SOUND PROJECTIONS
AN ONLINE QUARTERLY MUSIC MAGAZINE
EDITOR: KOFI NATAMBU
WINTER, 2022
VOLUME ELEVEN NUMBER ONE
RAPHAEL SAADIQ
Featuring the Musics and Aesthetic Visions of:
JON BATISTE
(December 25-31)
MULGREW MILLER
(January 1- 7)
VALERIE COLEMAN
(January 8-14)
CHARNETT MOFFETT
(January 15-21)
AMYTHYST KIAH
(January 22-28)
CHRISTONE INGRAM
(January 29--February 4)
MARCUS ROBERTS
(February 5-11)
IMMANUEL WILKINS
(February 12-18)
WYCLIFFE GORDON
(February 19-25)
FREDDIE KING
(February 26-March 4)
DOREEN KETCHENS
(March 5-11)
TERRY POLLARD
(March 12-18)
https://www.allmusic.com/artist/charnett-moffett-mn0000101049/biography
Charnett Moffett
(b. June 10, 1967)
Artist Biography by Matt Collar
A virtuoso bassist, Charnett Moffett is an ebullient and lyrical improviser whose work straddles acoustic post-bop, electric fusion, and contemporary jazz. The son of drummer Charles Moffett, Sr., he first garnered attention as a member of Wynton Marsalis' group in the 1980s. He has also played with such icons as Tony Williams, Stanley Jordan, and Ornette Coleman. His own work is stylistically broad-minded, and albums like 1989's Beauty Within, 1994's Planet Home, and 2019's Bright New Day showcase his spiritually minded and harmonically rich approach to contemporary jazz. It's a sound he also explores alongside his wife, singer/guitarist Jana Herzen, as on 2020's Round the World and 2021's New Love.
Born in 1967 in New York City, Charnett Moffett grew up in a musical family the son of drummer Charles Moffett, Sr. He started on bass at a very early age and made his recorded debut on one of his father's records at age eight. Growing up, he often played music alongside his siblings, including drummer Codaryl, singer Charisse, trumpeter Mondre, and tenor saxophonist Charles Jr. As a teenager, he attended Fiorello H. LaGuardia High School of Music & Art and Performing Arts in New York City, before studying first at Mannes College of Music and then for a time at Juilliard School of Music. It was while at Juilliard, at age 16, that he won the bass chair in trumpeter Wynton Marsalis' quintet. He toured and recorded with the group for over two years, appearing on the trumpeter's Grammy-winning 1985 album Black Codes (From the Underground). While with Marsalis, he also played on saxophonist Branford Marsalis' first album, Scenes in the City, and recorded with others, including dates with Stanley Jordan, Sadao Watanabe, and Frank Lowe.
As a solo artist, Moffett made his debut in 1987 with Net Man on Blue Note. The album featured appearances by tenor saxophonist Michael Brecker, keyboardist Kenny Drew, Jr., guitarist Stanley Jordan, drummer Al Foster, keyboardist Kenny Kirkland, and several of his relatives (including his father). His sophomore Blue Note long-player, Beauty Within, followed in 1989 and found him embracing a more crossover, fusion-informed sound and working with Kenny Garrett and Stanley Jordan. The album eventually peaked at number eight on Billboard's Contemporary Jazz Albums chart.
Throughout the '90s, Moffett was active as a sideman, working with Tony Williams, Slide Hampton, Mulgrew Miller, Monty Alexander, Sonny Sharrock, David Sanborn, Arturo Sandoval, and Diane Reeves, among many others. He also played regularly with Ornette Coleman from 1993 to 1995. On his own, he continued to explore a blend of contemporary fusion and post-bop, releasing albums like 1991's Nettwork with keyboardist Kirkland, 1994's Planet Home with pianist Geoff Keezer and drummer Victor Lewis, and 1997's Still Life with pianist Rachel Z and drummer Cindy Blackman.
Following sessions with Wallace Roney, Harry Connick, Jr., and Herbie Hancock, among others, Moffett returned to his solo work with 2004's For the Love of Peace. A spiritual jazz-influenced album, it found him working with pianist Scott Brown, as well as his siblings, trumpeter Mondre Moffett and drummer Codaryl Moffett. Spiritual jazz and world influences continued to inform his work as on 2006's Internet, which again featured pianist Brown, as well as drummer Eric McPherson. Around the same time, he formed a lasting partnership with singer/guitarist Jana Herzen, collaborating on 2007's Passion of a Lonely Heart.
Moffett then returned to his solo work with 2009's eclectic world music-infused Art of Improvisation and 2010's East Indian-tinged Treasure. In 2013, he released two albums, Bridge: Solo Bass Works and the expansive, Eastern-influenced Spirit of Sound. In 2017, he released Music from Our Soul, which featured alternating drummers Jeff "Tain" Watts, Mike Clark, and Victor Lewis, as well as saxophonist Pharoah Sanders, pianist Cyrus Chestnut, guitarist Stanley Jordan, and percussionist Babatunde Lea. In 2020, Moffett and Herzen married and released their second album, Round the World, which featured covers of songs by Joni Mitchell and the Beatles. They also collaborated on 2021's New Love, a more fusion-influenced album that found Moffett singing.
Charnett Moffett
Charnett Moffett grew up in a musically active household. His father, the renowned jazz drummer Charles Moffett Sr., was a member of Ornette Coleman’s trio of the mid 1960s as well as leader of the Moffett Family Band. (Charnett’s name is a contraction of both Charles and Ornette). As a child prodigy, Charn'ett first appeared on record at the age of seven in 1974 with the Moffett Family Band and the following year toured Japan with the group. After attending Fiorello H. La Guardia H. S. for the Music and Arts in New York City, he studied at Mannes College of Music and obtained a scholarship to study at the Juilliard School of Music. Moffett joined Wynton Marsalis’ quintet in 1983 at the age of 16 and later appeared on the influential, Grammy Award-winning 1985 recording Black Codes From the Underground. During the ‘80s he also worked with guitarist Stanley Jordan, the Manhattan Jazz Quintet and drummer Tony Williams.
In 1987, Moffett signed with Blue Note Records and debuted as a leader that year with Netman, which featured Michael Brecker, Kenny Kirkland, Al Foster, Stanley Jordan and Mino Cinelu. The following year, he recorded Beauty Within featuring his father Charles on drums, older brothers Mondre on trumpet, Charles Jr. on tenor sax, Codaryl on drums and sister Charisse on vocals. Special guests include Kenny Garrett, Bernard Wright and Kenny Drew Jr. and in 1991 with Nettwork, his swan song for the label.
In 1993, Charnett recorded Rhythm & Blood for Sweet Basil’s Apollon Records. A savvy mix of jazz and pop, it placed high on the music charts in Japan that year. Moffett would subsequently score artistic triumphs on the Evidence label with 1994’s Planet Home and 1997’s Still Life featuring keyboardist Rachel Z and drummer Cindy Blackman. Another Charnett recording from 1995, Moffett & Sons, is a collaboration with father Charles that also includes appearances from pianist James Williams, saxophonists David Sanchez, Joshua Redman and Bill Pierce, and trumpeters Wallace Roney and Philip Harper.
In 1996, Moffett appeared on two simultaneous releases by Ornette Coleman’s Sound Museum - Hidden Man and Three Women. Another 1997 recording, Acoustic Trio for Teichiku Records, showcased Charn'ett’s innovative acoustic bass playing. Three other ‘90s recordings for the Sweet Basil/Evidence label were done under the collective name of General Music Project and featured former Miles Davis alto saxophonist Kenny Garrett, pianists Geri Allen and Cyrus Chestnut and father Charles Sr., who passed away before the group could tour together. In 2001, Charnett released a potent recording with Kenny Garrett, pianist Carlos Mckinney and drummer Louis Hayes, Mr. J.P (a tribute to Jaco Pastorius), for the now-defunct Sweet Basil label.
In 2004, Charnett achieved another artistic triumph as a leader with For the Love of Peace on Piadrum Records, featuring brothers Codaryl Cody Moffett on drums, Mondre Moffett on trumpet and Scott Brown on piano. A compelling statement as well as a manifesto for the bass and the harmolodic principles he has upheld throughout his career, Charn'ett lavishes listeners with 14 pieces of challenging, stimulating original music.
