Posts Tagged ‘Charles Mingus’

Interview with Peter Ind

August 12, 2013 1 comment
To me the greatness in jazz lies in improvisation and from improvisation there developed the musical language that we recognize as jazz.
A few weeks ago I asked bassist Peter Ind my questions about his work, his music, his thoughts. He sent me a beautiful letter. I am proud to publish it at interjazzblog.
Who is Peter Ind? A short biography:

images (1)Peter  (born 1928) was just 21 when he began travelling to New York playing jazz double bass  on the Queen Mary. He settled in New York in 1951 and America became his home for the next 15 years. He studied with Lennie Tristano, played with  many great names in Jazz – Lee Konitz, Buddy Rich, Coleman Hawkins, Billie  Holiday. While there he set up a recording studio and launched the Wave   jazz label. Revived in 1977, it still exists today.

Returning to the UK in 1966, he often performed in duos and trios – most notably  with Martin Taylor. In the 1980s and 90s he ran the very successful Bass Clef and Tenor Clef Jazz Clubs in London. He now concentrates more on recordings and playing internationally.

He is  a jazz musician and sound engineer, and also a skilful painter in the post modern idiom, and a collector and restorer of blue and white Chinese  porcelain. (read further at

Dear Robin
Firstly I feel I should point out that often people contact me, either asking me to fill them in on past jazz events, or to help them with their problems. I am not saying that you fall into that category, but if I seem somewhat hesitant, it is only a reflection on some past experiences. When my book Jazz Visions was released someone from the BBC contacted me asking to record for BBC radio. I recorded an hour’s worth of material, only to discover that when the “interview” was broadcast, about two minutes of my voice was included and the main part of the broadcast was of someone who had no direct knowledge of those times in New York (being far too young) but quoted from my book as though it was his own insight, with no reference to what I had actually written. Quite frequently, my words are used without acknowledgement and seldom get a mention as being the originator. Having said this, I am willing to answer you questions as fully as I can – and trust that you will not do like many others have done in the past.
Perhaps my views about the way jazz has evolved are tinged with regret, as I feel that many of the greatest and inspired musicians have failed to receive the recognition they deserved. I am leaving myself apart from that (it is for others to judge).  However one of the unfortunate effects on the recent evolution of jazz, is often a lack of real awareness of who created – and this has had a “dumbing down” effect on younger players, who sometimes do not even know about players who by rights should be in the forefront of their studies.
You ask how has jazz evolved since I began? I started playing piano in London in 1942. In those days I did not distinguish between dance music and jazz. Firstly having left school at fourteen years of age, I found I could earn almost as much money in one night, playing the piano with a danced band that working in an office for five days a week. Of course playing the piano was just fun and to get paid for it was fantastic. Though I could read music, I learned the tunes by listening to the radio. (Of course there was no television in those days.) It was simply dance music and during those days of World War Two, there were dances every day of the week, and as most professional musicians were in the armed forces I was always on call. I didn’t really become aware of “jazz” until later in my teens, though I was aware of the concept of improvising through the experience of playing at dances.  My parents encouraged me somewhat. I think they were surprised that I could earn money that way. I felt the need to get trained classically and for a while I studied part time at London’s Trinity College of Music, paying for the lessons myself. In Britain in those days it was customary to play a second instrument and the sound of the bass always fascinated me. In 1944 I bought a double bass and began to take gigs playing it. It was not until later around 1947 that I joined a professional band working at a “Palais de Dance” in London that I became a full time bass player. In 1944 I had heard the Glenn Miller band of the American Expeditionary Force, playing live on a BBC Broadcast. It was a revelation, so spirited and unlike the British dance bands of the time, who sounded so reserved and polite.  It was the first time I understood the difference between US jazz and British jazz.  It was not until five years later (in July 1949) that I visited New York as a musician on board the Queen Mary, and had the opportunity to experience that music at source. I stayed working on the Queen Mary until March 1951  I obtained a US Immigration visa and in April 1951 New York became my new home.  It was while I was still working on the Queen Mary, that I met and got to know many American jazz musicians and began studying with Lennie Tristano. In December 1949, after taking a lesson with Lennie at his home n Flushing, Long Island Lennie asked me what I was doing that evening. I coming to hear you at Birdland I said. He then asked me if I would play the first set with his band. After that experience I knew that I would make New York my home. In fact playing with his band at Birdland signified the start of a great change in my life.naamloos (2)
