Rick Holland/JR247: Welcome to the JR247 community, we’re glad you could take some time and spend with us and our listeners. My first question is, who was it who introduced you to Jazz to begin with?

Steve Davis: My father had a great record collection… jazz and blues, rock 'n roll. So there was music playing in the house all the time. My Mom always had the radio on in the car, too. My younger brother Pete and I just took it for granted. When I was old enough, my Dad also took us to some great concerts. We saw Billy Harper at SUNY Binghamton in 1982. I'll never forget that! Then there were my granparents. My Nana (Grandmother on Mom's side) was a very talented pianist. She didn't read any music at all - played strictly by ear. She really was quite good. She played in the stride style, but also played sophisticated chords, some blues too. My Nana played lots of standards… Embraceable You, Honeysuckle Rose, Them There Eyes, Undecided and My Funny Valentine. She had some steady gigs at restaurants, parties. But as good as she was, it was considered mostly a novelty. My Grandsir (Grandfather Dad's side) played the trumpet as a hobby. He plyed the ocarena (sweet potato), too. He could belt out "When The Saints" on either. He loved Duke Ellington, Count Basie, Louis Armstrong, Fletcher Henderson, Glen Grey and the Casa Loma Orchestra. He was a real fan of swinging jazz. I also had many great teachers in my hometown of Binghamton, NY. Doug Beardsley ran a jam session at the Music Box every Tuesday night. Al Hamme and Mike Holober taught at SUNY Binghamton. My Jr and Sr High School band directors (Mr. Maiolo, Mr. Thompson, Mr. Mann and Mr. Schifrin) were very encouraging, as well. As for my peers, some of the talented musicians to come out of Binghamton, NY around that time include Tony Kadleck, Kris Jensen, Dena DeRose, John Hollenbeck, Tom Dempsey, Reese Taylor, Tim Lynch, Sherri Maricle, Mike Levinsky and Tim Shoemaker. We all had the opportunity to hear and meet the great Slam Stewart (who made his home in Binghamton during the 70's and 80's) as well. He even played at my school several times… wow!

JR247: It's obvious Jackie McLean was a big part of your mentoring process. Can you share some ways Jackie helped to shape your musical ideology?

SD: Jackie McLean had, and will always have a tremendous influence on me (and many generations of musicians). I suppose I was already playing a little bit when I arrived at Hartt in 1985 to study with Prof McLean. But I was "green". It was J Mac who gave me a real concept for the music and it's deep cultural history. He always told us,"You can't play what's new until you know what's old". Prof McLean was very encouraging and patient with his students. He was mostly very positive and knew how to instill great confidence in you. But, at the same time he would push you. He had this magical sense of what each student needed at any given point in their development. Prof McLean could shake you up big time if he sensed that you were getting a bit too cocky. He really understood that balance. He was truly a great teacher. As a member of his band it was a similar experience. Except that he was also relying on you to contribute. J Mac was generous to us, musically. He asked his band members to bring in new music. What an honor and a thrill it was to have one of your compositions played by Jackie McLean. It was like an adventure. He had such a great imagination and knew how to make any piece of music into something special. The band always had his sound, regardless of who's tune we were playing. His concept was so strong that you wanted to write and/or play something that felt like J Mac. That's what we all did, instinctively. He never told us to do that. It was just the way to go. Jackie was so inspiring on so many levels… it's hard to put into words. He opened so many doors for me, musically and professionally. He gave me a job as a young teacher and put me in his band. What can I say, except that I owe so much to Jackie McLean and am so proud to be one of his many proteges.

JR247: Do you have some favorite experiences form being on the road with Art Blakey or Chick Corea?