Charnett Moffett
Charnett Moffett (born June 10, 1967) is an American jazz bassist.[1]
Moffett started playing bass in the family band, touring the Far East in 1975 at the age of eight. In the mid-1980s he played with Wynton Marsalis and Branford Marsalis. In 1987 he recorded his debut album Netman for Blue Note Records. He has worked with Art Blakey, Ornette Coleman, Pharoah Sanders, Dizzy Gillespie, Ellis Marsalis, Sonny Sharrock, Stanley Jordan, Wallace Roney. Arturo Sandoval, Courtney Pine, David Sanborn, David Sánchez, Dianne Reeves, Frank Lowe, Harry Connick, Jr., Herbie Hancock, Joe Henderson, Kenny Garrett, Kenny Kirkland, Kevin Eubanks, Lew Soloff, Manhattan Jazz Quintet, Melody Gardot, Mulgrew Miller and Tony Williams.Early life and career
Charnett Moffett attended Fiorello H. LaGuardia High School of Music & Art and Performing Arts in New York City and later studied at Mannes College of Music and the Juilliard School of Music. In 1983, he played on saxophonist Branford Marsalis' debut as a leader, Scenes in the City, and the following year he joined trumpeter Wynton Marsalis’ quintet, appearing on 1985's Grammy-winning Black Codes (From the Underground). During the 1980s, Moffett also worked with Stanley Jordan, appearing on the innovative guitarist's best-selling 1985 Blue Note debut, Magic Touch, as well as two Blue Note albums with drummer Tony Williams’ quintet: 1987's Civilization and 1988's Angel Street. In 1987, Moffett signed with Blue Note Records and debuted as a leader that year with his first of three albums for Blue Note, NetMan (1987) which featured Michael Brecker, Kenny Kirkland and Al Foster. His second Blue Note release, Beauty Within (1989) was a family affair featuring his father Charles Moffett on drums, older brothers Mondre Moffett on trumpet, Charles Moffett, Jr on tenor sax, Codaryl Moffett on drums, and his sister Charisse on vocals. Also featured were Kenny Garrett on alto saxophone, and Stanley Jordan on guitar. HIs third Blue Note release, Netman (1991), produced by Kenny Kirkland, especially focused on Moffett's piccolo bass and electric bass work.
In 1993, Charnett Moffett recorded Rhythm & Blood for Sweet Basil's Apollon Records. A mix of jazz and pop, it placed high on the music charts in Japan. He later scored artistic triumphs on the Evidence label with 1994's Planet Home (featuring his electronically enhanced rendition of "The Star-Spangled Banner" in tribute to Jimi Hendrix's Woodstock showstopper) and 1997's Still Life, featuring keyboardist Rachel Z and drummer Cindy Blackman. Starting in 1993 for several years Moffett was widely acclaimed for his innovative performances as a member of Pharoah Sanders' touring band. In 1996, Moffett appeared on two simultaneous releases by Ornette Coleman — Sound Museum: Hidden Man and Sound Museum: Three Women. Another 1997 recording, Acoustic Trio for Teichiku Records, showcased Moffett's acoustic bass playing. Three other '90s recordings for the Sweet Basil/Evidence label were done under the collective name of General Music Project (with saxophonist Kenny Garrett, pianists Geri Allen and Cyrus Chestnut, drummer Charles Moffett Sr, his father, known for his famous work with Ornette Coleman. Another recording from 1995, Moffett & Sons, is a collaboration with his father. In 2001, Charnett released a potent tribute to the late Jaco Pastorius entitled Mr. P, a trio recording with pianist Mulgrew Miller and drummer Lewis Nash. Charnett has also performed on various movie soundtracks, including acclaimed ensemble cast pictures Glengarry Glen Ross (1992) and The Visit (2001), and was a featured soloist on Howard Shore's score for The Score (starring Robert De Niro and Marlon Brando).
2008 to present
In 2008 Moffett signed with Motéma Music releasing The Art of Improvisation in May 2009 and Treasure in June 2010. The Art of Improvisation was his Motéma debut (and his eighth recording as a leader), overdubbing electric bass guitar, piccolo bass and acoustic upright bass. Joined by drummers Will Calhoun and Eric McPherson and Tibetan vocalist Yungchen Lhamo, the release references Asian and Middle Eastern influences.
Treasure (2010), while sharing some of the Asian and Middle Eastern influences of The Art of Improvisation, has an emphasis on the swing and pulse for which Moffett has become known. The release, while his second on Motéma, marked his eleventh as a leader. Once again on Treasure, he uses his three-pointed bass method to express his distinct musicality: his upright acoustic bass, his fretless electric bass and his electric piccolo bass. The Making of Treasure, a documentary directed and narrated by Moffett, is included as enhanced content on the CD. Treasure was also released by King Records in Japan and by Membran International in the EU.
Moffett worked in duo with Jana Herzen on her sophomore release Passion of A Lonely Heart (October 2012), playing the upright bass and electric bass.
In 2013 he released The Bridge: Solo Bass Works and Spirit of Sound, both on Motéma Music. To celebrate his thirtieth year as a recording artist, Moffett released his first live album, Music From Our Soul, also on Motéma, featuring his long time jazz compatriots Pharaoh Sanders, Stanley Jordan, Cyrus Chestnut, Jeff 'Tain' Watts, Victor Lewis and Mike Clarke.
In 2019 he released Bright New Day in collaboration with the members of his touring band, violinist Scott Tixier, keyboardist Brian Jackson, drummer Mark Whitfield, Jr, and singer/guitarist Jana Herzen.[2]
Discography
As leader/co-leader
- Net Man (Blue Note, 1987)
- Beauty Within (Blue Note, 1989)
- Nettwork (Manhattan, 1991)
- Evidence (Telarc, 1993)
- Planet Home (Evidence, 1995)
- Still Life (Evidence, 1997)
- Acoustic Trio (Sweet Basil, 1998)
- For the Love of Peace (Piadrum, 2004)
- Internet (Piadrum, 2006)
- The Art of Improvisation (Motema, 2009)
- Treasure (Motema, 2010)
- Spirit of Sound (Motema, 2013)
- The Bridge (Motema, 2013)
- Music from Our Soul (Motema, 2017)
- Bright New Day (Motema, 2019)
- Round the World (Motema, 2020)
As a member
General Music Project (G. M. Project)
Co-leader with Kenny Garrett
- General Music Project (Evidence, 1997) with Charles Moffett and Geri Allen
- Blacker (Sweet Basil, 1997) with Charles Moffett and Cyrus Chestnut
- General Music Project II (Evidence, 1998) with the same musicians
- Mr. J.P. (VideoArts, 2001) with Louis Hayes andCarlos McKinney
As sideman
With Kenny Drew Jr.
