A Fireside Chat With Jason Moran

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My songs that I even think swing, they don't swing the way all the stuff that I hear on WBGO swings. It is like a totally different connotation. When I say swing, it is not like the Art Blakey style.
Frankly, I am not qualified to offer up an opinion of improvised music. And I am confident that no one outside the artists themselves are truly qualified. So my approach to Firesides has always been to never be presumptuous enough to interpret the artist's words or offer up context to them. Instead, I have always done the only thing I know how and that is get the fuck out of the way. Having said that, allow me to return the stage to the one in the arena. Ladies and gentlemen, Mr. Jason Moran, unedited and in his own words.

All About Jazz: Between the two of us, we have done a dozen lifetimes worth of interviews. What question do you get the most?

Jason Moran: Where do you pull your resources from? Where do you get your influence? I think that's it. I think that's the popular one almost for everybody.

AAJ: Shit, Jason, even I've asked you that one.

JM: Yeah, but everybody asks about it.

AAJ: So what question would you like to answer?

JM: Oh shit, Fred (laughing). Why are you a jazz musician (laughing)?

AAJ: Why are you a jazz musician?

JM: I don't know, Fred. I don't know (laughing). As many people say about being an artist, "you don't choose it, it chooses you," when I started playing piano, that's not what I was close to envisioning myself doing at well over thirteen years old. I never thought that I would do this for a living. I even quit at a certain point. But when I started playing again, I still wasn't really convinced that I wanted to become a musician, even though I went to a performing arts high school and started studying music pretty seriously and then went to college at the Manhattan School of Music. And I have friends who, I remember being in college and still wasn't sure whether I wanted to be a musician or not because the lifestyle is so sporadic, at least for me it is. For some other people, it's not, but for me, it's up and down and it's not as, well, you plan things six or seven months in advance. It's not really direct. What you hear today may not affect your music until a year and a half from now. So you don't see the direct effects on your musical and your art form as you do if I made a sale today and I was a stockbroker, then I could get my check. At the end of the day, I could get my commission for it. But with art and with other shit, it takes a long time. So I thought that it chose me at a certain point. I think I am one of the luckiest people in the world. I do what I like for a living. I stay at home when I want to stay at home. I go on the road when I want to go on the road. I'm able to pay my bills. I am able to think that when I go to see movies by Alfred Hitchcock or whoever else, that that is just not entertainment, that it is actual research. That is probably my main reason for becoming it because I enjoy doing it. It is not like I said, "I want to become a musician and tour the world." It was just, "Well, can I make a living doing this?" And I did it. So now I'm doing it and I enjoy it.

AAJ: If you are a sporting man, you validity is an easy gauge. If Michael Jordan scores forty plus in a game, his prowess on the court is defined. It must be trying to be involved in an art form where your legacy and your authority may not be determined for generations to come. That was the case with Albert Ayler. With that in mind, how do you gauge your own development?

JM: I can listen to it from record to record. I am able to assess myself objectively as to what portion of the record that I thought I was bullshitting on and points on the record where I thought I had excelled or had gotten a lot better at certain things. I can listen to my solo pieces from each record even though they are all kind of different. I've been playing that Jaki Byard song that is on Black Star for, since I was in college and each year it's kind of progressed as a piece. So I am not comfortable enough to record it. If you are able to listen to it, just like you are able to go see a Jackson Pollack retrospective and look at his early work, but when he got into his drip thing, he went into a totally different direction. And then, at the very end of his career, he almost went back to the form a little bit. You're able to look at it, but you have to look at it with a wider vision. You have to kind of stand a little further back, rather than look right at just the numbers. If you want to gauge your artist relevance on how many record sales, I have none (laughing). You are able to do it. You are able to listen to your compositions to see in what areas they've grown, your improvisations and how you interact with the musicians. I think that's almost the main point of how your band functions. I think that from record to record, especially with the rhythm section that I have chosen now to play for the past couple of years, that it has moved in a certain direction that I couldn't have predicted. It went that way because when we first started experimenting with a lot of that stuff, people shunned it. "You all can't even play time," or, "you can't even keep a groove for a little while." You want to move away from this so fast, but now it has developed into something that I regard as being our style. It is the trio's style.


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