Jim Rotondi: Trumpet Man Seeking New Pleasures
“ Technically able to execute whatever his creative muse so dictates, Rotondi is a polished artist who speaks with conviction and a strong emotional base that makes his music immediately appealing. ”
While in neighboring Louisville for a Jamey Aebersold clinic, Rotondi took the stage for two nights at Cincinnati's Blue Wisp where he and the Phil DeGregg trio locked in tight for some great mainstream fare that never failed to impress from one tune to the other as well as from one set to the next. Technically able to execute whatever his creative muse so dictates, Rotondi is a polished artist who speaks with conviction and a strong emotional base that makes his music immediately appealing. A week later, Rotondi was back in New York and we were able to briefly chat by phone and catch up on a number of things including his two new records.
Jim Rotondi: Well, first of all, if you look at the recording dates they were recorded within three weeks of each other and that for me is unprecedented. A record date for me is a big process and I like to have a much stuff prepared to be really ready for it and so to be prepared for two dates was a lot. As for The Pleasure Dome , [producer] Marc Edelman and I had talked about doing something because it had been over two years since my last one for Sharp Nine, Destination Up. This record went through many different personnel configurations before the one that ultimately ended up being used and originally we had talked about doing a quartet date with a lot of standards and try to make it a very accessible record for many markets. The addition of Jesse Davis on alto sax came about because Ira Gitler had produced a Charlie Parker tribute at Birdland about a year ago and I though that I'd like to have him do a few tunes on this record date. I think he was to be on two cuts and then as we got more into it I decided I heard him on a lot more tunes.
AAJ: I find it interesting that you haven't really picked the typical standard tunes, like you do Joe Henderson's "Step Light" and Billy Taylor's "A Bientot."
JR: The Joe Henderson tune is actually an arrangement I did for the electric band Full House that David Hazeltine and I co-lead. We actually have an upcoming release on Nagel Heyer and so that'll be our debut release for that group. I'm really excited about that because people need to find out about the group. We're really playing at a high level, but drawing from different sources.
AAJ: It's interesting because you have Dave Stryker with his Shades of Miles band and there's people like Stefon Harris doing funky grooves with a Fender Rhodes and so it seems like there's a market for the more electric types of things now.
JR: I think so too, but if you start going down the list everyone has that kind of project now- Nicholas Payton, Roy Hargrove, Joshua Redman, and Christian McBride has had one for a while. But with the exception of Christian's group, this band actually came together and started working regularly every week at Smoke in October of 2001.
AAJ: So you're not jumping on the bandwagon.
JR: We're really not, we just never got a record release, but we've been doing it for a long time.
AAJ: Well let's get back to the new records. You know, when I saw you playing in Cincinnati last week, you mentioned to me how much you had been wanting to work with Chris Potter who appears on your new Criss Cross release, New Vistas.
JR: Well, being able to record with Chris was something that I had wanted to do for a long, long time. In fact, pretty much ever since I started working with Gerry Teekens. I had recently been checking out Chris on various things, but especially on that Steely Dan record Two Against Nature. I mean, his playing on that record is burning and to have that kind of playing on a pop record is really inspiring to me. I knew he was going to bring something a little different to the table, not only in his playing but also in the tune I asked him to bring in. That tune of his that we did is definitely different than anything that I had ever recorded in several ways. Compositionally it is 'out of the box' in terms of the solo format and the kinds of chords and voicings he got were very different. I enjoyed working on that a lot.