7

Kerry Politzer: Voice And Voicings

George Colligan By

Sign in to view read count
[ Editor's Note: The following interview is reprinted from George Colligan's blog, Jazztruth]

Kerry Politzer is one of my favorite musicians, period. (Yeah, she's my wife, you gotta problem wit dat? No, I see the potential conflict of interest, but hey, it's all about who you know, right?)

Seriously, Politzer is one of the most underrated musicians around. She has five amazing CDs to her name. She is a truly gifted jazz pianist and composer; however, a few years back, she whimsically decided to become a singer/songwriter, and within a few months had material for her album, You Took Me In, which would take some artists a lifetime to develop. Her most recent album is called Blue and Blue, and features Politzer's brilliant originals, as well as some brilliant saxophone playing from Donny McCaslin. She's been on hiatus a bit since the birth of our son, but she's slowly coming back. She did some performances in Winnipeg earlier this year, and in a week or so, we are performing a Colligan/Politzer double bill at Cornelia St Cafe in New York.

I thought an interview with her might be a good promotion for the gig.

George Colligan: How did you get started in music? Were your parents musical? How did you get into jazz music?

Kerry Politzer: My mother used to play clarinet, accordion, and piano. My maternal grandfather played violin, saxophone, and clarinet. So, the musical gene was probably passed down that way. I first started piddling around with a toy piano when I was three and started writing little songs. My parents put me in group music lessons when I was four and when I was eight I started with classical piano lessons. For high school, I went away to the North Carolina School of the Arts where I remember hearing some jazz a few times, but it was at the New England Conservatory of Music where I really got hooked on jazz. I just couldn't see myself highlighting each voice of a Bach fugue with a different color marker and practicing passages eight hours a day, which I think you have to do to be a serious classical player. Also, I used to suffer from tendinitis (the Feldenkrais technique fixed this), and I had to stop playing the piano for a few months. During this time I started transcribing jazz solos and doing jazz ear-training in order to be able to hear the alterations.

GC: You studied extensively with Charlie Banacos. Banacos was considered a guru by many renowned musicians. How did his teaching influence your music? What kinds of things did he teach you?

KP: I owe almost all of my jazz musical development to Charlie and miss him terribly. He was deeply spiritual about music and couldn't help but communicate his positivity and enthusiasm for life in every interaction you would have with him. He had a way of making you feel like you could shoot for the moon. I waited to study with him for a year and a half, and I was terrified at my first lesson because I'd heard a rumor that he would choose to accept me or not. So I played my Wynton Kelly and Thelonious Monk transcriptions, then soloed a little. He told me that I was playing a lot of licks, which was absolutely true. We started out with a lot of writing exercises. I wrote 12 long lines a week and also started writing compositions. He also had me transcribe different artists every week and play along with the transcriptions. He wanted me to learn the vocabulary of a lot of different musicians so that I wouldn't start just mimicking one. He had really interesting reasons for choosing the artists; for example, he wanted me to learn Lee Morgan's "shout quality."

Honestly, I think about Charlie whenever I sit down at the piano. When I play a hotel gig, I think about how he said that I should be able to solo over anything and make it sound good, even a tune like "Killing Me Softly," which he had me work on. Of course, we also worked on jazz tunes like "Upper Manhattan Medical Group" and "Lament." He once had me transcribe both a McCoy Tyner and a Herbie Hancock solo from "There Is No Greater Love," so I could see the difference in their thinking.

GC: How did you develop your ears? What would you say to a young student who is frustrated with transcribing solos?

Tags

comments powered by Disqus

More Articles

Read Piotr Turkiewicz: Putting Wroclaw On The Jazz Map Interview Piotr Turkiewicz: Putting Wroclaw On The Jazz Map
by Ian Patterson
Published: September 18, 2017
Read The indefatigable Bill Frisell Interview The indefatigable Bill Frisell
by Mario Calvitti
Published: September 12, 2017
Read Lwanda Gogwana: Tradition and Innovation Interview Lwanda Gogwana: Tradition and Innovation
by Seton Hawkins
Published: September 9, 2017
Read Mark Guiliana: A Natural Progression of Research Interview Mark Guiliana: A Natural Progression of Research
by Angelo Leonardi
Published: September 8, 2017
Read Todd Neufeld: Transcending the Limits of Sound Interview Todd Neufeld: Transcending the Limits of Sound
by Jakob Baekgaard
Published: September 7, 2017
Read Eric Ineke: Surveying the European Jazz Scene Interview Eric Ineke: Surveying the European Jazz Scene
by Victor L. Schermer
Published: September 6, 2017
Read "Arto Lindsay: Watch Out Madames!" Interview Arto Lindsay: Watch Out Madames!
by Enrico Bettinello
Published: April 25, 2017
Read "Fábio Torres: The Making of Modern Brazilian Jazz" Interview Fábio Torres: The Making of Modern Brazilian Jazz
by Samuel Quinto
Published: September 30, 2016
Read "Carmen Rothwell: The Art of Intuition" Interview Carmen Rothwell: The Art of Intuition
by Paul Rauch
Published: August 25, 2017
Read "Charles Lloyd: The Winds Of Grace" Interview Charles Lloyd: The Winds Of Grace
by Ian Patterson
Published: July 14, 2017
Read "Matthew Shipp: Let's Do Lunch!" Interview Matthew Shipp: Let's Do Lunch!
by Yuko Otomo
Published: January 16, 2017

Join the staff. Writers Wanted!

Develop a column, write album reviews, cover live shows, or conduct interviews.