My Conversation with David Binney

This article first appeared on All About Jazz in September 1999.

New York City-based saxophonist and composer David Binney has been getting lots of well-deserved attention over the last several years. Three excellent CDs with the unique and hard driving band Lost Tribe, stints with Medeski Martin & Wood, Drew Gress' Jagged Sky, Aretha Franklin, The Gil Evans Orchestra, and Edward Simon to name but a few, place Binney among the top jazz performers/musicians of today. The recent startup of his record label Mythology Records which includes his fine solo effort Free To Dream, the group Lan Xang and pianist Edward Simon's solo outing La Bikina all deserve consideration for being among the best of 1998.

David Binney is known for his rapid-fire attack, monstrous chops, intelligent composing and arranging skills while becoming one of the most sought after session men in The Big Apple. The following interview was conducted specifically for All About Jazz:

All About Jazz: Who would you cite as your modern day influences (musicians and/or Composers who are still living)?

David Binney: Wayne Shorter, Bill Frisell, Djavan, Lou Harrison, Ivan Lins, Hermeto Pascoal, Herbie Hancock, Merle Haggard, Bobby Hutcherson, Bennie Maupin, Joe Zawinul, Jan Garbarek, Joe Henderson, Egberto Gismonti, Salif Keita, Pat Metheny, Keith Jarrett. I could go on and on, not to mention all the dead guys like Miles, Hendrix, Stravinsky, Messien, etc.!

AAJ: Many factors can contribute to inspiring a musician: the music of others, visual stimuli (literature, cinema, sculpture, painting, nature), Working with interesting peers, maybe even food. Is there any one catalytic element that seems to provide you with the most inspiration?

DB: I would say "all of the above" inspire me at various times. I would say that the most common catalysts for me would be: Listening to great music. Places I've been to including where I grew up in California. And, being single, the highs and lows of a relationship with a woman.

AAJ: How would you assess the audience's reactions to your music and/or involvement with other bands and collaborative projects? Have European or American audiences been more receptive to your music?

DB: Audiences react very positively to my music and to most every project I am part of, luckily! I get to play with some great musicians and this is "key." I find European and American (and Canadian) audiences to be equally receptive and attentive for the most part.

AAJ: What can a musician learn from being told by an audience member (post-performance) that he or she "played exceptionally well" or was "extremely moving" when he or she feels their performance was sub-standard?

DB: I don't know if there is anything to learn from this. I do know that if this situation occurs, and it does, I can usually tell if someone really heard what I was going for, regardless of the performance, or if they really didn't know what they were listening too.

AAJ: What areas of your own playing/composing do you feel need improvement?

DB: If you ask any artist who is really serious about their art, I think the only answer would be "everything."

AAJ: How's Mythology Records going? Are you working on expanded distribution? What lies ahead in the way of recording projects lead by musicians other than yourself?

DB: Mythology is getting a lot of attention from the press and I assume radio soon as we are just now servicing radio. People are not buying the CDs in droves but I think this because no one really knows about it yet. I don't have money to advertise right now. I am burnt on doing business for the label and am just concentrating on playing and composing. I am trying to delegate the business. My mother handles some and it looks like I will soon hook up with Matt Garrison's new internet label/project. He has better resources. Edward Simon already has a great CD out on Mythology as does Lan Xang which is a collective. If I had the time and money I'd record a lot of people.

AAJ: Among the many talented musicians you've worked with, who has presented you with the most challenging and/or synergistic relationship? Who have you learned the most from working with?

DB: That's a hard one to answer because I love everyone I am playing with and it's all challenging to some extent. If I had to mention names I would say, in no particular order, Edward Simon, Scott Colley, Kenny Wollesen, Donny McCaslin, Drew Gress, Ben Monder, Adam Rogers, Uri Caine, Dave Douglas, Don Byron, Mark Feldman, Dave Gilmore and Marvin "Smitty" Smith. A special mention has to go to Jeff Hirshfield.

AAJ: Who are the musicians you have not yet worked with who would you like to record with and/or tour with?

DB: See the previous list and add Squarepusher, Ralph Towner, and Jack DeJohnette.

AAJ: Do you give private saxophone lessons to children? If so, do you think that someday you might be interested in composing music for children?

DB: I don't, and you never know.

AAJ: What is the current operational status of Lost Tribe?

DB: Fully operational. We're playing tonight at the Knitting Factory! We are looking for a new deal and are thinking of doing our own recording and putting out on Mythology.

AAJ: What will 1999 bring in the way of tours and/or recordings? Beyond 1999, what plans or projects would you like to see happen?

DB: Who knows! Right now it looks like I'll be doing nothing but it looked like this last year at this time and '98 turned into an incredibly busy year. I have many ideas. It looks like I will be doing some drum-and-bass stuff with Zack Danziger, Tim Lefebvre and Jamie Saft.

AAJ: Does the phrase "modern jazz" actually have any meaning or significance? If so, where do you see "modern jazz" heading within the next five years? Where will Dave Binney fit into this?

DB: It means nothing to me and I will and won't fit into anything they want to call it!

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