AAJ: Do you have any Wayne stories either funny or more serious, such as what you might have taken from his thing and applied to your own?
DG: Wayne stories...I mean I just like his spirit. I never met anybody or worked with anybody as calm and collected or as peaceful as him. He just has this center, man. And he's funny as hell.
I remember him saying onstage, "Have you ever played like you've never played before? Y'know, like the first time? Then he broke into this wild, free, very loose thing. Then he told me that Miles Davis said that before, to him, you know. He would do that, play very playful games on stage. His playfulness reminds me of a kid, just a beautiful spirit, a beautiful cat.
AAJ: So, musical direction didn't come in musical form. Miles was known for that.
DG:Just his vibe was so heavy. The harmonies he would write, and the maturity of his sound and playing...it's not about chops or technique or anything, just feel and emotion, and he knows how to get there
AAJ: You guys did a record and all these dates with a living legend. What keeps a tour like that, some of those wonderful musical moments, the evolution of the band's sound..what keeps that from getting documented, getting put out?
DG:Good question. A lot of times I don't think the record companies are tuned into what's going on out on the road...what the musicians are doing out there, at all. They have very little or nothing to do with it. I know one date, the Lincoln Center gig, was well-recorded and broadcast on NPR a couple of times. But the record companies should dig deeper. The record companies may actually think Wayne's heyday, you know, is over, with Miles and Weather Report. But that first band..in '96 we hit some moments where it was frightening, some killing music. Words are inadequate to describe playing with Wayne. On some level, it was Wayne's World..but it was the Saturday Night Live one... "I'm not worthy...! (laughs). Some part of me always thought it was some kind of fluke. Sometimes, it might have gotten in the way of me being totally relaxed, but on the other hand, I made it through all the incarnations of that band, so I must have been doing something right. One thing that bugs me is that I never had the right guitar for that band. I should have had a semi-hollow or hollow body on that gig. I played my Tom Anderson (solid body) the whole time. To match Wayne Shorter's fat sound, you need something fat to match it.
AAJ: So after Wayne? I know more recently, you've one stuff with Uri Caine.
DG: Well, Uri's stuff is great, but I'm only on that one cd (URI CAINE ENSEMBLE, "La Gaia Scienza - Love Fugue , Winter & Winter 910 049-2 ).He's been doing the variations on the classical artists. But after Wayne..there hasn't been a regular gig after. Don Byron was before and during Wayne. Every now and then, I still do a gig with Don, who uses me for the quartet thing he does, but not Music for Six Musicians.
AAJ: I love that solo on the Duke tune on Bug Music.
DG: Oh yeah, that was an earlier recording. But I'd say 1999 and 2000 my sideman gigs pretty much dried up.
DG: Those are probably the worst years financially for me. Disastrous. Last year I had a better year. I kept thinking something was going to come up and it didn't. I had no tour longer than a couple of weeks those two years. I did stuff with Randy Brecker and Chris Minh Doky (bass), and Cindy Blackman, with Matt. But dismal as far as work. But that was a sign for me that it was now truly time to work on my own projects..
AAJ: You did Christian's thing in 2000, "Sci Fi . Another of the year's best cds. Aja is beautiful on there! You could carry that Steely Dan gig, huh?
DG: Well, the reviews made note of that one as well.
AAJ: Just running through your discography would take pages. So who are your influences as a guitarist?
DG: George Benson is real high on the list. Number one. I've been fortunate to have the opportunity to hang out with him and play at his house a few times. He's been real encouraging. At the North Sea Jazz Festival, when I was on the road with Wayne, George was at the bar and Russell Malone introduced me. Then when I played, I knew George was listening and was a bit nervous.
AAJ: I love it when you bust out those long bop lines.
DG: It's not so much that I play that style, but just his approach to playing is very rhythmic. It's like, well, I'd say Coleman plays more like Bird than these so-called post- bop players. It's not his note choice, obviously. It's more his approach and his feel..it's more between the notes stuff. In that way I feel like I'm close to Benson. Pat Martino and Wes too. For guitar players, those are the guys. I loved listening to McLaughlin and DiMeola early on, but that was stuff I enjoyed listening to rather than emulating. Regarding young players, I think Adam Rogers is one of the baddest guitar players that ever lived in my opinion, hands down! He can play the hell out of rock or bop or whatever you want. But I'm more influenced by non-guitar players like Miles, Coltrane and Herbie.