SD: Sure. It was a dream come true to join the Messengers in Dec 1989. I wound up being the very last musician Art Blakey ever hired in the Jazz Messengers. We worked about nine months until his death in Oct 1990. I certainly can't speak about Art the way all the Messengers who came before me can, but I was there. I did walk through that door, which is now closed forever. Buhaina had a way of showing you what to play through the drums. He shaped your sense of form, dynamics. He was the greatest drummer I've ever played with. There was one night at Catalina's in Hollywood (my first time off the East Coast) in April of 1990 when Freddie Hubbard came by and sat-in (on Brian Lynch's trumpet). That was some incredible music! Art was so happy to see Freddie. He really fired-up the bandstand that night. I've never heard or felt anything like it since. It was just unbelievable. The whole club was in a trance. I'll never forget it! I worked with Chick Corea's sextet Origin from 1997-2000. It was a terrific experience. Chick is a great example of focus and dilligence. It was a big inspiration to play his music because he fostered a real togetherness on the bandstand. Chick taught us to never take for granted the communication that happens between musicians and with the audience. He also encouraged us to feel free to interpret the music - to make it sound like your own voice… not just like you're playing the trombone part. We had some great fun on the road, playing clubs, concerts, even with the Tokyo and London Philharmonic Orchestras. Chick helped me to conceptualize art as a timeless _expression. If it's good, it will endure for all time. Music is timeless.

JR247: I’ve noticed education is a big part of your musical aim in life? Steve, tell us how you’ve been affected by teaching at The Hartt School's Jackie McLean Institute (Univ. of Hartford)? As I understand it, you were groomed by Jackie?

SD: Yes. Upon Al Lepak's retirement, Prof McLean recommended me for an adjunct position at Hartt in 1991. I began conducting the Big Band (which Mr. Lepak had conducted for some 35 yrs) and was scared to death. I had to learn quickly how to read the scores (I rounded-up some Ellington, Strayhorn and Dameron arrangements for starters) and rehearse the band. I did that until 1999, when I turned the band over to a very good arranger, pianist Chris Casey. I now work with two Small Ensembles, a Repertory Class, Improvisational Devices, Transcription/Theory and Trombone Students. I've been a teacher pretty much my entire adult life. It has always come naturally to me, not because I know so much, but because it makes sense to share ideas about music. I have a great deal of enthusiasm for people and music. So why not have a job where you can make a steady income working on music everday with up-and-coming musicians? The school is flexible with it's faculty because Prof McLean set the precedent that you need a vital, performing faculty. Not some teachers who have a bunch of degrees and have never been on the scene playing with anyone. I never set out to be an "academic". I just followed the music… and consequently followed Jackie McLean's example. He was such a devoted teacher, while at the same time never compromising his art. He showed us that there is a bigger picture beyond just what your artistic agenda may be. J Mac's concept was all about giving back to the community. He was very inclusive and always tried to help musicians, on any level, by giving them a chance, be it to study, to sit-in on a rehearsal, or even to join his band (if he thought they were ready for that).

JR247: What makes your curriculum unique at Hartt?

SD:Well, to continue along the same lines as the last question, we have a special program at Hartt in that it was born out of the vision and experience of a true jazz icon and pioneer in so-called "jazz education". Jackie McLean was there with Bud Powell in the late 1940's. That's where he learned how to play, at Bud's apartment.He went to the same high school with Sonny Rollins. His first big gig was with Miles Davis. He was a member of Art Blakey's Jazz Messengers and played with Mingus. Bird played Jackie's alto on occasion. All of this happened in the early-mid 1950's. Then there are all the great recordings on Prestige and Blue Note of Jackie McLean as a band-leader. He "discovered" Tony Williams in 1962. He introduced many "new" players in his band like Larry Willis, Charles Tolliver, Jack De Johnette, etc. He is jazz history. So for all of us who had the privilege to study with him and play with him, it is only natural that we continue his mission. Prof Nat Reeves (bass) who worked w/ Jackie for over 20 yrs. is on faculty (he was one of my teachers back in the late 80's) and we look forward to having Rene McLean (Jackie's son and great composer/saxophonist) and Jimmy Greene (another protégé and great saxophonist) join us on faculty on a more permanent basis in the near future. We also have special guest instructors such as Eddie Henderson, Eric McPherson, Shawn Monteiro in addition to Andy LaVerne, Randy Johnston and many others. In other words, we feature a dynamic faculty that can provide our students with not only a direct link to the great, authentic history of this music, but who are out there playing on the scene and defining the music of today, as well. We also make it a point to bring back many of our alumni to teach (masterclasses) such as Abraham Burton, Antoine Roney, Mike DiRubbo, James Burton, Kris Jensen, Dezron Douglas, Julius Tolentino, etc. The current students then get a sense that the program is like an extended "family".