Looking back to those days of the late nineteen forties and early fifties, I recall them as being the most democratic years of jazz. That was when black musicians were beginning to get the recognition they deserved and often played alongside white musicians on an equal footing.  Much later on, the relationship between black and white musicians became more difficult and racial issues surfaced once again. The social issues began to improve for blacks and by the late nineteen fifties, American apartheid began to give way to more on an equal society. Nevertheless there is still a long way to go before racial tension in the US gives way to a more just kind of society.  Amongst the musicians I worked with in the US some became very good friends. Of course I include Lennie in this, but also one especially the Trumpet player Roy Eldridge, whom I miss very much. I can still hear the sound of his voice in my head, as though he’s still around. I became good friends also with Mingus and we used to meet socially as well as musically. Oscar Pettiford and I used to play at the Café Bohemia and play duos together, this was when Oscar was playing ‘cello. I used to play a lot with Paul Bley, mostly at a place in Long Island – a black venue – known as “The Pub Club”.  They served great ribs and there was some irony in the fact that we were a white group (Al Levitt was the drummer) and they all loved our music.  We really felt at home there. The blacks were so open and welcoming to us. This was around the time that Paul’s LP was recorded. Percy Heath was his choice of bass player. However after recording two sessions with Percy, Paul wanted to record more as he was not satisfied with some of the tracks, and I was invited to record another session. As it turned out the record company refused to pay for any more than one additional session, and two thirds of the album contained tracks that I had played on. I was disappointed not only in only getting paid for half of what I had contributed, but a further irony was that many the tracks I played on were given rave reviews, but attributed to Percy’s playing.  I had no beef with Percy – we were good friends and in fact he studied with me for a while. I then began to realise that my skills as a jazz musician did not necessarily equate with getting the recognition I felt I deserved.
naamloos (3)Though I remained faithful to my conviction about jazz, it began to be apparent that jazz criticism often lacked musical objectivity. I began to be aware of a kind of dumbing down as jazz became more commercially oriented.  To me the greatness in jazz lies in improvisation and from improvisation there developed the musical language that we recognize as jazz. This is not in any way to dismiss or demean jazz composition¸ whether big band or small band, but true improvisation gave jazz it’s language and as this ability declined to become mere riffs or fill ins, so in my opinion has jazz declined both in quality and in popularity.  One final point – in striving to become cleverer than the next player, many jazzy musicians have lost their following – simply by becoming too clever.
You ask about my activities as a recording engineer. Even while still living in New York I realised that a lot of jazz was played that deserved to be recorded. I was fortunate enough to be able to purchase state of the art equipment and setting my East Side loft as a recording studio I began to be hired by recording companies for their various artists. I also recorded a lot of jazz that I have not been able to release for various reasons. I live in hopes that one day some of this music can be released. I have always been concerned that much great improvisation passed us by. Recording a little of this I believed to be especially worthwhile.images
Returning to the UK in 1966 after having spent three years in Big Sur California, I had to start again. I established a teaching practice, and then several years later bought some new recording equipment, and soon found my services in demand again. In 1981 I moved my recording activities to Hoxton Square. London and three years later began building the Bass Clef Club. This lasted for almost ten years and was very successful. I finally lost it – a bitter disappointment. However a few good recordings were made there – sometimes recorded live at the Bass Clef, and I have written a book about it which we are planning to release later this year.
You ask what is my secret? If I have one it is simply enthusiasm  (from the Greek EN THEOS) and a belief in life energy  –   I am currently writing another book about the Cosmos and where I believe we are all headed.
Please stay in touch,
Best wishes
Peter Ind
copyright Peter Ind and Robin Arends

