Jon Gordon Quotes - Page 6

There's a famous story about Dizzy [Gillespie] and Art Blakey taking him aside, and spending a whole night-long talk with [Phil Wood], "Man we believe in you. You can play. So don't be walking around with a frown on your face or whatever, getting yourself into trouble. You have got a gift, and nobody is going to take that away from you." So that meant the world to him.

We still talk about [school band]. Almost 40 years later. It's like people are talking about, "Man we need to have a morning band reunion".

[Larry Laurenzano] gave me a junior high school saxophone to take to high school, because I was always taking one of our school horns home to practice and I couldn't afford to buy one. He gave my friend, Tyrone, a tuba and he gave me a junior high saxophone for each of us to use at Performing Arts High School with. My audition piece was selections from Rocky. We were not sophisticated. But we had some spirit about it. We enjoyed it, and it was a way out.

Larry [ Laurenzano] said to me one day near the end of junior high, "Jon, are you Jewish?" I said, "No." And he said, "Well neither am I. I'm not sure of Caesar DiMauro, but he teaches at the JCC and I got you a scholarship there."

Sometimes I would go on Sundays and play with Doc Cheatham. I was also playing in a band of teenagers led by Don Sickler called Young Sounds, and The McDonald's Big Band led by Rich De Rosa and Justin Di Cioccio. All those guys were great educators and musicians and taught me a lot! Simultaneous to all this, another one of my musical fathers came into my life, Eddie Locke.

[Eddie Locke] had a huge impact in my life. He was a great jazz drummer. He was mentored by Papa Joe Jones and he played for many years with Coleman Hawkins and Roy Eldridge and actually got me on a gig with Roy Eldridge when I was 20 that I'll never forget.

Families that I lived with a little bit in junior high and quite a bit in high school and college. Just to have a safe, sane space with food and things like that. That's what I needed. And people were really kind and really generous. So I think the world kind of opened up my first years of performing arts, studying classical saxophone with Caesar DiMauro.

[Manhattan School Of Music] were kind of just getting the jazz program up and going when I first started there. I was 17 in September of 1984 when I started there.

[Manhattan School Of Music] didn't' have a jazz undergraduate program at the time so I played a semester in the big band. There was a graduate program. But I wasn't really that involved in jazz yet.

I took some comp for non-comp major classes with Giacomo Bracali and Ludmila Ulela, who was a really famous composition teacher.

I learned some classical music history, which I had done quite a bit at of Performing Arts. But I got some more with a great teacher named David Noon, who I've been in contact with quite a bit in recent years.

When I got to Performing Arts, within the first week, a few days, Bill Charlap walked in and couldn't read music but he's playing all these solos from Keith Emerson of ELP, and Rick Wakeman from Yes. Real impressive rock piano and keyboard things. And we had really, truly amazing young 13-14 year old classical players in our year who had been practicing six, eight hours a day for eight years. So it was like "Whoa."

I didn't always have time to practice as much as I wanted to do, that was a real problem for me in high school and college.

I was commuting three to four hours a day, I had jobs for much of it. But I was always involved in going to some ensemble someplace. Taking my lessons at the local Jewish community center on Staten Island.

There are a lot of people that impacted me. I remember hearing Oscar Peterson live at the Blue Note, which was very expensive, but... $50 in the '80s... hard to come up with. But it was amazing.

I love to see people recognized [me on scene].

The Monk competition did open some doors. And I was thankful for that.

I remember [Joe] Lovano came around to me at that time [of Monk competition]. And I had taken some lessons with Joe and I had seen Joe on the scene. He had always been so great to me, such and inspiration and so kind. One lesson that I had with Joe was just amazing. I'm just such a fan and an admirer of his on every level. He was like, "Don't worry... you're just out here. You just do what you're doing. Don't worry if it doesn't make you a household name or anything."

Bill Charlap and I recorded a tune that Jack [Montrose] wrote and had brought to a date with Bob that was untitled. Bob [Gordon] really loved it and asked if he would mind if they dedicated it to Sue and call it "For Sue."

We had Bob's [Gordon] records, and he's on Clifford Brown's first record as a leader. I believe it was Clifford Brown's first record as a leader and had the original versions of Daahoud and Joy Spring that were arranged by Bob's best friend, the West Coast tenor player named Jack Montrose, who I later met.

Bob [Gordon] died young tragically.

Alan [Ferber] is a great trombonist and composer. I'm thankful that I got some associations like that through peers and former students. That's kind of what it is.

I've been thankful to work with some wonderful people and sort of combine forces with some folks that... like in recent years, working with Alan Ferber or his brother Mark who's a wonderful drummer.

I think we're in a time and place, the last 20 plus years, and certainly now, it's only more so, where it's just about us creating a body of work. Creating hopefully our own scene.

Many of the people I'm gratified to see have gotten acclaim like Mark Turner or Bill Charlap. Ed Simon or Maria Schneider or Jim McNeely or Scott Robinson. Ken Peplowski, who is a friend and somebody I admire a lot.