Take Five With John Armato

AAJ Staff By

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Meet John Armato:

For 25 years John Armato has played jazz and commercial music in Kansas City, New York City, and now, Northern California.

From concerts and shows to night clubs and private parties, from recording sessions and Russian tours to polka festivals and police circuses, from river boats and churches to—of course—weddings and bar mitzvahs, he's been there and played that.

Known for his taste and sensitivity on ballads as well as his strong sense of swing, Armato is in his element on standards, straight-ahead jazz, Basie-style big band charts, and light Latin styles.

Armato is based in Sacramento and is available for gigs in the Northern California region.



Teachers and/or influences?

Armato studied privately with instructors in Kansas City, Missouri, while growing up and was significantly influenced by his friendship and lessons with John Cushon, drummer and music director for recording artist Oleta Adams. Armato studied briefly with Joe Morello while living in New York. He draws inspiration from the clean and articulate sounds of Peter Erskine as well as countless other contemporary and past jazz masters.

I knew I wanted to be a musician when...

Drums seem to have always been a part of me. I was constantly playing on pots and pans and with Lincoln Logs. I begged my parents for lessons from about the time I was six, but no teacher would take on a student under the age of eight. I turned eight on May 19, 1972. One week and one day later, I had my first lesson, and everything happened from there.

Your sound and approach to music:

I've always thought I was born a couple decades late. for whatever reason, my ears, my heart, and my hands just respond to the sounds of the cool jazz period, to those eras of great ballads and velvety, breathy tenor saxophones. I love great melodies, great lyrics, and ballads. When I was in junior high, my friends were listening to AC/DC while I was listening to Dave Brubeck, Nat "King" Cole Shelly Manne, Henry Mancini, Stan Getz, Antonio Carlos Jobim, and on and on. That's about the time I discovered Kind of Blue. All I wanted to do was swish brushes, put down quarter notes on the ride cymbal and be a part of something beautiful. I play a lot of styles today, but it's still about the beautiful stuff for me. I can still play brushes all night long and love it.

Your dream band:

I'd give anything to play with Brubeck. Jazz Goes To College was such a big influence on me. I can sing every note of every tune on that album. To play with the master would be a dream come true. At the same time, I'm not exclusively into small group stuff. The Basie band is one of the best ways to feel happy there is. That would be another dream gig for me.

Road story: Your best or worst experience:

My favorite road story is about the road I never went on. I did an audition with an accordion player in Leavenworth, Kansas, when I was in college. He had a lounge band that was going to play Vegas for a few months. We played about eight bars of Satin Doll, then he immediately started talking about the gig responsibilities.

"First of all, you'll have to get fitted for the jump suits we wear on stage—they're lime green. You'll have to help drive the van. And you run the lights for the show with your feet."

I didn't like the fact that he seemed completely disinterested in the music part of the gig. It paid something awful, like $200 a week, and the rumor was this guy had once pushed his wife out of a moving car.

I figured I'd pass on the jump suit ...

Favorite venue:

One of the most remarkable experiences of my career was playing a tour of Russia in 1994 with a cultural exchange group from the State of Kansas. Our first night in St. Petersburg we were taken to a jazz club. Who knew there were jazz clubs in Russia? I believe it's still there. It's called the New Jazz Philharmonic Hall, and it was inspired by the old Norman Granz Jazz at the Philharmonic concerts.

There's a house band there that plays six nights a week. Four or five of us from the band were invited to sit in with the house band. They didn't speak any English except to call tunes. And, not surprisingly, we didn't speak any Russian. But these guys were serious players and we played things like Autumn Leaves, and Kansas City and I was struck by two things. First, this was a LISTENING room. The club was packed and no one said a word. They were there to listen and they took jazz very seriously. Second, when we were done playing, they went insane. They were on their feet and rushing the stage, and following us out to our van. Turns out word had gotten around that "real jazz musicians from Kansas City—Charlie Parker's home town!"—were playing right there in St. Petersburg and they treated us like celebrities. Now THAT was a jazz club I wouldn't mind playing again.

Your favorite recording in your discography and why?


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