Cleve Pozar: The Web of Percussion
Pozar was born Robert Frank Pozar in Eveleth, Minnesota in 1941, and became serious about playing the drums in high school. "One night I was listening to the radio to the Miles Davis quintet and Philly Joe was smokingand I heard the music Philly was making and I said 'I don't know what that guy's doing but I want to do that for the rest of my life.' My grades in high school went down and my Philly Joe playing went up! My big influence was Philly Joe then, and it still is. I also listened to Elvin and Tony Williams, but of course I never recorded anything like that." After high school, Pozar attended the University of Michigan at Ann Arbor, and soon fell in with composers and artists associated with experimental music, mostly through his teacher, James Salmon. "After my first semester I started playing the ONCE Festival, so I based all my later playing more on that style of percussion than anything else." The ONCE Festival was held at the University of Michigan from 1961-1966 and featured the music of composers like Robert Ashley, Gordon Mumma, and David Behrman (all of whom attended the university and who later became known in the field of contemporary electronic composition) as well as Pauline Oliveros, Roger Reynolds, and others.
Early on, Pozar met pianist Bob James, and their playing together was admittedly quite heavily influenced by working with Mumma and Ashley and the other ONCE participants. "Bob and I were working with these composers, and there was a place that we played in Ann Arbor, this artist's loft where we would go and improvise as a duo, and they would be working with the tapes and stuff. Not only that, we were in a lot of the ensembles together in the ONCE Festival. So that was a direct influence on some of what we did on that trio record, Bold Conceptions." The album featured their trio with bassist Ron Brooks and was the result of the group's winning the Collegiate Jazz Festival at Notre Dame University in 1962. Despite the presence of standards and tunes from the books of Miles Davis and Dizzy Gillespie, the music itself tugs at piano-trio convention in a constant rhythmic push-pull, with coloristic elements that utilize the inside of the piano as well as magnetic tape. These explorations would be expanded on a freer date for ESP, Explosions, recorded in New York with bassist Barre Phillips as well as contributions from Ashley and Mumma. But as Pozar puts it, "I moved to New York to study mallet percussion, and I had no incentive whatsoever to play in New York. I only wanted to study."
Through meeting and playing with reedman Ed Curran, Pozar soon became a regular fixture in trumpeter-composer Bill Dixon's ensembles. "I was not only playing in Bill's band, but I was also studying with him. At one point I hadn't taken a lesson in a couple of weeks. We were working with Judy Dunn and her dance company. Judy looked at me one day and said 'how come you aren't taking your lessons with Bill?' I told her I was broke and I could hardly buy food. The lessons were at my house; he'd come by with two quarts of Ballantine ale for us. So a day after telling Judy my story there is a knock on my door. Bill walks in with two bagsone is filled with food and the other is filled with Ballantine. He goes to the fridge and puts in the food then opens up two Ballantines, hands one to me and says 'now play the lesson.' I did and he said 'don't ever do that to me again.' I never forgot that." Pozar recorded with Dixon on the trumpeter's watershed 1967 RCA-Victor date Intents and Purposes: The Bill Dixon Orchestra and also recorded as a leader for Savoy, Good Golly Miss Nancy, through Dixon's production and tutelage.