Greg Campbell, who plays drums and percussion as well as French horn and vibes, is known for his work as a jazz musician and improvisor. As well as having an extensive education in the field of percussion and having studied with the likes of Dave Holland, Cecil McBee, and Tom Collier, he has a performance resume that includes work with Wayne Horvitz, Stuart Dempster, Michael Bisio, and Wally Shoup to name just a few.
All About Jazz: What influenced you to start playing drums and percussion?
Greg Campbell: My dad was a drummer, still is a drummer, and it was sort of the family curse. I have a brother who lives in San Francisco who is a drummer and an older brother who is a bassist who plays drums. Through junior high I played French horn. When I got into high school I wanted to play in the jazz band and they didn't have any French horn parts. I kind of had been playing drums for a long time, I just took it a little more seriously and started learning it instead of messing around. I sat down with some books and started listening to more recordings and just being a little more organized and serious about playing drums.
AAJ: So you pretty much started in high school then....
GC: Yeah, pretty much. I didn't really actually play drums very often before then except for just messing around.
AAJ: I've noticed that sometimes you will do gigs with the French horn.
GC: Yeah, I like to incorporate that in improvising situations that are kind of open where there are more possibilities of, you know, where the idea is creating different timbres and sounds.
AAJ: So, how did you get into playing improvised music?
GC: For a long time I guess I would classify myself as a pretty conventional straight ahead jazz player. But I always liked things that were a little more intense and things that were kind of searching. I think when I moved to Seattle I just happened to be with a crowd of people, you know, so it was sort of a gradual evolution of things that I had already heard and started to like. I went to the New England Conservatory in Boston and a lot of people I know studied with Joe Maneri who is I think still there. I didn't study with him and I have regretted that since I have found out more about him, but think if I had known about him I would have done some things with him there. So it was sort of a gradual transition from being interested in more adventurous mainstream jazz to kind of moving outside of that.
AAJ: I have noticed that a lot of your stuff, the stuff that I have seen, is way outside of what you might call a jazz structure or any kind of structure for that matter a lot of your work with different kinds of percussion and use of string bows, for example.
GC: Yeah, I mean those are just ways of getting outside.... You know, sometimes the most interesting gigs are the ones where I bring the least stuff and I can take a few elements of the drum set and try to do different things with them that I have never done before. I find sometimes I bring too much stuff in that quest for a kind of variety of timbres and sounds and I will feel like I have to use everything. But, on the other hand, I really like to just try stuff. Bows are really a great way to, you know, cymbals are one of my favorite things to experiment with because they are full of all kinds of different overtones and sounds that are harder to hear and that's why people don't really use them. But they have this really low overtone that you can manipulate with a microphone if you know how to do it. John Hollenbeck, the drummer, will sometimes do things like that.
I like to experiment with harmonics on cymbals by holding it in certain places and trying to get different combinations of tones, but those are things you can't do in a mainstream or jazz performance because it's very quiet usually. So it's hard to have people hear them unless they are miked very thoroughly, although this trio (the Ficus Trio) played at the West Seattle Jazz Festival and we were miked and surprisingly we did a lot of very quiet...we were playing outside and people were walking by. Somehow we managed to get into some very quiet musical spaces and people were listening.
AAJ: That's interesting about the different cymbals. With jazz they've got kind of the steady swing thing happening and it would be really tough to get into anything creative with the cymbal tones.
GC: Right, yeah. There tends to be kind of one way of thinking about what instruments can do. My own sort of theory is that that one way of treating instruments is more a part of the European/Euro-American art tradition of music and the idea of taking a single thing and trying to find out what it can do comes from African sources and other folk traditions where you might not have a lot of time and space and resources to make musical things happen so you have to use what you have and get as many things out of it as you can.