Adam Rogers: Tonal Beauty
AAJ: Let's talk about the differences and similarities between the two records.
AR: It's hard for me to say, you know, I'm pretty subjective. I think there's probably a little less straight swinging things on Apparitions than there is on Allegory or Art of the Invisible. In conceiving all three of the records I've had a backlog of compositions that I wanted to record. I think with Allegory and Apparitions I wrote a lot of the material a couple of weeks before doing the record, which I like because the record ends up being a document of one period. All three records, I think, were realized in the way that I wanted them to be realized.
It would probably be easier to ask this question to somebody else who's familiar with my music. I don't think of any of them as better or worse. I feel like my playing is stronger now. I have a clearer idea of how I like to have my guitar recorded. Also because it's a one day recording, it's such a blur, which is what I love and also what is incredibly challenging about it. What I like about it is the fact that you have no time to reflect, it's just like whatever happens. I'm really into the idea of being able to pull it off. All my favorite jazz records in the world were done in maybe two days. I think every Blue Note record was done in probably a few hours. I'm writing a lot of music that's very hard to execute, but still if you didn't get it in three takes you're not necessarily going to get it in eight takes.
AAJ: Yeah, it captures the essence of jazz, which is improvisation. Let's end with what's going on right now and what's going on for the future.
AR: Well I'm thinking about what my next record's going to be and I'm not completely sure what that is right at this moment. And I'm continuing really along the same lines that I've been continuing on, trying to do more and more work as a leader. I've been working with John Patittuci, in a trio with him, and either Nasheet Waits, Antonio Sanchez or Clarence Penn, and investigating a lot of different kind of classical and jazz things that we do. John is a phenomenal acoustic and electric bassist. That's also a nice outlet to play some of my own tunes trio as well because John's really open to that. And then the various record dates that I do relatively consistently, which I love. I'm doing a smattering of recording in New York and touring, but a nice combination of both.
AAJ: Are there any specific goals you want to accomplish in the next ten years or fifteen years?
AR: It's sort of along the lines of what I've been doing. I'm trying to just develop as a musician, trying to develop as a composer, trying to find new ways of writing music and playing that I haven't discovered as of yet to keep it interesting for myself. I have a few different projects that I will record in the near future. I'd also like to do a solo record.
AAJ: Adam, thank you very much for your time.
AR: Thank you.
Adam Rogers, Apparitions (Criss Cross, 2005)
Edward Simon, Simplicitas (Criss Cross, 2005)
Terri Lyne Carrington, Structure (ACT, 2004)
Erin Bode, Don't Take Your Time (MaxJazz, 2004)
David Binney, Welcome to Life (Mythology, 2004)
Adam Rogers, Allegory (Criss Cross, 2003)
Randy Brecker, 34th N Lex (ESC, 2003)
Michael Brecker, Wide Angles (Verve, 2003)
Josh Roseman, Treats for the Nightwalker (Enja, 2003)
David Binney, South (ACT, 2003)
Adam Rogers, Art of the Invisible (Cross Cross, 2002)
Scott Colley, Trouble in Paradise (Palmetto, 2002)
Chris Potter, Traveling Mercies (Verve, 2002)
Alex Sipiagin, Hindsight (Criss Cross, 2002)
David Binney, Balance (ACT, 2002)
Fima Ephron, Soul Machine (Tzadik, 2001)
Norah Jones, Come Away With Me (Blue Note, 2001)
Randy Brecker, Hangin' in the City (ESC, 2001)
Bill Evans, Touch (Zebra, 1999)
Lost Tribe, Many Lifetimes (Arabesque, 1998)
Alex Sipiagin, Images (TCB, 1998)
David Binney, Free to Dream (Mythology, 1998)
Bill Evans, Starfish and the Moon (Escapade, 1997)
Groove Collective, We the People (GRP, 1996)
The Tango Kings, Tango Kings (Big World, 1996)
David Krakauer's Klezmer Madness!, Klezmer Madness! (Tzadik, 1995)
Randy Brecker, Into the Sun (Concord Jazz, 1995)
Lost Tribe, Soulfish (Windham Hill Jazz, 1994)
Bill Evans & Push, Live in Europe (Lipstick, 1994)
Walter Becker, 11 Tracks of Whack (Giant, 1994)
Lost Tribe, Lost Tribe (Windham Hill Jazz, 1993)
Phillip Johnston's Big Trouble, Phillip Johnston's Big Trouble (Black Saint, 1992)
John Zorn, John Zorn's Cobra Live at the Knitting Factory (Knitting Factory, 1992)
Mel Gibson & Branford Marsalis, David and Goliath (Rabbit Ears, 1992)
David Binney, Point Game (Owl, 1989)
Adam Rogers Discusses His Imminent Debut Release and More
Top photo: Lourdes Delgado
All others: David Korchin