All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
Tula's in Seattle is a great venue. They have such a high reputation in the city that the walk-in crowd is always good. The bar staff are not just there to make a buck either. They really get into the music and the room is a great place in which to be. The sound is good and the stage is set up just right.
What do you think is the most important thing you are contributing musically?
Energy and a certain amount of unpredictability are my main contributions. I always get into the music and try to do something different every performance. I want to surprise and be surprised every time I am on stage.
Desert Island picks:
The only album that is a true desert island pick I can nail down is James Taylor's One Man Band. It is a perfect recording. The songwriting is top notch and the emotion on the record gets to me every time I hear it. You can't passively listen to that record.
If I weren't a jazz musician, I would be a:
Writer. I almost majored in creative writing before I decided to go for jazz. It is a great way to use my mind silently. If I didn't write music, I would write anything else.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.