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)
JOHNATHAN BLAKE
(January 29--February 4)
AUDRA MCDONALD
(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/wycliffe-gordon-mn0000960062/biography
Wycliffe Gordon
(b. May 29, 1967)
Artist Biography by Sharon Witmer
Trombone player Wycliffe Gordon is best known for his work with the Lincoln Center Jazz Orchestra, under the direction of jazz maestro, Wynton Marsalis. The versatile trombonist can scat, multi-note, slide, and plunge, just like he stepped out of the 1930s. Gordon has played with many jazz luminaries, including Dizzy Gillespie, Joe Henderson, Branford Marsalis,Lionel Hampton, Tommy Flanagan, and Shirley Horn. His musical colleagues call him "Pine Cone," since he grew up in the piney woods of Georgia.
It must have been this Ellington era quality that caught the ears of jazz educator Wynton Marsalis, who heard Gordon play while the trumpeter was giving a workshop at Gordon's alma mater, Florida A&M University. Their fortuitous meeting resulted in Gordon joining the Wynton Marsalis Septet, as well as the Lincoln Center Jazz Orchestra, in 1989. As a member of the illustrious band, Gordon contributed as both musician and composer. Gordon, who like Charles Mingus says he hears music in his head all the time, has managed to write some of it down, and then hear it performed all over the world by the Lincoln Center Jazz Orchestra. Whether they know it or not, National Public Radio fans are familiar with the musician's work: In 1993, Gordon composed the NPR theme song.
Gordon, an admirer of Louis Armstrong, J.J. Johnson, and Jack Teagarden, prefers the melodic approach to playing and composition. The listener can hear that on any of his outstanding recordings. His first outing was with fellow trombonist Ron Westray on their 1996 release, Bone Structure. More good things came with Slidin' Home, recorded in 1999. Joined by Victor Goines, Eric Reed, Rodney Whitaker, Herlin Riley, Milt Grayson, Joe Temperley, and Randy Sandke, Gordon really struts his stuff on this one, showing a wide range of influences from big band to gospel.
The Search, recorded in 2000, ranges as far and wide as the title suggests, and includes Gordon holding forth on the didgeridoo. Gordon, whose father was the pianist at the church the trumpeter grew up in, devotes himself to his gospel roots on The Gospel Truth, (2000). What You Dealin' With, (2001), continues in a jazz vein with original compositions and jazz standards. Gordon's 2002 release We may be his best yet, as the trombonist collaborates with pianist Eric Reed on jazz and gospel tunes.
Besides performing and educating at his own music school in his hometown of Augusta, GA, Gordon has another important project: writing the score for the Oscar Micheaux 1925 silent film, Body and Soul. Paul Robeson starred in the movie about race, religion, and small town life in the South. Gordon drew upon his own Southern upbringing to produce music from the church, the bars, and the home, to be performed by the Lincoln Center Jazz Orchestra. Gordon has begun to evidence an interest in vocalizing, something which he says he plans to do increasingly. The results are sure to be top drawer, as the exuberant Wycliffe Gordon throws himself into things, body and soul.
https://www.allaboutjazz.com/musicians/wycliffe-gordon
Wycliffe Gordon
Wycliffe Gordon enjoys an extraordinary career as a performer, conductor, composer, arranger, and educator, receiving high praise from audiences and critics alike. Gordon tours the world performing hard-swinging, straight-ahead jazz for audiences ranging from heads of state to elementary school students. His trombone playing, hailed as “mixing powerful, intricate runs with sweet notes extended over clean melodies,” has been universally hailed by jazz critics. Gordon received the Jazz Journalists Association 2002 and 2001 Award for Trombonist of the Year, the Jazz Journalists Association 2000 Critics' Choice Award for Best Trombone and has been nominated for the Jazzpar Award.
In addition to a thriving solo career, he tours regularly leading the Wycliffe Gordon Quartet, headlining at legendary jazz venues throughout the world. Gordon is a former veteran member of the Wynton Marsalis Septet, The Lincoln Center Jazz Orchestra, and The Gully Low Jazz Band, and has been a featured guest artist on Billy Taylor's “Jazz at The Kennedy Center” Series. Gordon's extensive performance experience includes work with many of the most renowned jazz performers of the past and present.
Gordon's musical prowess has been captured on numerous recordings, including nine solo CDs and three co-leader CDs. His latest solo effort, “Cone's Coup,” is scheduled for release in May 2006. Gordon is featured on numerous recordings with The Wynton Marsalis Septet, The Lincoln Center Jazz Orchestra, and numerous others as evidenced in his extensive discography.