- The Rainbow Connection (Evidence, 1988)
- The Flame Within (Jazz City, 1989)
- A Look Inside (Antilles, 1993)
With Kenny Garrett
- Garrett 5 (Paddle Wheel, 1989) - recorded in 1988
- Prisoner of Love (Atlantic, 1989)
- African Exchange Student (Atlantic, 1990)
- Black Hope (Warner Bros., 1992)
- Stars & Stripes Live (Jazz Door, 1994)
- Triology (Warner Bros., 1995)
- Old Folks (West Wind, 1999) with John Scofield, Michael Brecker and David Friesen
- Happy People (Warner Bros., 2002)
- Standard of Language (Warner Bros., 2003)
With Stanley Jordan
- Magic Touch (Blue Note, 1985)
- Cornucopia (Blue Note, 1990)
- Stolen Moments (Blue Note, 1991)
- Live in New York (Blue Note, 1998)
- New Morning (Inakustik, 2008)
- State of Nature (Mack Avenue, 2008)
- Manhattan Jazz Quintet (Paddle Wheel, 1984)
- Autumn Leaves (Paddle Wheel, 1985)
- Concierto De Aranjuez (Sweet Basil, 1994)
- The Original Voice (Sweet Basil, 1995)
- Teen Town (VideoArts, 2002)
- Come Together (Videoarts, 2005)
- Tribute to Art Blakey (Birds, 2009)
- Autumn in New York (Paddle Wheel, 2015)
- La Fiesta (Paddle Wheel, 2015)
- Take Five (Paddle Wheel, 2015)
With Donald Brown
- The Sweetest Sounds (Jazz City, 1989)
- Send One Your Love (Muse, 1994)
With Kevin Eubanks
- Turning Point (Blue Note, 1992)
- Live (Insoul Music, 2001)
With Ornette Coleman
- Sound Museum: Hidden Man (Verve, 1996)
- Sound Museum: Three Women (Verve, 1996)
With Branford Marsalis
- Scenes in the City (Columbia, 1984)
- Royal Garden Blues (CBS, 1986)
With Courtney Pine
- Within the Realms of Our Dreams (Antilles, 1991)
- Modern Day Jazz Stories (Antilles, 1995)
With Rachel Z
- Trust the Universe (Columbia, 1993)
- Room of One's Own (NYC, 1996)
With Dianne Reeves
- The Nearness of You (Blue Note, 1988)
- I Remember (Blue Note, 1991)
With Howard Shore
- The Score (Varese Sarabande, 2001)
- Maps to the Stars (Howe 2014)
With John Stubblefield
- Bushman Song (Enja, 1986)
- Countin' On the Blues (Enja, 1987)
With McCoy Tyner
- Land of Giants (Telarc, 2003)
- Afro Blue (Telarc, 2007) - compilations
With Sadao Watanabe
- Parker's Mood - Sadao Watanabe Live at Bravas Club '85 (Elektra, 1985)
- Tokyo Dating (Elektra, 1985)
With Tony Williams
- Civilization (Blue Note, 1987)
- Angel Street (Blue Note, 1988)
With others
- Anita Baker, Rhythm of Love (Atlantic, 1994)
- David Benoit, Letter to Evan (GRP, 1992)
- Alex Bugnon, This Time Around (Orpheus, 1993)
- Ronnie Burrage, Shuttle (Sound Hills, 1994)
- Will Calhoun, Life in This World (Motema, 2013)
- Tommy Campbell, My Heart (Jazz City, 1989)
- Harry Connick Jr., Come by Me (Columbia, 1999)
- Robin Eubanks, Dedication ( (JMT, 1989)
- Herbie Hancock, Future2Future (Columbia, 2001)
- Jana Herzen, Nothing But Love (Motema, 2020)
- Vince Jones, One Day Spent (EMI, 1990)
- Julian Joseph, Reality (EastWest, 1993)
- Michael Kamen, The Last Boy Scout (La-La Land, 2015)
- Geoff Keezer, Curveball (Sunnyside, 1990)
- Kenny Kirkland, Kenny Kirkland (GRP, 1991)
- Frank Lowe, Decision in Paradise (Soul Note, 1985)
- Wynton Marsalis, Black Codes from the Underground (Columbia, 1985)
- Harvey Mason, With All My Heart (Videoarts, 2003)
- Murray, Allen & Carrington, Perfection (Motema, 2016)
- Tony Reedus, The Far Side (Jazz City, 1989)
- Wallace Roney, Verses (Muse, 1987)
- Wallace Roney, The Standard Bearer (Muse, 1989)
- David Sanchez, Street Scenes (Columbia, 1996)
- Pharoah Sanders, Message from Home (Verve, 1995)
- Arturo Sandoval, I Remember Clifford (GRP, 1992)
- Sonny Sharrock, Ask the Ages (Axiom, 1991)
- Sonny Simmons, Ancient Ritual (Qwest, 1994)
- Lew Soloff, Yesterdays (King, 1986)
- James Williams, Meet the Magical Trio (EmArcy, 1989)
Charnett Moffett is a virtuosic bassist who is equally skilled on acoustic and electric. The son of drummer Charles Moffett, Sr. and the younger brother of drummer Codaryl, singer Charisse, trumpeter Mondre, and tenor saxophonist Charles Jr. (all of whom have guested on his records), Charnett started on bass early and appeared at age eight on a family record in 1974 for LRS. He later studied at Juilliard and was in Wynton Marsalis’ quintet when he was 16, playing with the trumpeter regularly during 1983-1985. Moffett, who appeared on 17 records before he turned 20, has worked with Tony Williams, Slide Hampton, Mulgrew Miller, Monty Alexander, Sonny Sharrock, Stanley Jordan, David Sanborn, Arturo Sandoval, and Diane Reeves, among many others, and played regularly with Ornette Coleman during 1993-1995. Moffett has recorded regularly as a solo artist beginning with his 1987 Blue Note debut Beauty Within and followed-up by Net Man. He continued to record throughout the ’90s with 1991’s Nettwork, 1994’s Planet Home and 1997’s Still Life. Although he continued to perform regularly, Moffett would not return to recorded solo work until 2004’s For the Love of Peace. He followed that up two years later with Internet. In 2009, Moffett released the eclectic world-music infused Art of Improvisation. Moffett then stuck with the world music template with his 2010 Eastern Indian tinged album Treasure. ~ Scott Yanow
- New Love is out now via Motema Music.
- Birth Date & Place: June 10, 1967 in NYC
- Music Exposure: His family; the Moffett Band with whom he played and toured. Moffett played drums and trumpet before settling on bass, and began touring with the family at age 8.
- Why Bass? The family band needed a bassist.
- Which Bass(es)? Upright, electric bass guitar and (electric) piccolo bass. His preference is upright bass and a fretless, electric bass guitar.
- Early Education: Fiorello H. La Guardia High School of Music and Performing Arts.
- Formal Education: Mannes College of Music, followed by a brief stint at The Julliard School of Music (before nailing a touring gig with The Wynton Marsalis Quintet when he was 16-years old).
- First Major Album Recording: 1983, playing bass on Branford Marsalis's debut album, Scenes in the City.
- First Personal Album Debut: 1987, Net Man, produced by Blue Note Records.
- Most Recent Album: 2017, Music From Our Soul, produced by Motéma.
Charnett Moffett: “I try to get a lyrical, singing quality through the fretless bass. It’s a way of being in direct communication with people”
Jazz veteran Charnett Moffett discusses his latest life-affirming album, New Love, and how Jaco Pastorius and Alphonso Johnson shaped his approach to playing
Image credit: Sharon Crocker)
Charnett Moffett has enjoyed a long and productive career in the jazz world, inspired by the example of his late father Charles Moffett, who played drums for Ornette Coleman.
A Juilliard alumnus, Moffett has played with the Wynton Marsalis Quintet, Art Blakey, McCoy Tyner, Herbie Hancock, Arturo Sandoval, Harry Connick Jr, Bette Midler, and Coleman himself. His current album, New Love, which features guitarist and vocalist Jana Herzen and drummer Corey Garcia, is his seventeenth as a composer, and is out now.
Talk to us about your new album.
“The idea behind New Love is to bring a little light and joy to the world right now when it’s in such a dark place. The music is supposed to make people feel good! We basically did it all in two days in the studio, because everyone had such a busy schedule here in New York, that it was impossible to rehearse as a unit at that time.
“So, knowing that I had these fabulous musicians that have worked for me for many years now, I said, ‘Look, we’ll just get in the studio. I’ve got these sketches, and we’ll take it from there.’”
Higher Dimensions: Charnett Moffett Trio LIVE
You built the songs in the studio?
“Right. That was how it all came together, which was cool for me, because I wanted to leave room for creativity so that we could capture the element of the moment in the spirit of true jazz improvisation.
“I was really fortunate to have a group of musicians who were key in creating the sound with me – first of all, my partner Jana. The way that she plays the guitar is so lyrical: she plays it like she’s singing through her guitar, which is what every instrumentalist aspires to.
“Her guitar style allows me to play lead on my bass, switching from melodies, to harmonizing, to improvising. Corey Garcia’s fluid swing on the drums is also key to the constant conversation going on around the counterpoint.”
Which other bassists have influenced you over the years?
“A lot of my fretless playing has been inspired by the great Jaco Pastorius and Alphonso Johnson. Like them, I always try to get a lyrical, singing quality through the instrument. It’s a way of being in direct communication with people, and trying to uplift their spirit and make them have a good day, even if it’s just for an hour a day.
