Steve Davis
February 2001

"You have to hear the music in your head and have the desire to express it -- it just so happens that you are blowing a trombone to do it. Like Prof. William Fielder, the master trumpet teacher at Rutgers University once told me, "The trombone is only a mirror of the mind."

Portrait in Sound
Stretch
2000

Reviewed By
Chris Hovan
David R. Adler

By Paula Edelstein

Steve Davis is highly regarded as one of the most accomplished trombonists of his generation and his extensive output in Chick Corea’s band ORIGIN, as featured trombonist with the Avishai Cohen Sextet, and his frequent work with David Hazeltine and Joe Farnsworth for the past several years as a member of the collectively led hard bop sextet One For All, has brought the sound of his trombone voice to audiences around the world. PORTRAIT IN SOUND, his debut CD for Corea’s recording label Stretch Records, introduces those audiences to a whole new way to enjoy his musical voice…or sound on the trombone.

At 14, Steve Davis ceased his experimentation with the trumpet, euphonium and tuba and began playing slide trombone in his junior high school band. The repertoires of trombone legends J.J. Johnson, Curtis Fuller and Bob Brookmeyer kept his interest in the trombone worthwhile and he began his life’s commitment to his instrument. Davis’ deep sense of brass authenticity was shaped by his mentor Curtis Fuller and honed with the alto legend, Noris “ Jackie” McLean who employed Davis from 1992-1997 after matriculating McLean’s African-American MusicJazz Degree Program at Hartt School of Music in the 80s. Steve Davis played in the last incarnation of Art Blakey and The Jazz Messengers and has since been a member of Origin.

On PORTRAIT IN SOUND, Steve Davis eases his listeners into his sound with an effortless interaction with their musical senses. His approach to the ten songs collected for the CD, (all of which were written by Steve except three) emphasize his mastery of the artistic and technical aspects of the trombone and its versatility as a leading or accompanying instrument. We were delighted to catch up with Steve as he prepared for his debut at The Blue Note in New York:

ALL ABOUT JAZZ: PORTRAIT IN SOUND is an exceptional collection of songs orchestrated for the trombonist. Congratulations on your debut for Stretch Records. Let’s talk a little about how you began playing trombone. It’s my understanding that you had played trumpet, euphonium and tuba, all instruments of the brass family. Why did you choose the trombone as your principal instrument instead of say, a woodwind instrument?

STEVE DAVIS: I started on the trumpet in the 4th grade but switched to baritone horn because I got braces and the mouthpiece was a little easier on the chops. I chose the trumpet because my Grandsir played it a little. But, I always had an affinity for the bass clef instruments. Actually, I wound up on the trombone as a result of playing the euphonium in my junior high school stage band. My director, Mr. Maiolo, suggested learning the slide trombone if I was really interested in playing jazz. I have always loved the sound of the euphonium/baritone horn, but when I heard J.J. Johnson, Curtis Fuller and Slide Hampton on some of my father's records, I realized that was closer to what I wanted to do. They were approaching the trombone with the clarity of a trumpet and improvising in a purely musical fashion, beyond the idiosyncrasies of the trombone.

AAJ: As the tenor instrument of the brass group, it is the only instrument that utilizes a sliding tube to change pitch rather than a shift of finger or the closing and opening of a hole. What were some of the challenges you faced when you switched instruments, i.e., the different techniques associated with playing or reflexing for valve instruments such as the trumpet or tuba?

SD: Well, for starters, executing your ideas with clarity is always a challenge on any instrument--particularly the trombone. I had been a valve-oriented player up until the 8th grade. My concert band director, Mr. Ross, showed me one afternoon at the end of the school year, the correlation between the valve fingerings and the slide positions and how they both relate to the same overtone series. My main instrument continued to be the tuba until midway through the 10th grade. I had no formal trombone lessons for the first two years that I played it, but I was learning the slide on my own at home while listening to my father's jazz and blues record collection. Perhaps in some ways I developed some poor habits technically because of this, but in the end I'm glad to have found my way around the horn this way--I think it helped me cultivate a natural feel for the instrument. Nonetheless, technique continues to be something that I work on every day... with the intent of being able to play anything that you want, or need to play. Just listening to J.J. Johnson's mastery of the slide trombone on recordings, and the way that he translated and edited the language of Charlie Parker, Dizzy Gillespie, Thelonious Monk and Bud Powell to the trombone is enough to keep you practicing forever.

AAJ: Many of your fans that have listened to your CD PORTRAIT IN SOUND have not actually SEEN you play in concert and don’t realize how well you have mastered the standard technical challenges of professional performance such as breathing, embouchure, articulation and slide techniques. What do you consider the most important aspect of embouchure awareness and the development of air support?

