Jazznet: Lou Grassi

Af: Henrik Kaldahl (Jazznet) - 20/3-2009

Denne gang kigger Henrik Kahldahl nærmere på trommeslageren Lou Grassi

Lou Grassi er kendt for sit arbejde både indenfor den traditionelle del af jazzen og den mere advandtgarde free jazzede del. Han blev født i 1947 i Summit, New Jersey og begyndte at spille på trommer som 15 årig. Fra starten af halvfjerdserne og indtil i dag har Lou Grassi arbejdet med en masse personligheder indenfor jazzmusikken, blandt andre Marshall Allen, Billy Bang, Borah Bergman, Rob Brown, Roy Campbell, The Copascetics, Jimmy Garrison, Charles Gayle, Burton Greene, Urbie Green, Gunter Hampel, Johnny Hartman, Guenter Heinz, Fred van Hove, Joseph Jarman, Sheila Jordan, William Parker, Perry Robinson, Roswell Rudd, John Tchicai, Kenny Wessel, Vinny Golia, Paul Smoker, Steve Swell, Mark Whitecage og mange mange flere.

Hans medvirken på mere end 40 udgivelser, har gjort ham til en af de mest fleksible, originale og kreative trommeslagere på den eksperimenterende jazz scene idag. Han har til dato udgivet 9 albums med sit eget outfit Lou Grassi's PoBand, hvor han som leder har haft prominent besøg af kunstnere som Sun Ra Arkestra saxofonist og bandleader Marshall Allen, den legendariske danske saxofonist John Tchicai og Joseph Jarman fra Art Ensemble of Chicago. Han har turneret i stor stil i hele USA, Canada, Europa, Mellemamerika og Rusland og har deltaget i et hav af festivaler rundt omkring i verden.

Lou Grassi har en meget informativ hjemmeside hvor man kan følge med i hans fremtidge projekter og læse om de tidligere udgivelser og meget, meget mere. Adressen til hjemmesiden er www.lougrassi.com. Jazznet Denmark har haft den fantastiske mulighed, for at stille dette ikon indenfor free jazz nogen spørgsmål.

Interview pr. mail med Lou Grassi, Februar 2009
Jazznet : How did your adventures with music begin. Did you have any training by any teachers or are you self taught ???
Lou Grassi : I had a strong interest in music, and particularly in drums, from a very early age, although I didn't begin playing or studying music until the age of 15. I had private drum lessons from Richie Moore 1962, Tony Inzalaco 1963, Sam Ulano 1964-1965. While serving in the US Army (December 1965-December 1968) I attended the Navy School of Music, Little Creek, Norfolk, VA, in 1966 with private lessons from Kenny Malone and then served in the 328th US Army Band for the remainder of my service. An interesting note here is that when I was about to be called into the Army (this was during the Vietnam War and we had mandatory service) I spoke to a recruiter to see if I could get into a band. He said the Army had a full quota of drummers, but that he had a personal friend who was in charge of the band at Brooklyn Army Terminal. He arranged an audition for me and said if they said they needed me he would give me a written guarantee that I would go to that band after my training. Billy Cobham was in this band and gave me my audition, and said they needed me. It probably saved my life. Thanks Billy! After my discharge I attended Berklee College of Music, Boston, MA September 1969-February 1970 with private instruction from Bobby Gladstone and Alan Dawson. I later studied with Beaver Harris 1973-1974 who became a close friend and mentor, followed by a period of study at Jersey City State College where I studied percussion with Nick Cerrato and eventually earned a B.A. in Music. I also studied musicianship and arranging with Marshall Brown 1978-1983.

Jazznet : Improvised music is these days a very different size to classify and put in any boxes, since the boundaries are very flowing. Where do you see it going in the future and what do you think is going to be the next big thing ???
Lou Grassi : If I knew what the next big thing would be I'd be in it right now! It seems to be going in all directions at once. Fusions with every kind of ethnic folk music, fusions with hip-hop, electronics, noise, etc. I guess we'll just have to wait and see. I expect that whatever it is, it will be a surprise.

    "If I knew what the next big thing would be I'd be in it right now! It seems to be going in all directions at once."

Jazznet : If you should mention 5-10 records that have meant something to you and your music, what would they be ???
Lou Grassi : John Coltrane A Love Supreme, Kulu se Mama
Miles Davis ESP, Miles Smiles
Ornette Coleman The Shape Of Jazz To Come, Ornette!, FreeJazz
Wayne Shorter Speak No Evil, Ju Ju
Roswell Rudd Everywhere
Charles Mingus Mingus, Mingus, Mingus
Sonny Rollins East Broadway Rundown, Shadow Waltz, Freedom Suite

Actually, it's hard to limit it to a few. Anything by the classic Coltrane quartet, any pre fusion Miles, anything by Monk, Mingus, Bird, Billy Holiday. The list could go on and on.