“The mystery is what we don’t know and what we can’t see – but we can feel it and know that it’s real. That’s what’s happening with my music. It’s not about who is playing the melody, or who is playing the lead – it’s about the sound of the whole overall picture that is being shared
What gear do you use?
“I’ve had the same fretless bass all my life. As the years pass, I’m beginning to really appreciate it more and more, even though I’ve started hunting around for some other bass sounds lately. It’s a Moon bass, and it’s my baby, with beautiful Bartolini pickups. I also play an Ibanez and a Breedlove acoustic, but the Moon has always been my number one bass.”
Were you inspired by your father’s example to become a musician yourself?
‘Yes. You know, I was the youngest of a large family, and everybody in my family played music, so it seemed normal to have an instrument. Otherwise, it felt like I wasn’t supporting the family.”
How did you end up on bass?
“Basically, the family needed a bass player, because there was nobody playing it, although I started out on drums. It’s funny – trumpet was the instrument I originally wanted to play. I could have been a really good trumpet player, because I always heard trumpet when I played bass guitar. The truth is that I’ve always played trumpet lines with my bass: Back then, when we were playing together, my brother would always say, ‘Stay on the bassline!’”
Charnett Moffett's Quintet performs "Holy Spirit" on WBGO
So what lies ahead for you?
“The plan is to keep putting music out into the universe that has good vibrations, and hopefully people will enjoy that music, and its reverberations will spread some light in these difficult times. On the gear side, I just added a beautiful Alembic bass to my collection, which is really inspiring me. It will make its debut on a live trio EP I’m putting out this October, which features Jana and some new music that we’ve been working on.”
What does the album title New Love signify?
“What is really the most important thing in this life? The most important thing in life is truly love, in my opinion. How could there be anything greater than love? You have someone that you care about, or someone that cares about you. A best friend, your mom – anybody. It’s someone that you share a bandwidth with, right? The common denominator is love.”
Charnett Moffett Archives
Charnett Moffett Releases “New Love”
Bass virtuoso Charnett Moffett has returned with his seventeenth album as a leader, entitled “New Love”. The bassist describes the music, recorded in trio and quartet band formats, as a love letter to humanity.
Charnett Moffett Goes All Electric on “Bright New Day”
Charnett Moffett has returned with “Bright New Day.” The exploratory release pushes the bassist in a new direction on his own instrument, as well. Moffett, who is best known for his virtuosic double bass playing, opted to record the whole album on his fretless electric.
The Nett Duo, featuring Charnett Moffett, Releases “Overtones”
The Nett Duo has released their debut recording, called “Overtones.” The duo, which consists of guitarist Jana Herzen and virtuoso bassist Charnett Moffett, put together a free-form program that blends jazz, rock, folk, and classical music.
Charnett Moffett Releases “Spirit of Sound”
Veteran bassist Charnett Moffett has released Spirit of Sound, his thirteenth album as a leader and companion to his solo release, The Bridge which debuted in April. While Spirit of Sound is not a solo bass album like The Bridge, it does center heavily on Moffett’s bass virtuosity. The new album finds Moffett building upon the “Harmolodic Free Jazz” concepts...
Charnett Moffett Releases “The Bridge: Solo Bass Works”
Charnett Moffett is reflecting on his instrument and his career on his latest release entitled The Bridge: Solo Bass Works. The record captures the veteran jazz musician alone with his bass in a creative burst that focuses on his past repertoire as well as eight original compositions. “I wanted to express who I am, carry on the tradition of the...
Charnett Moffett: Star Spangled Banner
Bassist Charnett Moffett takes his upright bass and channels some Hendrix in this all-bass rendition of “The Star Spangled Banner”. Happy fourth!
Charnett Moffett: Enlightenment
Adept at both upright and electric bass, Charnett Moffett is a bassist to be reckoned with. Here, he showcases electric chops and improvisatory skills on his tune “Enlightenment,” for which he utilizes a piccolo bass. The song comes off as a meditation with its Middle-Eastern influences. Some might say “it’s too trebly,” but just wait for the 1:28 mark. (My...
Charnett Moffett with Stanley Jordan: Autumn Leaves
Charnett Moffett lays down more of a running bass line behind tapping virtuoso Stanley Jordan before showing off his own finger-busting solo on the jazz standard “Autumn Leaves”.
Charnett Moffett Releases “Treasure”
Charnett Moffett has just released his 11th album, Treasure, on Motéma Records as his follow-up to 2009’s Art of Improvisation. The album sees Moffett tear through his original compositions, varying in styles from classic jazz to East Indian and country, on fretless electric, upright, and his piccolo bass. Moffett has had lengthy stints with Ornette Coleman as well as Wynton...
Charnett Moffett bass solo
Bassist Charnett Moffett shows off his versatility as a player in this video from a 2002 Vienna performance. He solos using the bow as a percussive stick against the strings and runs his upright bass through different effects. This combined with his finger plucking give one unique solo! In this video he’s playing with the Mccoy Tyner 4tet. Moffett has...
Charnett Moffett: The Art of Improvisation
The Art of Improvisation is the latest release by bassist Charnett Moffett and features him on both electric and acoustic bass. Charnett is joined by Will Calhoun, Eric McPherson, and Charnette Max Moffett on drums, Yungchen Lhamo on vocals, Scott Brown on piano, Pat Jones and Steve Barnes on guitar, and Robert Joseph Avalon on trumpet. All About Jazz‘s Francis...
Video of the Day: bass legend Charnett Moffett shares ‘Love for the People’
Friday, May 14, 2021
The renowned bassist shares the uplifting latest single from his forthcoming album, New Love, which is released on Motéma on 11 June
Internationally acclaimed bassist-composer and bandleader Charnett Moffett further refines a virtuosic sound on New Love, his seventh leader release for Motéma Music, and his 17th album to date. An exploratory and vibrant follow-up to his 2018 recording Bright New Day,
the album expresses Moffett’s deeply personal permutations of love and
an embracing of change as part of life’s progression, as he explains:
“Music is a universal language that speaks to all people. In life, human
beings are in the constant process of change — whether an individual is
conscious of this process or not.”
A melodious
conversationalist and reflexive listener, Moffett features the fretless
electric bass, often in its upper register, alongside fearless
collaborators Jana Herzen on guitar and vocals, Corey Garcia and rising-star Malick Koly on drums and Irwin Hall on tenor and soprano saxophones and alto flute. Interplay among the artists is an album virtue.
“When you’re using the bass as a lead instrument – as a voice, to
create melodies – and you have more space, the sound of the instrument
can resonate more and be heard in a more complete way for its ‘new’
position,” says Moffett, who pared down the ensemble from quintet to
trio and quartet for New Love, leaving out piano.
Listen to ‘Love for the People’ below and pre-order the album here:
Charnett Moffett - "Love for the People" [Audio]
Bassist Charnett Moffett returns to Oakland
The jazz prodigy is playing a run of shows at Yoshi’s, his first live gigs since moving back to the Bay Area at the start of the pandemic.
Charnett Moffett was still a toddler when his family relocated from New York to Oakland in 1970, and he hadn’t graduated from elementary school yet when the musical clan returned to the East Coast. But even at that tender age his extraordinary trajectory was fueled by his experiences in the Bay Area, where music fans got an early glimpse at jazz’s greatest bass prodigy.
In recent decades he’s returned for some of the region’s most memorable gigs, performing several times with McCoy Tyner during the pianist’s epic two-week runs at Yoshi’s and joining avant garde patriarch Ornette Coleman at Davies Symphony Hall for a revelatory 2002 SFJazz Festival concert. Now Moffett, a virtuoso who elevates just about any musical setting on either electric or double bass, is once again calling the Bay Area home.
In his first local appearances since moving to San Francisco last year at the start of the pandemic, Moffett will play a pair of three-night gigs at Yoshi’s, June 23-25 and June 30-July 2, with his wife Jana Herzen, the singer-songwriter, guitarist, and founder of the esteemed indie label Motéma Music. Also available via streaming, those intimate duo shows will take place for patrons in Yoshi’s main restaurant area. On July 25 Moffett will return to Yoshi’s to perform in the renovated club, celebrating the release of his eighth Motema album, “New Love,” with his trio featuring Herzen and drummer Corey Garcia.