Wycliffe Gordon is also a gifted composer and arranger. He was commissioned to compose a vibrant new score for the 1925 classic silent film “Body and Soul” (notable as the screen debut of Paul Robeson), which was premiered at the Lincoln Center Jazz Orchestra's 2000-01 season opening night performance at Avery Fisher Hall. Gordon's “I Saw The Light,” a musical tribute to Muhammad Ali, was commissioned and premiered by The Brass Band of Battle Creek in March 2004. Both works are scheduled for release on DVD in summer of 2006.
Gordon's compositions have been performed by The Lincoln Center Jazz Orchestra, The Wynton Marsalis Septet, The Wycliffe Gordon Quartet, The Brass Band of Battle Creek and numerous other ensembles, and performed in programs throughout the U.S. and abroad including concert halls in New York, Los Angeles, Aspen, Georgia, Pennsylvania, New Jersey, Germany, London, Finland and Switzerland. His compositions are also featured as a part of the PBS series “Marsalis on Music.” Recent concert seasons have included premieres of compositions by Mr. Gordon for a variety of ensembles both in the Unites States and internationally. The first in a series of print editions of his big band, small ensemble and choir compositions will be available in fall of 2006.
Gordon's television appearances have included the Grammy Awards, the PBS special documentary “Swingin’ with the Duke,” and two Live from Lincoln Center broadcasts with the Lincoln Center Jazz Orchestra—”Uptown Blues, Ellington at 100” (a collaboration with the New York Philharmonic) and “Big Train.” Gordon also appeared in Ken Burns’ documentary “Jazz.” Other television appearances include “A Carnegie Hall Christmas Concert” and “Live from Lincoln Center: The Juilliard School at 100 Years.” Gordon is featured in BET's 13-part series “Journey with Jazz at Lincoln Center” and was guest artist and commentator in NPR affiliate WVIA's special program on Tommy Dorsey (along with the late Skitch Henderson, just days before Henderson's death). Gordon also appeared with the Wynton Marsalis Septet in the feature film “Tune In Tomorrow” starring Peter Falk, Keanu Reeves and Barbara Hershey.
Gordon is rapidly becoming one of America’s most persuasive and committed music educators. He currently serves on the faculty of the Jazz Studies Program at The Juilliard School, a position he has held since the founding of the program. His work with young musicians and audiences from elementary schools to universities all over the world is extensive, and includes master classes, clinics, workshops, children's concerts and lectures—powerful evidence of his unique ability to relate musically to people of all ages. Gordon is currently working on a collection of trombone quartets, trios and duos to be entitled “Trombone Majesty,” with expected publication in late 2006. In addition, his first method book “Wycliffe Gordon's Suggested Studies for Trombone,” a compilation of the materials, exercises and approaches he uses in his teaching and in his own practice regimen, will be released in January 2007. Gordon teamed with trombonist Joseph Alessi of the New York Philharmonic and students in both of their studios at Juilliard in creating and presenting the master class “Two Sides of the Slide” for Jazz at Lincoln Center. The master class is available in its entirety as part of a streaming video series offered by the Education Department of Jazz at Lincoln Center.
Gordon is the youngest member of the U.S. Statesmen of Jazz, and in many tour performances has served and continues to serve as a musical ambassador for the U.S. State Department.
Born in Waynesboro, Georgia, Gordon was first introduced to music by his late father, Lucius Gordon, a classical pianist and teacher. His interest in the trombone was sparked at age twelve by his elder brother who played the instrument in his junior high school band. Egged on by sibling rivalry, Gordon's relentless pleading of his parents led to his first trombone. A year later, an aunt bequeathed Gordon her jazz record collection, and so began his passion for jazz music.Wycliffe Gordon
Professor Wycliffe A. Gordon (born May 29, 1967) is an American jazz trombonist, arranger, composer, band leader, and music educator at the collegiate-conservatory level. Gordon also sings and plays didgeridoo, trumpet, tuba, and piano.[1] His nickname is "Pinecone".
