By Jim Santella
A touring jazz string concert of violin masters called Four Generations of Jazz Violin has had considerable success reminding the public that strings can create a unique improvisational fire when the setting involves jazz. Inaugurated in 1998, the ensemble has included violinists Johnny Frigo (swing), Joe Kennedy, Jr. (bebop), Darol Anger and Matt Glaser (modern) representing three generations. Violinists Sara Caswell, Regina Carter and Sheri Margrave have each represented the younger generation with this unique ensemble. The annual conference of the International Association of Jazz Educators has, in years past, also served to remind the general audience through performances that violins play an important role in todayÃÂs jazz world.
Born in Monroe, Louisiana, Sheri Margrave began violin study at an early age and made her debut with the New Orleans Philharmonic. A 1993 graduate of Stetson University, she has studied recently with jazz educator David Baker. Our recent conversation was through email.
All About Jazz: What was new at IAJE this year?
Sheri Margrave: A lot! It was a great conference, especially since it was held in New Orleans. What better place to hold a conference of jazz professionals than the birthplace of jazz?
But there was something missing, and quite glaringly. Darol Anger was there and myself, & we both noticed that jazz strings (performances, clinics) were missing from the program. We were grousing about it and decided that now is the time for action. It turned out that there were other jazz string players at the conference... violinists, cellists, etc. We've all been busily running about as separate entities, each doing our own thing. So now we have all gotten together, with Darol spearheading it, to make a huge surge in our presence at upcoming conferences. I have assumed the task of heading up the committee for jazz string teacher training. One of the reasons that we don't have more jazz string players is that string teachers don't know how to teach jazz! Makes sense, doesn't it? How can we expect them to teach jazz when they can't blow over a 12-bar blues? So, I've jumped in with both feet.
AAJ: What can colleges and high schools do to increase visibility for their string jazz programs?
SM: One thing that they can do is to get involved with organizations such as IAJE. I don't mean on a superficial basis, but at a deeper level. The first step is to join. Then, they need to take advantage of the conferences by submitting tapes of their groups for performance consideration. They can increase visibility 200% by attending the conferences, even if they're not performing. The number of jazz string players now attending is considerable! The networking factor always leads to greater exposure.
AAJ: Oftentimes wind players get their needed jazz experience by working with big bands. What can a violinist or cellist do when just starting out?
SM: I'm finding that violinists are now participating in jazz ensembles, changing the standard instrumentation formula as needed. The only obstacle to overcome in such a situation is the micÃÂing aspect. However, there are now terrific systems for these string instruments that allow you to be heard. Another avenue for experience is to play in a jazz string group. One more thing... don't be shy about it. Walk right up to the director and ask to audition or find out what the situation is. You'd be stunned at the number of jazz ensemble directors whoÃÂll welcome a new instrument into the group. It gives them all sorts of new avenues to explore musically. I get so excited when I see a group that has one lone violin or cello in it. It's such a rush!
Also, you need to just get out and sit in with groups as much as possible. The old way of absorbing jazz still rings true... you know, "hands-on" training... or in our case, "fingers-on" experience. [Laughing] No amount of theorized class training will put jazz in your ear better than just pumping it out with a group. And don't be afraid to make mistakes. I always say, "If you're going to make a mistake, make it one they'll remember". [Chuckling] I've made my share, that's for sure. It's like riding a roller coaster. Once you go over that first drop and get your stomach out of your mouth, you think, "Hey, that wasn't so bad!"
AAJ: Is it possible to be expert in both the classical and jazz fields? DonÃÂt you have to sacrifice one to excel in the other?
SM: Sure, I think it's possible to excel in both fields. The old mindset, of course, was that you could only do one or the other. Not true! The human mind has an endless capacity and flexibility & that's where most of the limitations are -- in the mind. You do, however, have to get a solid background in both fields, and it can be overwhelming. But I firmly believe that if you want to do it badly enough, then you can. I'm seeing a lot more players these days crossing over into different genres with great success. One important aspect to remember, though, is that you have to put in the time. There's nothing worse than a mediocre attempt. It's disrespectful to the music and to the musicians who initially laid that foundation.