Heralded by his jazz peers as one of era’s defining bassists, Moffett is unbound by musical categories, and his creative evolution has proceeded apace since he started working regularly with Herzen. “Working with a vocalist is brilliant,” Moffett said. “Sometimes as a bassist, stuck between the drums and the piano, it can be difficult dealing with the dynamics.”
He cites his experience working with vocalist Melody Gardot as an epiphany that opened his ears to the power of hushed dynamics. Set up close to her piano, he “realized how brilliant it was to hear someone singing at a whisper.” Now, he said, “being around Jana, a singer-songwriter, has inspired me to explore all the possibilities of making music.”
Their longtime friendship blossomed into a romance in the years following the 2016 death of Moffett’s wife of three decades, actress and spoken word artist Angela Moffett. “New Love” reflects “all those influences as I’m continuing to try to discover new things,” said Moffett, 54. “We’re constantly evolving, and that’s what the music is about. It’s about love.”
A deeply spiritual artist who is quick to attribute his musical gifts to God (“or Elohim,” he said), Moffett isn’t given to singing his own praises. As the son of Fort Worth-reared drummer Charles Moffett, a childhood friend of avant garde jazz legend Ornette Coleman, he’s been immersed in music his entire life. In fact, his given name, which is pronounced with a hard “ch,” is a portmanteau of Charles and Ornette.
After his father’s epochal work with Coleman in the mid-1960s, which was documented on two classic Blue Note albums titled, “At the ‘Golden Circle’ Stockholm,” the drummer and educator moved the family to the East Bay. While working a series of public sector jobs, including a stint as principal at Odyssey, the short-lived experimental junior high school that was part of Berkeley’s roiling alternative education movement, Moffett plunged into the Bay Area scene.
“I remember my dad having rehearsals at the house with a big band, maybe 40 or 50 musicians,” Moffett said. “Growing up I was meeting so many different cultures. It was always just a natural way of living. I’m still trying to continue that process.”
At the time he was playing his first instrument, trumpet, and his father regularly brought Charnett and his four siblings over to see music at Keystone Korner, the North Beach club run by Todd Barkan that served as the hub of the West Coast jazz scene from 1972-83.
“I remember meeting Miles Davis at Keystone and he said, ‘Don’t play the trumpet, play the drums like your dad,’” Moffett recalled (in perhaps the first case of a musician quoting Davis without imitating his famously raspy voice). “I saw so many great musicians. I can remember seeing the great McCoy Tyner, who I went on to work with for six or seven years.”
Al Foster - McCoy Tyner - Charett Moffett: Passion Dance
The youngest of his siblings, he followed his older brothers into a family band with Mondre on trumpet, Charles Jr. on tenor sax, Codaryl on drums, and their sister Charisse on vocals. When the bass chair needed an occupant, Moffett’s trumpet career came to an end.
“My dad came home one day with a half-sized bass, a little bigger than a cello, and he showed me: ‘These are the low notes and these are the high notes—find out how many different ways you can make music with this,’” Moffett said. “When the Moffett Family Band went on tour in Japan in 1975 I was the bassist. I got taken into cockpits and met the pilots. Everything about it was amazing.”
Heady stuff for an 8-year-old, and Moffett has never lost that sense of wonder, even as his unworldly facility brought him into jazz’s big leagues well before he reached voting age. When legendary talent scout Art Blakey wanted to recruit the 15-year-old bassist for a resurgent edition of his band, the Jazz Messengers, Moffett had to turn down the offer to stay in school. He made his recording debut the following year on Branford Marsalis’s first album as a leader, 1984’s “Scenes in the City,” and was still too young to hit the road.
At 17 he was studying at Juilliard on scholarship, but the opportunity to tour and record with Wynton Marsalis was irresistible. His commanding work on the trumpeter’s 1985 album “Black Codes (From the Underground)” established Moffett as a major figure, and a contract with Blue Note soon launched him as a recording artist in his own right.
Embracing music as a perpetual search, he’s quick to credit “all of the fabulous musicians I’ve worked with and the fabulous bassists I’ve listened to and tried to emulate,” he said. “Go back to the beginning with Slam Stewart singing with his bass solo, who influenced me when I’m vocalizing. Steve Swallow, Charlie Haden, Jaco, Stanley Clarke, Marcus Miller, Eddie Gomez, Paul Chambers, Oscar Pettiford, I can go on and on.”
He’s also happy to let his bass do the talking, and now that he’s back in the Bay Area there should be plenty of opportunities to hear his new tales.
http://motema.com/artists/charnett-moffett/
BIO
Bass Legend Charnett Moffett Delivers Love Letter To Humanity on Trio/Quartet Album New Love, Out Friday, June 11, 2021 via Motéma“There’s much to like about New Love, from the high-wire group interplay to the leader’s melodic invention and, of course, Moffett’s stunning bass…the playing is fresh and effervescent in the extreme” — TEXTURA
Internationally acclaimed bassist-composer and bandleader Charnett Moffett further refines avirtuosic sound on New Love, his seventh leader release for Motéma Music, and 17th overall.An exploratory and vibrant follow-up to his 2018 recording Bright New Day, the album expresses Moffett’s deeply personal permutations of love and an embracing of change as partof life’s progression: “Music is a universal language that speaks to all people. In life, humanbeings are in the constant process of change — whether an individual is conscious of thisprocess or not.” New Love will be available on all platforms on June 11, 2021.
The first single, “Spirit & Bride Song” premiered in March via Afropop Worldwide where BenRichmond touted the song as “music where the rhythm instruments take the melody and vocalshold the beat.” In April, the musician unmasked the second single via Bass Magazine, wherethe title track was teased as a “sonic treat” for listeners, and last month, Jazzwise Magazine premiered Moffett’s buoyant anthem, “Love For The People”. To celebrate the release, Moffett will present a virtual tour of 19 separate sets to be streamed from his live residency at Yoshi’s in Oakland, California. On June 23, 24, 25, 30, & July 1-2,
The Charnett Moffett Duo feat. Jana Herzen will stream sets at 6pm, 7pm, 8 pm from Yoshi’sTatami Stage. Then for the finale of the residency, at 7 pm on July 25, adding drummer Corey Garcia, The Charnett Moffett Trio will convene for the first time since the studio date for a celebratory concert on Yoshi’s main stage. Links to live and streaming ticket options for all shows can be found here and at Yoshis.com.
Approaching a range of sounds, traditions, and original repertoire with vitality and signature authenticity, on NEW LOVE, the prolific artist welcomes the dimension of space across twelveeffervescent tracks. “On this album, we used different concepts, musically,” he says. “I wanted
to use a sound different from the last album that would allow me to have more space, for creative reasons.”
A melodious conversationalist and reflexive listener, Moffett features the fretless electric bass, often in its upper register, alongside fearless collaborators Jana Herzen on guitar and vocals, Corey Garcia and rising-star Malick Koly on drums and Irwin Hall on tenor and soprano saxophones and alto flute. Interplay among the artists is an album virtue. “When you’re using the bass as a lead instrument — as a voice, to create melodies — and you have more space, the sound of the instrument can resonate more and be heard in a more complete way for its ‘new’ position,” says Moffett, who pared down the ensemble from quintet to trio and quartet for New Love, leaving out piano. Foregoing rehearsal before the studio date intentionally, the artists learned their new material on site with Moffett at the creative helm. “He taught us the parts at the session,” says Herzen, who contends the response time among band members is part of his ensemble sound — the artists working closely with one another, in various contexts, through the years. “Call and response is just a natural result of that process,” she says. “Everything you hear becomes part of a high-level conversation you’re having together.”
“The American bassist Charnett Moffett is something of a living legend. – JAZZ THING
Responding not only to one another, but to the moment in the moment, the ensemble emits a
flash energy on New Love that becomes as an ethereal band member. “We’re all listening and creating at the same time,” says Herzen, “and listening for what the other musicians are doing is constantly affecting what we play.”