Early life and education
Gordon was born in Waynesboro, Georgia,[2] into a religious and musical background that influenced the early direction of his music. His father, Lucius Gordon (1936–1997), was a church organist at several churches in Burke County, Georgia, and a classical pianist and teacher. Gordon took an interest in jazz in 1980 when he was thirteen, while listening to jazz records inherited from his great-aunt.[2] The collection included a five-LP anthology produced by Sony-Columbia. In particular, he was drawn to musicians like Louis Armstrong and the Hot Fives and Hot Sevens[2]
At age 13, he was attending Sego Junior High School in Augusta, Georgia, where his band director was trombonist Don Milford. Gordon graduated in 1984 from Butler High School in Augusta. He performed in New York City as part of the McDonald's High School All-American Band.[2] He then studied music at Florida A&M, where he played in the marching band.[2]
Career
His early works as a professional were with Wynton Marsalis, but in 2010 he has expanded beyond swing and has experimented with new instruments. The strongest example of this might be The Search where he plays didgeridoo and covers Thelonious Monk songs.[3] He has also played Gospel music.
In 1995, Gordon arranged and orchestrated the theme song for NPR's All Things Considered.[4] Gordon's arrangement and orchestration is the third version of the melody composed in 1971 by Donald Joseph Voegeli (1920–2009).
He has recently gained more worldwide popularity, being featured in South Australia's Generations In Jazz 2016 and 2017, playing alongside artists such as James Morrison, Jazzmeia Horn, Gordon Goodwin and Ross Irwin among others. For over a decade, he has also worked with visual artist and educator Ligel Lambert on numerous collaborative projects.[5]
Blues Back Records
Blues Back Records was an American independent jazz label founded by Gordon in 2006, coinciding with the release of his album Rhythm on My Mind, a collaboration with bassist Jay Leonhart. His desire for artistic control was the impetus for creating Blues Back. During a meeting with Leonhart, with Gordon's "I Want My Blues Back" playing in the background, the two laughed and decided on the name for the company. Blues Back produced other artists who met Gordon's criteria for originality. The company became inactive in 2011.[6]
Discography
As leader
- Bone Structure (Atlantic, 1996)
- Slidin' Home (Nagel-Heyer, 1999)
- Blues of Summer (Nagel-Heyer, 2000)
- The Search (Nagel-Heyer, 2000)
- The Gospel Truth (Criss Cross, 2000)
- What You Dealin' With (Criss Cross, 2001)
- We (Nagel-Heyerr, 2002)
- United Soul Experience (Criss Cross, 2002)
- The Joyride (Nagel-Heyer, 2003)
- Dig This!! (Criss Cross, 2003)
- In the Cross (Criss Cross, 2004)
- Cone's Coup (Criss Cross, 2006)
- Standards Only (Nagel-Heyer, 2006)
- This Rhythm on My Mind (Blues Back, 2006)
- A Tribute to Storyville (Sidney Bechet Society, 2007)
- We, Vol. 2 (WJ3, 2007)
- BloozBluzeBlues, Vol. One (Blues Back, 2007)
- Boss Bones (Criss Cross, 2008)
- You and I (Blues Back, 2008)
- I'm Glad There is You (Blues Back, 2010)
- Cone and T-Staff (Criss Cross, 2010)
- Word (Blues Back, 2012)
- Dreams of New Orleans (Chesky, 2012)
- The Intimate Ellington: Ballads & Blues (Criss Cross, 2013)
- Signature Series (2014)
- Somebody New (2015)
- Within These Gates of Mine (2016)
- Hello Pops!: Tribute to Louis Armstrong (2016)
- "The Co-Op" (Brown Brothers Recordings 2017)[7]
As sideman
With John Allred
- John Allred & Wycliffe Gordon: Head to Head (Arbors, 2002)
With the B#Big Band
- United In Swing - Wycliffe Gordon with the B# Big Band (2019)
With Maurice Hines
- Maurice Hines: To Nat King Cole With Love (Arbors, 2006)
With Bob Kindred
- Bob Kindred Trio Live at Cafe Loup (Conawago, 2006)
With Wynton Marsalis
- Big Train (Columbia/Sony Classical, 1999)
With Ted Nash
- Sidewalk Meeting (Arabesque, 2001)
With Marcus Roberts
- Deep in the Shed (Novus, 1989)
With Randy Sandke
- The Music of Bob Haggart Featuring His Porgy and Bess Arrangements (Arbors, 2002)
With Ron Westray
- Wycliffe Gordon & Ron Westray: Bone Structure (Atlantic Jazz, 1996)
With Chip White
- Double Dedication
- More Dedications
- Personal Dedications & Percussive Tributes
External links
Interview:
https://madeinnyjazz.com/in_a_moment_of_glory_with_wycliffe_gordon/
In a Moment of Glory with Wycliffe Gordon
December 17, 2018
Made In New York
With
recordings in the jazz, soul and gospel arenas and even composing for
silent films, he works on a dizzying number of projects at once,
ever-mindful of producing that full, Herculean tone he is known for.