Also of major influence on my development, especially of my free playing, were a handful of ethnic music albums (now known as world music) :
Golden Rain on Nonesuch (especially the piece Ketjak: The Ramayana Monkey Chant)
Music for Balinese Shadow Play on Nonesuch
Drums of Haiti on Folkways
A record of African Ceremonial Music. Probably on Nonesuch. I can't find it now and not sure of the exact title.

One of the most important to me was an album by an African drummer from Ghana whose real name was Kofi Ghanaba. He recorded under the name Guy Warren and I have an album entitled Themes for African Drums on RCA Victor. There was a tune called The Lady Marie Drum Suite. On part 2 he played a western drumset, and in the liner notes he wrote something about his playing that influenced my thinking a lot. He said "At one point I create a tempo within a tempo by letting my hands chase each other. This gives the illusion that the whole rhythmic structure is falling apart . . . at another point I go into a free-form hitting everything in sight and enjoying myself all the time, which by the way is to me the MOST IMPORTANT THING when I play."

I was also influenced by the music of Steve Reich, Lew Harrison, Elliot Carter, Edgar Varese and other 20th century composers, but more by playing their music in percussion ensembles in college than by recordings.

Jazznet : You have contributed to many records. Is there some of them in particular, you see as more important or landmarks in your production than others ???
Lou Grassi : Everyone is an important landmark when it happens, but a few stand out for certain reasons. The first recording I was ever on, Roswell Rudd's Numatic Swing Band, The Jazz Composer Orchestra JCOA 1007, is one. I played brushes and am only on one tune, yet when I went to Europe for the first time 15 years later, people I met knew me from this recording. I was overwhelmed. Another would have to be PoGressions (CJR 1062). This was the recording that got me back on the creative music scene after 15 years doing more commercial projects. It was a live concert for the Improvisor's Collective and I didn't even realize it was being recorded. I sold it to Cadence records and the timing was exactly when producer Bob Rusch was starting the CIMP label which has really put me on the musical map. Another would be John Tchicai's Hope is Bright Green up North (CIMP 278). This was my debut as a composer. John insisted that I write something. He told me the date would not happen unless I wrote something, and I came up with Ballad of 9/11, which is now on four separate cds and I now have a few other compositions that have been recorded several times each. Thanks John! Another that's very important to me is Live At The Guelph Festival - Marshall Allen & Lou Grassi (CJR 1192). This is a live duo from the Guelph festival in Canada in 2001. It was released last year on Cadence and it's something quite special. A rare chance to hear Marshall in such an exposed situation. Totally improvised. It's fantastic.

    "It's not easy music. It's not background music (Lou Grassi on improvised music)."

Jazznet : When i play improvised music for the people i know they sometimes don't seem to understand it and appreciate it the way i do. Are you some times in the situation that people don't understand your music, that it is misunderstood ???
Lou Grassi : Of course. It's not easy music. It's not background music. Like any serious art it takes a willingness to invest some time and energy into experiencing it and it will gradually reveal itself to you. A few people get it immediately. I certainly didn't. Some will never get it. I don't think it's meant to be understood. It's like going on holiday. It's a mini holiday for the spirit. It's to be experienced and trusted to take us on a journey where we experience various emotions, insights, questions, etc. If at the end of the journey we say "Wow, that was some trip. Let's do another one." Then we "understand" all there is to understand about it.

Jazznet : At your concerts and on your records as well, how much is improvised and how much is planned before start ???
Lou Grassi : Some projects I play with are totally improvised. Some have compositions and open improvisations which use the compositions as source material for the improvisations.

Jazznet : What are you doing now, and what will be the next release from you and your projects???
Lou Grassi : The next release is scheduled for April 21, 2009. It's a new studio recording by The Nu Band (Roy Campbell Jr., Mark Whitecage, Joe Fonda & me) entitled Lower East Side Blues. It will be on Porter Records. Check it out!