“He has the sound of instrument, technique, and agility comparable to the legendary Jaco Pastorious.” – JAZZ PRESS
The first five tracks feature trio members: Moffett, Herzen, and Garcia. “Swinging In The Realms” aligns Moffett and Herzen in lyrical unison before the two enter an improvisedcounterpoint that serves as a conversational centerpiece for the album—free, responsive, spatially dynamic. The first track also lays the foundation for spontaneity-sparked call and response that pulses throughout the program. Moffett’s use of wah-wah on “We Remember” enhances the human vocal quality shimmering across New Love. “Little Flowers” teems with tenderness, showcasing the artists’ collective capacity for intimate self-expression. Inspired by Bach and Jobim, “Today” features Moffett and Herzen in tandem melodic lead, and Garcia’s virtuosic cymbal work, elegant and driving.
Coleman and interpreted uniquely, depending on the individual artist’s perspective. Moffett’s trio leans in deeply to this tradition on “Higher Dimensions.” “As is the case with bebop, R&B and hip hop music, many different artists can have their own version of harmolodics,” he says, “a concept that has a precise order that allows artists to play free of keys and to focus on the expression of what they really want to communicate.” Hall’s tenor saxophone first appears on “I Didn’t Know,” enhancing the ensemble sound withmelodious arcs, responsive and resolute. He then takes the first solo on “Flying In The Air,” artfully falling in and out of focus between lead improviser and melodic accompanist throughout
the rest of the track.
Perhaps best known — for the moment — as touring drummer for the recently departed Wallace Roney, Malick Koly lends his stylistic depth and resonating melody-driven approach to tracks eight and 11, “ETQ” and “Love For The People,” respectively. Meanwhile, Moffett’s vocals and lyrics take the lead on “New Love,” and remain a key focus for the final four tracks. For this conceptual transition, deeply resonant on New Love, Moffett says he gleaned inspiration from his relationship and transformative love for Herzen, his long-time collaborator, and recently wed bride. “Relationships, creativity, where you are in time and space in your life— all these elements are prevalent in this new recording.”
”[It’s music] at the intersection of swing, spiritual and free jazz where the rhythm instruments take the melody and vocals hold the beat.” – Afropop.org
___
MORE ABOUT CHARNETT MOFFETT
An artist with an unusual abundance of spirit, chops, and charisma, Charnett Moffett has released seventeen acclaimed albums and toured the world as one of the most innovative and versatile acoustic and electric bassists in jazz. He debuted on Blue Note Records in 1987. After signing with several otherlabels throughout the years, he found his home at Motéma in 2008. Moffett’s career began as a prodigy, appearing in his father Charles Moffett’s band at age 8. In addition to his leadership career, Moffett has collaborated as a “bassist to the stars” with such pivotal artists as Wynton Marsalis, Art Blakey, Ornette Coleman, McCoy Tyner, Tony Williams, Dizzy Gillespie, Herbie Hancock, Dianne Reeves, Arturo Sandoval, Anita Baker, Stanley Jordan, Harry Connick, Jr., David Sanborn, Branford Marsalis, Bette Midler. He has appeared on more than 200 albums, many of them considered classics.
“Supremely versatile…Moffett is a master of post-bop jazz whose dizzying versatility more than earns him his place among the world’s best jazz bassists.”– U Discover Music: 50 Best Bassists In Jazz
Label: Motéma Music (motema.com)
Catalogue Number: MTM0374 (CD)
Artist website: charnettmoffettbass.net
CHARNETT MOFFETT: NEW LOVE
Track Listing:
Swinging in the Realms 4:02
We Remember 4:53
Little Flowers 3;29
Today 3:22
Higher Dimensions 3:30
I Didn’t Know 3:19
Flying in the Air 3:02
ETQ 4:48
New Love 4:38
Spirit & Bride Song 4:52
Love for the People 5:50
Rejoice 3:57
All music composed and produced by Charnett Moffett (Nett Man’s Music/ASCAP)
Featuring:
Charnett Moffett: fretless electric bass; vocals (tracks 9–12)
Jana Herzen: guitar; vocals (10–12)
Corey Garcia: drums (all except 8 & 11)
Malick Koly: drums (tracks 8 & 11)
Irwin Hall: tenor saxophone 6, 7,11; soprano saxophone (8,11); alto flute (9)
Recorded on December 3 & 4, 2019 at Pinch Studios, Brooklyn, NY
Recorded and mixed by Akihiro Nishimura
Mastered by Alex DeTurk at Bunker Studios
Charnett Moffett: Improvisational Artistry
With
that simple statement, bassist Charnett Moffett says a lot about his
career in music that began as young a child, and was pretty much
inevitable from the moment he appeared on the planet in 1967, as the son
of drummer Charles Moffett.
He started playing drums at age two, and then investigated the trumpet
before he eventually found his hands around an upright bass, performing
with the Moffett Family Band, led by his dad, that included brother Cody Moffett
(Cody) also on drums, brother Mondre on trumpet and brother Charles,
Jr. on sax. Bass chores were handled by Patrick McCarthy and young
Charnett on a half-sized bass.
He toured Japan at the age of seven with the family band and roughly a decade later was in the employ of Wynton Marsalis.
He's since spent years playing all kinds of improvised music, moving
from the mainstream lodgings of Marsalis to under the aegis of the
free-spirited Ornette Coleman. He's recorded over the years with the likes of McCoy Tyner, Herbie Hancock, Tony Williams, Stanley Jordan, Pharoah Sanders, Wallace Roney and Joshua Redman.
Though improvisational is at the base of his musical explorations, his
music influences and tastes are broad. That can be seen in his albums,
from his 1987 debut on Blue Note records, Beauty Within, right up to his current recording, The Art of Improvisation (Motema, 2009), his tenth as a leader.
"It's
just about being honest with yourself," says Moffett. "I've been saying
the same thing for years now. I haven't changed my philosophy much, but
the music keeps changing based on the creative idea that I wish to
share with my audience."
"The Art of Improvisation
is an album inspired by my improvisational experiences in the last 26
years. I wanted to bring improvisation to the forefront of the album. We
have found that's where the artist can be most expressive and also have
others to share their ideas freely as well," says Moffett. It has
Eastern influences throughout, most obviously the duet, "Call for
Peace," with duet Tibetan vocalist Yun Chen Lhamo. But there are also
other traces of it in the album.
"The interesting thing
about being a musician is realizing that if you look for the simplicity
and the connection of sound and notes ... there's really not that much
difference. There's only 12 notes in the diatonic system. I wanted to
figure out how many different ways I could connect sounds from the West
with the East and everything in between there, and doing it in an
improvisational way from the root of jazz. Jazz music is so expressive
that it allows you all these possibilities to play any way you really
wish to if you set up a formula that has these rules that are engaged."
Moffett
plays upright bass, fretless electric bass guitar and piccolo bass, and
does so with a combination of musicians including drummers Will Calhoun
and Eric McPherson,
keyboardist Scott Brown, guitarists Pat Jones and Steve Barnes and
trumpeter Robert Joseph Avalon. Angela Moffett recites the words of poet
Langston Hughes on "Dreams." His son, Charnett Max Moffett, is
showcased on "Swing Rock" and a few other tunes, notably the Jimi Hendrix-inspired interpretation of "The Star Spangled Banner."
The
tunes are largely split among trios, duets and solo bass playing. But
"Dreams" is a dynamic large group effort, a free-form piece influenced
by his association with Ornette Coleman.
(His father was Coleman's drummer for a time, and Charnett's name comes
from a hybrid of his father's first name, Charles, and Ornette.)
Says
Moffett, "The names came to me naturally. It wasn't any theme more than
that. But it's nice to have dreams. It's nice to live in America. And
it's nice to see other aspects and cultures of the world and appreciate
their value, gifts and contribution to society as well.
"I
played with Ornette for nine years. It was an incredible experience. It
was before I played with McCoy Tyner for almost seven years. Then I
went back and played with Ornette for another year. After leaving
Ornette to promote my own music, it was kind of full circle for me. It
reminded me of how I started music with the Moffett Family Band. Playing
with my dad, my brothers, two drummers. 'Dreams' does have two
drummers: Max Moffett my son, and Eric McPherson. The message about
'Dreams' was inspired by being an American, which I am glad to say.