AAJ: Update us on your most recent activities.
DG: Well I've done a few gigs recently with my band. Gene subbed for Rodney in New York. In Boston I brought Reggie Washington on electric bass and Adam Klipple (www.adamklipple.com) on keyboards. I've gigged with Brad Jones' band and with Kindread Spirits. I've got some Uri Caine things, the Schumann thing and..I gotta buy a banjo for this "Tin Pan Alley thing we're doing. Uri calls it "The Sidewalks of New York . I'm not on the "Tin Pan Alley record. It's turn of the century type stuff. He doesn't change that stuff up like he does with Mahler! He plays the "Tin Pan Alley stuff pretty straight. I dig that "Philadelphia Experiment Project he did with Christian, too.
I also have another project I'd like to get focused on that is more like an African- Brazilian type thing, kind of like Hermeto Pascoal type stuff. I want to get that going in the right direction as well.
I'm supposed to go back out with Cindy Blackman again soon ?" her rock/jazz project.
AAJ: I've heard some of that stuff. Now, are those all her tunes or is it a band writing project.
DG:They are all her tunes.
AAJ: What are rehearsals like with these different projects you do?
DG:Well Lost Tribe and Trilok are the bands I've rehearsed the most with. Believe it or not, Steve's rehearsals are real loose. Trilok likes to have it polished. He's incessant. Personally, I don't always like it so tight and worked out. I mean, I like to have the parts played right and the arrangements mapped out, but I like to have the elements of surprise and some looseness in the music too.
AAJ: Tell us about Aka Moon.
DG:That's a cool project because it's me, Pierre Van Dormael and Prasanna (www.guitarprasanna.com) on there playing basically their music. It's somewhat reminiscent of Five Elements type stuff. They're from Belgium. It's Fabrizio Cassol on alto, Michel Hatzigeorgiou on bass, and Stephane Galland on drums. They borrow heavily from African and Indian concepts.
AAJ: And in fact they travel there to play with them right?
DG:Yes. They're named after a band of pygmies they lived with in central Africa.. They go to India regularly they really study the music. Stephane especially is ridiculous, like a European Marvin Smitty Smith.
AAJ: Do you teach?
DG: I was thinking about possibly doing a bit more of it. I'm a bit at odds with academia and how it relates to music, with the whole concept. It seems to me, like, why do you need a degree in music, and now even Masters and a Doctorate, in order to teach? Let's be real. The best teachers are the ones who've gotten their masters on the road. That's what I like about the New School. They have a roster of working jazz musicians. I teach there and at City College too. Also, Ralph Alessi and Peter Epstein started a thing called The School for Improvisational Music (ww.schoolforimprovisationalmusic.org)
AAJ: So even though you're at odds with academia you're going to work there?
DG: Well, see now, that's the thing. This is run by, basically, and features classes and workshops by, performing artists and educators- Steve Coleman Don Byron, Uri, Jim Black, Billy Hart, tons of people. Last year, classes were held at the Knitting Factory- a series of workshops basically. I had trumpet students and bass students that wanted to study. I like teaching what I'm passionate about.
There are some high points in the teaching game but I am not into overanalyzing shit. Ok, you have got to learn your scales and modes, learn all your basic stuff, but then you have got to listen to how to apply it. You've got to transcribe solos..no way around it. If you want to be a jazz improviser you have to learn from the masters. Then, you have to play with people...who are better than you. You have to put yourself in an environment where you get your ass kicked.
AAJ: Sounds like learning how to play basketball! (laughs)
DG: Sometimes students want some secret formula that you're not gonna get in a school environment, that you're not going to get living in Iowa.
AAJ: Hey, I've been there. I've been one of the guys who wants the information but just doesn't have the skills in place at that moment to absorb it.
DG: That's why this school is so good. They meet and play and perform among themselves and also with faculty, too. Auditions are by tape, so you have to be at a certain level of feel and creativity to attend. Of course, there's no degree, but you just might learn more than you ever learned somewhere else. I've done master classes at the New Schools and I'm on their roster. That's a great place as well. I wish I'd gone there instead of NYU.