Roxy Coss: Standing Out

Paul Rauch By

Sign in to view read count
AAJ: Coming from Seattle to New York is a major cultural shift. You have been in New York now ten years. How have you navigated these changes musically, culturally, and in terms of lifestyle?

RC: It was culture shock at first, it was really hard. Seattle is a bubble in itself, I know it's changed, but the programs I experienced here, like Garfield, were very unique in a good way. Intellectually, I was always amongst peers, and challenged. At Garfield, it was so diverse in so many different ways. Seattle, and Garfield both value the arts and science above what most of America does. I know Seattle has changed, but this was the Seattle I grew up with.

AAJ: Gentrification has not dulled the passion for the arts in Seattle. We're in our own little world in a way. We just need to figure out a way to get all these new people interested in jazz. Slowly, it is happening.

RC: I first moved to New Jersey, which is a horrible place. I was shocked that most of the students at William Patterson grew up in New Jersey and had never been to New York City. It was a choice, choosing this over the city and it was just an awful, depressing experience. Then I moved to the city and I was finally where I wanted to be. I've always been a city girl, Seattle seemed small to me always, and I'm fast, I move fast, that's my personality. New York was a good fit from the beginning. As time goes on, it's tiring, it's dirty, it's hard work to live in the city. Every time you leave your apartment it's exhausting, whereas Seattle is like the suburban city, which has the benefits of both. You can get in your car, live in a house, have a yard, yet you're ten minutes from downtown. You can walk, take the bus, light rail. In New York the people are different, I feel more comfortable in Seattle, there's a certain thing.

AAJ: It's like a big city with a small community feel. You studied in high school with Mark Taylor, the great Seattle based saxophonist. You played in the celebrated Garfield High School jazz ensemble under Clarence Acox. This is a great foundation from from which to learn the craft of jazz. Tell us about those days in Seattle, when jazz became a passion for you.

RC: I was very fortunate to go to Garfield High School, of course it really started at Washington Middle School with Mr. Knatt. Just this built in culture that jazz is cool. It's like jazz is the cool thing, not football. Everyone was good, Acox and Knatt both have high expectations, that when I go outside of that culture is missing. If you expect a lot from your students, you're going to get a lot, that's how you push your students. It's important. We traveled, I traveled to Europe when I was in high school, it was amazing. So I got to see a glimpse of what it would be like. Musically both Knatt and Acox tried to match the students with things that would make them shine, solos and things like that. They made you work for it, there was competition, that was all good.

AAJ: Mark Taylor was your private instructor.

RC: Yes, working with Mark was great. I think I met him at the perfect time, I was starting to learn improvisation with Randy Halberstadt, so I had this foundation, and by the time I got to Mark, I was hungry for saxophone and improvisation. He was a great match for me personality wise, he was so supportive. He would play me different saxophone players and ask me, ' Who is this?' I would have to tell him, ' That's Coltrane, or that's Sonny.' He would show me scales and chords, it was so great.

AAJ: He truly has an original voice as a saxophonist, and is a great person as well, so I can see him as an excellent one on one teacher.

RC: I think I was lucky he moved back to Seattle from New York, he could have easily stayed.

AAJ: What is it about jazz that inspires you, and drives your creativity and humanity?

RC: I think jazz is so important. The whole idea of it is the best of what our culture could represent. It's the best of democracy, and America, and diversity, everybody having a voice. The individual being celebrated, what makes you unique.It gives you a way to express yourself that nothing else does. It's endless, it's a process, not like a goal and completion. For me, Wayne Shorter is the epitome of what jazz represents, and that is, 'Who are you, we need your voice.' To me that's very important, I've always stood out, and never blended in. To have a place where that is celebrated is very important. That's what America is ideally about, embracing our differences, celebrating our diversity, everybody has a voice.


Related Video

comments powered by Disqus

More Articles

Read Pat Metheny: Driving Forces Interview Pat Metheny: Driving Forces
by Ian Patterson
Published: November 10, 2017
Read Bill Anschell: Curiosity and Invention Interview Bill Anschell: Curiosity and Invention
by Paul Rauch
Published: November 9, 2017
Read Tomas Fujiwara: The More the Better Interview Tomas Fujiwara: The More the Better
by Troy Dostert
Published: November 6, 2017
Read Roxy Coss: Standing Out Interview Roxy Coss: Standing Out
by Paul Rauch
Published: October 22, 2017
Read Jamie Saft: Jazz in the Key of Iggy Interview Jamie Saft: Jazz in the Key of Iggy
by Luca Canini
Published: October 20, 2017
Read "Pablo Diaz: Drumming Life" Interview Pablo Diaz: Drumming Life
by Jakob Baekgaard
Published: August 22, 2017
Read "Johnaye Kendrick: In The Deepest Way Possible" Interview Johnaye Kendrick: In The Deepest Way Possible
by Paul Rauch
Published: March 8, 2017
Read "Andy Summers: Creating Light from Dark" Interview Andy Summers: Creating Light from Dark
by Nenad Georgievski
Published: August 31, 2017
Read "Roxy Coss: Standing Out" Interview Roxy Coss: Standing Out
by Paul Rauch
Published: October 22, 2017
Read "Lwanda Gogwana: Tradition and Innovation" Interview Lwanda Gogwana: Tradition and Innovation
by Seton Hawkins
Published: September 9, 2017

Join the staff. Writers Wanted!

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

Please support out sponsor