When did you start playing?
I started piano at age 5 and trombone at age 12 (middle school).
Do you come from a musical family?
I really wanted to play the drums but my mother said “absolutely no drums in this house” (there were several siblings who made “enough noise”). So one day my older brother came home from school with a shiny new trombone because he had joined the band and I knew that I had to have one too! I didn’t really know what it was but I didn’t stop asking until I got one. Growing up with an older brother, I had to have everything he had and in this case it was a trombone!
My father
was a pianist and church organist so I grew up with music all around me.
I was also bequeathed a record collection from a great aunt and many of
the records were jazz albums, the most treasured being the music of
Louis Armstrong and his recording of the “Keyhole Blues.” That record
and his playing inspired me to play jazz and want to be like him.
Top musical influences on trombone, and in jazz in general?
Louis Armstrong is my number one, but there are so many including JJ Johnson, Trummy Young, Kid Ory, Duke Ellington, Dizzy, Ella, Ray Charles, James Brown, Jack Teagarden, Al Grey, Jackson 5, Earth, Wind and Fire, Parliament Funkadelic and Ohio Players, just to name a few.
What are some of the different items you’ve placed inside the bell for effects? The most unusual one?
I use the combination of a pixie mute and a plunger to get my signature sound. Sometimes, though, I will use a towel, cloth or shirt, whatever I have nearby on the stand to cover the bell with.
What is the jazz scene like where you live?
It’s growing! I share my time between Lexington, KY and Augusta, GA. Lexington has a great big band DOJO, which is lead by trumpeter Vince DiMartino and saxophonist Miles Osland. I recorded a big band record with them titled “Somebody New” and the players can play! It’s a small jazz scene in Lexington but this band and its members are always hustling to make things happen. I play with them when I can and it’s always a great show.
In Augusta where I’m Artist-In-Residence at AU, it’s the same thing. There are several people who try and make things happen (my sister Karen) and since I’ve been at the university, I’ve worked to establish a jazz series that brings in the masters of jazz. Last year we brought Jimmy Heath and his band, and I’ve brought my band the International All Stars, and hosted drummer Dion Parson and the 21st Century Band. I also brought jazz vocalist Dee Daniels and I continue to perform with the university jazz band and ensembles when I can. I hope that we can grow the jazz studies program at Augusta University and continue to offer great concerts to the community.
Current projects?
I’m always composing and arranging no matter what. I just finished several commissions—one to celebrate the 70th anniversary of the US-Sri Lanka relationship. My band the All Stars did a US State Dept. tour in February and performed all over Sri Lanka; we even rode on tuk-tuks while performing! We premiered this piece while we were there on tour.
I also completed a commission for the Savannah’s Children’s Choir, which will premiere at the end of April. I do a lot of arranging as well for many artists, which I love to do. I’m in the process of recording a Christmas/Holiday CD for release in the fall, and I’m working on completing an exciting project developing a soprano trombone—stay tuned for the roll-out of my own horn!
Photos courtesy of and with permission of Wycliffe Gordon.
https://www.yamahaeducatorsuite.com/trombonist-wycliffe-gordon-does-it-all
Trombonist Wycliffe Gordon Does it All
Professional Development Emily Moneymaker
On a seemingly normal mid-April day, a group of jazz students at Columbia College Chicago are fixated on the man who's talking, world-class jazz trombonist Wycliffe Gordon.
Their excitement is palpable. The lights shine down from above while the Artist-in-Residence's master class takes place. Gordon is so close that the students can see their reflection in his trombone.
Following the weeklong residency, Gordon performs with the Good Times Brass Band at Gospel Nation Christian Fellowship in Powder Springs, Georgia, in a setting much like that of his youth. Even though the details are different, the nostalgia is overwhelming. While his father played piano in church, the son is now on stage with his instrument of choice — the trombone — performing in support of a local charity, Calvary Children's Home.
Fast forward one week to April 30 and May 1. Gordon is halfway around the world, a featured soloist with the Tuxedo Big Band and Grimethorpe Colliery Band in two separate concerts at the Limoux Brass Festival in France. It's a busy life, but to Gordon, it's the norm.
