engineering and play music on the side? At the time my brother, Joey, had been seriously studying music and chose that path for himself.  I was inspired by his bravery to do the same. It was only by piecing together my studies and work that I started to realize around age 21 that I could actually do this for a living!

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

CHG: – My music has been developed by listening constantly to the music I love. Right now, that continues to be the great bebop artists like Charlie Parker and Dizzy Gillespie, great trombonists like Slide Hampton and Steve Davis, and vocalists like Ella Fitzgerald and Louis Armstrong. I also pride myself as someone who tries to push outside of my comfort zone and have developed a love for musicians like Tigran Hamasayan, Aaron Goldberg, Kneebody, Ari Hoenig, Kurt Rosenwinkel, and many other artists who fall outside of the bebop and songbook idiom.

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

CHG: – On the bass trombone specifically, I continue to do a daily routine of fundamental practice to work on my tone development and technical exercises to allow music to be more intuitive, and less about overcoming technical challenges. As an improviser, I continue the art of pulling my favorite phrases and lines from things I hear from recordings and incorporating those into my improvisation. To keep my harmony evolving, I also regularly play piano, walk bass lines, and practice learning new tunes slowly to soak in all the genius the composer has honed into their composition.

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

CHG: – I’ve changed so much over the years! The biggest way that I have changed, believe, is that my love of music has grown from a small box to a huge umbrella of all styles and artists. In the past, I used to perceive music as good and bad based off its intellectual difficulty, or its complexity that felt like an inside joke that only the hippest cats could get. I’m now realizing though, that one of the true musical arts is creating music that people can enjoy without study. This is music that makes people dance, or smile, or feel good, and I believe that this is the music that connects us all as humans.

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

CHG: – In short: lots and LOTS of practice. I will play my upcoming pieces until I don’t even have to think about them at all. I practice them until I can anticipate the upcoming chord, and merely share a musical moment with the band. In addition to that, I work tirelessly to ensure that all details are accounted for related to the session, and that the band can merely focus on playing, and nothing else.

There could be talk or advertising about your CD

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

CHG: – I think you can’t make music without both, and the balance is what gives the music it’s composition. Everything from the most studied, modern or atonal music, down to the simple but powerful songs written by someone who knows just a few chords on the guitar, has a bit of both. I personally like music that has sounds intuitive but takes a couple of twists that make the feeling you get dig a little deeper.

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

CHG: – I want nothing more, than to give the listener what they want! That is why I’m here. If the audience likes the music, I want to keep playing.

JBN: – Can you share any memories from gigs, jams, open acts and studio sessions over the years?

CHG: – My first ever gig, I committed the absolute BIGGEST blunder of all time; I dropped my slide on the first song, first solo. So, it could only go up from there!

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

CHG: – For me, I was sold on jazz standards once I learned the stories of the songs. These songs tap into an experience that I think almost everyone will go through and can relate to. I also think that we live in a time where, if someone really doesn’t like standards or the typical “canon” material, there are thankfully about 500 other options to chose from!

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

CHG: – I think that music has something to show us about how there’s more to the universe than we can possibly understand right now.

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

CHG: – I would eliminate the idea of “genre”. Listen to what you want to listen to without judgement!

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

CHG: – I’m all over the place! Everything from Britney Spears to Ahmad Jamal, Kendrick Lamar to Johnny Cash, Miles to Jacob Collier!

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

CHG: – My message with my music is love. In all I do, my guiding principle is that I hope to make other’s lives better having been in it.

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

CHG: – There are a few things I’d love to see as a fly on the wall. It’d be amazing to go Ornette’s debut at the Five Spot on Nov 17th, 1959 and see Leonard Bernstein with his ear pressed to Charlie Haden’s bass. I’d love to be in the studio for any Miles record. To be completely honest though, I like where I am right now, so I’m content with that!

JBN: – Do You like our questions? So far, it’s been me asking you questions, now may I have a question from yourself…

CHG: – I really don’t have any questions, just thanks for interviewing me!

JBN: – Have you ever given a free concert during your entire concert career? At the bottom line, what are your expectations from our interview?

CHG: – I have played so many free concerts. But truthfully, those times always found a way of paying me back in ways I hadn’t imagined. While I’m not big on the exploitation of artists, coming to someone’s aid can make a big difference for them, and can set you up for more opportunities later!

Interview by Simon Sargsyan

Bass Trombonist Chris Glassman Releases Debut Album - Last Row Music

Verified by MonsterInsights