SD: First of all, I'm flattered but I am far from mastering these technical challenges and consider technique a necessary means--but not an end-- for creative expression. One of the most important things a brass player, or any wind player, can do every day is long tones. I do this for 20-30 minutes daily before any other practicing. This provides a core to your sound by constantly focusing your air and embouchure. It's like a basketball player shooting a certain number of free throws every day. Some days may feel better than others, but over time you develop consistency. When I don't do my long tones it almost feels as if I haven't bathed or brushed my teeth that day--not so good. Steve Turre was one of the first people to stress the importance of long tones--soft and loud, to me. My trombone teacher at the Hartt School, Ron Borror, was the first one to explain to me that there are three elements involved in producing a sound on a brass instrument: wind, embouchure, and articulation, and that none of these elements should be dependent on another. Curtis Fuller describes it as having your "air column" moving and the articulation comes over that. He also plays with a very smooth wrist/arm motion. He's never "muscling" the horn. But I have learned by watching many of the masters play regardless of their instrument. Jackie McLean looks like he's swinging -- never mind all the stuff that he's playing! He projects total conviction when he's playing the saxophone. Just watching Miles Davis, John Coltrane or J.J. Johnson's stance and body language is worth 1000 lessons. The great Arnold Jacobs described playing a brass instrument as "Wind, Song, Wind". You have to hear the music in your head and have the desire to express it -- it just so happens that you are blowing a trombone to do it. Like Prof. William Fielder, the master trumpet teacher at Rutgers University once told me, "The trombone is only a mirror of the mind."

AAJ: Do you also play the alto and/or bass trombones?

SD: No. I pretty much stick to the straight, tenor trombone. Although the size horn I've been playing for years -- a large bore Courtois model 155 -- is more like a "baritone" trombone than a tenor. Steve Turre and I have discussed this many times.

AAJ: What musical pieces were required studies when you began playing trombone that enabled you to advance your mastery of the scales, chords, arpeggios and the building of your jazz repertoire?

SD: Well, throughout my classical studies in high school and college I worked on some of the standard trombone repertoire, orchestral excerpts, concertos, etc. The Rochut etudes are very helpful to work on for smooth technique and there's the Arban's book. Honestly, I dreaded practicing the purely technical exercises and avoided them for many years. I always tried to play the tunes and phrases I heard on records, or that other guys were playing at school... only the things that caught my ear. That was good for developing my ears and learning repertoire -- standards, etc. I got away with that way of practicing for a while... but, then it began to dawn on me that in order to really play on any kind of proficient level, you need to have not only a technical command of your instrument and basic harmony and rhythm, but an arsenal of ideas at your disposal when you're improvising. I practice various scales, arpeggios and chord sequences all the time now. There's nothing "artificial" or "sterile" about it... it's all in your delivery -- the magic is in your sound, and in your time... and the way you interact with the musicians that you're playing with. It's important to understand all the instruments -- particularly the rhythm section... and to learn their roles, their language. When I play, I like to be almost like the fourth member of the rhythm section sometimes... not the horn out front with rhythm accompaniment. But, in order to do this, you have to know how to "talk" with the pianist, bassist, and most importantly, the drummer.

AAJ: On your original composition, “Portrait In Sound” you mention that you wrote this song specifically for this recording. What or who was the inspiration for this song?

SD: I wanted to write a unison line that would sound good for the trombone/vibes frontline. But, compositionally the piece is influenced by some of the things I've heard Eric Alexander play and compose... as well as Steve Turre. I've had the privilege of working extensively with Eric for the past six years, most often in the collectively led sextet, One For All. His playing, writing and personality have been a tremendous influence on me. Of course, I came up greatly admiring Steve's work... especially with Woody Shaw's Quintet. The inspirations for “Portrait In Sound” are my very dear friends from Japan, Mr. Michiharu and Michiko Saotome. Michiharu did the illustrations on the CD and Michiko is a ballet dancer/teacher.

AAJ: There are some really great guests on the CD including several of your Origin bandmates, Steve Wilson, Avishai Cohen and Jeff Ballard along with Brad Mehldau – all adding their brilliant musical perspectives. They truly embody your sensibilities and I’m sure you’ve all honed your performance skills, techniques and improvisational concepts by working together so often. What’s is like working with them?

SD: We’ve all learned a great deal working together with Chick Corea. He’s a diligent, productive, yet constantly creative and brilliant musician. It's been terrific playing with Steve, Avishai and Jeff, not only in Origin... but in Avishai's group, as well. Steve has an incredible ability to mold his playing to any situation. He's very musical and easy to blend with. (He and I love to talk sports on the road, too!) Jeff and Avishai are very creative, inspired musicians and bring a broad palate of influences and approaches to each setting. Playing with them the past few years has brought me to many different places, musically and geographically! Brad and I go back to our early days in Hartford, CT. He's always been one of my favorite pianists. For all of Brad's remarkable capabilities on the piano, his playing is very empathetic... pure music!

AAJ: The members of your core ensemble for your PORTRAIT IN SOUND debut include vibraphonist Steve Nelson, David Hazeltine on piano and Fender Rhodes, Nat Reeves on bass and Joe Farnsworth on drums bring your musical visions to life and distill your essence throughout the set. What brought this particular ensemble together and had they performed your songs prior to the session in a ”live” performance?