Interview with Randy Brecker

July 2, 2013 1 comment

Jazz Music in a nutshell has become globalized with all the attendant influences that brings to the’s not just ‘American’ music anymore.

Brecker 1The next interview is a very special one. How to introduce Randy Brecker? He has done it all. His discography is too large to publish, also is the list of tremendous people he played with. Nowadays he is one of our finests trumpetplayers. A short biography:

“Born (1945) in Philadelphia to a piano-playing father, Randy’s musical talent was nurtured and encouraged from an early age. He began playing R&B and funk in local bar bands while in his teens, and developed an ear for Hard Bop through his father’s record collection.

Randy attended Indiana University from 1963-66. Randy began his foray into jazz-rock by joining Blood, Sweat and Tears. He worked with BS&T for a year and played on their Innovative 1968 debut, ‘Child is Father to the Man.’

Randy left BS&T to join the Horace Silver Quintet. ” In 1968, Randy recorded his first album as a leader, ‘Score’, which also featured a young and then unknown 19 year-old tenor saxophonist named Michael Brecker.  In ’74, the brothers joined Billy Cobham’s group, Spectrum, with whom they recorded several albums, and by 1975 they were ready to front their own band.

The Brecker Brothers were to become a band of immeasurable influence and impact. Hailed by pop and jazz critics alike, their first album ‘The Brecker Brothers’ (Arista), which Randy produced, wrote, and arranged, was nominated for four Grammys. The Brecker Brothers went on to record a total of six albums and garner seven Grammy nominations between 1975 and 1981.

After the Brecker Brothers parted in 1982. Randy recorded and toured extensively with Jaco Pastorius, recording the famous ‘Word of Mouth’ album, a live concert in Japan. In 1986, Randy produced, composed and arranged his first acoustic jazz album, ‘In the Idiom’, for Denon Records, with Joe Henderson, Dave Kikoski, Ron Carter, and Al Foster.

In the summer of 2001, Randy reunited with his brother Michael for a Europe tour with an acoustic version of the Brecker Brothers. In 2004 Michael took ill with a rare form of leukemia known as MDS.

The following years Randy found a balance between touring the world with his own bands and guesting onstage and in the studio with a wide array of artists.

Randy’s newest CD, ‘Randy in Brasil,’ was recorded in Sao Paulo with a full complement of great Brazilian musicians and released in 2008.”

(read further at Randy’s website:

Mr.Brecker, you’re active in music for more than  5 decades. How has jazz music evolved since you started performing? Is jazz the right label for your music?

My own music has become more refined, more world influences have crept into the picture, and my vocabulary I like to think, has grown a bit.

Call it whatever you want, it’s all ‘jazz’ to me….never liked or thought of labels, I just think ‘music’ good or bad.

Jazz Music in a nutshell has become globalized with all the attendant influences that brings to the’s not just ‘American’ music anymore.

Also technology comes into play now in the recording process, practicing and writing and that has a resulting effect upon the music.

 Your father took an active role in your music education. Heplayed the piano. Do you recognize his influence in the way you look at (your style of) jazzmusic today?

Sure, he will always be my biggest influence since I have his genes…he is in everything I do. His own music/lyrics was steeped in the traditions of the 40s and 50s. He loved Brubeck , Clifford Brown, and the trumpet as “the greatest jazz instrument”- he told me that many times. Clifford and Max’s home base was a club in Philly and Dad heard them many times. I remember the day Clifford and Richie Powell was killed in the auto accident.

If you want to hear a song Dad (Bobby Brecker) wrote for me when I was 2 weeks old (!) check out the ‘suite’ on my CD “Into the Sun”…he plays and sings: “The Hottest Man in Town” where he prophesies not only that I’ll be the ‘hottest man in town’ but also that that I’m going to be a musician, play a “horn or maybe hot fife, and  love that music even more than your wife!”

You first gained recognition playing with pianists Duke Pearson and Horace Silver from between 1967 and 1972. What have you learned from playing with them?Brecker 2

Bandleading technique, especially from Horace, who gave us some latitude, but when he wanted a funky solo he meant it, and if we were recording and you played too many notes he would stop the take. Duke was also a great and under-rated composer and arranger who signed me to Solid State Records and produced my first record ‘Score’. I like to think I taught him something about funk on that record, but he sure taught me about voicings, harmony and composition, as did Horace and both also taught me how to construct a concise solo. Also both of these great musicians knew their job as bandleaders and recording artists were to sell records to the public (high quality music) but structured to communicate to people at large, and not just other musicians, so I learned that early on in my career.

Both were great composers who had the ability to translate the events and feelings of their lives into music, so I took that to heart when I started to lead and write for my own bands. Also  Horace in particular was not afraid to go outside the genre and fuse elements of folk, gospel,funk and soul into his compositions, every one of which had that particular ‘Horace’ harmonic and melodic touch, no matter how complicated or simple the tunes were!

Your first album (as a leader) was Score (1969). How do you look back at this album?

brecker 4I think it was a formative period for all of us, but with that consideration in mind, I think it’s a pretty good first record. Mike Brecker at age 19! Some nice Randy Brecker and Hal Galper tunes….Larry Coryell, Eddie Gomez, and Mickey Roker then “Pretty” Purdie and Chuck Rainey on some tunes-pretty cool!… and some new ground broken.

You played with great bassist-bandleaders like Charles Mingus and Jaco Pastorius. How do you look at the bass as a leading instrument?

If the bass player has as  strong a voice on and off-stage as those 2 did, they can be as out- front as anyone else.

They were also of course great composers so their instruments also fit like a glove into the larger picture.

Charlie Parker. This year it’s fifty-eight years ago he has died . Sheila Jordan said last month to me in an interview: “people don’t talk about him anymore,The younger generation of jazzmusicians say they are inspired by Miles Davis and John Coltrane. Parker is a forgotten part of jazzmusic. That’s a pity, because he is an inportant part of the jazztradition.” Do you agree with her?