That's also the whole inspiration behind 'The Star Spangled Banner,'
besides being a big fan of Jimi Hendrix, and finding those influences
between someone like that and Ravi Shankar, for example. It's really all connected.
"When
you look at a festival like Woodstock, you had an artist like Ravi
Shankar and Jimi Hendrix playing the same festival, with two totally
different styles of music, yet using the same notes. I wanted to
implement those possibilities on The Art of Improvisation from
the root of jazz, which allows you to have many possibilities ...
incorporating different sounds and creative expressions together so that
everyone's dream can be fulfilled."
The recording also
puts on display Moffett's virtuoso bass technique on all three
instruments. He plays standard upright bass on "Elements of Life," but
on the title track, he gets different sounds by tapping the strings with
the bow down by the bridge while fingering notes on the neck of the
bass with his left hand, getting different sounds and, at times, a
percussive effect. His electric work on "Swing Rock" has a Jaco Pastorius feel. He plays all the axes with authority and conviction.
"I'm
searching for even more sounds, which is why I'm constantly keeping an
open mind to what exists in our world today," he says. "For me, it's
quite natural. I'm from New York City. I grew up in the Bay Area
[California] and finished school here in New York, before finishing up
at Juilliard and going out on the road with Wynton Marsalis 25 years
ago. So when you grow up in a diverse environment like that, you're
really not thinking in a one-dimensional form. You're simply being
yourself and enjoying all of the cultures that are offered. For me, the
colors represent different concepts, philosophies and cultures based on
what you have experienced or what you've been introduced to."
"I
used to play trumpet before I started playing bass," he adds. "So when
I'm playing my piccolo bass, I'm thinking more like a horn player or
guitarist, conceptually, which is something people would not normally
get a chance to hear me do playing my double bass in the traditional
role. So it's nice to be able to tell and share another side of the
story that is also me. The same way with the fretless bass, which I've
been doing for quite a while now—for as long as I've been playing the
upright bass."
He adds, "Each instrument has its own way
that it's built scientifically to get notes that sing out more. The bass
is predominantly the supportive instrument, however it can be used in
other capacities, if you can figure out the right science to introduce
it and make it heard, without force. There are other ways. You can use
wah-wah pedals to give it more color."
WithThe Art of Improvisation
"it was time for me to trust in my natural way of thinking and keep
going with some of the concepts I had already established back when I
made albums like Planet Home (Evidence Music, 2003)."
But
Moffett, while playing gigs to support the 2009 CD, is already off to
other things and has another CD set for release in April 2010. "I've
just finished recording Treasure (Motema), an extension of what we did on AOI [Art of Improvisation].
There's more focus on the melodies of the tunes and still incorporating
the improvisation as well," says Moffett. "Each time I do a project or
make an album, it's a process that I'm building as the music is
constantly evolving."
His son Max Moffett and daughter Amareia Moffett will be among the 13 special guests on the album. Others include Stanley Jordan and Denardo Coleman. "It's somewhat of a family affair with Moffett family members, of course. Stanley Jordan
and Denardo Coleman, who I've known all my life. Young, great players.
Trumpet, bass clarinet and sax. A harpist and guitarist. So it does have
that Eastern influence as well as the Western sounds that are connected
in a jazzy, melodic improvisational way. There are different types of
grooves and sounds. It's a very interesting album."
And
since the recent completion of that album, Moffett has already been busy
writing new music. "It's not something that you plan. It just comes to
you," says the bassist. "It's a special thing that happens with artists,
which is why we do what we do for a living. You can't plan when an idea
is going to hit you. There are ways you can go about it. You can say,
'Ok. I'm going to write a tune today,' and you can sit down and
technically make yourself write a composition. But there's nothing like
going to the grocery store and a melody pops into your head and it just
happens spontaneously. Or you can be watching TV or reading a book (when
inspiration strikes). I don't have any one way that I compose music. It
also depends on what I want to say and the importance of the message
that I'm sharing with the audience, emotionally. Because, after all,
when we're listening to music, we're getting some kind of emotional or
intellectual fulfillment, or spiritual, from the sound we're hearing."
"Music
is like oxygen, in a lot of ways. It provides life. It's a life force. I
think the world would be a pretty dim place without the sound of
music," he says. "I don't have any one particular format how composition
happens. There have been times where I know there is a record date
coming up and I have to prepare for an album. But even within that, you
kind of let it happen and not have anything be contrived, so that when
you're playing a concert or people are buying your music and hearing it,
they know that they're feeling with you or, at that moment in space and
time, are as close as possible to the original creation of the idea."
Composition
has always been important to Moffett as a way to express himself beyond
the notes that come flying out of his bass. "On the albums I have
recorded up until now, I've always composed all of the music. I'm
starting to feel more comfortable expressing my musical vision and
sharing it with the different communities of the music world. I'm
pleased to do that. It's nice to be a bassist, but interesting being a
composer and settling into another aspect of my career at this point,"
he says.
"In the music business, you have to make yourself
as diverse as possible in order to keep your artistry going," he notes,
so he continues to do work as a sideman with people like guitarist
Jordan, and another guitarist Jana Herzen. "I'm modifying my sideman
work, with the exception of people I want to work with, that I find
musically interesting. If you look at my resume, there are so many great
artists that I've already had the honor to work with and learn from. I
have to start saving a little time for myself so I can share some of my
own compositional ideas with today's music world. ... I'm enjoying it.
It's always great to play with many different people in different
settings, and continuing to enjoy the great gift of music."
With
music all around his family, Moffett seems to have had little choice,
but he's grateful for his life and music and has happily passed the gift
on to his own children. He said growing up in the family band "had its
pros and cons, like everything in life. But the positives certainly
outweigh the negative. When I look back now, I realize I've actually
been on the road 26 years straight. That's all I've been doing is
learning music and performing it. But it's my music that I'm sharing or
someone else's vision that I'm helping to build, or being a part of," he
notes. "It's been a great run. I'm thankful to still be in the music
business after so long and to look at it with a new understanding, a new
vision, a rejuvenation. We got through ups and downs in life, and
there's always another door that opens to allow you a light to transcend
where you've been. That's part of life as a whole. ... As a parent,
I've been able to communicate that to my own family. It's great, it
really is. It's part of the life chain of having food or oxygen, the way
that we feed our soul in order to keep going."
He took up
the bass because the family band needed a bassist. "When I started in
the Moffett Family Band I was playing trumpet. ... We had had another
bassist at that time by the name of Patrick McCarthy, who was actually
the principal bassist with the Oakland Symphony, who gave me some
training as a youngster of seven or eight. Eight years later, I'm at
Juilliard School of Music studying with Homer Mensch, and about six
months after that, I'm on the road with Wynton Marsalis and I haven't
looked back since. I've been on the road full-time since that period."
Like most budding musicians, he was influenced by many of the great players. He cites Stanley Clarke, Ron Carter and Pastorius as his primary influences, but adds "I'm into so many different bass players for different reasons. Ray Brown, Percy Heath, Larry Graham, James Jamerson who played on all those classic records for Motown. Paul Chambers, Scott LaFaro. They're all incredible players. It's not just one guy."
As for other influences, his father, an educator as well as a drummer, is key to his development. "I would say learning to play music from a philosophy my old man taught us—which is freedom with discipline concept: the freedom to create the idea that you want, the discipline to have the technique to execute the idea—that's a nice way to learn how to play because it was based on having no limitations. Philosophically speaking, that's how I got interested in so many different kinds of music. [At home] one minute Bach would be playing, and the next minute Earth, Wind & Fire, and the next minute John Phillip Sousa would be playing in the house, because my dad was a music educator. The style of music never stayed in one arena."
After touring with his family, Moffett attended Fiorello H. La Guardia
High School for the Music and Arts, in New York City, before eventually
ending up at Juilliard. In 1983, he played on Branford Marsalis' debut as a leader, Scenes in the City (Columbia, 1984), and the following year he joined the Wynton Marsalis quintet, appearing on 1985's acclaimed Black Codes From the Underground (Columbia). He played with legendary drummer Tony Williams, and in 1987 signed with Blue Note Records and debuted as a leader that year with Beauty Within. He's been recording ever since and had a highly successful recording career.