Early Influences
Gordon's initial exposure to music came from his father, Lucius Gordon. The elder Gordon was a classical pianist who regularly performed with the local church, so Wycliffe found himself surrounded by church members who found solace in the music, which he, too, experienced.
Later, he followed in the footsteps of his older brother — Lucius Gordon Jr. — in choosing the trombone as a primary instrument. It was a classic case of the younger sibling trying to emulate his big brother. "Whatever he did, I wanted to do," recalls Gordon. "He played trombone, so I just wanted the trombone because he had one."
Critical Acclaim
“It’s a horn that was made specifically for the way I like to play,” Gordon says about his most oft-used instrument, the YSL-891Z.
Today, Wycliffe Gordon is recognized as one of the most skilled jazz trombonists in the world. He has received the Jazz Journalists Association Jazz Award for "Trombonist of the Year" eight times and was named "Best Trombone" in DownBeat Magazine's Critics Poll from 2012 through 2014.
Gordon's musical experiences span the professional gamut. As a former long-time member of the Wynton Marsalis Septet, he was a globetrotter surrounded by some of the world's top musicians. He credits that time in his career as "one of my greatest musical experiences to date."
Gordon is also a former member of the Jazz at Lincoln Center Orchestra and has performed with many other jazz musicians including Dizzy Gillespie, Lionel Hampton and Branford Marsalis. While trombone may be Gordon's main instrument, he actually plays 23 instruments, including the trumpet, euphonium, flugelhorn, tuba and even the didgeridoo. In fact, DownBeat Magazine's Critics Poll honored Gordon with the "Rising Star" award in 2014 for his mastery of the tuba.
In addition to performing, Gordon is a composer and arranger for many accomplished groups and organizations worldwide. In 2011, Gordon was commissioned by New York's famous Apollo Theater to write a piece that commemorated its 75th anniversary. And among his most popular compositions is a Muhammad Ali tribute, titled "I Saw the Light."
From the Stage to the Classroom
In addition to his time in the spotlight, Gordon has devoted a substantial portion of his career to educating the next generation of musicians. He has taught at the Manhattan School of Music in New York and currently serves as an Artist in Residence for Augusta University in Georgia.
Along the way, he has learned a lot about what makes an educator successful and effective at teaching young musicians. Gordon believes that education does not end upon receiving a degree.
Instead, music educators must evolve as teachers even while they are on the front lines of the classroom. Successful educators, says Gordon, strive to constantly improve themselves. "Don't get caught in the rut of just having one technique for teaching," he says.
Gordon regularly uses the "sing-it-first" technique, emphasizing that instruments are merely an extension of the voice. The ability to sing the rhythms, melodies and harmonies of a song helps students internalize the music. "If you can sing something, you can play it," he says.
Gordon also incorporates dance into his music classes as a way to get his students engaged. Imagine a band room full of self-conscious students swaying with abandon to jazz music. One student may automatically get into the music while another takes a bit more coaxing, but eventually, all the students begin to feel the rhythm.
To Gordon, "any type of music has movement," and jazz is no exception. Sub-genres of jazz such as the waltz, foxtrot and swing are all dances as well. So in everything Gordon discusses, he tries to implement some type of movement.
The environment in which students learn is also important, so Gordon works hard to ensure his programs are properly supported. A proven method to increase administrative support is to invite key personnel to performances. If administrators experience firsthand the transformative effects of music, they are much more likely to support the music program. "Have them take the temperature with the public and their perception of the band program," Gordon says.
Cooperation is Key
As a child, Gordon found music's community focus to be among its most appealing aspects. "Being in band meant you were working with a bunch of other students every day, and you had the chance to make music with lots of people."
Today, he attempts to instill in young musicians the importance of working together. "The band only works when everybody does their part," Gordon tells his students.
But teaching young musicians this lesson is not easy—and sometimes impossible. When Gordon encounters students who are unable or unwilling to cooperate with the ensemble, he works to draw them out, but at a certain point, he sometimes has to accept that he's done all he can.
"Accepting that there are some students who you're not going to be able to teach" has been among the biggest lessons of his educational career, Gordon says.
Although Gordon has learned a lot in his time as a music teacher, his biggest takeaway is much more fundamental. Music is the "great equalizer," he says. "Music is the one language that connects all people. It helps us celebrate our likenesses and be more accepting of our differences."
Photos Courtesy of Wycliffe Gordon
This article originally appeared in the Summer 2016 issue of Yamaha SupportED. To see more back issues, find out about Yamaha resources for music educators, or sign up to be notified when the next issue is available, click here.
