Mulgrew Miller article in recent Downbeat

[Robert J]

Some nice bon mots from one of my favorite pianists

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Mulgrew Miller: No Apologies

Panken, Ted

1 March 2005

Down Beat

Copyright © 2005 Bell & Howell Information and Learning Company. All rights reserved.

Ironies abound in the world of Mulgrew Miller. On the one hand, the 49-year-old pianist is, as Eric Reed pointed out, "the most imitated pianist of the last 25 years." On the other, he finds it difficult to translate his exalted status into full-blown acceptance from the jazz business.

"It's a funny thing about my career," Miller said. "Promoters won't hire my band, but they'll book me as a sideman and make that the selling point of the gig. That boggles my mind."

Miller would seem to possess unsurpassed qualifications for leadership. As the 2004 trio release Live At Yoshi's (MaxJazz) makes evident, no pianist of Miller's generation brings such a wide stylistic palette to the table. A resolute modernist with an old-school attitude, he's assimilated the pentagonal contemporary canon of Bill Evans, McCoy Tyner, Herbie Hancock, Chick Corea and Keith Jarrett, as well as Woody Shaw's harmonic innovations, and created a fluid personal argot.

His concept draws on such piano-as-orchestra signposts as Art Tatum, Oscar Peterson, Ahmad Jamal and Erroll Garner, the "blowing piano" of Bud Powell, the disjunctive syncopations and voicings of Thelonious Monk, and the melodic ingenuity of gums like Hank Jones, Tommy Flanagan and Cedar Walton. With technique to burn, he finds ways to conjure beauty from pentatonics and odd intervals, infusing his lines with church and blues strains and propelling them with a joyous, incessant beat.

"I played with some of the greatest swinging people who ever played jazz, and I want to get the quality of feeling I heard with them," Miller said. "It's a sublime way to play music, and the most creative way to express myself. You can be both as intellectual and as soulful as you want, and the swing beat is powerful but subtle. I think you have to devote yourself to it exclusively to do it at that level."

Consequential apprenticeships with the Mercer Ellington Orchestra, Betty Carter, Johnny Griffin and Shaw launched Miller's career. A 1983-'86 stint with Art Blakey and the Jazz Messengers put his name on the map, and he cemented his reputation during a long association with Tony Williams' great cuspof-the-'90s band, a sink-or-swim environment in which Miller thrived, playing, as pianist Anthony Wonsey recalls, "with fire but also the maturity of not rushing."

By the mid '80s, Miller was a fixture on New York's saloon scene. Later, he sidemanned extensively with Bobby Hutcherson, Benny Golson, James Moody and Joe Lovano, and from 1987 to 1996 he recorded nine trio and ensemble albums for Landmark and RCANovus.

Not long after his 40th birthday, Miller resolved to eschew club dates and one-offs, and to focus on his own original music. There followed a six-year recording hiatus, as companies snapped up young artists with tenuous ties to the legacy of hardcore jazz.

"I won't call any names," Miller says, "but a lot of people do what a friend of mine calls 'interview music.' You do something that's obviously different, and you get the interviews and a certain amount of attention. Jazz is part progressive art and part folk art, and I've observed it to be heavily critiqued by people who attribute progressivity to music that lacks a folk element. When Charlie Parker developed his great conception, the folk element was the same as Lester Young and the blues shouters before him. Even when Omette Coleman and John Coltrane played their conceptions, the folk element was intact. But now, people almost get applauded if they don't include that in their expression. If I reflected a heavy involvement in Arnold Schoenberg or some other ultra-modern composers, then I would be viewed differently than I am. Guys who do what I am doing are viewed as passé.

"A lot of today's musicians learn the rudiments of playing straightahead, think they've got it covered, become bored, and say, 'Let me try something else,'" Miller continued. "They develop a vision of expanding through different areas-reggae here, hip-hop there, blues here, soul there, classical music over hereand being able to function at a certain level within all those styles. Rather than try to do a lot of things pretty good, I have a vision more of spiraling down to a core understanding of the essence of what music is."

This being said, Miller-who once wrote a lovely tune called "Farewell To Dogma"-continues to adhere to the principle that "there is no one way to play jazz piano and no one way that jazz is supposed to sound." He is not to be confused with the jazz police. His drummer, Karriem Riggins, has a second career as a hip-hop producer, and has at his fingertips a lexicon of up-to-the-second beats. When the urge strikes, bassist Derrick Hodge might deviate from a walking bass line to slap the bass Larry Graham style. It's an approach familiar to Miller, who grew up in Greenwood, Miss., playing the music of James Brown, Aretha Franklin and Al Green in various Upper Delta cover bands.

"It still hits me where I live," he says. "It's Black music. That's my roots. When I go home, they all know me as the church organist from years ago, so it's nothing for me to walk up to the organ and fit right in. I once discussed my early involvement in music with Abdullah Ibrahim, and he described what I went through as a community-based experience. Before I became or wanted to become a jazz player, I played in church, in school plays, for dances and for cocktail parties. I was already improvising, and always on some level it was emotional or soul or whatever you want to call it. I was finding out how to connect with people through music.

