Mike Mainieri: Man Behind Bars
Mainieri may not have the instant name recognition of peers like Gary Burton, or even younger players like Joe Locke, Stefon Harris or Steve Nelson, but you can be sure that if you asked any of them who was registering on their radar as they were coming up, Mainieri's name would be high on the list. Rather than being pigeonholed into any particular style, Mainieri whose unorthodox four-mallet grip allows him a flexibility few others can matchhas done it all. Fusion, funk, straight-ahead, world music, free improv ... these are all but a part of Mainieri's seemingly encyclopedic purview. And while others stay away from innovations going on elsewhere in the world, Mainieri regularly collaborates with artists from Spain, Italy, Holland and Norway.
He continues to tour with Steps Ahead, his longstanding group with a membership that reads like a who's who of New York jazz from the past three decades, including saxophonists Michael Brecker, Bob Berg and Donny McCaslin, pianists Don Grolnick, Eliane Elias and Warren Bernhardt, guitarist Mike Stern, bassists Eddie Gomez, Daryl Jones and Marc Johnson, and drummers Steve Gadd, Peter Erskine and Steve Jordan. He's worked with some of Norway's most intrepid innovators on Northern Lights (NYC Records, 2006), a seamless blend of technology and conventional instrumentation featuring trumpeter Nils Petter Molvaer, guitarist Eivind Aarset, keyboardist Bugge Wesseltoft, live sampler Jan Bang, saxophonist Bendik Hofseth and turntablist DJ Strangefruit. And he's reformed one of his earliest collectives, L'Image, with Bernhardt, Gadd, bassist Tony Levin and guitarist David Spinozza, for a long overdue first album, 2.0, and a series of tours that will ultimately yield a live CD and DVD.
After a couple years' break to take care of a family health crisis, Mainieri is back and busier than ever. But before getting a big picture of what the vibraphonist has in mind for the future, a look at how he got here in the first place is in order: growing up during World War II in the Bronx, getting his first break with drum legend Buddy Rich, and becoming a hippie during the 1960s, at a time when most artists his age were striving to retain purity in jazz.
- Growing Up in WWII New York
- Mainieri's First Big Break
- Dropping Out, Tuning In and Turning Up
- Seventh Avenue South and the Emergence of Steps Ahead
- Synthi-Vibes and The New Sting
- The Norwegian Posse and Northern Lights
- American Diaries and Behind Bars
- Dee Carstensen and Marnix Busstra
- L'Image 2.0 and The Future
- Mainieri's First Big Break
Growing Up in WWII New York
Mainieri's early days sound like the stuff of a Martin Scorsese film. "I came from a family of jazz fans," explains Mainieri. "A family that listened to opera and classical music. I had aunts and uncles that were show biz wannabes, not really professionals, but they were into the Big Band era. We were very poor, so there was the radioand a phonograph, when I was older. But I did have an opportunity to go and listen to Broadway shows; when I was a kid in the '40s, you'd go and it was 75 cents. So that was me hearing music for the first time as a little kid. We had a small piano, half a drum set, and my step-grandfather's guitars (he was also a good bebopper), and I was plunking around. My grandmother gave me piano lessons, and I started playing music when I was eight or nine, and later went to a private music school."
Most artists have a story about how they came to their instrument, usually being moved by hearing someone else play. But thenas nowthe vibraphone wasn't exactly a popular instrument, and in Mainieri's case, the story goes a little deeper. "My mom was instrumental in my playing the vibes," he says. "I had heard Lionel Hampton playing with Benny Goodman, and Red Norvo, along with Bags (Milt Jackson). I loved the Norvo trio with [guitarist] Tal Farlow and Charles Mingus, and my grandfather was a big Tal Farlow fan. My mom heard Marjorie Hines; there's a great photo of her on 52nd street playing with Bird [Charlie Parker], I'll always remember that. My mother liked the sound of the vibes, and she said, 'I want you to play this instrument,' and I said, 'Yeah I'd like to have a vibraphone.' But, of course, we couldn't afford it, it was too expensive. So she went to work for two years in a sweatshop, because my dad said, 'No way can we afford this,' so my mother said, 'I'm going to do this for Michael.'
"She went to work, and I remember sitting underneath in the sweatshop, maybe 30 women in a basement," Mainieri continues. "They were putting beads and all sorts of stuff on dresses. It was really hard work, and I would sit underneath the frame they had for each woman, and there were all these conversations and gossip and stuff, and I realized how hard she worked. Then my father found my first set of vibes, and he tried to track down a jazz teacher."
From the earliest days with the instrument, Mainieri's approach to four-mallet playing was unconventional. "Through a friend," the vibraphonist explains, "my mom found this terrible alcoholic, and he taught me this weird grip. I don't use the Burton grip or any of the common grips; [instead] I put the outside mallet between my pinky finger and my ring finger," rather than between the index and ring fingers. "Which is treacherous," Mainieri continues, "it doesn't belong there. The most powerful grip is [one mallet] between the thumb and index finger, [and the other] between the index finger and middle finger. But it's a static grip; you have to move your elbow when you're playing. With the grip of the pinky, you're moving the inside of your hand. The mallet acts as an extension of one of your fingers. You can move chromatically very quickly with very little movement of your elbow; with any tight interval [you can move] up and down the vibraphone quite quickly.
"So," Mainieri continues, "my mom would bring a bottle of wine and two dollars for the lesson, take three trains to the Lower East Side where all the hobos lived, where he [Mainieri's teacher] lived in the tiniest room you could imagine, with a cot and a set of vibes. I remember he used to be a stamp collector, and she'd wake him uphe was completely drunkand give him some liquor, I'd wait outside, and he's tried to feel her up or something [laughter]. She'd go through terrible abuse and she'd give him the two bucks and say, 'Give my son a lesson.'
"My mother is still alive, she'll be 101 in November ," Mainieri concludes. "She made sure I didn't wind up in a gang or in jaila lot of the kids wound up in trouble in my neighborhood, it was a gang-infested area. My brother and I played guitar a long timehe went into business, he never played professionally, he would be my accompanist when I practiced, he and my step-grandfather. So we had this close family, where we would gather every weekend and put on these sort of radio shows, as if we were really recording. I had an uncle, who'd be the emcee, and everyone in the family performed. So I was 12 and already playing, already improvising."
Twelve and improvising may not seem like much these days, but 14 and gigging was no mean feat then, nor is it now. More than that, Mainieri also began taking the reins as leader at an early age. "I started to play some local gigs," Mainieri explains, "and when I was 14, I put together this trio with a 16-year-old bassist and a younger girl on the guitar. We entered a contest on Paul Whiteman's TV Teen Club in Philadelphia, and we won. I started playing the usual weddings and dances but always as a bandleader. I realized at an early age that, as a vibraphonist, to be successful, you had to be a bandleader. If it was quartet or quintet, you would hire a drummer, bassist, pianist and saxophone, or maybe guitar."