Wycliffe Gordon - Soprano Trombone
Gordon is commissioned frequently, and has an extensive catalog of original compositions that span the various timbres of jazz and chamber music. Musicians and ensembles of every caliber perform his music throughout the world. His arrangement of the theme song to NPR’s “All Things Considered” is heard daily across the globe.
Jazz Journalists Association named him “Trombonist of the Year” for the 10th time in 2017, and Downbeat Critics Poll named Wycliffe “Best Trombone” for four years — 2016, 2014, 2013 & 2012.
Most recently Wycliffe received the “Louie Award” honoring his dedication and commitment to the music of Louis Armstrong. He received the International Trombone Association Award in 2017, which recognizes the highest level of creative and artistic achievement. In 2015 he received the Satchmo award from the Sarasota Jazz Club, as well as the Louis Armstrong Memorial Prize from the Swing Jazz Culture Foundation.
Gordon is a former member of the Wynton Marsalis Septet, and an original member of the Lincoln Center Jazz Orchestra. He has been a featured guest artist on Billy Taylor's "Jazz at the Kennedy Center" Series. Gordon is also one of Americaʼs most persuasive and committed music educators, and currently serves as Artist-in-Residence at Augusta University in Augusta, GA.
Wycliffe Gordon is a Yamaha Performing Artist and has his own line of Wycliffe Gordon Pro
Wycliffe Gordon: What This is All About
Versatility is an important part of a well-developed artistic soul. The arts provide a wide range of outlets of expression that can be nurtured and grown into their finest results. Music could very well be a reason to believe in the extraordinary, and jazz musicians are no exception; they might even be a norm. It is the dream of every artist to create freely, as improvised notes are gathered in an instrument and then exposed to the world at a moment's notice. And here comes jazz: wide open doors, windows letting all that sunshine in, and the ability to take a deep breath right before the soul allows the magic to materialize in the form of music.Trombonist Wycliffe Gordon knows what versatility is all about, although his humbleness won't allow for cocky behavior. One of the best trombonist of his generation, and one of the finest in jazz history, this composer/musician/teacher carries a heavy torch with the steadiness of an old soul and the conviction of a man who knows what matters most: the music and all that jazz.
All About Jazz: How many hats do you wear these days?
Wycliffe Gordon:: Well, I'm performing, I'm an educator still doing clinics and master classes and workshops, arranging and composing, conducting...three or four hats, I guess [laughs].
AAJ: That sounds like three or four thousand to me. Which one defines you the best?
WG: Either one would define me best, because all of them are components of what make the whole. I like to play, but what am I playing? I love to teach. I am teaching methods that I developed playing and the playing is a combination of the things that I teach about and that I practice. So it is all interconnected. So I don't even separate them. The education is just as important a part of me as writing and composing music and playing and performing the music.
AAJ: What's your take on music education?
WG: I think in order to perpetuate anything you have to educate people about it. It's important for educational institutions to provide a good foundation for our young people to learn about the music we are playing, so that it will continue happening in the future. Jazz is art. So just like you would study Picasso or anything else, you study jazz.
AAJ: Can you picture yourself without music?
WG: I don't think so. No. That would be a very short answer. Music is a part of my existence. Actually breathing, moving and actively living. No, I can't picture myself without music.
AAJ: Your interest in the trombone started at a very young age.
WG: I wanted to play drums but my mom said that she didn't want any drums in the house. Kids make too much noise as it is. So when my older brother brought the trombone home I wanted to play it too because it was something new, it was nice, it was shiny. [Laughs]
AAJ: And you didn't think it was complicated?
WG: Yes, very, very difficult. But I wanted to play it. Since my mom wouldn't let me play drums, I said "You know what, I want to play trombone, I'll play that!." And she got me one.
WG: No, I'm very competitive with myself, not necessarily with others. I challenge myself to try to get better than I was last week. So I am competitive that way, but I am not in competition with anyone else.
AAJ: Please talk about your father and his influence in you as a musician.
WG: He passed in 1997. He was my introduction to music. He studied piano, but he studied classical music. We had classical music in the home growing up, but he would play in church in Georgia, gospel music. He didn't particularly care for jazz. He would turn the radio on, public radio broadcasts, and country music would be playing. So he didn't develop an interest in jazz until later on in life. But classical, like Chopin, was his first choice.
