John Geggie: Unexpected Conversations
, Myra Melford, Craig Taborn, George Colligan, Bill Carrothers, Josh Rager, Steve Amireault, Gary Versace, Edward Simon...these are but a few of the pianists he's worked with since the series began this decade. Other artists include saxophonists Ted Nash, Donny McCaslin, Mike Murley and Quinsin Nachoff; guitarists Kevin Breit, Paul Meyers, Vic Juris and Roddy Elias; trumpeter Cuong Vu; bassist Mark Dresser; and drummers Nick Fraser, Jim Doxas, Ian Froman, John Fabroni and Jon Christensen. And the list goes on, with musicians forming an ever-expanding network for Geggie, all committed to coming together for "without a safety net" performances, where rehearsal is usual minimal and, while some shows succeed better than others, all of them are worth seeing, as his series invariably sells out or comes very close to.
Most important, however, is his Geggie Concert Series, an annual run of shows at the National Arts Centre's club-like Fourth Stage, where he invites artists from around the world to perform in new groupings that often lead to further collaboration. Marilyn Crispell
, a saxophonist whose star has been on an upward trajectory over the last few years, playing with artists including Dave Douglas, Maria Schneider and David Binney.
And yet, as he approaches fifty, Geggie has never released an album under his own name...until now. But rather than releasing a single album, in 2009 Geggie released two long overdue albumsGeggie Project (Ambiances Magnétiques), a largely introspective and free-flowing trio disc with pianist Marilyn Crispell and drummer Nick Fraser; and Across the Sky (Plunge Records), a more mainstream-focused disc with, again, Fraser, but this time a quartet date featuring Toronto pianist Nancy Walker and American saxophonist Donny McCaslin
Humble and self-effacing, Geggie's easygoing demeanor has, in addition to his inestimable skills as a writer and performer in a wide variety of contexts, contributed in no small part to his growing success and reputation. He may be the sole composer of the preconceived music on both albums, and the de facto leader of both projects, but that's not how Geggie views things. "When I talk to people," Geggie explains, "I ask 'Would you like to come and play some music with me,' and it's not about me. It's just, 'I'll be playing bass.' It's not just about me and my compositions and my vision, it's about the collective, and I think what people appreciate is that aspectthat it's going to be a collective process and we're all going to be contributing to it.'"
, Count Basie, Jimmie Lunceford and all those people. So I was exposed to it at a very early age.
Geggie grew up in Wakefield, Canada, across the river from Ottawa, in the province of Quebec. "I grew up with music in the home," the bassist recalls. "My parents were really into music, with lots of records, lots of classical music, lots of jazz. My dad had a friend who had a whole bunch of 78s, so dad would tape themhe had a reel-to-reel tape recorderold Duke Ellington
- Chelsea Bridge and Studying with Gary Peacock
- Enter the Swedes
- Geggie Project and Across the Sky
- Music as Conversation
- An Unusual Bass
- Record Labels and Geggie Concert Series
- Chelsea Bridge and Studying with Gary Peacock
, and I had a high school music teacher who was great, and he said 'Give me a reel-to-reel tape.' He taped Clifford Brown's Study in Brown (Polygram, 1956), an Art Farmer record, and a Chet Baker record, She Was Too Good to Me (1974), which was a CTI record with Baker,Ron Carter and Bob James. Three really very different trumpet players compared to Maynard Ferguson, and it was an amazing eye-opener for me, simply because here was trumpet being played in ways that I never could have imaginedso beautiful, rich and melodic...and vocal. It was great to listen to these three very different kinds of players.
"I started off playing piano when I was six years old," Geggie continues, "and learned from the local church organist. Then I played trumpet, and I was really bad at that, and tromboneand I was equally bad at that. When I was in high school, being a really bad trumpet player, I was listening to Maynard Ferguson
Geggie came to the bass relatively late, in his late teens. That may not have been all that unusual, but the fact that he started on double-bass rather than electric, certainly was, for someone growing up in the 1970s. "I started playing classical bass as well as jazz," says Geggie. "I'd always been interested in both so that continued on. I'd had some problems playing brass instruments and, as a result, there was an acknowledgement that I was musical, that I had the aptitude, but I needed to play something that wasn't a brass instrument. The sound of a low instrument was interesting to me. I didn't start on electric, I actually came to electric after, which is contrary to what most people do; most people start on electric and move to acoustic. Later, I had my own challenges playing electric bass, coming from double-bass.
Geggie's post-secondary school studies may have been geared towards his classical interests, but he soon found himself increasingly immersed in the jazz sphere. "I studied here in Ottawa, did a Bachelors Degree. I studied jazz with, and was mentored by Roddy Elias and Dave Hildinger and others, and there was a pretty thriving scene here in the '70s and '80s. Then I went off to Indiana State University for a Masters Degree. The goal was to just be doing classical music, but someone said 'You should audition for the jazz band. I got into the number two band, and it was a really great experience for me, because in Indiana, there's a great history of jazz playersPeter Erskine, a whole bunch of people. My contemporaries were people like Robert Hurst III, Jim Beard, Scott Wendholta really fine trumpet player. David Bixler, who played in the Arturo O'Farrill big band. Travis Shook, a really nice pianist, and Shawn Pelton, who plays drums in the Saturday Night Live band.
, and playing in his small bandhe had a comboand playing in his big band. Also gigging in the area, there was work to do in Indianapolis and the Bloomington area It was a good experience surrounded by really fine players, and it was a really good thing for me, because I was learning the tradition and really being pushed. It was great getting that input and knowing that side of the jazz tradition, which I'd not really been exposed to at all up to that point."
"So it was a really fine group of people," Geggie continues. "It was challenging, being exposed to the whole hard bebop tradition, which is something I wouldn't have had, so the whole Blue Note tradition was a good thing for me. I really sucked it up, and I was playing a lot, with lots of people. Stuff in the school, sessionssomething which I miss, because I don't seem to do it so much now. The people I was playing with, we'd get together all the time to work on things. Playing in smaller groups, taking jazz courses with David N. Baker
The bassist returned to Ottawa when his visa ran out. At that time, most Ottawa musicians who wanted to go further had to relocate away from Canada's capital, but things didn't work out that way for Geggie. "I came back to Ottawa, mid-'80s, with the goal of leaving," says Geggie. "I came back because my visa ran out, and I was thinking I was going to be going somewhere elsethat I'd get a job in an orchestra and do things like thatbut I ended up staying in town because of the workplaying with the orchestra here and, well, just playing. If I were to put in a good word for myself, I would say that I'm tenacious about things and I stick my head down, dig in and make things work. I decided to stay here because I was making a living, but perhaps in the back of my mind I was still thinking I might leave. Then in early-'90s, I started playing in Chelsea Bridge."