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Glenn Zottola: A Jazz Life - Hollywood, the World and the Stars

Nicholas F. Mondello By

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World-renown trumpeter, saxophonist, musical director, producer and entrepreneur. These are but a mere handful of words that describe the vast talent in Glenn Zottola's bag of musical marvels. There are others: child prodigy, creative genius, "musical natural" and aural savant also percolate rapidly to mind. Now in his sixth decade of playing professionally as a rare and masterful "Triple Threat"—he plays and has recorded on trumpet, alto and tenor saxophones—Zottola's career when viewed in terms of both its longevity and the depth and breadth of his performing resume is simply staggering. Zottola recently released A Jazz Life (Classic Jazz Records, 2013), a compilation of his selected recordings from over 50 albums plus jazz festivals and at Carnegie Hall.

All About Jazz: Your move to Hollywood was a tremendous step in your career. How did that happen?

Glenn Zottola: Well, I was at a high point in my career, recording for Harry Lim. I was busier than busy; 90 hour weeks, working with everybody—Milt Hinton, Frank Wess, jazz festivals with Dick Gibson and Phil Woods, Gerry Mulligan, Slide Hampton and Joe Pass. It was a dream come true. I'm in Europe playing with Harry "Sweets" Edison" and subbing for Clark Terry. It was a jazz musician's dream. But, I came to a point in my life—I was one of a group of "young lions"—Scott Hamilton, Warren Vache—that played mainstream-oriented music; not fusion. Even before Wynton Marsalis came on the scene. I remember one year Wynton and I were both up for a magazine's "Best New Jazz Artist" award.

AAJ: So, those were halcyon days for you as a performer.

GZ: Yes. But, the jazz music scene was changing; many players were getting into fusion, John Coltrane with Giant Steps," and so forth. But, we were mainstream players. I saw icons in their 80s out on the road doing one nighters with half the chops they had in their prime and playing with lesser rhythm sections. I said to a friend: "I never want to end up that way—doing one-nighters and scuffling." I realized that, as wonderful as things were, there would be a ceiling here—both financially and in how hard you would have to work, traveling less than first class, etc. All this got me thinking.

AAJ: And the big move to LA and Suzanne Somers?

GZ: I got a call from a friend who invited me to come down to a rehearsal in Los Angeles. It was a rehearsal for her live act and some TV performances. So, I'm sitting there watching Suzanne rehearse, singing some nice standards. I told her she sounded nice and asked her if I could sit in—a fateful move. She looked at me as if to say: "Who is this guy?" "OK," she said. So, we played "But Beautiful" which is on my anthology. I played alto sax and she sort of melted in front of me. She then said: "I want you as my bandleader." I can't believe that I said to her: "I don't back up singers anymore. I'm not a sideman I have my own jazz group and go to Europe which was all true." She then said: "No, not backing me up; you and I on stage together as my co-performer." I said: "I like that, let me think about it," left and went back out on the road performing with my own group here and in Europe. But, I soon realized that this was an opportunity for me to move to an entirely different level. Suzanne hadn't started the television show yet, having booked some gigs in Las Vegas and elsewhere and on Arsenio Hall. When I got to LA, Suzanne told me that they were going to do a TV show pilot for Universal Studios. She said that she'd get me good money. It was more money than any jazz musician could have dreamed of. So, we do the pilot and soon I'm at Universal Studios with an office next to Steven Spielberg's, a make-up and wardrobe person, and a "runner" who would get me reeds or anything I needed. When Suzanne traveled, we traveled by private jet, limos, and we stayed at the Ritz-Carlton Hotels. It was heaven. The perks were ridiculous, but I felt the way it should be for any jazz artist, but it wasn't in that other world.

AAJ: What was it like musically to work with her?

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