4

Trombonist Wayne Wallace racking up Grammy nods with distinctive record label

David Becker By

Sign in to view read count
Usually when a musician starts a record label, it's with no intent beyond releasing his own music. Not so with San Francisco-based trombonist Wayne Wallace. Since forming Patois Records (Motto: "Promoting improvisation") more than a decade ago, Wallace has used the label as a vehicle to promote both his own Latin jazz work and music of fellow free spirits performing everything from salsa to big-band jazz. Along the way, the label has picked up a handful of Grammy nominations, including a 2016 nod for Canto America, a collaboration with percussionist (and fellow Indiana University instructor) Michael Spiro and a 35-piece orchestra that smoothly encircles a broad swath of Latin music tradition.

Initially an in-demand R&B player, with credits including Aretha Franklin, Ray Charles and Stevie Wonder, Latin jazz became Wallace's passion once he started soaking up the music behind California percussion masters such as John Santos and Pete Escovedo. He's gone on to become a well-recognized master of numerous tropical styles, as well as an accomplished arranger, composer and educator.

All About Jazz: What made you want to run a real record label and have a diverse roster of artists?

Wayne Wallace: Looking back at it, I thought it was possible to make it work. The Bay Area had a lot to offer musically. I didn't want to serve a niche type of market, but a lot of the artists didn't fit into what the system was at that time... If you went to Tower Records, everything had to be in a certain slot. I saw that with Machete Ensemble, with Pete Escovedo's band —they just didn't fit the categories. So I thought that if we simply put the records out with kind of a (do-it-yourself) vibe, people would have a chance to hear what they were missing.

It became kind of collective, so to speak. We set a precedent that the artists would retain the masters, and we would help them with publicity and promotion, but we wouldn't make any money until they recouped their original investment.

AAJ: So part of the idea from the start was to treat artists the way you'd like to be treated by a record label?

WW: Yeah, that's a good way of looking at it.

AAJ: You've ended up with a very diverse roster. How do you chose the artists you work with?

WW: I don't actively go out seeking people. But when people come to me, I look for artistic integrity in what they do and what they're striving for. And a like-minded sensibility. A lot of these folks are ready to produce their own records, but I have my own vision and aesthetic. So we sit down and work it out and find a happy middle ground after talking over all the possibilities of what a record could be.

AAJ: Does it help having the experience you do as an arranger, producer and everything else—you can tell pretty quickly if someone's got it or not?

WW: Yes, it does make a difference. It's a game-changer.

AAJ: How much of a difference do the Grammy nominations make?

WW: Good question. It's difficult to quantify exactly what it means, but it does give you credibility, some cachet, and it gives you entry to some avenues that might no have been open to you otherwise.

AAJ: It must be especially gratifying to get Grammy recognition (nominated for Best Latin Jazz Album) for an album like Canto America, which obviously took a lot of work and imagination.

WW: I'm so proud of Canto America and how well it's been perceived. Because we were taking a big risk in making that record. It wasn't a traditional "Latin jazz" record. So for people—listeners, professionals from different areas...classical musicians, jazz musicians, folkloric musicians—they've all commented on the record with glowing reviews.

We had a lot of ideas, but we didn't want to make a record so intellectual, so over-the-top that a regular listener couldn't get it. Yet we didn't pander to anyone. I think we found, with a lot of hard work, a good balance between the two extremes.

And the Grammy nomination is fabulous, especially with the other really fine records out there. I think this release is...not genre-defining, but part of conversation in the overall Latin music world.

AAJ: Going back to the beginning, what made you choose the trombone starting out? It's not a particularly forgiving instrument.

WW: It was a good thing and a bad thing. A good thing because it only had one moving part. It wasn't until later that I realized that's one of the reasons it's so damn hard. And then as I went through high school, the arrangements kept getting harder, so it was like "Oh, I really have to learn to control this thing."

AAJ: What made you stick with it?

WW: Once you start to adapt to the trombone, it really grows on you. I had great teachers and a lot of good musicians around me who helped me technically get things happening, so I could express what I wanted to on the instrument.

Tags

Watch

comments powered by Disqus

Shop for Music

Start your music shopping from All About Jazz and you'll support us in the process. Learn how.

Guarachando

Guarachando

Wayne Wallace
Intercambio

Catching Up With
Year in Review
Album Reviews
In the Artist's Own Words
Album Reviews
Read more articles
Canto América

Canto América

Patois Records
2016

buy
Latin Jazz Jazz Latin

Latin Jazz Jazz Latin

Patois Records
2013

buy
To Hear From There

To Hear From There

Patois Records
2011

buy
 

¡Bien Bien!

Red Jazz
2010

buy
¡Bien Bien!

¡Bien Bien!

Patois Records
2009

buy

Related Articles

Read Bret Primack on Jazz Video and the Ira Gitler Documentary Catching Up With
Bret Primack on Jazz Video and the Ira Gitler Documentary
By Steve Provizer
June 11, 2019
Read Vivian Sessoms: To Be Black In America Catching Up With
Vivian Sessoms: To Be Black In America
By Kevin Press
June 8, 2019
Read Keith Fiala: From Maynard to the Maestro Catching Up With
Keith Fiala: From Maynard to the Maestro
By Nicholas F. Mondello
June 7, 2019
Read Tierney Sutton: Movie Music Re-visited Catching Up With
Tierney Sutton: Movie Music Re-visited
By Josef Woodard
May 8, 2019
Read Herb and Lani Alpert: Truth-Telling, the Arts and Heart Catching Up With
Herb and Lani Alpert: Truth-Telling, the Arts and Heart
By Nicholas F. Mondello
April 30, 2019
Read David Helbock: Inside & Outside the Piano Catching Up With
David Helbock: Inside & Outside the Piano
By Mark Sullivan
March 22, 2019
Read Arthur Satyan:  A life Steeped in Music Catching Up With
Arthur Satyan: A life Steeped in Music
By Hrayr Attarian
March 11, 2019