Besides just meaning beyond, it means when you transcend to the other side. So in doing this CD, as the material was coming along, Mongo died, Patato died, Ray Barretto died . . . It's been amazing how many good percussionists have passed away.
Percussionist Steve Kroon has spent many years walking through a variety of musical worlds. He spent his childhood years surrounded by all sorts of musical figures, with connections to jazz, Cuban music, rhythm and blues, Brazilian music, and more. His deep involvement led to local performance and recording jobs, and eventually a high profile gig with singer Luther Vandross that lasted twenty years. At the same time, Kroon began an association another musical icon, jazz bassist Ron Carter; their musical connection continues to the current day. Despite a full load of musical work with these two musicians, Kroon found time to record and perform with Spyro Gyra, Diana Krall, Aretha Franklin, Roberta Flack, Jimmy Heath, and many more. Kroon walks through each of these worlds with ease, adding musicality and insight to every situation.
At the turn of the century, Kroon began another journey, moving into the role of bandleader. His first album, In My Path (World Blue, 2000), reflected the diversity of his background, tying together Latin rhythms, jazz harmonies, and commercial leanings. His vast musical associates joined him on this album, with Carter, vocalist Jon Lucien, saxophonist David Sanchez, and many more making appearances. He returned as a bandleader with Se ñor Kroon (Pony Canyon, 2006), a more traditional Latin Jazz recording. Kroon collaborated with pianist Oscar Hernandez on several tracks, bringing a distinct New York flavor to the album. Kroon began performing with his own band following his second release, establishing that the bandleader role remained a piece of his future.
Kroon third album, El Mas Alla (Beyond) (Kroonatune, 2008), finds him simultaneously looking back upon his journey while peering into his future. The album pays tribute to several legendary percussionists that died in the years leading up to the recording. At the same time, Kroon looks back upon the influence of his father, who exposed him to Latin music at an early age. The album displays the depth of these influences upon Kroon's musical personality and serves as his strongest solo statement to date. He gathered a strong group of musicians to help him complete his vision, including Hernandez, bassist Ruben Rodriguez, and drummer Vince Cherico. Kroon seems more intent than ever upon making a statement as a solo artist, presenting the world with a full picture of his musical evolution and current artistic concept.
All About Jazz: You were born in Harlem and then moved to Queens and it seemed like you had a lot of different music around you.
Steve Kroon: In that neighborhood that was so amazing, there was a man down the corner by the name of Henry Glover. He did Joey and the Starlighters, he produced honky tonk, he wrote "Drown In My Own Tears" for Ray Charleshe was almost like a Quincy Jones of that time. He did Heart and Soul (Gee, 1961) for the Cleftones...numerous stuff. The thing that was amazing was that he lived right down the block. When I was 12 years old, me and my brother had a singing group. We used to always run over to his house and try get a record deal, you know? And he took a real liking to us. He liked all the kids on the block, but he took a real liking to me. He became like an uncle to me. I used to go there and watch the rehearsals with the Cleftones, and stuff like that. It was an incredible experience being around him.
At the same time, around the corner was Eddie "Lockjaw" Davis. About four blocks away was Arthur Price. Another four blocks away was Lester Young, Prez. About six blocks over on Linden Boulevard was Count Basie and James Brown, Book Benton...wow, the names just go on and on and on.
AAJ: That must have been pretty inspiring.
SK: It was very inspiring. My brother Bobby, he was the one who had me really excited about the music stuff. We had a singing group together, we started playing percussion together at the same time, he was a great influence on me. At a really young age11 or 12, we really felt like we wanted to be musicians. So we would look at these guys and kinda idolize them. You know, we knew who they were. It was beautiful, because they could see how...we reflected to them too, you know? It was nice to get to know them. I got to know Eddie "Lockjaw" Davis and Prez. I knew his [Lester Young] son, we went to school together. So, you know, sometimes he would say, "Hey, my father's coming home from Europe, man." So we would be sittin' out, waiting on the street, waiting for the cab to come, to see him coming out of this cab, 'cause he was so cool, you know? The hat, and saxophone, we were like, "Look at your Dad"I mean, how cool is that? And then you see an album cover with him and Billie Holiday, and you're like, "Wow, that's your father, man." I mean, that stuff was really bigger than life to us. I had a very well rounded introduction to all kinds of music.
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid. For some reason I remember an arrangement of Hey Jude they did. My first real exposure was Stan Kenton in the Smithville, MO high school gym. Kenton and the band director there were old friends, so he would play there from time to time. My dad took me without telling me where we were going and it was the only show he ever took me to. I remember that Bobby Shew played Send In Clowns and I damn near levitated I was so excited. The huge sound and amazing chords floored me. I believe I was 13 at the time. I immediately started practicing and taking lessons. Music became a passion and nearly a career. I also listened to Dick Wright's Jazz Show on KANU every night. I can't even start to explain what I learned lying in bed listening to Dick talk about jazz. I met him once when I was struggling to put together a solo for Joy Spring playing in a combo at KU. Stopped by his office and asked for recommendations. He showed up at my jazz ensemble rehearsal the next day with a tape with example solos. What a kind man Dick Wright was.
My advice to new listeners is to stop worrying about what music is important and focus on music you like. I spent quite a bit of my music life listening to important music I didn't necessarily like. Must say I have quite a bit more fun now listening to music that I deeply enjoy. Some of it is even important.
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