David Hazeltine: Modern Standards
AAJ: Sounds like you've got some ideas about how. There's something else I wanted to touch on. There's a point in your solo on "Witchcraft" from the new record where you start to play what people may refer to as a little outside of the changes or somewhat free-ish, open. It was a long phrase and it wasn't just kind of outlining chords and stuff like that. It had a real internal logic and at one point seemed to break away from the tune in one sense. But in another sense it was still right there with what the rest of the guys were playing. I liked it. I'm wondering if you've played more in that kind of style and what you think about some players that do more of that kind of thing.
DH: I do play that kind of style, in the proper context. That record [Modern Standards] to me wasn't necessarily the proper context. You'll hear moments of it here and there. But this is one of the reasons I came to New York and love living in New York, to be a sideman musician, not just a leader. To be involved in other peoples' recording projects because everybody writes different stuff and has different concepts. The free-er the better as far as I'm concerened when I'm the sideman (Laughs). I'm not saying 'out out' music. I don't know if I could handle a whole night of no tempos, no keys, no chords, no nothing. That might not be my thing. But free-er forms, and free-er expression within, at least tonal jazz as we know it, is something I really enjoy doing. Especially with other people's music. So, yes. the answer is yes (Laughs).
AAJ: Well... Anything you'd like to mention. Anything you'd like people to know about before we...
DH: Uh... (Pause). Let's see...
AAJ: Tell everybody to come out to Japan (Laughs. He's going there to play).
DH: Yeah, come on out to Japan. I'd like to add how I really don't like how the airline company is screwing me. They won't allow me to upgrade my ticket on my flight tomorrow. I with them as much as possible. I save all my points just for this reason. I go to Japan sometimes as much as three times a year and the flight is 14 hours. It's unbearable for me to sit in a tiny seat for 14 hours. So I save all my frequent flyer points so that when I go to Japan I can upgrade to business. The problem is the promoters buy the tickets and they get you the cheapest fare ticket. But the airline is not allowing me to upgrade this time. Put in a dig to them in the interview (Laughs). Just kidding. That's the only thing on my mind right now other than this interview is just... I hate them! (Laughs). But anyway, I appreciate the interview. Let me know when it's up there.
AAJ: Definitely will do that man.
Visit David Hazeltine on the web.
David Hazeltine, Modern Standards (Sharp Nine, 2005)
David Hazeltine, Close to You (Criss Cross, 2004)
David Hazeltine, Manhattan Autumn (Sharp Nine, 2003)
David Hazeltine, The Classic Trio Meets Eric Alexander (Sharp Nine, 2002)
David Hazeltine, Senor Blues (Venus, 2001)
David Hazeltine, Good-Hearted People (Criss Cross, 2001)
David Hazeltine, The Classic Trio, Vol. 2 (Sharp Nine, 2001)
David Hazeltine, Blues Quarters, Vol. 1 (Criss Cross, 2000)
David Hazeltine, A World For Her (Criss Cross, 1999)
David Hazeltine, How It Is (Criss Cross, 1998)
David Hazeltine, Classic Trio (Sharp Nine, 1997)
David Hazeltine, Four Flights Up (Sharp Nine, 1995)
David Hazeltine: Making It Mean Something