"By now, I have played jazz twice as long as I played popular music, and although that style of playing is part of my basic musical being, I don't particularly feel that I need to express myself through it," he continued. "It's all blues. The folk element of the music doesn't change. The blues in 1995 and in 1925 is the same thing. The technology is different. But the chords are the same, the phrasing is the same, the language is the same-exact same. I grew up on that. It's a folk music. Folk music is not concerned with evolving."

For all his devotion to roots, Miller is adamant that expansion and evolution are key imperatives that drive his tonal personality. "I left my hometown to grow, and early on I intended to embrace as many styles and conceptions as I could," he said. "When I came to New York I had my favorites, but there was a less celebrated, also brilliant tier of pianists who played the duo rooms, and I tried to hear all of those guys and learn from them. The sound of my bands changes as the musicians expand in their own right. I'm open, and all things are open to interpretation. I trust my musicians-their musicianship, insights, judgments and taste-and they tend to bring things off in whatever direction they want to go. In the best groups I played with, spontaneity certainly was a strong element."

Quiet and laid-back, determined to follow his muse, Miller may never attain mass consumption. But he remains sanguine.

"I have moments, but I don't allow myself to stay discouraged for long," he said. "I worked hard to maintain a certain mental and emotional equilibrium. It's mostly due to my faith. I don't put all my eggs in that basket of being a rich and famous jazz guy. That allows me a certain amount of freedom, because I don't have to play music for money. I play music because I love it. I play the music I love with people I want to play with. I have a long career behind me. I don't have to apologize to anybody for any decisions I make." -Ted Panken

[mikeweil]

From this and other interviews I have read, he seems to be at peace with himself, which is the most important, IMHO. Was glad to see that at last he had a new label (MaxJazz) to put his music out - but instrumental mainstream (in the best sense of the word) is not what the majors are after right now. He'll continue to make his way, I'm sure, and one day many people will wake up and wonder how they missed this great master who has been around all these years.

Still have to get the latest live trio CD - I hope he plays on it with the "abandon" he strived for in the liner notes to one of his RCA CDs.

I wish he would do a solo piano album - I know he doesn't seem to be interested in it - but he would be great at it.

[Joe G]

"It still hits me where I live," he says. "It's Black music. That's my roots. When I go home, they all know me as the church organist from years ago, so it's nothing for me to walk up to the organ and fit right in.

One organ album is all we ask...

[AfricaBrass]

"It still hits me where I live," he says. "It's Black music. That's my roots. When I go home, they all know me as the church organist from years ago, so it's nothing for me to walk up to the organ and fit right in.

One organ album is all we ask...

I'd love to hear that!

It's a real shame that Miller can't get gigs. He is a wonderful pianist. This shocks me. No wonder cat are playing smooth jazz.

[Chrome]

Coincidentally, I'm listening to James Spaulding's "Brilliant Corners" CD, with Miller (and Wallace Roney, Ron Carter, Kenny Washington) ... I think his comments about:

"A lot of today's musicians learn the rudiments of playing straightahead, think they've got it covered, become bored, and say, 'Let me try something else,'" Miller continued. "They develop a vision of expanding through different areas-reggae here, hip-hop there, blues here, soul there, classical music over hereand being able to function at a certain level within all those styles. Rather than try to do a lot of things pretty good, I have a vision more of spiraling down to a core understanding of the essence of what music is."

is dead on, but also applies to the labels ... it's like they're bored with straightahead jazz, too.

[Rooster_Ties]

"It's a funny thing about my career," Miller said. "Promoters won't hire my band, but they'll book me as a sideman and make that the selling point of the gig. That boggles my mind."

Anyone care to venture a guess about why this might be??

I imagine John Hicks has this problem too.

But McCoy has risen above it, somehow -- maybe his name recognition is better??

[sal]

If you are a Miller fan, you should not be without his new one on MaxJazz. His playing is better than it ever was.

[Soul Stream]

Mulgrew Miller....man, I love what he says in that article. Swinging music and musicians who play it being regarded as passe by most up and coming jazz musicians and the jazz media in general (O.K Wynton excluded). Anyway, it's a shame someone as talented as he is not being embraced more. However, I predict he'll have more than enough work when the greatest generation of jazz has passed. When you can't go see McCoy or Harold Maebern or Barry Harris anymore....Mulgrew will be someone who will be carrying on the great tradition.

[mikeweil]

When you can't go see McCoy or Harold Maebern or Barry Harris anymore....Mulgrew will be someone who will be carrying on the great tradition.

indeed .....

There is one sentence that really underlines how messed up the jazz business is:

"It's a funny thing about my career," Miller said. "Promoters won't hire my band, but they'll book me as a sideman and make that the selling point of the gig. That boggles my mind."

[Rooster_Ties]

There is one sentence that really underlines how messed up the jazz business is:

"It's a funny thing about my career," Miller said. "Promoters won't hire my band, but they'll book me as a sideman and make that the selling point of the gig. That boggles my mind."