AAJ: So with that kind of classical music influence in your home, how come you ended up playing jazz?
WG: Classical music at home, gospel music at church and country music on the radio. When I was twelve, my great aunt had passed and everything was given to the family; she had a record collection of jazz music. I used to go out to the garage and listen to the old records; Count Basie and a lot of New Orleans music; that was my introduction to jazz, that's how I got into it.
AAJ: And when did you start playing other instruments, besides the trombone?
WG: Well, my first instrument was piano, actually. I learned it before the trombone because my father taught me at age five or six. But I wasn't interested and he didn't force me. So I learned to play the trombone, and then I learned to play the tuba.
AAJ: So how did you decide to make the trombone the first choice?
WG: I think the trombone kind of chose me, even though I followed my brother. I started taking piano lessons, but I stopped once I got in the band because it was much more fun to play the trombone. I was 13. You know, you can participate with a room full of people, instead of being lonely, taking a piano lesson. The only other time you would be with other people would be at a recital.
WG: Sometime in the beginning, when I was learning how to play the piano. I was copying other people's songs on the piano, and then I started writing songs on my own, particularly jazz. I started composing more so by the time I left college in 1999.
AAJ: And what has been the biggest adventure so far, as far as composing goes?
WG: Well, I love composing. All of my CDs have at least one original composition. But I did this movie, Body and Soul, and that was 86 minutes of original music that I wrote for the jazz band. So, that would probably be the one.
AAJ: So how does it feel like as a composer, as an artist, to be chosen to write the music for something like Body and Soul?
WG: It was an honor to me, but I was more concerned about getting it done than about having been chosen to do it. When they were looking for someone to give this commission to, they thought of me, and I watched the content of the film and I said "I'd love to do it." So it wasn't just an honor to be chosen; I'd like to think that often things happen the way they're supposed to happen. I like to think that the project kind of chose me.
AAJ: What about I Saw the Light, the Muhammad Ali tribute?
AAJ: How does composing happen for you?
WG: Well, there's no one formula for it. If I hear something I'll write it down, meaning that if there is something that I hear musically, I will write it down and then go back to it later and work on it, arrange it and things like that. There is no just one way that happens. Sometimes music will come to you, other times I just have an idea. I put down that idea and I'll come back to it days later or maybe even years later. So it's different, depending on how I am writing or what I am writing. It will also be different if I am writing it for like a quartet or a big band, where the melody and chord changes will be different. It could be a lot of work, but it is a good thing.
AAJ: What do you enjoy doing the most: playing or composing?
AAJ: Please discuss the Jazz Arts program and Manhattan School of Music.
WG: It is a very comprehensive program. It seems to be pretty open, with jazz and classical interactions. The school seems to nurture what the music is truly about, bringing cultures together.
AAJ: What does being an educator mean to you?
WG: It means that you are responsible for carrying the flame and passing on the information, regardless of what level, and I love educating because I learned so much myself. I was a good student.
AAJ: The New York Philharmonic, Julliard and the master class ,"Two Sides of the Slide," for Jazz at Lincoln Center.
WG: Well, that's a pretty tight title we came up with, "Two Sides of the Slide," the classical side and the jazz side. The principal of the New York Philharmonic and I decided to put together a master class where jazz students and classical students would learn something different. I taught classical students, and he taught jazz students. He demonstrated something, and I demonstrated something. We talked about several ideas. We played first, and then we talked about it. The students learned together about something related to the kind of music they didn't know anything about. It was a fun project. It was an opportunity to show people that the trombone is an instrument that can be used both in classical and in jazz, and we showed the obvious differences, but there are common aspects about both of those styles: you have to practice; you have to learn the music. They are different languages, but they are both equally important. We were not trying to blend both styles, but in the end I did take a classical piece and jazzed it up.
WG: I started working with Wynton in 1989. I was part of the Wynton Marsalis Septet, and I did some concerts with JALC when they were called "Classic Jazz." In 1995, I became a part of JALC, which I played with until 2000. One just kind of blended into the other. The Septet was my first jazz gig, and it was a fun one. I learned a lot, we traveled a lot, we made some great music, and we still get together every now and then. I play specific shows with JALC, but I don't play with the big band anymore.
AAJ: What do you enjoy the most: a big band, or a quartet?
WG: That depends on how the music is played. If the music is being played well I will enjoy either one of them, equally. That also depends on who's in the band, who's playing.
AAJ: Teaching at Julliard.
