Steve davis trombone biography samples

SD: Well, the director of our junior high school stage band was very encouraging, as was our high school stage band director, Mr. They really encouraged us to take little solos and improvise. There was a little kind of cadre or whatever of guys that were playing. So that environment was encouraged. I used to go to workshops and play in their jazz ensemble when I was in high school.

They had summer workshops, and I think when I was maybe 15, they brought in Bob Brookmeyer one year with his sextet. But Dick Oatts and Joe Lovano took a particular interest in me and a friend of mine named Chris Jenson, a really good tenor player. They really were very encouraging. SD: Of some kind, yeah. So it was kind of encouraged.

The humanities thing for college was pretty much a given; that I was going to go someplace that was a university as well as the music. I mean, the music was never discouraged; it was always encouraged. But my parents really wanted me to have a broad education as much as possible. SD: yes. She liked the campus environment. So he steve davis trombone biography samples of sold my Mom on that one.

SD: Yeah, a little Shakespeare. I was close to a minor in Political Science. I think I had three credits left. But mostly music. By the time I got to my junior year, all I wanted to do was play and get to New York. SD: Well, besides the faculty, which of course, Jackie just for me and for so many others of us just turned our whole world around.

Especially his history course was really important. Maybe nowadays you do moreso than Then he takes you through the whole music of slavery and steve davis trombone biography samples hollers, and how that evolved into the blues and brass bands and all that kind of stuff. It really gives you a tremendous concept for the history. So that was important.

Jaki Byard was still there, and being around him was great. Hotep Galeta was just coming into his band, and he was starting to teach there, and he was a very big role model for me, as was Nat Reeves. Hotep and Nat not only taught ensembles at the school, but they used to gig a lot around Hartford. There were several little clubs. And Hotep started hiring me eventually to play quartet.

To me that was just the thrill of my life. It was such a privilege to be on the bandstand with those guys. This is leading up to and during the Dynasty record that they made, and Rites of Passage was after that. That band with Carl Allen and Rene would rehearse sometimes at the school, and it was very exciting to see that developing. It was just my dream to ever play in that band.

Also, when I first got to Hartt, Antoine Roney was still a student there. It was his last year. And he had a huge influence on me. I mean, he taught me so much. Ted Curson was doing it. He showed me around Harlem a little bit, showed me where Bud Powell lived and all that stuff. SD: Oh, it did. Because he moved down there within a year or two after that, so I used to go hang with him.

There was a club in Hartford, too, called the Club. Nat was in the house band of that with Donnie De Palma, a pianist. Kenny Garrett. A whole lot of people. So that was also really exciting, and it gave you a taste of what the real Jazz world is like. SD: Yes and no. I mean, I was, but it was still overwhelming, trust me. It was scary.

That was an exciting time, and I used to go sit in a lot up there. SD: Well, not a whole lot. I was coming back to Hartford to do a lot of gigs. I was rehearsing with Charlie Persip every Thursday, and what work he had I was doing. Just trying to make jam sessions and be around. SD: Jackie had told him about me. TP: Was it a situation where someone suggested you go hear the band at Sweet Basil and linger around the bandstand, or were you just called to make it?

But by the time it got to that, I was around a lot. I left my keys in Binghamton. I had to borrow a suit from a friend of mine. I barely made the gig on time. Frank Lacy was still on the band, too, so that was a very interesting week. Javon Jackson once said something that I really agree with, that I thought was great, that he had a way of showing you what to play, or how to play, without actually telling you anything.

He just did it through the drums, and he guided you… One night we were in California, and Freddie Hubbard was there, and I was scared to death. We came off the stand and he put his arm around me. You make your statement, you build to a climax, and you get the fuck out. Well, do it. If you listen to Curtis Fuller, he never plays more than two or three choruses.

So it was such a lesson in getting to the stuff, getting to the point quick. The other thing is just that beat. Not obvious, but more subtle, mysterious, maybe cold, not cold like spiritually cold, but not the kind of warm breathy sound, but more icy or something, like slick…. SD: Abstract. I was really thinking about that stuff, and how J.

SD: Oh yeah. He comes after J. He talks about people like Jack Teagarden and the Basie Band. The thing that I love about J. Curtis was very close to Trane, obviously, when he first came to New York. He talks a lot about that, being around Coltrane and Freddie Hubbard. Obviously Trane was a huge influence on Freddie in phrasing… To me, what Curtis has done with the phrasing, just playing groupings of notes, is like saxophone stuff.

The what happens between that and your joining Jackie McLean? A couple of good things happened. But the thing that blew me away, though, I did two concerts with Elvin Jones. I was subbing for Wallace Roney, actually. Keiko was there. I was just thrilled to meet Elvin. He kind of asked if he could help me, like he was protecting Art, then I told him I was the trombonist in the band.

I just never imagined, ever, that he would call, but he did, and I did a couple of concerts with him. That was a great experience, and something I would love to have an opportunity to do again. TP: Say a few words about drum styles, and playing with drummers, and the trombone as a rhythmic instrument. SD: I know for a fact that Art loved the trombone.

He used to play a certain way, and you can hear it particularly with Curtis on all those records. Discography [ edit ]. As leader [ edit ]. As sideman [ edit ]. References [ edit ]. Retrieved Retrieved 15 November All About Jazz. December External links [ edit ]. The Jazz Messengers. Louis is light to non-existent. And once again, local musicians are more than filling the gap with a variety of events, including some free outdoor shows plus gigs showcasing several of our town's fine female vocalists.

Here's what's going on over the next few days Tonight, the multi-instrumentalist Bosman Twins kick off a four-week series of free outdoor concerts at O'Fallon Park, located on the north side at With the return of one of the best known jazz musicians ever to come out of St. Louis, plus a nice variety of local gigs on tap, this week's jazz and creative music calendar is relatively busy for the end of August, which usually is a fairly slow time of year.

So without further ado, let's go to the highlights The local-boy-made-good is saxophonist and Kirkwood native David Sanborn picturedwho last performed here a year ago with Marcus Miller Source: All About Jazz September 6, In addition to his continuing Source: All About Jazz October 20, Source: All About Jazz October 9, Recordings: As Leader As Sideperson.

Smoke Sessions Records Le Coq Records Cellar Music Group Truth Revolution Recording Collective All rights reserved. Privacy Policy. Forgot it? Reset it. Click the eye icon to show your password. Membership has its privileges. Learn more. All About Jazz musician pages are maintained by musicians, publicists and trusted members like you. Tell us why you would like to improve the Steve Davis musician page.

All About Jazz Essentials. Sign In Up Donate. Biography Articles News Has Influenced Steve Davis is widely regarded as one of today's leading improvisors on the trombone. Read more. Show less. Continue Reading. Album Review Renee Rosnes: Crossing Paths by Katchie Cartwright December 7, In the course of a career that began in the s and continues to flourish, Renee Rosnes has developed an extraordinary sound, both as a composer and as a pianist, one that is readily recognizable whatever the context.

Album Review Michael Dease: Grove's Groove by Richard J Salvucci October 6, The story of Michael Dease's journey from sax to trombone and back again is one any parent of a musically talented child could recognize. Hank Jones! Michael Pallas trombone.

Steve davis trombone biography samples

James H Durchslag trombone. Chris Glassman trombone, bass. Big George Smoke Sessions Records buy.