JR247: Let’s talk about your latest project Update, another gem in my mind. It features a who’s who of NYC jazz session players. Can you share your experience with this project? Has the band been performing anywhere we should take note of?

SD: Update was a fun session. We had a great time that day. I was given a date by Gerry Teekens and had to get whoever was available that day on fairly short notice. I lucked-out and was able to bring Anthony Wonsey (whom I had yet to record with… always enjoyed his playing), Nat Reeves and Joe Farnsworth in the rhythm section. Then, Peter Bernstein and Roy Hargrove on the frontline. Not a bad band, huh? We just did some familiar tunes, but songs that have not necessarily been over-recorded. It provided us with some common ground which was nice because this was by no means a working band. But sometimes you can bring together some musicians that have all played together in one combination or another and it just has this fresh quality to it. There was a real feeling of empathy in the music… a shared experience that just felt like jazz. I'm very proud of this date. It was fun.

JR247:You’re also leading a couple ofstellar groups of your own, featuring Steve Nelson, Larry Willis, Nat Reeves and Joe Farnsworth in a quintet and a quartet consisting of David Bryant (piano), Dezron Douglas (bass) and renowned drummer, Eric McPherson. Can you share some thought about these bands, their aims and goals, etc?

SD: Yes, I love all of the musicians you mentioned. Larry Willis and I have been collaborating for the past several years and have become very close friends. He is one of the heroes of this music. I love playingwith him and playing his music. He is a master. Steve Nelson is also one of my absolute favorite musicians to sharethe bandstand with. We have enjoyed playing quintet on several occasions over the years. Trb and vibes as a frontline is nice… a bit different. He is a very special musician - also a master. Nat Reeves and Joe Farnsworth are two of my closest friends and one of the best, most in-demand rhythm sections in NYC. What a groove! So, whenever all of these great musicians are available, I try to call them first for any gigs I may have. But, you have an embarassment of riches in terms of great musicians to play with out here… which is necessary if you want to try and keep a band working. You've got to look for new voices, too. Two such "new voices" are David Bryant (piano) and Dezron Douglas (bass). I love both of them not only for their great playing, but for their wonderful attitudes and spirit for the music. We have had big fun playing together the past few years - especially with our great friend, drummer Eric McPherson. E Mac and I go back many years to our JMac band days. Eric is a very unique drummer and always brings great imagination and energy to the music. Sometimes I play quartet with this band and sometimes we add Mike DiRubbo on alto, another of J Mac's powerful proteges. Mike is my favorite alto player today. He plays like a tenor at times, which works very well with my sound and for where my music sits (in terms of two-horn voicings, etc).

JR247: I noticed you’re also working with Eric Alexander and trumpet artist Jim Rotondi, two of the leading players on their instruments as well. How important is it for you to be playing with best players possible? How does it contribute to your growth?

SD: We've been a frontline for over a decade now with a band called One For All. Eric and Jim are incredible musicians. We have cultivated a sound together over the years that I am extremely proud to be a part of. David Hazeltine, the great pianist/composer, Nat Reeves and Joe Farnsworth round-out the rhythm section. The band really has a sound now. It comes from the writing, by Dave, Eric, Jim and myself. But it also comes equally from the rhythm section's concept and from the frontline's concept as improvisers. It's a deep sound and I look forward to many years of musical growth with One For All. We're great friends and I can't imagine playing with a better group of musicians.

