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Take Five With Vinson Valega

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Meet Vinson Valega:

Vinson grew up in a musical family near Washington, D.C., studying classical piano from age seven until switching to the drums when he was 12. He played drums for three years in the All-County Jazz Ensemble during high school and subsequently held the drum chair in the University of Pennsylvania Big Band during college. After graduating from UPENN with a B.A. in Economics, Vinson came to New York City in the early 90's to study music at the Mannes College of Music in Manhattan, where he studied with Marvin "Smitty" Smith (of The Tonight Show Band), Vernel Fournier, and Norm Freeman (of the New York Philharmonic).

Vinson has performed in many clubs in the New York Metropolitan area, including the Blue Note, Smoke, The Jazz Gallery, 55 Bar, Birdland, Smalls, Cornelia Street Cafe, Cleopatra's Needle, and Trumpets of Montclair, NJ. An avid composer, Vinson also teaches privately and served on the staff of the Stanford Jazz Workshop in California from 1999-2001. He has toured throughout North America and Europe with his groups and others and has four CDs out as a leader, Live@147, Consilience, Awake and Biophilia.

In addition, Vinson has also worked with or played alongside with many of the great musicians in jazz, such as Grover Washington, Jr., Dakota Staton, Clark Terry, James Williams, Donald Brown, Harold Mabern, Jr., }}Jamil Nasser}}, Ron McClure, Bob Mintzer, Peter Bernstein, Terell Stafford, Eric Alexander, Jim Rotondi, David Hazeltine, Joel Frahm, Dena DeRose, and Vincent Herring, and Candido Camero Camero, among others.

Instrument(s): drums

Teachers and/or influences? My very first drum teacher, Johnny Smith, from Washington, DC, was instrumental in igniting the jazz flame within me. From 6th to 12th grade I studied with him in Maryland, outside of DC, and his generous enthusiasm and vast knowledge touched me and many, many other drummers back then.

When I came to NYC, I continued my studies, going back to the roots of this music with Kenny Washington and Lewis Nash in the early 90's and continuing with the incomparable Vernel Fournier at The New School. These wonderful teachers showed me the way it's done! And I cannot speak highly enough about Vernel, who was just a beautiful spirit and swinging musician. I never stop thinking of what Vernel taught me!

As far as other drummer influences, you can't play this music without going through Kenny Clarke, Papa Joe Jones, Max Roach, Art Blakey, Philly Joe Jones, Elvin Jones, Jimmy Cobb, Joe Chambers, Albert Heath, Ed Thigpen, Louis Hayes, Tony Williams, Jack DeJohnette, Ed Blackwell, Victor Lewis, Bill Stewart and Brian Blade, to name just a few.

I knew I wanted to be a musician when... When there was no other alternative.

Your sound and approach to music: Years ago I read an interview of the great drummer, Billy Drummond, who remarked that he wanted his drums to sound "pretty" and "beautiful." That approach resonated with me ever since and I am always trying to draw those qualities out of my instrument. This music is all about SOUND, and that HAS to be the number one focus of any musician playing this music.

In addition, because technique is a life-long endeavor, I am constantly trying to improve it in a way that serves my musical ideas. For me, it's all about musical phrasing that is inspired from a beautiful sound. Colors, shapes, forms, passages...these are the things I like to think about in both my drumming and composing.

Your teaching approach: Because every student has different needs, you have to approach each one uniquely. Certainly, technique is a must, but also sound and music are even more important. The #1 issue, though, is getting the music off the recordings and into their heads and hands and feet. This music is an oral tradition first and foremost. Breaking it down into its parts is essential, but the music must come first.

Your dream band: My dream band is the one I have now, although I am always seeking to get my butt kicked by those in front of me!

Road story: Your best or worst experience: The first time I ever played at Birdland here in New York City was a pretty horrendous experience, at least in the beginning of the gig.

I was almost finished setting up my drums when I realized that there was a horrible odor emanating from somewhere. After searching around, I realized that when I took out my drums from the cab, I had placed them in a pile of vomit on the street, which was then transferred to my pants!!

Beat THAT one for the most disgusting story up here!!

Favorite venue: The 55 Bar here in NYC is one of the best sounding rooms on the planet, for sure. Maybe the Village Vanguard tops it. It's got a warm environment, very intimate, and all the folks there just love the music!

Your favorite recording in your discography and why? Wynton Kelly—"Kelly at Midnight."

Hands down one of the best sounding and most swinging of all the jazz records ever made. Wynton Kelly is swinging like crazy on the piano, Paul Chambers is solid as usual, and Philly Joe Jones is incredible. In fact, this was Philly's favorite album!

The sound is simply crystal clear & amazing and Philly Joe Jones' solos are perfect! Go learn every note of this CD!

The first Jazz album I bought was: The Count Basie Orchestra: "April in Paris"

What do you think is the most important thing you are contributing musically? If I can share the joy I get from playing this music, then I've been as useful as I can be during my short visit on this planet.

Did you know... I am a huge Social Change activist and turned our label, Consilience Productions, into a Nonprofit 501(3)(c) organization in order to maximize our message of "Live Jazz for Social Change!"

CDs you are listening to now: Anything that's good!

Desert Island picks:

Wynton Kelly—Kelly at Midnight Stevie Wonder—Innervisions Duke Ellington—And His Mother Called Him Bill Miles Davis—Kind of Blue Any recordings by Chopin

How would you describe the state of jazz today? Today, the state of jazz music is comparable to dance and poetry. There is very little money in this creative music, and as such, the music is going the way of classical music, which is funded mostly by foundations and wealthy people. It might make a comeback, somewhat, but will never be popular music, the same way dance and poetry and classical music will never be popular culture. It's just the way it is!

What are some of the essential requirements to keep jazz alive and growing? We must do a better job of distributing this music to a wider audience, both on the net and live. Most new music listeners have never heard of Duke Ellington, Miles Davis, John Coltrane, Louis Armstrong! We must turn this around!

What is in the near future? Promoting the new CD, Biophilia, and booking as many dates with the sextet as possible.

By Day: I teach privately and also run a jazz music agency called "Just Jazz" that books groups for corporate and private events. This helps pay the bills... :)

If I weren't a jazz musician, I would be a: Politician or policy wonk of some sort.

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