WG: It was a fun program. When I started out I had a few bumps on the road. It was a new program, so it takes time to adjust. I was one of the first ones to teach there when the jazz program started.
AAJ: Cone and T-Staff.
WG: It's an album I have made with Terell Stafford, Mike LeDonne, David Wong, and Kenny Washington. I've known Terell for a long time, and I have worked with him before in several situations, and we finally got the opportunity to do this album together. We brought some tunes that he wanted to play, and so did I. We put it all together, and recorded it. We got these guys to play with us because they are great and they happened to be available. I enjoyed making the CD, but by the time the CD came out I'm already trying to play so much better. It's a constant evolution. I do hope people enjoy it, but I know I am always in motion. The music is nice, the musicians played very well. I am evolving all the time, [and] that never stops until you die, and maybe not even then.
AAJ: BluesBack Records.
WG: BluesBack Records is a record company I started to release my own original material. Before that I didn't have an avenue to record the music without fighting, so that was the mission I had when I started it. Afterwards I've had friends who have recorded music, and I have released their work through my record label. But it was mainly designed to do original music, not standards, although we have CDs that do have some standards.
AAJ: What are you the proudest of in your career so far?
WG: Everything.
AAJ: Everything?
WG: Yeah. I don't have one thing I would be prouder of. My career is who I am. So the fact that I got where I am tells me that I need to be proud of everything I have done so far. Even if I don't play well one night, that is also part of who I am too. You can't appreciate the good days without the bad ones, so I'm proud of everything.
AAJ: So you do have days when you say "I didn't play well"?
WG: It happens.
AAJ: And what are you the proudest of in your personal life?
WG: I am proud of who I am, who I'm becoming. I've been married three times, so I haven't been really successful at holding marriages together. I don't know if that speaks about me as a man, or what it says about me and relationships, but I am proud of my children. I have five of them, and I am proud of them.
AAJ: Do you ever wish you would have done something differently in your career or life?
WG: The older I get, the more I realize that things happened and happen the way they do for a reason, so the answer would be no. I'm trying to spend more time with my younger kids, which I didn't do with my older kids, being on the road so much. I used to think about that kind of stuff. But I am happy with the way my life is now. It's wonderful, and even though it's not always how I wanted it or how I thought it should be, it's perfect like it is. I do wish I knew twenty years ago what I know now, but then I would be a different person, maybe better.
AAJ: Your best moment on stage?
WG: Whenever you feel like your feet are not touching the ground and your spirit is so high that it doesn't feel like you are on the Earth anymore. It's beyond anything physical.
AAJ: Something you would change about jazz today.
WG: Nothing. Everything is the way that it is supposed to be. If I could change anything then the world wouldn't be the wonderful place that it is. I wouldn't want to do that.
AAJ: Something about you.
WG: I'm just me. I try to be a nice person; I try to be nice to everybody. What people say about me, their perception of me, is another story, and it could be right or wrong, but I'm just me. I treat people the way I want to be treated. I work. I don't expect anybody to give me anything. Simple: I'm good.
AAJ: What brings you happiness?
WG: Air, the fact that I can breathe. Being alive.
AAJ: What's next?
WG: To record another CD. To continue to write music. To continue to teach.
Selected Discography:
Wycliffe Gordon, Cone and T-Staff (Criss Cross, 2010)
Wycliffe Gordon, Boss Bones (Criss Cross, 2008)
Wycliffe Gordon / Jay Leonhart, The Rhythm on My Mind (Bluesback, 2007)
Wycliffe Gordon / Eric Reed, We (WG3, 2007)
Wycliffe Gordon, Cone's Coup (Criss Cross, 2006)
Wycliffe Gordon, Standards Only (Nagel Hayer, 2006)
Wycliffe Gordon, In the Cross (Criss Cross, 2004)
Wycliffe Gordon, The Joyride (Nagel Hayer, 2003)
Wycliffe Gordon, Dig This! (Criss Cross, 2003)
Wycliffe Gordon, United Soul Experience (Criss Cross, 2002)
Wycliffe Gordon, What You Dealin' With (Criss Cross, 2001)
Wycliffe Gordon, The Search (Nagel Hayer, 2000)
Wycliffe Gordon, The Gospel Truth (Criss Cross, 2000)
Wycliffe Gordon, Slidin' Home (Nagel Hayer, 1999)
Photo Credits
Page 1: C. Andrew Hovan
Page 2: Jose Horna
Page 3: Ingrid Hertfelder