[Laughing]
The biggest sacrifice is that you don't have time for much of anything else.
AAJ: Where would young string players who are just starting out be getting their jazz inspiration these days?
SM: Young string players today are so incredibly lucky in that they have more jazz violinists to listen to than ever before. The number of wonderful improvising players is mind-boggling.... Johnny Frigo and Joe Kennedy, Jr. are fantastic inspirations. Darol Anger, Matt Glaser, Tracy Silverman and David Balakrishnan are also mind-bending. That's just off the top of my head, though. There are many others.
AAJ: And how about you, Sheri? What made you want to play jazz violin?
SM: It was a combination of a lot of things, really.
Growing up in Louisiana, I was exposed to jazz constantly. From the improvising aspect, I've been doing that since I was about 10 years old. I started playing with a band at that age. Seriously! The funny thing was that I wasn't even playing violin, but I was on keyboard. There's a really funny story about how that came about, but I don't talk about it much... it was so embarrassing.
As for the violin, I've always played in some group - whether it was Cajun, rock, or whatever - that allowed me to be creative. So it feels pretty natural to foray into jazz.
Another thing that nudged me along was that it was becoming more difficult for me to play only orchestral music, sitting under a conductor's baton. I adore classical music. After all, that was what I was trained in - but even when you're the concertmaster, you're still bound under his or her interpretation of the music. And the music itself carries a strict set of traditional rules. There is no freedom. Then one day, someone told me that I should listen to the Turtle Island String Quartet. The first time I heard them, I had to sit down. I couldn't believe what I was hearing! These four guys were playing jazz and it was fantastic! At that point, I started bugging poor Darol (Anger), got every recording they had, and from there started listening to the older guys: Stephane Grappelli, Joe Venuti, Eddie South, and my personal favorite, Stuff Smith. He brought out the emotional voice of the instrument more than anybody did. It's wordless dialogue to the max.
AAJ: They were pioneers. Ray Nance, too. Do you feel like a pioneer in today's changed jazz world?
SM: With regard to the aspect of moving jazz violin forward into a new era, I'd like to think so. But all of the forefathers were the pioneers of foundation. I guess maybe I feel more like a hired carpenter, sometimes. [Big grin] I feel like I'm hammering new nails of creativeness into what was laid previously. Sometimes I bang my thumb with the jazz hammer and scream. Other times I think, "Hey, I added something vital here!".
AAJ: Is the solo violin restricted to melody, or do you provide other aspects as well?
SM: That's a common mistake. People often assume that the violin is strictly a melodic instrument. I can provide a lot of rhythmic activity. For example, chopping, which is basically putting a back beat down. There are other nuances such as col legno, etc.
AAJ: You stand up when you perform. How does that help?
SM: I feel so much more uninhibited when I'm standing. I move around a lot when I play, just because when I feel the music my body goes into action. If I'm really into it, it just happens.
My feet have a mind of their own, and I've been known to break into a jazz tap sequence while I play. Much of the time I wear taps on my shoes because of this fact. Music and dance go hand in hand and you'd have to nail my feet to the floor to get me to stay in one spot. Plus, I use a wireless micÃÂ system on my instrument, which frees me up to move around.
AAJ: How do you deal with distractions during a performance?
SM: Things like people rattling candy wrappers and that sort of thing don't bother me at all. I really can't even hear it unless I'm playing a ballad or at a very pianissimo level.
But major distractions always happen. For example, when your body-pack for your wireless micÃÂ falls off, or your shoulder-rest collapses. I just keep going and figure out a way to make a joke about it. I've had both of these things happen before and that's only the tip of the iceberg. There was the time when I went to hit my tap on the floor and my shoe went flying into the front row, or the time the zipper on my dress decided to start undoing itself. It can get pretty funny. You name it and I've had it happen to me. [Large grin] You just have to realize that it's all minor stuff, even if it does seem major at the time.
AAJ: What's your preferred instrumentation for a jazz performance?
SM: That depends on the situation. My favorite instrumentation is violin with rhythm section. I also like to add in one or two unusual instruments; diverse percussion, for example.
AAJ: What gripes you the most about performing?
