Big Noise...From Planet Earth

“A whole bag o' mutes...”
Trumpeter Ron Horton and I go back 43 years- when we were fresh out of college, dipping our toes into the world of adulthood, and living the bohemian life in funky Washington, DC, amid the birth of the “Me Generation” and the Reagan Era. Immersing ourselves in everything from hard bop to avant-garde jazz, we were part of a local scene that was to propel each of our futures as musicians. After making the intimidating leap to the New York City of the early 80s, Ron’s trajectory led him to solidify his instantly identifiable warm, lyrical playing, as a co-founding member of NYC’s important “Jazz Composer’s Collective” in the 1990s. He subsequently became a busy composer and arranger, and has recorded numerous albums as both sideman and under his own name. We cover everything from his experience as a pivotal member of the legendary pianist Andrew Hill’s last great ensemble, to his other passion- restoring two spectacular Jaguar XK120 sports cars. 
And, oh yeah, we discuss in depth his creation of those beautiful trio clips...

Paying for it on the other side…
I couldn’t have picked a better way to launch Season Two into its next atmospheric level, than to invite world-class guitarist Pete McCann as my first guest. After a fun, eye-opening, and ultimately inspiring Season One- asking top-tier bassists to record over my drum improvs- I’m now out to see what various musicians can come up with by adding a new layer of tracks over last season’s “duet mash-ups”. What happens when a third voice is thrown into the mix? Pete McCann already proves here that the inspiration can still flow freely- on his own terms, creating a whole other direction. Our discussion covers his interesting roots from Eau Claire, Wisconsin, to his time at North Texas State University, and finally to his move to NYC, where he’s been tearin’ it up as a top guitarist for more than 2 decades. And Pete really gets into how he approached each of these mini-trio creations, both technically and aesthetically. If you’ve been following “Big Noise” at all, I promise you’ll love the tech-talk, the art-talk, and Pete’s heartfelt take on where we’ve all been musically and emotionally these last few years. Welcome back!

What /Who becomes a bass legend most?
How to finish Season One on an ultimate “low” note? It was several of my guests who chimed in- “Ya gotta interview John. He’s a New York legend, has great stories, and, well, you’ve worked with him tons, right?” So here he is- stories of recording with the hippest jazz artists of the late 50s-early 60s, auditioning for Leopold Stokowski for his (now 56th year!) principal bass chair gig with the American Symphony Orchestra, being a Sondheim “rock” on Broadway, and his endless TV and Film credits- including laying down tracks from Sinatra to John Lennon’s “Imagine”. John’s wry sense of humor has been relied upon to diffuse the tensest of rehearsals and recording sessions- merely a cool fringe benefit to his unbelievably solid and beautiful musicianship. I’ve had the honor of working with him for 15 years at City Center’s “Encores!”, and always look forward to gaining some priceless wisdom during our ritual ramen noodle outings. AND, in lieu of creating the duets, we’ve opted instead to showcase some of those early swinging sessions that John walked all over- awesome sides with Gerry Mulligan, James Moody, Al Cohn, and more. It was an honor to wrap up my first season doing this special “off-the-menu” interview with one of the true greats of the bass violin.

Just turn on, press record, and play.
At about the halfway point in our interview, John casually mentions that he just  received word that a record he’s on, “The ReMission”, led by pianist Andy Milne with drummer Clarence Penn, had just won a Juno (the Canadian Grammy). Fact is, John himself has been named several times in the Downbeat Critic’s Poll, as a bassist and leader, and has become over the last decade one of the most sought-after jazz bassists in NYC. He’s an incredibly expressive and open musician, having played with Lee Konitz, Fred Hersch, Andrew Hill, Toots Thielemans, Maria Schneider, and tons more. AND, he approached our duets in an obvious yet brilliant way that no one previously had attempted (a mini-“Big Noise” milestone). His story stretches from New Orleans to New York, with a wild, musical stop under the New Jersey Turnpike that’s for all to see and hear on YouTube.  Once you check that out, I'm fairly sure an Hébert rabbit hole binge will follow.