JR247:I’d like to shift a little, how important is family to you? You have 3children and married, correct? Does this help complete the wholeness of Steve Davis?

SD: My family is # 1. My wife Mary and I have been together nearly 15 years now. She is a beautiful woman, great mother and wonderful pianist/composer. We love our three kids, Tony 12, Angie 5 and baby Nick 3 mos. very much. I can't imagine what my life would be without my family. We've been through alot together and are enjoying watching our kids grow-up. Living in Hartford makes it easier to raise a family. The onus is on me to get back/forth to NYC for gigs, etc. But, the "quality of life" for us is great up here in Hartford. We can enjoy the trees, have a bit more space in which to live. That's been a blessing. My eldest son Tony and I love to play baseball and basketball together, and my daughter Angie loves to collect acorns…so there's plenty of room for all that!

JR247: What are some things outside music, that makes your musicianship complete?

SD:You are a person first, then a musician. It's kind of hard to do it the other way around, huh? I love to meet people. It's great to see people relate to one another, to do good things for one another. That's what inspires me the most. Of course you are inspired by nature, by art, by great writing (my Dad was a journalist for 29 yrs, so I can appreciate a well-written article or story). I love movies. I love to listen to NPR or local public affairs radio. I always enjoy a good radio interview with an artist, or actor, or anybody with interesting insights on society. Then there's my love affair with baseball… my favorite sport. I enjoy basketball and football, too. But there's something about baseball that has a spell on me..the pace of the game (there's no clock), the nuances, the combination of strategy and physical skill. Whenever you walk up to a ballfield (diamond) and it's empty, just waiting there… there is something just so pristine, so perfect about it. I love to take the family up to Cooperstown every couple of years. We enjoy the history of the game quite a bit.

JR247: Steve, we’re running a series of articles on the State of Jazz in 2006. The responses have been very wide ranging as far as the health of the music. I believe there some great players in today’s climate. What are some things you feel the community needs to keep doing to keep this an active and viable art Form?

SD: Sometimes you are asked the question, "Where do you think jazz needs to go?" I think jazz music will be right where it always has been… at the center of creative, vital music in our society. As long as musicians continue to play and compose music with integrity then we'll be allright. Sure we all want and need some level of commercial success. By the same token, I believe that there will always be an audience for jazz music… particularly acoustic music. Nothing will ever replace the sound of a piano, acoustic bass, drums, horns filled with the breath of improvising musicians. When the power goes out, we can keep on playing. That'll always be the truth. We can only hope that the US Gov't re-invigorates its commitment to the arts (at least partially as much as the governments of most other Western countries) and subsequently brings back funding for the NEA and other important arts foundations. This would help us all as a society.

JR247: What are some short and long term goals of yours?

SD: To keep playing music, keep making a living. I'll be leading a quintet at the Kitano Hotel in NYC E. 38th & Park Ave on Nov 10-11. Then, my quartet will appear at Cecil's Jazz Club in West Orange, NJ (near Newark) on Nov 17-18. Also, I'm in the procees of organizing my original compositions for publication by Second Floor Muisc (Don Sickler's company in NYC). This has been very inspiring and I hope to complete a new body of music for sextet/septet in the coming months. I also want to record some standards projects. I love Richard Rogers' music. But there are so many great songs… too much to tackle in one or two recordings. I will always compose and will try writing a big band project one day. But, I will also always keep learning and playing American Songbook standards. I feel like I'm only recently ready to even play some of the tunes that I've been hearing for twenty + years. That's called life, I suppose. That's what we're really supposed to be playing about, right?

JR247:Thanks for spending some time with us. We wish you continued success, and believe you’re an active member of a vibrant Jazz culture. For more information about the music of Steve Davis, please visit: http://www.stevedavis.info/