Herbie, Chick, McCoy -- What do these three guys have in common??

They all spent some significant time in band for horn players who were REALLY big.

So, then, is that an almost necessary requirement for becoming "big" enough to play your own solo and trio gigs, withOUT any horns?? - and drive some real volunte of people into your shows, despite the absence of horns???

I know, I've only cited three examples - probably not enough to make such a sweeping generalization. Still, it did work for them - so I think there's probably something to it.

(Sure, it didn't hurt that Herbie and McCoy, and to a lesser extent, Chick -- were all sidemen on TONS of dates, for LOTS of people all through the 60's. But I'd still maintain that it was their affilliation with Miles and Trane that ultimately makes the difference today, and has done so for the last 20 or 30 years.)

[Soul Stream]

There is one sentence that really underlines how messed up the jazz business is:

"It's a funny thing about my career," Miller said. "Promoters won't hire my band, but they'll book me as a sideman and make that the selling point of the gig. That boggles my mind."

Herbie, Chick, McCoy -- What do these three guys have in common??

They all spent some significant time in band for horn players who were REALLY big.

So, then, is that an almost necessary requirement for becoming "big" enough to play your own solo and trio gigs, withOUT any horns?? - and drive some real volunte of people into your shows, despite the absence of horns???

I know, I've only cited three examples - probably not enough to make such a sweeping generalization. Still, it did work for them - so I think there's probably something to it.

(Sure, it didn't hurt that Herbie and McCoy, and to a lesser extent, Chick -- were all sidemen on TONS of dates, for LOTS of people all through the 60's. But I'd still maintain that it was their affilliation with Miles and Trane that ultimately makes the difference today, and has done so for the last 20 or 30 years.)

Yeah, I guess playing with Coltrane and Miles at the top of their eras wouldn't hurt. That said, what horn player would have been big enough to sustain sideman careers after them? I don't know who Mulgrew could/would/did play with that would have helped all that much in the 80's, 90's, 00's. I don't think the public at large could even recognize a Wynton Marsalis sideman.

[Guest]

Bartz, Hayes, Hutcherson, Cables, Turre, Lawrence, Gumbs, Strozier, Matthews, Lewis, Lightsey, Willis, James, McClean, Reedus, Allen, Miller ...

so it's definitely still possible ... but who will put it together ?

[fasstrack]

Beautiful thoughts coming out of that man. There are people out there with even lesser names trying to do what they believe in with people they believe in and to live by a code of inviolate ethics. Fame and 'success' are Loreleis hardly worth chasing---as long as you can live comfortably doing the above.

There's the rub, though. It's a bitch to do that off of quality music. This world doesn't seem made for idealists, does it? But if Mullgrew can hang in and have work and respect I don't see why other quality musicians, big-league, local, or otherwise can't somewhere, somehow.

That community thing is really crucial, too. Aside from Miller's point about folk music and such (which I agree with 100%), everybody needs good music in their lives and good performers to bring it to them.

[ep1str0phy]

There is one sentence that really underlines how messed up the jazz business is:

"It's a funny thing about my career," Miller said. "Promoters won't hire my band, but they'll book me as a sideman and make that the selling point of the gig. That boggles my mind."

Herbie, Chick, McCoy -- What do these three guys have in common??

They all spent some significant time in band for horn players who were REALLY big.

So, then, is that an almost necessary requirement for becoming "big" enough to play your own solo and trio gigs, withOUT any horns?? - and drive some real volunte of people into your shows, despite the absence of horns???

I know, I've only cited three examples - probably not enough to make such a sweeping generalization. Still, it did work for them - so I think there's probably something to it.

(Sure, it didn't hurt that Herbie and McCoy, and to a lesser extent, Chick -- were all sidemen on TONS of dates, for LOTS of people all through the 60's. But I'd still maintain that it was their affilliation with Miles and Trane that ultimately makes the difference today, and has done so for the last 20 or 30 years.)

I wouldn't say that it's a necessity for 'successful' trio/solo work, but it certainly seems to help. At the same time, Herbie, Chick, McCoy (etc.) were instrumental in forcing the innovations of the 60's to their logical, mutual conclusion--integration into the commercial mainstream. I don't think that they're canonized (necessarily) for being in these 'big name' bands; it's just that these bands were successful, (generally) approachable acts--the stuff that the college cats and academics (our fair-weather crowd) are willing to dabble in. Regardless of the technical capacity/emotional severity of a Mulgrew Miller, he just doesn't have the same sort of iconic appeal--not enough to pull the layman into the theater. But hell, I'd just as well listen to MM or John Hicks as well as Tyner (etc.) on a good day--Cecil Taylor, too, for that matter. The cat's got a niche market thing going, but no one is giving him the high end gigs. Interestingly, even for some of the most idiosyncratic improvisers (who've more or less monopolized the market on their respective styles), it is still difficult to rake in the big cash. Cecil, Mulgrew, and Hicks may have the credibility and capacity to take in the money, but there is certainly something to the 'sideman phenomenon.'