Take Five With Ian Carey
Instrument(s): Trumpet & Flugelhorn
Teachers and/or influences? I've studied trumpet with jazz players like Charles Tolliver, Cecil Bridgewater, John McNeil, Laurie Frink, and Tom Peron, as well as the classical players Vincent Penzarella and Jay Rizzetto. As an improviser, my influences are all over the map, but if I had to pick a handful which had a deeper impact, I'd say the great lyricists like Art Farmer, Jim Hall, and Bill Evans; the giants of creative language like Tom Harrell and Lee Konitz; and individualists like Steve Lacy, Keith Jarrett, and of course Miles.
My biggest influences as a composer would include Jimmy Giuffre, Joe Henderson, Wayne Shorter, Ornette, Bob Brookmeyer, Gil Evans, Herbie Nichols, Steve Swallow, and Kenny Wheelerand on the "legit" side I'm big into Bach, Gesualdo, and Stravinsky.
However, I think the process of growing up as a musician means becoming a little bit more of your own best teacher every day.
I knew I wanted to be a musician when... When I was a kid, I used to sing in choir at church, which was fine but not that excitingbut on the big holidays they'd bring in a brass quintet to play with us. When I heard the sound of the trumpet soaring over everything, ringing in the rafters and scaring the old ladies, I thought, "Now THAT is what I want to do."
Your sound and approach to music: In high school, I was really into screaming high notes, etc., that really bombastic approach to music. Then I ran into some serious chops roadblocks (embouchure problems) in college which forced me to look for different, less athletic ways of playing and improvising. It turned out to be a good thing, because it led me toward the more personal, story-telling, approach which speaks to me the most.
Your dream band: To be honest, my dream band is my current band (but with more gigs).
Road story: Your best or worst experience: Once in my twenties I got booked to play an offroad jamboree in the high Sierra mountains. They had to fly us in via helicopter, and when we got there it turned out they'd hired us to play in a ditch by the chow line so the rednecks could have someone to harass while they waited for their chili. On the bright side, we made it out alive.
Favorite venue: Here in the Bay Area, I really liked Jazz at Pearl's, but then it closed; I also liked the Octavia Lounge, but then IT closed; and Anna's Jazz Island, but then IT closed... you get the picture. My favorite venue is any place that's still open.
Your favorite recording in your discography and why? Our new album, Contextualizin', represents a definite statement of my musical life so far, in that it contains original tunes I've worked on for the past ten years, with a group I've played with for 7. I think it communicates my musical outlook to date as well as any one hour of music could.
The first Jazz album I bought was: Oh man! Don't remember. I was listening to my dad's Miles & Dave Brubeck records from an early age, but the first CD I bought was Kind of Blue. It's not an exaggeration to say that first listen was an epiphany.
Did you know... I went to Space Camp in 7th grade! (I didn't get accidentally launched into space, though. Bummer.)
CDs you are listening to now:
Paul Bley, With Gary Peacock (ECM)
Kurt Rosenwinkel, The Remedy
Keith Jarrett Quartet, NDR Jazz Workshop Funkaus 1976, (video)
Konitz/Marsh/Evans, Live at the Half Note (Milestone)
Reid Anderson, Abolish Bad Architecture (Fresh Sound)
Desert Island picks:
Miles Davis, Porgy & Bess (Columbia)
Art Farmer, ART (Argo)
Steve Lacy/Don Cherry, Evidence (New Jazz)
Keith Jarrett, Facing You (ECM)