Jon Gordon Quotes - Page 8

[Charlie "Bird" Parker] would sit down and ask [Phil Wood], "What do you think about this whole secondary Viennese school with Schoenberg, Berg and Webern? Are you listening to that music and what do you feel about it?" These were the conversations that he was having. And he also said, what he learned from Charlie Parker was, not that he studied with him in the formal sense, is that the first thing that Charlie Parker would always ask was, "Did you eat today?".

Sometimes you think "Okay, well I'm going to play my horn, and I'm going to study Charlie "Bird" Parker solos or [John Coltrain] or whatever." But as [Phil Wood] said to me, "Man, Bird listened to everything."

[Phil wood] put on some [Igor] Stravinsky and say to follow the score, tell me to play me the opening to the Rite of Spring. Or, "I'm going to play you some 20th century obscure classical composer you don't know". Or, "Let's listen to some Charles Ives, let's sight read some Bartok violin duets", etc.

We spent all day together [with Phil Wood] at that one particular lesson, which was maybe the third or fourth lesson, in from 11:00 in the morning to 11:00 at night. We often did a lot of varied things. It wasn't just about jazz language and the saxophone.

Benny Carter came up to me and said to me, "You know, in the whole history of the alto, I think Phil is the guy we should all be emulating." The king! So look, I'm so blessed that my first hero took me in.

I feel very similarly. I didn't have necessarily the same exact kind of dynamic, but that means a lot when people are like that with you. Especially people like that. And I think [Phil Wood] felt a certain responsibility .

Particularly, in my situation, I needed a way out of where I was. So music was that.

I made some nice associations. Ben Perowsky and Kevin Hays... Bill Mobley and Pete McGuinness. A lot of talented people.

I had a really nice association with Richie DeRosa, a great musician, a great drummer and composer and arranger. And I had a number of classes with him.

I had a great year with Bob Mintzer [at Laguardia School of Arts]. Bob is great. We could have just brought the clarinet or dealt with classical stuff, or brought the flute or just dealt with comp and arranging... what a great teacher.

Justin [Di Cioccio] was [at Laguardia School of Arts]. He later took over at Manhattan. But I knew Justin through the McDonald's band, which at the time I was finishing high school and starting college, I got involved with. I was not that heavily involved with the school at MSM my first year there. I took a semester off to start my 2nd year. Took classes I felt like taking during my third semester, but by the start of my third year, September of '86, they began the undergraduate jazz program and I joined that program.

Justin Di Cioccio led a jazz program at Music and Art, but there was no jazz in Performing Arts. After they joined, it became Laguardia School of Arts.

I never really had a classical saxophone set-up. I just had a middle of the road set up.

[My mother told me] stories about Nat King Cole, and Miles Davis, and seeing pictures in later years with band leaders like Alvino Ray.

Percy France told me, similarly, he and Bird used to hang out. They were good buddies. And he said, "Man, we'd just walk through town, sometimes with our horns. And we'd walk by past an Irish bar. And you'd stand outside and check out the music. And Bird would go in and sit in with these traditional Irish musicians. Then we'd past a Greek restaurant and we'd hear that. And Charles "Bird" Parker would go sit in with those guys. He was just listening to everything, reacting to everything.

The best thing you can do is just go and have fun with [competition].

I had played some festivals with people and met and been around some good people, for sure. But what I say to my friends and students, anything like that with a grant or a competition, it involves a great deal of luck.

Earlier that year [1996], Ronnie Scott came to Visiones when I was playing with Maria and he hired me to come and play in his club in London, which I was gratified by. That allowed me to make some more connections.

[Winning the Thelonious Monk International Saxophone Competition]definitely opened some doors.

I saw a nice interview with Dave Binney recently. He was saying, "Man it was never easy. It's not like 'Oh wow, the good old days.' What, when certain people couldn't vote?" There was more work for musicians in the '40s, '50s, '60s. But I don't think it was ever easy.

The streets weren't paved with gold and Rose petals [when I was young]. "Do I have a horn to sell this month to pay my rent, or what am I going to do?" It was what it was.

Things dribbled in in dribs and drabs through my 20s. But it was a struggle.

I had made a couple of records in Europe. One as a leader, and one as a sideman before that. It was what it was. I started to work with Maria Schneider around that period and some other people, I started to get called to sub at the Vanguard in my mid-20s.

The first jazz cruise that I was on was '91. I played with Maria Schneider and John Fedchock's band. Got to meet some amazing people that week.

The first CD I had, that I think had had any redeeming qualities to it, I did when I was 25 with a relatively small label called Chiarascuro.