SD: I chose this group of musicians based on the feeling that each of them gives off when they play. I've admired Steve Nelson's approach for many years... and it goes way beyond the fact that he plays the vibes. Sure, I love the sound of the instrument. But, I love to play music with Steve Nelson... that's how I feel about Dave as a pianist, Nat as a bassist and Joe as a drummer. Each has a very hip, tasteful concept... and we're all great friends. Nat was one of my teachers at the Hartt School. We played in Jackie McLean's sextet together for six years -- traveled all over the world together. He's my son's godfather. We're very close friends and I think that feeling comes out in the music. Dave, Joe and I have worked together with Jim Rotondi, Peter Washington and Eric Alexander in One For All for years, in addition to playing together in various configurations on many gigs and record dates. When I stay in New York City, I live at Joe's place... we're practically like brothers. We've all hung out, listened to and talked about music so much, that when it's time to play, the rapport is there automatically. We're very aware of one another's playing... strengths and weaknesses... likes and dislikes... so, there's a combination of challenge and comfort. You can't sit back and play the same old stuff, because everyone's always progressing -- and pushing each other. At the same time, you always know you can count on the cats... on and off the bandstand. That is truly a privilege.

Anyway, the quintet did have a weekend engagement at Smoke Jazz Club in New York City just prior to the recording date and were able to try out some of the music. But, most of it was new, so it wasn't like we had really been able to delve into the music like you would if the band had been working for several weeks, or months prior to the date. It was all pretty fresh.

AAJ: It sure is fresh! The blend of the trombone out front along the vibraphone is not usually a common jazz instrumental set up. Why did you decide to put these two instrumental voices together?

SD: As I said earlier, I'm very fond of the vibes -- Milt Jackson and Bobby Hutcherson are two of my absolute favorite musicians -- and loved the Timeless All-Stars sound with Bobby, Harold Land and Curtis Fuller on the front-line. My previous CD, "Vibe Up" on the Criss Cross Jazz label featured a front-line instrumentation of trombone, Steve Nelson on vibes, Peter Bernstein on guitar and Mike DiRubbo on alto on three tunes. For "Portrait In Sound," I thought it would be different to let the trombone voice stand out as the only horn, but still have a second voice (vibes), or "foil" to write for, as well as adding to the overall texture.

AAJ: Do you ever play with a “plunger and a mute” as many of the trombonists in Duke Ellington’s band did or in the “open horn plunger style” as the trombonists in Count Basie’s orchestra did?

SD: I seldom do. I certainly have listened to and enjoy the great plunger players, like Tricky Sam Nanton, Al Grey, Quentin Jackson, Cootie Williams, Clark Terry, etc. But, for the concept that I'm trying to develop, the plunger just isn't in the picture... for me. There are too many chord changes moving by fast... but, more than that, it's an idea for sound... I'd rather draw people in -- engage the listener that way --it’s just a matter of personal taste. Now that's just me... some guys are meant for the plunger and play the heck out of it -- Steve Turre and Wycliffe Gordon come to mind. But, at this point, that sound just isn't where I'm going…. I've always been drawn to guys like Miles Davis, Kenny Dorham, Chet Baker, Art Farmer, Donald Byrd or Clifford Brown, Lee Morgan, Freddie Hubbard, Woody Shaw... J.J. Johnson, Curtis Fuller, Slide Hampton, Bob Brookmeyer, Julian Priester, Grachan Moncur... even Frank Rosolino and Carl Fontana... I don't recall any of them playing the plunger on record, or at least not very often.

AAJ: I agree with you since many of the trombone players on the jazz scene today aren’t into playing with the plunger except for Steve Turre. There may be some that I’m unaware of at this writing. I did have the pleasure of seeing Steve Turre play his trombone with a plunger and pixie mute (the Ellington style) as well as seeing the dynamic trumpeter Arturo Sandoval at the Old Pasadena Jazz Festival. He played his trumpets with a plunger and an assortment of mutes.... Both men played awesome sets! Are you performing songs from PORTRAIT IN SOUND this year in concert and if so, where can your new fans see and hear you?

SD: Yeah, sure. My quintet played Mon. Jan. 22nd at the Blue Note in NYC. We'll be appearing at Smoke in NYC this Spring/April or May... and are working on some dates around the Northeast in April-May... Philadelphia, Boston, Hartford and a tentative weekend in Pittsburgh in July... all these dates are still coming together. I'll also be working with Michael Weiss' sextet in Washington, DC on April 21st, at Smoke with Mike LeDonne in February and with One For All throughout the year... and hopefully, with Avishai Cohen's group, as well. There are some dates with Slide Hampton's World of Trombones in the planning stages, too. Also, I will be on the faculty at the Stanford Jazz Workshop this summer July 28 - Aug. 11.

AAJ: Steve, that’s great. We’ll be looking forward to seeing you in concert and once again, thank you and congratulations on PORTRAIT IN SOUND.

SD: Thank you.