“Improvisation’s a mysterious thing, man.”
In this episode I connect with an old friend- the incredible bassist/composer Lyles West, a luminary of the Dallas jazz scene for 3 decades. Lyles discusses his roots in the backwoods of Lenoir, North Carolina- at 7, performing with his father in an Old Time Mountain band- and his post-college move to Chapel Hill as a member of the local-legend jazz trio “Hands” with the late great Frank Kimbrough. I was lucky to join that band, as we made our journey from NC to Washington, DC, and finally to NYC in 1981. But Lyles’ twisty saga continues on to Miami and to Plano, Texas, with stops in Marseilles, and Monaco, and included creating musical bonds with Shirley Horn to Junior Cook to Charles Brown to Ira Sullivan. He also once had his own aviary with close to 100 birds, is a French cuisine/wine connoisseur, and happens to be one of the most musical bassists I’ll ever know. His inventive and beautiful playing on our duets is the proof in the bouillabaisse.

I don’t need no stinkin’ bass…
In the late 90s I toured with jazz harp guru, Park Stickney, and the bassist was the phenomenally talented Darren Solomon. Darren, who a decade earlier had a running start at age 19 touring with Ray Charles, Barry Manilow, and Olivia Newton-John, had by then already been morphing his career into being a studio composer for commercials and film, mastering a variety of other instruments. After losing touch for 20 years, we reconnected, and I discovered he was a fan of my little podcast. Another no-brainer- he must be a guest! He not only graciously agreed, but proceeded to push and tear up the envelope by recording our duets using piano, synths (including the classic Prophet Six), banjo, and even a little bass. He has amazing things to say about a composer’s sonic palette, and considerations for what effects it has on our collective human consciousness. That, and his audition for Ray. 

Covid is a mother of invention…
George was more than three years into the run of his fifth Broadway hit, “Ain’t Too Proud…The Life And Times Of The Temptations”, when the pandemic hit. It seemed to take him no time to pick up the slack and start his own Facebook webcast, “George’s Bass Chat”, where he interviews legendary bassists, musicians, and other performers. He remains busy in these barren times for artists, with that and other projects, “staying on the scene like a…” well, he is badass enough to have had the gig with James Brown, but his resume is impressive nonetheless. George has tons to say about the art of playing behind singers, his complicated childhood growing up in Vienna as the son of jazz legend Art Farmer, and took my drum tracks and turned them on their heads- creating wildly inspired duets.

Disclaimer: I’ve hung out with this guy…
Even if he wasn’t a close friend whom I’d played jazz gigs, concerts, and Broadway with, even if he wasn’t generously helping to edit this podcast because he’s one of the most insanely talented dudes I know, Pete would be on my- okay, anyone’s- list, to discuss his amazing career, and to lay down slammin’ bass tracks. Here Mr. Donovan discusses his career of enviable and endless variety, from Juilliard to Broadway, to symphony orchestras to studio work, to producing his own solo writing/singing/solo bass accompaniment project.                                 
And please stay for the duets. They’re incredible. 

“Ride the storm, baby…”                                                                                   
As soon as I decided to do this project and begin by featuring bassists, I knew I’d want to reune with Bill Moring, who I was super-fortunate to have in my former band, the East Down Septet. As we caught up, it was striking (and humbling) to hear how he started his career playing with the best of the big band drummers, from Indianapolis legend John Von Ohlen, to Mel Lewis, to Dennis Mackrel (during Bill’s stint with the Count Basie Orchestra). It was during those formative years that Bill discusses how he acquired his warm, fat sound that has made him busy ever since, in all circles of jazz. After we listen to and discuss the incredible duets (which Bill turning into funny, poignant mini-compositions), we turn to his role as a teacher, his take on the next generation, and his super-positive outlook. Medicine for the soul. 

An “Out Of The Past” jazz Homecoming, 50 years in the making... 

Lou discusses his “film noir reunion” with his 1963 Bridgeport, Connecticut high school jazz trio, and also his journey from the Buffalo Philharmonic, to Vienna, Manhattan School of Music, the American Symphony Orchestra, Broadway, and his tenure with the legendary Elaine Stritch.