Take Five With Glenn White
Described as "a brilliant gem," Glenn's modern jazz compositions and skilled, interactive playing have been called "a thoughtful, remarkable style," which "stems from a deeper understanding." A graduate of New England Conservatory, Glenn has performed alongside many notable musicians including Cuneiform artist Jamie Baum, Impulse! artist Greg Tardy, ECM Records artist Art Lande, and more. In addition to his own recordings, Glenn can be heard on recordings by Huevo Imaginary Records artists I'm In You, Matador Records artists Julian Plenti, and more. Glenn's recording, Sacred Machines (OA2 Records), is featured on radio stations and satellite radio internationally.
As an educator, Glenn has lectured at a variety of colleges and high schools throughout the US. During the 2005-06 school year, Glenn was Instructor of Woodwinds and Jazz Studies at University of Alaska Fairbanks and Director of the 2006 UAF Jazz Festival.
Glenn lives in New York City, where he performs regularly with his own group, Time in Transit, which has been featured at the Underground Big Apple Jazz Festival and elsewhere.
Teachers and/or influences?
Studied with Steve Lacy
Occasional lessons with David Binney, Donny McCaslin, John O'Gallagher, and more.
I knew I wanted to be a musician when...
As soon as I was old enough to join the concert band in grade school.
Your sound and approach to music:
I'm not one to go on about grand visions or the greatness of my art. I like what I like, I listen to what I listen to, and when I write music, some amalgamation of where I came from and where I am comes into being. I am hopeful that my improvising is also reflective of this, although my own attachment to my music renders me unable to say if this is the case.
Your teaching approach:
I don't teach a lot. I taught college for a while, which I really enjoyed. I enjoy teaching adults, because most of them go at music as if it is something to bring them in touch with something important, as opposed to treating it like an assignment. I think it's important to help my students break music down to it's basic building blocks, with the intention of showing them how the music came into being to begin with. This will hopefully steer them in the direction of creating their own, instead of learning to mimic.
Your dream band:
I've already performed and recorded my own music with some of my all-time heroes. Jamie Baum is one of my favorite musicians, as well as Jeff Hirshfield and Roberta Piket. I listen to a lot of Jim Black and Hilmar Jensson, but I also listen to a lot of Brian Blade and Scott Colley. I'm sure it would be great to play with these musicians, but I'm pretty happy with the circle of musical friends I've made at present.
Road story: Your best or worst experience:
I was playing in a variety band in a trailer park in Casa Grande, Arizona. As the band leader's wife was singing in the middle of a tune, the band leader, who had a well-established reputation as a lush, stopped playing his drum kit (everyone noticed the drums missing and looked up), and walked off to a storage room at the side of the stage. As we continued playing without him, he staggered back to his drum kit after a couple of minutes, and he sat down to finish the tune with us.
It took me a minute to recognize that, as he was walking into the storage room, he had an empty soda bottle with him. And as he returned, the soda bottle was missing. Yes, in the middle of a song featuring his wife on vocals (she lived for these gigs), the band leader walked off the stage to urinate in a plastic bottle, and returned to his kit to finish the song.
I like Zinc Bar. Alex, the owner, is a great guy. And Beth, who books me, has become a good friend.
Your favorite recording in your discography and why?
I'll have to say that, at this point, Sacred Machines is probably my best recording. It was challenging, I was nervous, and there are a bunch of things that I'd like to do over again differently, but I'm glad I was able to document that moment in my life.
The first Jazz album I bought was:
Blue Train (the 24 karat CD pressing).
What do you think is the most important thing you are contributing musically?
Composition. I think it's important to create new music. I have a great amount of respect for players who can also compose. Composition allows for reflection, which fosters growth.
Did you know...
I hate onions, which is a drag because they are the one food that you'll find in just about every type of cuisine you can think of. Chinese food, Italian food, Mexican food, Indian food. Onions, onions, onions!
CDs you are listening to now:
Alas No Axis, Houseplant (Winter & Winter);
Gabriel Johnson, Fra_tured (Electrophone);