Jazznet : If a new listener was about to buy his first recording with your music. Which one(s) would you recommend as the best introduction to your music ???
Lou Grassi : There are certain ones that seem to be more accessible for the uninitiated listener and even people unfamiliar with this music seem to enjoy them. They include:
"Quick Wits" Lou Grassi Saxtet, (CIMP 123)
"comPOsed" Lou Grassi PoBand and John Tchicai, (CIMP 262)
"Drunk Butterfly" Adam Lane, Lou Grassi, Mark Whitecage (Clean Feed 116)
"Jawboning" Kenny Wessel, Ken Filiano, Lou Grassi (CIMP 318)
"Music is the Meditation" William Gagliardi (CIMP 242)
"Hope is Bright Green up North" John Tchicai (CIMP 278)

Jazznet : Do you have any plans of coming to Denmark to play some concerts in the future ???
Lou Grassi : No plans. Only hopes. I almost brought my PoBand with John Tchicai as guest to the Copenhagen Jazz Fest a couple of years ago. After having an agreement, they later wanted me to reduce the fee. Since we were expected to pay our own flights out of the fee, and having no guarantee of what flight costs would be when the time came, I was unable to accommodate them. This is my profession and I have more than 40 years experience. If I can't be paid properly for what I have to offer then I'll keep it at home. I recently recorded with a wonderfully talented Finnish saxophonist/composer named Mikko Innanen. The recording also includes Herb Robertson and trumpet and Joe Fonda on bass. Hopefully this will help to get me into the Scandinavian countries for the first time.

Jazznet : How would you categorize your music ???
Lou Grassi : Duke Ellington said there are only two kinds of music "Good music, and the other kind." Hopefully mine isn't the other kind.

Jazznet : Are you inspired by some of the great masters of jazz and who do you see as your inspiration ???
Lou Grassi : Of course I am. Elvin Jones, John Coltrane, Miles, Max Roach, Joe Henderson, Wayne Shorter, Mingus, Sonny Rollins, Thelonious Monk just to name a few. I'm inspired by every great artist who found their own voice and made a unique personal statement, especially if their work had a strong spiritual or political message as well.

Jazznet : If you should mention some artist who in your opinion are going to be the future of jazz and take it into the future, who should they be ???
Lou Grassi : I can't name them because I don't really try to keep up. I'm content to draw inspiration from a few masters whose music really speaks to me and focus on my own work, but I know the young ones are out there. I hear a lot of extraordinary young musicians in New York without really getting to know who they are. I mean really advanced players at a very young age. I'm impressed at how much more together they are as professionals than we were at their age. They are sober, well organized, know how to take care of business, and are community oriented. I say the future is bright.

    "Duke Ellington said there are only two kinds of music "Good music, and the other kind." Hopefully mine isn't the other kind."

Jazznet : Which artist do you define as real jazz ??? and free jazz ???
Lou Grassi : That's not for me to say. I'll leave that to the critics. Someone once said that jazz is like pornography. You know it when you hear it.

Jazznet : Where do you see yourself, Mr. Lou Grassi in 5-10 years, still making music for the masses ???
Lou Grassi : If I'm still alive, and healthy enough to work, and there are people who want to hear me, you bet I will!

Jazznet : What’s your best advice for young aspiring Jazz musicians ???
Lou Grassi : Keep your ears open, study your craft, but never give up your natural instincts or inclinations as to how you should play. That's where you will find your originality and whatever will make you stand out from the crowd. I spent about 15 years trying to "fit in" so that I could make a living playing. When I finally trusted my natural instincts and played the way I really hear it was when all good things started happening for me.
 

Musikken

Lou Grassi's PoBand : Infinite Potential (CIMP 344).
Den nyeste udgivelse med Lou Grassi's PoBand, er optaget den 26. og 27. september 2005 i Spirit Room studierne i New York. Udover Lou Grassi på trommer og percussions bestod PoBand ved denne session af Perry Robinson på klarinet og ocharina, David Taylor på bas trombone, Herb Robertson på trompet, pocket trompet og flugelhorn og Adam Lane på bas. Denne disc er Lou Grassi's ottende udgivelse på CIMP/Cadence labellet som leder. Sammenspillet mellem disse 5 musikere er intet mindre end bjergtagende og fuldstændig imponerende. Det er ligesom der er en eller anden form for telepati, mellem de medvirkende musikere - som om de hver især ved hvad de andre finder på og hvor de bevæger sig henaf, før det er tilfældet. Vi bliver ført igennem 5 numre med en samlet spilletid på omkring 55 minutter. 55 minutter hvor man sidder og bliver mere og mere imponeret over disse mageløse musikeres kunnen på deres respektive instrumenter jo længere man kommer ind i pladen. Hvis man er ny til Lou Grassi og skal ud og investere i den første plade, eller hvis man ikke er til den frie jazz, er dette ikke pladen man skal starte med. Den er krævende lytning som ikke vil tiltale enhver, men for den der kaster sig ud i det er der virkelig guld at finde. En fantastisk udgivelse fra det eminente selskab CIMP Records.

