All About Jazz

Home » Articles » Interviews

Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

801

Ron McClure: Lookout Farms and New Moons

By

Sign in to view read count
Bassist Ron McClure has a practical philosophy about what he does. "Making music begins with doing your job," he says. "It's nice if you can be a hot soloist, but do your job first and do it well." These are words that the bassist has lived by for over 40 years in the jazz music business. McClure has done everything from playing with saxophonists such as Charles Lloyd to being part of pop recordings by the Pointer Sisters and Blood, Sweat and Tears. In between he has played on countless jazz recordings, including 33 sessions and counting for SteepleChase, both as a leader (13 including his most recent release New Moon) and sideman, composed a large number of tunes and even played piano at a New York McDonald's! McClure appears at Birdland in February, 2010 for the reunion of celebrated '70s group Lookout Farm, working with saxophonist Dave Liebman, pianist Richie Beirach and drummer Jeff Williams.

Ron McClure

All About Jazz: How did you get started in music?

Ron McClure: I grew up in New Haven, Connecticut and played music from the time I was five years old. I played accordion, a little piano and bass. A teacher from high school basically talked me into following my dream and going into music as a career. I don't push my students now but I do tell them to think about their lives when they're 40 and what it would be like then to have not done what you wanted to do. I went to the Hartt School in Hartford, Connecticut. My private teacher Eddie Miller had been teaching me about jazz harmony. I remember that the school did not really encourage jazz—once, when I was playing in a room with Houston Person, who was also a student there, we were reported for playing that "evil body music." But I had been listening to jazz since I was a kid and that's what I wanted to play. I was a bass major at Hartt and while I was still there I met musicians who came to Hartford to play—people like [vibraphonist] Mike Mainieri, [pianist] Dave Mackay and [drummer] Joe Porcaro. Mainieri got me to play with Buddy Rich and I also met Mike Abene who got me to Maynard Ferguson, with whom I did my first recordings for Mainstream.

AAJ: Tell me a little about your time with Ferguson.

RM: There were good arrangements by people like Willie Maiden and Chuck Mangione was in the band; we did his tune "Between the Races." Maynard was great—he let me play and I was featured more in that big band than I had been in smaller groups. Maynard was great to work for because he made everybody feel at home. You know, while I was still with Maynard I got to work with the Wynton Kelly/Wes Montgomery group!

AAJ: That was the Smokin' at the Half Note (Verve, 1965) group with Paul Chambers and Jimmy Cobb?

RM: Yeah, Maynard opened for them at a club in Atlantic City. When it came time for them to play one night they couldn't find Paul. He was not so well then—in fact it was shortly before he died. I'd met Paul before and all he could say to me then was "You're the cat, man." Anyway, the music that Wynton and Wes did was joyous and truly timeless. Talk about a time feel and a groove! Jimmy did a couple rim shots and signaled for me to come up. I knew the tunes pretty much and when I started to play, Wes just looked around at me and beamed, grinned from ear to ear. So I did the set and then about a month later, the same two groups were paired at a club in New York. Ron Carter had replaced Paul for that gig and he was late because he was doing a record date, so they asked me to play until Ron got there. The same thing happened the next day—Ron was still doing the recording and said, "I'll give you 20 bucks to do the first set." In July of that year—I think it was 1965—I was in my apartment on a horribly hot day, when the phone rang and it was Wynton asking me to go to the West Coast with them for nine weeks! I'll never forget that. I got to make a record with Wynton from that!

Ron McClureAAJ: Isn't there a story about playing with the Miles Davis group?

RM: Herbie Hancock called me on a Saturday night, 8 pm. Says there's a gig at the Village Vanguard at 10, pays $37.50, union scale. I think it was 1968. I was playing with Charles Lloyd and Wynton then so in one week I played with three generations of Miles rhythm sections—Wynton and Jimmy, Herbie and Tony Williams and Keith Jarrett and Jack DeJohnette! You know, I thought about the significance of it later—not for my career, really, but for the fact that I was there and could do it. Anyway, I get to the gig and it's Wayne Shorter, Joe Henderson, Tony and Herbie. No Miles. To this day, I didn't really know what tunes we were playing—they were really taking them out. Same kind of freedom that we had with Charles Lloyd.

Tags

Related Video

comments powered by Disqus

Related Articles

Read Linley Hamilton: Strings Attached Interviews
Linley Hamilton: Strings Attached
by Ian Patterson
Published: April 17, 2018
Read Camille Bertault: Unity in Diversity Interviews
Camille Bertault: Unity in Diversity
by Ludovico Granvassu
Published: April 10, 2018
Read Chad Taylor: Myths and Music Education Interviews
Chad Taylor: Myths and Music Education
by Jakob Baekgaard
Published: April 9, 2018
Read Fabian Almazan: Multilayered Vision Interviews
Fabian Almazan: Multilayered Vision
by Angelo Leonardi
Published: March 30, 2018
Read Ryuichi Sakamoto: Naturally Born to Seek Diversity Interviews
Ryuichi Sakamoto: Naturally Born to Seek Diversity
by Nenad Georgievski
Published: March 27, 2018
Read Leonardo Pavkovic: Nothing is Ordinary Interviews
Leonardo Pavkovic: Nothing is Ordinary
by Chris M. Slawecki
Published: March 16, 2018
Read "Aaron Goldberg: Exploring the Now" Interviews Aaron Goldberg: Exploring the Now
by Luke Seabright
Published: November 24, 2017
Read "William Parker: Embracing The Unknown" Interviews William Parker: Embracing The Unknown
by Luke Seabright
Published: February 14, 2018
Read "Dan Monaghan: The Man Behind The Swing" Interviews Dan Monaghan: The Man Behind The Swing
by Victor L. Schermer
Published: February 16, 2018
Read "Helle Henning: Nordic Sounds" Interviews Helle Henning: Nordic Sounds
by Suzanne Lorge
Published: February 14, 2018
Read "Dafnis Prieto: Cross-Cultural Mix" Interviews Dafnis Prieto: Cross-Cultural Mix
by Angelo Leonardi
Published: March 13, 2018