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by Rick Holland
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Rick Holland: Harvie S, thanks for taking some time out of your schedule to spend with us at JR247. I thought I’d start by asking the question, was there any one thing that inspired you to go to Cuba and learn to master these Latin styles?
Harvie S: There wasn’t just one thing,. I started to check into this music and realized that this was something I needed to know and be apart of. It changed my musical life and opened up a new and wonderful world for me.
RH: How much a transition does the jazz musician have to make to really learn the ‘clave’ rhythm?
Harvie S: I have to admit it took me a while. It didn’t come easy for me. Mainly because I had so little knowledge of playing percussion before. I found that by studying rhythms I was able to get into the music better.
It seems like drummers that study the music learn faster than say a sax or bass player. The problem with learning bass in that style is that so much depends upon the bass being correct and if you are not laying it down the band can’t swing. I had some very tense moments to say the least. Horn players and pianists have a little space to hide for a while, until they get it. The bass has nowhere to hide.
RH: This new disc “ Funky Cha” is smoking! Rhythmically it is so burning. Where did you find this set of personnel to deliver this concept so convincingly?
Harvie S: Thank you for the kind words. I hand picked each member of my band and we are a band. My music is about the musicians that play it and their contributions make the music go to the heights it can. Daniel Kelly has been with me arond 6 years and William “Beaver” Bausch has 2 and a half years with the band.. We have done a lot of playing together and we have developed our sound. The music on the CD is first and second takes with hardly any fixes or edits. We play live even in the studio.
RH: What I love about this music, is not only, is the music very explorative rhythmically, but modern harmonies just seemingly flow out from everyone. Is this current generation at any advantage of the mixing of Latin based music’s with Jazz?
Harvie S: My music is Jazz through and through. I use Afro-Cuban and World influences to make my statement. I have always used rich and interesting harmonies combined with unique forms. So glad you are in tune with my concept.
RH: I’d like to talk about some of the tunes on Funky Cha, for example the tune you wrote for your wife was originally a bossa, and you arranged this as a son- montuno, tell us what you think this brought to the tune? Do you just need contrast in your performing?
Harvie S: Mariposa en Mano is an old tune of mine that worked in Clave even though when I wrote it I didn’t know what a clave was. I decided to re write it as if it was new and I ended up with that arrangement that is on the CD. I came out sort of like a Cuban Son in a Charanga style with out the violins.
RH: Tell us about Daniel Kelly’s Earquake”?
Harvie S: Basically Daniel came in with that tune in a raw state with out an arrangement we all came up with ideas and eventually a way to play this tune. It is loosly in clave and loosly in a Guaracha style.Definitely you have to say it is Modern jazz and not authentic Afro-Cuban, but there is clave and tradition in there. A lot of fun to play.
RH: Funky Cha has a 14 bar phrase, how and where did irregular phrased music influence you personally? This is more of a trend I realize in modern musical styles.
Harvie S: I never plan how long a phrase will platy out. I let the phrase tell me how long it wants to be. I try to make my music sound organic and let it breathe naturally. I only later realized that Funky Cha is a 14 bar phrase.
RH: Harvie, what are some things you stress with your students to be successful in this present day climate?
Harvie S: I tell my students that it is important to learn a lot of styles and learn them correctly. Then be creative with it. That is a way to higher learning and being in demand.
RH: What are some things do you feel need to be emphasized in training young musicians?
Harvie S: I have been teaching at the Manhattan School of Music for over 20 years and teaching privately for 30 years. I have to keep up with the ever changing scene and demands but the basic prerequisites don’t change. A bassist must be able play in time, in tune, have good rhythm, be able to read and construct solid bass lines. That is a good start and I have proven methods to get those things across. Then we get into the deeper end of the pool.
RH: Your records with Shelia Jordan are legendary. What was it like working with Shelia?
Harvie S: I guess I am known (under my former name) for my duo work with Sheila Jordan. It was a great experience and I learned a lot from it. I was required to come up with the arrangements and turn the bass into an orchestra. I would try different methods such as double stops, arco, harmonics, themes, walking and tapping. Making sure to use certain concepts on the best tune and not use up my limited bag of tricks too quickly. Of course I got to solo in many styles to keep it interesting and even scatted a bit. I was also a performer and we had stage banter that was never planned, but sometimes it just came out and we had some good times we shared with the audience. We did concerts and gigs where we would do two sets of 60 to 90 minutes. I was amazed that the audience would ask for more after that. It was a magical experience.
RH: Are there some observations about other legends you have worked with, that you can share with the listening audience? Like working with Getz?
Harvie S: In my career I have played and recorded with so many great musicians. I feel so blessed. I played in Stan’s Band for a couple of months and it was fascinating to check him out every night. He was such a consistent player, who always made a strong statement when he blew into that tenor. I learned much from him. I learn from everyone in some way. Sometimes what to do and sometimes what not to do. All part of life.
RH: This is a great young band you have currently. Tell us some of the things you’ve done with this group, and plans you may have for the future?
Harvie S: I have been doing my band for about 9 years and we have played so may places which are listed on my website. www.harvies.com. I am so happy to have Daniel and Beaver they inspire me every time we play. That is the core of the band.
We will be in Albany on Oct 26th and the 24th and 25th at a new Jazz room in the Westin Hotel in Manhattan. We play a concert at Iona college on Sept 21st. In November we will be touring Italy as a trio with a great sax player from Sicily, Stefano D’anna. We are booked for Austria July 2007. Details on Website.
RH: Thanks for spending time with us. We appreciate the contributions your making in the creative music world.
Harvie S, My pleasure and thank you for your interest in my music and your perceptive understanding.
For more in formation about the music of Harvie S., please visit: http://www.harvies.com/
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Rick Holland |
| About the author: |
| A versatile musician and veteran performer in organizations such as the Louie Bellson Big Band (Chicago Based Band), Jimmy Dorsey, Mike Pendowski, Rob Parton , Buddy De Franco, Buselli-Wallrab and Terry Gibbs Bands, Rick Holland brings a wealth of experience and musicality to each performance. |
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