He
took something positive away from each musical giant with whom he was
associated. From Coleman, "I've learned not to discriminate against
sound. That's what the Sound Grammar is about, which is the evolution of
harmolodic music. Someone like Ornette Coleman has spent 50 years doing
this and is still evolving, so how can I possibly not keep an open mind
for change and progress?"
About Williams, Moffett says
the drum wizard "was phenomenal. What I learned from Tony was about
energy and how to move space—the power of it. ... I spent about
two-and-a-half years with Mr. Williams, who was a complete innovator on
his instrument. It was an incredible joy. He was on fire every night:
completely creative, very rarely would be repetitive—only in the sense
of the theme. An extraordinary musician as well as a person. It's
unfortunate that a lot of the drummers I play with today didn't get a
chance to see him perform live. They have the records, but it was
nothing like seeing him live. It was completely amazing.
"I
remember we did a tour where we did 29 concerts in 31 days. I never
forgot that tour. Every night he played something great that was unique
and different. I was, like, 'Wow.' [chuckles] He was a huge inspiration.
Also, he was a great composer. Rhythm section players who have an
opportunity to express their voice from a compositional standpoint,
that's really an extra perk. It's so rare that those things can happen.
Of course, Charles Mingus set the standard for that ... to not just deal with the instrument, but the whole story, the song as a whole.
Thinking
of Tyner, he notes, "I just saw him in Tokyo. He never sounded better.
... McCoy is in a class by himself in that he's very patient. He lets
things build and happen naturally. He would talk about being able to
have the flexibility to go with something, even if it's in a structured
form, so that the music is always being represented on the highest
level. Sometimes you have to play a little less to get the most out of
something. That is a great way to continue to apply balance to something
that could be complicated at times. It was a heck of an institution to
be a part of, as well as playing with people like Art Blakey.
I don't think a lot of people of my generation—I'm 42—have had an
opportunity to have experienced some of those different schools of jazz
music and incorporate the complexities with simplicity. Balance is a
good thing, like day and night."
Moffett
notes that "when you put all these concepts and philosophies together,
everyone has similarities, and yet they all are unique in their own way"
"I
think jazz is a great way for people to expand their possibilities of
what can be done musically, because it incorporates so many different
styles of music. ... It never stops. Every day we have life and we get
up living. There's always something to keep reaching for. Just when you
think you've gotten this done or figured this out, here comes along
another idea and more information and it keeps on going. It's like a
fountain with a flow of energy that is constant," says Moffett. "That's
why people like Hank Jones and Ravi Shankar
and Ornette Coleman can still be on the road making music for people at
their age, because not only are they sharing a sound and a concept of
music that brings joy and healing to others, but they're also refreshing
their own bodies and souls as well, regardless of the style of music
that they're playing. Music is a life force that keeps the energy moving
in the universe."
At
42, Moffett has miles to go before he sleeps, and he's happy to be in
such a creative field, sharing the gift of music with others. "It has
been my entire life. It is a wonderful blessing to be a musician and to
appreciate the ability that music has to bring people together, even if
it is for a short period of time. I think it makes significant changes
in the way that it can make people feel better day to day. It's a
positive to be able to give people a good feeling through music,
regardless of what the style may be. People like music for different
reasons and use music for many different reasons. To each his own.
However, as an artist I just want to be true to my own identity and keep
myself settled in a way that I honestly give in a creative way, with
inspiration. Not as: 'Oh, what am I going to do now,' but with the
attitude of: 'I'm looking forward to doing this now.' It all depends on
what your objectives are in order to share the information."
Selected Discography:
Charnett Moffett, The Art of Improvisation (Motema, 2009)
Charnett Moffett, Internet (Piadrum Records, 2006)
Charnett Moffett, For Love of Peace (Piadrum Records, 2004)
McCoy Tyner, Land of the Giants (Telarc, 2003)
Charnett Moffett, Planet Home (Evidence Music, 2003)
Charnett Moffett, Still Life (Evidence Music, 1997)
Ornette Coleman, Sound Museum: Hidden Man (Polygram, 1996)
Ornette Coleman, Sound Museum: Three Women (Polygram, 1996)
Charnett Moffett, Nettwork (Blue Note, 1991)
Tony Williams, Angel Street (Blue Note, 1988)
Tony Williams, Civilization (Blue Note, 1986)
Charnett Moffett, Net Man (Blue Note, 1987)
Charnett Moffett, Beauty Within (Blue Note, 1987)
Wynton Marsalis, Black Codes from the Underground (Columbia, 1985)
Photo Credits
Page 1: Volume12
Page 2, 5: Jose Horna
Page 3: John Rogers
Page 4: Madli-Liis Parts
https://www.connollymusic.com/stringovation/bassist-charnett-moffett
Like many artists (cellist Yo Yo Ma, bassist Giovanni Bottessini, violinist Janine Jansen) bassist Charnett Moffett was born into a musical family. His father, Charles Moffett, played drums for Ornette Coleman - a jazz legend. In fact, Charnett's name is a hybridized version of both his father's and Ornette's.
Charnett (aka Net Man) has enjoyed a successful - and varied - 35-year (and counting) music career - including playing bass for renowned groups such as the Wynton Marsalis Quintet and all manor of old-school and contemporary jazz "royalty," (think Art Blakey, Dizzy Gillespie, Stanley Jordan, Harry Connick Jr.).
In his own right, Charles Moffett is known for dynamic versatility and innovative approaches to playing bass. His musical philosophy is aptly captured in a quote from his Motéma bio:
"We have no choice but to continue to move forward...You have your history, but time only goes one way. It never goes back. That’s something that’s beyond our control, so we have to be in the moment of where we are."
NeTTime with "Net Man" Charnett Moffett
While the majority of his career has been centered within the jazz genre - including pop and funk - Moffett's musical education is firmly rooted in the classical fundamentals instilled in him via his attendance at a performing arts school and a short stint at The Julliard School of Music. Currently, Moffett tours with his own NeTTWork Trio. He's released fourteen albums as the leader and nine albums as a sideman.
Let's spend a little inter"net" time, learning more about one of the most talented bass players of our era.
Quick facts about Charnett
Insights From Interviews
Moffett has been interviewed hundreds of times over the years, and his frank, approachable, and very honest responses and insights are yet another reason why he's considered (as Frank A. Matzner puts it) an extraordinary artist among extraordinary musicians. When it comes to music, Moffett has a dedicated, inward, and spiritual connection to the process, which goes well beyond the realm of black-and-white musical theory and technique.
Being a dedicated musician is like being an athlete
In addition to an honest and sincere love of music, Charnett Moffett maintains humility. Rather than consider himself a "finished" artist, he admits he's still learning. Moffett believes, "...you’re only as good as your last show. So you’re only as good as how much time you’ve put in recently on the instrument." He likens the life of a musician to that of an athlete, saying, "You have to take care of yourself, train properly, and prepare."
Legendary musicians get nervous around their own legends
Contrary to what you might think, even musicians the likes of the Net Man get nervous when performing, especially when they're asked to play with or accompany their own musical heroes. That has happened many times over during Moffett's esteemed career, but even now he becomes nervous when invited to play with musicians whom he admires.
One example took place around the year 2000, several decades into his own successful career. Moffett had the opportunity to play with legendary pianist, McCoy Tyner. Moffett once remarked he was originally nervous at the idea of accompanying Tyner. The surprised interviewer asked how someone as well-respected as Moffett could be nervous playing with anyone? Moffett remarked:
"How could you not be? You want to do your best and you have to have enough confidence to be up there playing in the first place, but by the same token you have to keep it all within balance...and understand, 'let me try to learn and grow from this experience,' so I can become a better musician."
That's an inspiring perspective coming from a musician as gifted and successful as Charnett Moffett. His words are worth memorizing as inspiration to keep your own musical practice - and career - focused, in balance, and aligned with the concept that all instrumentalists should strive to learn and grow in our musicianship.
Top image of Charnett Moffett courtesy of charnettmoffettbass.net
Charnett Moffett - Free Your Mind
Higher Dimensions: Charnett Moffett Trio LIVE
Charnett Moffett - The Bridge
Charnett Moffett - Set it Free [Audio]
