If you own some of the best records of the Stan Getz quartet or you dig the great jazz orchestras, then there is a good chance that you have heardor better stillfelt Jim McNeely's touch before. Either way, if you want to learn more about some of the jazz giants that McNeely has backed on piano, including Getz, Chet Baker, Ted Curson, Thad Jones, Mel Lewis and Joe Henderson, as well as the jazz composing and arranging process, then you have certainly hit the right button to get to the right page.
Involved in writing and arranging for quite a few big band projects since the 1990s, McNeely was recently appointed artist-in-residence with the Hessian Radio Big Band in Frankfurt, Germany, following intensive collaborations with the Danish Radio Jazz Orchestra, the Metropole Orchestra (Netherlands), the West German Radio (WDR) Big Band and the Stockholm Jazz Orchestra. This year (2008) he will also be working with the Orquestra de Jazz de Matosinhos, from Portugal.
The one million dollar question seems to be: why is he working mainly with European bands?
- In the Beginning
- Playing with Ted and Chet
- The Thad Jones/Mel Lewis Big Band
- From Stan Getz and Phil Woods to Bobby Watson
- Trio Music
- Composing, Arranging and the Return of the Big Band
In the Beginning
All About Jazz: What got you interested in jazz?
Jim McNeely: I had taken piano lessons since I was seven, and when I was ten I started studying with a teacher who taught theory as well as piano skills. His name was Bruno Michelotti and, while he wasn't a jazz musician, he taught me how to read a lead sheet and play very simple left hand accompaniment to melodies. I didn't know about jazz, but the groundwork had been laid.
I remember seeing Duke Ellington's Orchestra on television, and being so impressed by the whole presentation: the mysterious music, the pride evident in the faces and attitudes of the musicians, and Duke himselfthe epitome of coolness.
I went to a Catholic high school near ChicagoNotre Dame High School for Boysbecause they had a big band directed by Rev. George Wiskirchen. When I started to play in the "B" Dance Band, I realized that in jazz you could improvise. That really excited me.
AAJ: Did you ever think that one day you were going to be a jazz musician and get to play with such jazz masters as Thad Jones, Mel Lewis, Stan Getz and Joe Henderson or write for the Carnegie Hall Jazz Band?
JM: Not when I was in my teens. I was pretty much a nerdy kid from the North Side of Chicago who loved John Coltrane and Miles Davis, and tried to play that kind of music, but didn't think I'd do it as a profession.
It was during my college years at the University of Illinois, that I began to get the idea that I could function in the New York City jazz world, as a pianist. I wasn't sure whom I would play with, but I knew that I wanted to go to New York.
AAJ: Did you ever regret having become a jazz musician? What was the thrill behind it?
JM: I have never, ever regretted it. I am, in fact, proud to have become a professional jazz musician. And very grateful to the many musicians who helped me, and had it a lot tougher than I ever did.
My career has had its highs and lows, but I've never regretted my choice. One of the thrills in jazz happens when I'm playing, and everything is just "happening." I'm not quite sure what will happen next, but it's sure exciting to experience it as it happens! A different kind of thrill occurs when I finally get a chance to play withor write forsomeone I've admired for a long time. Like the first time I played with Thad, or with Elvin Jones; or wrote for Dave Liebman.
AAJ: Do you miss those days playing with Ted Curson, the Mel Lewis Orchestra and then Stan Getz?
JM: I enjoyed those days, and learned a lot from all of those musicians. But I can't really say that I miss them, in the sense of wanting to go back. They were good times, and I have since moved on into other good times.
AAJ: Is there anything from the spirit of those years that you feel is missing in jazz nowadays?
JM: It's hard for me to be objective about that: I was young back then and am older now. But in New York in the late '70s and early '80s there were more small clubs with jam sessionsFolk City, Barbara's. There seemed to be more places to sit in, to hear and to get to know other musicians. Bradley's was happening; so was Boomer's, the Surf Maid, the Village Door. I met a lot of musicians in those clubs, mostly at some time after 2 am. More musicians could afford to live in Manhattan, it was easier to get together and play during the day.
Of course, I was single back then, living in a broom closet on Greenwich Street. Nowadays if I'm not playing a gig I try to be in bed at midnight or one, at my house in New Jersey. So maybe I'm part of the problem...
And two big differences between then and now: we played sets, not shows. And very few of us had representation.
AAJ: What about the new generations of jazz musicians. Who do you admire as soloists or arranger/composers?
JM: I certainly don't get a chance to hear everyone, so I'm no expert. But, off the top of my head, I'm impressed by Chris Potter, Dafnis Prieto, Brad Mehldau, Dave Douglas, Brian Blade, Steve Wilson, John Hollenbeck, and many others whom I'll remember at 4 o'clock tomorrow morning.
As for composer/arrangers, Maria Schneider is great. I also really admire Sherisse Rogers, Darcy J. Argue, Vince Mendoza, Florian Ross, Ted Nash, and Joseph Phillips Jr. There are many others and I'm sorry I can't mention them all.
Playing with Ted and Chet
AAJ: Well, if you agree, let's now go back in time. Between 1976 and 1978 you played with Ted Curson. How were you selected and what was it like working with him?
JM: In 1976 I was working in a sextet led by a trombonist named Jerry Tilitz. He had booked a weekend at a club on The Bowery called The Tin Palace. At the same time, Ted was supposed to start a series of weekends at The Five Spot, but they closed down at the last minute. Gary Giddins was helping book Ted, and he arranged for Ted to go into The Tin Palace and share the bill with whomever else was playing there.
So Ted heard me with Jerry's group, and he hired me for his band. I worked with him for about three years, playing in the US and Europe. I also made my first New York record with him.
Ted had a really interesting group of eclectic musicians, all quite different from each other. When I joined the band it had Chris Woods on alto, Nick Brignola on baritone sax, David Friesen on bass, and Steve McCall on drums. It was amazing that Ted could get all of us to play his kind of post-Mingus, "Lee Morgan meets Cecil Taylor," "organized slop" (Ted's term). But it was fun.
Ted was always pulling out the bass and drums during people's solos, to see how they'd respond. Later versions of the band included Adam Nussbaum on drums, Howard Johnson on low stuff, Ron Steen on drums, and Mike Richmond on bass. It was loose, sometimes verging on chaotic, but there was never a dull moment.
AAJ:You also played with Chet Baker around this time. Was he easy to get along with musically given all his problems with drugs?
JM: I played with Chet for six months in 1978, just before I joined Thad and Mel. Chet was actually in quite good shape at the time, and playing very strong. A few years later I did a tour in Europe with Chet and Stan Getz. Chet was back into his old routines a little. But musically there was never a problem.
AAJ: What memories do you have of him?
JM: My biggest memory of Chet is that he had incredible ears. We were playing some difficult musicGeorge Shearing's "Conception," and some Richie Beirach tunes, full of chromatic harmony. I never heard Chet struggle with this music. He wove beautiful, inventive melodic lines through the changes. And he had little, if any, formal knowledge of theory.
Chet was also very quiet. I had the impression that the two things he most loved in life were playing music and getting high.