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 elseyou 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 peoplelisteners, professionals from different areas...classical musicians, jazz musicians, folkloric musiciansthey'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.