Not really-he’ll always be deeply ‘embedded’ in the music especially the way he played eighth notes and swung, although Miles and Trane had a more ‘modern’ take on things, (whatever that means 60 years later)…modal playing and in Miles’ case electricity and his mental flexibility put him/them more in the forefront of today’s conceptions. Pure ’bebop’ is kind of locked into a time period, but it’s still a thing of beauty, and I always strive to play it better….it’s my roots and it’s what I practice, since strictly speaking in that context there are right and wrong notes. Then in performance the idea is to interact and ‘take it out’!brecker 5

Miles Davis, has been a great example for you. What did you learn from the music of Miles?

How to tell a story in as few notes as possible. Sound comes first. Take chances. Fuck whatever anyone else thinks. Rehearse as little as possible since as he said :’ You can’t rehearse the future!”

Which musicians are you inspired by nowadays?

You got me on that one…there are too many or none at the same time.Everyone has a CD in their pocket and we’re inundated with web-sites, you-tube, and social networking – which I don’t do as a matter of principle…so it’s hard to focus on one or two people let alone several musicians. Mostly I listen to the old guys-they had that special charisma….they were anti-establishment, usually as high as a kite, crazy in many ways, but it was all about  Music and Swinging and not about networking…but having said that, there are thousands of up and coming musicians,from all over the world who are great players, but finding that  individual ‘voice’ seems to be a harder proposition these days, maybe because there are so many jazz programs in schools that churn out students who know and can play the history from Louis Armstrong on, and have a lot of technique, which I respect, but haven’t thought that much about original new conceptions or directions. Now having said thatthat’s where the ‘world music’ element creeps in, and I do find inspiration from young musicians from other far flung countries who bring their own indigenous music into the mix.

For instance younger cats play the shit out of odd time signatures and have the all current technological advances in their fingertips! Also I must mention that the best of the younger crop who stay in bebop mode, play so well and so musically that the fact that you’ve kind of heard it all before is transcended by the excellence and pure musicality of their improvisations…brecker 3

You played a lot with pop musicians, like Todd Rundgren, Stevie Wonder, Lou Reed and Bruce Springsteen. Carla Bley said once “I think rock and roll is jazz. And jazz is classical music. And classical music has become rock and roll. They’ve all gone round one turn on the clock” (1972) Has the clock turned again since then?

It’s always turning, that’s what keeps everything interesting….it’s all a continuum as Jaco’s tune suggests..I think what Carla was saying is that catagories are useless.

In 2012 you wan a Grammy Award (again!), this year (b.o.) Chick Corea is a Grammy winner, which jazzmusicians would you propose for the Grammy Awards in 2014?

Not following or concerned with things like that any more, especially since a couple of years ago NARAS decided to pull the plug on some of the lesser so-called catagories and also put ‘contempory’ jazz and  ‘real’ jazz in the same catagory which makes the whole thing even more ridiculous than it was in the first place….but I’m sure Chick and Pat will win a few more since it’s mostly a popularity contest….not that they don’t always deserve something for their outstanding contributions to music. The Grammys makes for a nice TV show if you keep the sound off!

Your musical activities span a wide range of styles and combinations. Which projects do you have in store for us?

1.  ‘Brecker Brothers Band Reunion’ features all members who played in the band at one time or another, like  Dave Sanborn , Mike Stern,Dave Weckl, Will Lee, Adam Rogers,Rodney Holmes, Chris Minh Doky, Mitch Stein CD and accompanying ‘live’ at the Blue Note NYC, DVD…

My wife Ada Rovatti featured on saxophone..keeping it in the family, and newcomer Oli Rockberger who co-wrote  2 of the tunes and sings on a couple of tracks.

Produced by George Whitty who also played keyboards…all new tunes in that style. My man Randroid also makes a couple of appearances….will be out SOON

2.  ‘RandyPOP!’ ‘Hits’ I played on as de-ranged by Kenny Werner..w/Amanda Brecker (daughter) vocals..will be out next year sometime.

Adam Rogers,David Sanchez, John Patitucci and Nate Smith.

Kenny Werner piano…recorded live at the Blue Note NYC….interesting charts and a lot of inventive live interactive playing.

3.’Night in Calisia’… Collaboration with my friend Polish composer and pianist Wlodek Pawlik…his wonderful Suite featuring The Kalisz Philharmonic,the Wlodek PawlickTrio and me as soloist. Should be out in August.

Is there jazz in the future? Jazz  has been for the most part well documented by now, but do you think jazz will reach our youth?

There will always be jazz music but only for intelligent minds, young,old, or in between.

And that’s the way it should be!

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