Ken Wessel/Ken Filiano/Lou Grassi : Jawboning (CIMP 318).
Guitaristen Ken Wessel var før jeg modtog denne cd til anmeldelse, et helt uskrevet blad i min bog. Efter lidt research fandt jeg dog ud af at, han blandt andet har medvirket på tre af William Gagliardi's udgivelser på CIMP Records og Ornette Coleman's Tone dialing. Her er så hans første udgivelse i eget navn - og det er en yderst overbevisende en af slagsen. Ken Wessel bliver bakket op af Ken Filiano på bas og den geniale free jazzede trommeslager Lou Grassi. Det tætte sammenspil og de nytænkende improvisationer disse tre musikere lægger for dagen kan kun få en til at klappe i sine hænder. Udover to kendte numre, "I Remember You" og "Softly As In a Morning Sunrise", som begge i starten er svære at genkende men som efter et stykke tid bryder ud i de velkendte melodier, består denne cd af tre Ken Wessel, to Ken Filiano kompositioner og sidste nummer er en gruppe improvisation. Wessel er teknisk en meget dygtig guitarist, som er dedikeret til at indspille musik der har noget på hjerte. Som guitarist har Wessel en ren og klar lyd, som han krydrer med distortion og brug af volumen pedalen en massé. Alle numrene på denne cd er virkelig solide kompositioner, men sal jeg presses til at fremhæve nogen må det blive titel nummeret "Jawboning" og gruppe improvisationen "Diminutive innuendos". "Jawboning" er et yderst svingende nummer med super guitarspil af Wessel, tordnende, overlegent trommespil af Grassi og Filiano's følsomme og markante basspil. "Diminutive innuendos" skiller sig ud ved at være et fuldstændigt improviseret nummer, der demonstrerer kreativiteten hos hver af de medvirkende musikere og deres instrument. Alt i alt et fantastisk album, som ikke kan anbefales nok.
 

Lou Grassi's PoBand and John Tchicai : ComPOsed (CIMP 262).
Lou Grassi's PoBand udgivelse fra 2002 med den legendariske danske saxofonist John Tchicai som gæste musiker. PoBand består denne gang af Lou Grassi på trommer, Paul Smoker på trompet, Art Baron på trombone, didgeridoo, ocarina, fløjte og klokke, Perry Robinson på klarinet og ocarina, Wilber Morris på bas og så altså John Tchicai på tenor saxofon, bas klarinet og fløjte. Som alid er Grassi's PoBand fuld af overraskelser, med fantastiske soloer, sofistikerede og overlegne arrangementer og en tilgang til musikken som er nytænkede og innovativ. Denne udgivelse er lidt anderledes i forhold til de tidligere som hidtil har været fulstændig improviserede. Her har Tchicai komponeret 6 numre og 2 er improviserede stykker som vi er vant til. Tchicai passer perfekt ind sammen med de andre musikere, og går ind i gruppen som om han var et vedvarende medlem. Hvis man som nybegynder skal til og i gang med Lou Grassi's PoBand er denne cd, nok et godt sted at starte. Den er ikke er så hidsig og aggresiv som de andre udgivelser, men mere afdæmpet om man vil i sin fremtræden. ComPOsed er free jazz af den fineste skuffe, Tchicai's numre bliver brilliant fremført af dette all star ensemble. En virkelig stærk og overbevisende udgivelse med masser af fantastisk musik gemt mellem rillerne.

Adam Lane/Lou Grassi/Mark Whitecage : Drunk Butterfly (Cleanfeed Records CF116).
Denne udgivelse er den nyeste fra Lou Grassi's hånd, denne gang er han i samarbejde med Mark Whitecage på alt saxofon og klarinet samt Adam Lane på bas. Der er 9 numre på denne cd, hvoraf de 2 er komponeret af Lou Grassi, 4 er komponeret af Adam Lane og 3 er komponeret af Mark Whitecage. Udovr at være en glimrende bassist er Adam Lane også en dygtig komponist, som bland andet kan høres på to andre udgivelser på CIMP Records "Zero degree music" og "Music degree zero" hvor han står for alle kompositioner, som jeg klart kan anbefale man tjekker ud. Det der gør "Drunk buttefly" en solid udgivelse er det kollektive sammenspil, de tre medvirkende musikere improviserer helt fantastisk hver især, men det er når de går frem i samlet trop at de fremstår som en samlet meget stærk og overbevisende enhed. Whitecage lægger sig på de fleste numre i front, naturligt nok men de andre bakker ham altid op på den mest overlegne måde. Grassi i baggrunden med sit listige spil på trommerne og Lane lægger den gode solide dystre og mørke bund, både når han spiller med fingrene og med bue. Denne cd anbefales på det kraftigste, ikke som
en trio med saxofonen i front men som et møde mellem 3 geniale improvisatører.