Meet Terri Lyne Carrington
Herbie Hancock I love playing with himhe makes it really hard to play with other keyboard players I'll tell you. He makes me comfortable playing in various settings. He called me for the Dis Is Da Drum (Verve) tour. That was a hip-hop based record of his. We did a record called Gershwin's World (Verve), and I toured with him on that for almost two years. His next record was this new one that's out Future 2 Future (Verve). He called me to do that because he felt like we could continue in the creativity we were exploring in the Gershwin bandbring some of that to the table with electric music, which is not the easiest thing in the world. It's worked out great. We have a U.S. tour coming up March 11-29. In July he'll be doing a tribute to Miles Davis and John Coltrane with Michael Brecker in Europethat's Herbie's next record. I'll take the opportunity to tour with my own band. It's all good.
Wayne Shorter with Orchestra
That was fun. It's been 2 1/2 years since we started recording, and I'm hoping it comes out soon. I played on the first half of it. Brian Blade finished up and did the tour.
I produced my first record Real Life Story (Polygram) in 1988. Actually I co- produced it with Robert Irving. I realized then it was something I wanted to do more of. It seems natural for drummers to produce. In the studio drummers a lot of times are the ones to say, "Why don't we try this?" Drummers have a good ear for production because they have control of the band a lot of times with dynamics, and they help shape the direction of a piece of music. I did That Day (Blue Note) for Dianne Reeves. I started doing some projects in Europe with a friend of mine Niels Lan Doky. We produced two commercial records for Danish pop singers, and I did a couple of tracks on Marilyn Scott's new record that just came out. It has a really nice tune on it "You Don't Know What Love Is," a contemporary version, a duet with a fine vocalist named Frank McComb. If the music calls for it I play drums but not always. Stig Rossen's record (Danish singer) I played drums on, and on Dianne Reeves' record I played on all the songs.
The scene is becoming global. Obviously New York is the jazz capital, but most musicians who live in New York don't make their living there. I feel like in the music business you have to be in either New York or L.A. just to be on the scene for recording sessions. But to play live you can live anywhere. Jimi Hendrix tribute It's a project I'm going to record in April with the guitarist Nguyen Le I mentioned, and the CD will be on ACT. I get to sing on a few songs. Jazz education I'm on the road probably 50 percent of the time. I don't have any regular students. I try to decide who to teach based partly on determination in tracking me down and calling me. Recently I taught a young gentleman, Rob Perkins, who was studying at USC (the Monk Institute). It's set up so that if you want to study with someone who's not on the staff there you can pick a teacher so we did that. Uh, I think I owe him a few more lessons.
Sisters in Jazz
I heard the Sisters in Jazz [all-star collegiate band] last year. They played some of the same venues I played when I was in Europe. I was very impressed, especially with the drummer Kimberly Thompson. Greg Carroll who's Director of Education for IAJE asked me if I wanted to get involved. I was available and wanted to do it. We had four intense days [at the recent IAJE Convention in Los Angeles]. I picked the songs after hearing their audition tapes. On the first day we performed one song; on the third day three songs; on the fourth we put on a concert. People studying music need time to concentrate on subtleties and dynamicsthings that people with a lot of experience take for granted. During the process of learning a song you not only learn to interpret the song, but you also learn how to do musical things that make you sound more mature. I was just hoping to help shape the direction of what they were trying to do.