SM: There's absolutely nothing about the act of performing that gripes me. It's my lifeline. My gripes wind up being along the lines of technical issues, such as sound engineers in different venues.
AAJ: From your web site, I see that you began studying violin at age 5. How can that be accomplished before learning to read or write?
SM: It's done by ear, basically. You're taught the basic technical aspects of the instrument (i.e. position, how to hold the bow, etc.) and you learn it by rote. Then as you go on, you begin the process of learning music notation. I've had students as young as 2 years old!
AAJ: You're working with Vassar Clements next month?
SM: Yes! We're doing a fiddle workshop at The Florida Folk Festival. We do it annually and I have to say that's one of the events that I most look forward to every year. He is one of the most amazing musicians I've ever met. Now there's a story for you. Vassar, to this day, does not read one note of music. His playing comes whole-heartedly from inside. And his technical ability is virtuosic, to say the least.
We sort of adopted each other, after being introduced by Darol Anger a few years back. And we're (tentatively) going to be doing a yearlong master/apprenticeship beginning in September, which is funded by the state of Florida. I'm so excited!
AAJ: How is working with Vassar Clements different from working with, say, Natalie Cole or Ray Charles?
SM: One difference is their given personalities. Ray is very intense. He's such a perfectionist. But he's also wickedly funny. One thing I love to rib him about is his stage jackets. After one show, I said, "Ray, that new jacket is so deluxe, but it's so..so...bright." He said, "Yeah, baby, that's how I was blinded!"
And you should hear him talk about his driving (automobiles). Natalie is very quiet, but has a
biting sense of humor you can miss if you're not listening. Vassar is laid back. Playing with Vassar, there are no charts...ever. But working with all of them is wonderful. Stevie Wonder is another great one. Somebody should put him under glass and study him.
AAJ: Do you listen to recordings of yourself?
SM: Yes, I have to listen to myself, but I also have to say that it's not my favorite thing to do. I'm so critical of my playing sometimes, but I know that it must be done, in order to be able to improve certain things and fine-tune my ear.
Sometimes musicians are their own worst critics. [Grin]
AAJ: Is the jazz jam session helpful for a violinist? Is it essential?
SM: It's absolutely essential. You can't beat our jazz forefathersÃÂ method of jamming to truly learn jazz. That, coupled with technical study, is what makes the immersion process complete. You need both. Think back to the jazz musicians back in the early 1900's.... they closed their eyes and jumped in feet first, warts and all.
I don't like so-called "cutting contests," though. We don't need to be trying to outplay each other. We just need to focus on creating the best music possible. There's always a certain amount of competition, I guess. It's the nature of the beast. But I'm not interested in out-playing anyone. I just want to do justice to the music.
AAJ: I hear you have an album in the works.
SM: Yes, finally! Actually, it's been in the works for quite awhile. I had originally planned to do it last year, but unavoidable pitfalls came up, so it was postponed. It's tough trying to do your first album when you've always played on other people's records. I've always gone in, everything's been set up already, and IÃÂve played my part(s), and then left. I feel like a babe-in-the-woods as far as the recording process goes. I'm learning so much, though... everything from budget to engineering basics to what to put in the studio refrigerator for breaks. [Grin]
Darol Anger, who is just the greatest guy, has given me more valuable advice than I can tell you. I wasn't embarrassed to ask for the help. I also decided for my first release that it would be better to bring in a co-producer, Ken Moulton, than attempt to do it all on my own. I really want to focus on the artistic side of things and learn as much about the other things as I go. It's difficult to attempt to wear all those hats at once. I don't have that many heads!
The album will be entitled Blue Sunrise, and will have a few standards, some originals, and my two favorite jazz fiddlers playing duets with me as guest artists. Darol has written a great tune for us to play called "SneezinÃÂ," and then Vassar and I are doing one that he penned for me called "Change of Pace." I feel honored to have both of these great jazz violinists on the recording. Life doesn't get any better than this.
AAJ: Thank you for sharing with our All About Jazz readers.
SM: Thanks for the opportunity and a terrific chat!
Copyright é 2000 by Jim Santella for All About Jazz.
