ONE OF THE FIRST RULES OF ANY MUSICIAN IS “GET YOUR OWN SOUND.” GUITARIST RUSSELL MALONE HAS BEEN ABLE TO DEVELOP THAT UNIQUE TONE AND USE IT TO BECOME ONE OF THE MOST IN-DEMAND GUITARIST IN JAZZ. HE STARTED OUT WITH JIMMY SMITHS B3 COMBO BEFORE APPEARING ON SESSIONS AND CONCERTS WITH ARTISTS INCLUDING HARRY CONNICK JR. AND DIANA KRALL. HIS DUET ALBUMS WITH PIANIST BENNY GREEN ARE STATE OF THE ART, AS ARE HIS SMALL GROUP ALBUMS WITH WHICH HE’S CREATED A SWINGING AND MELODIC CATALOGUE OVER THE YEARS.
THE PAST FEW YEARS HAVE HAD MALONE AN INTEGRAL PART OF THE SLEEK TRIO WITH RON CARTER AND DONALD VEGA, AND HAS STARTED TOURING AGAIN ON HIS OWN IN A QUARTET SETTING. BUT, NO MATTER WHAT THE BAND OR ATMOSPHERE, MALONE IS ABLE TO CREATE LYRICAL WORK WITH HIS STRINGS, CARRYING THE BATON FROM GEORGE BENSON AND GRANT GREEN INTO THE 21ST CENTURY.
WE RECENTLY WERE ABLE TO HAVE A CHAT WITH MR. MALONE, WHO WAS VERY GRACIOUS IN TALKING ABOUT HIS MUSICAL AND PHILOSOPHICAL ROOTS.
HOW DID YOU FIRST GET INTERESTED IN MUSIC AND GUITAR PLAYING?
I first got interested in music in the church, with church music growing up as a kid. Singing, and hearing the older women singing these hymns and seeing how people responded to music when they heard it. Even at the early age of 3-4 years old I was aware of the various responses that you could get out of people when you played music. And it always fascinated me that when people heard music how sometimes they would cry, sometimes they would laugh, they would shout, they would dance. Even at that tender age I was aware of how powerful music was.
Even now, it still fascinates me how when I and other musicians play, a lot of time we’re in front of strangers. You’ve never met these people, but somehow and some way you manage to make a connection with total strangers. That’s always fascinated me, even to this day.
IT IS INTRIGUING HOW MUSIC IS SOMETHING WE DON’T “NEED” FOR SUSTENANCE AS WE DO BREAD, WATER AND AIR, BUT WE ALL CRAVE IT IN OUR LIVES.
I personally need music; I can’t imagine myself living in this life without music. I once thought about “If I were to pick whether I would lose my sight or lose my hearing…”This was a really tough question, but I’ve heard so many beautiful sounds that it would despair me(to lose it). It’s just too powerful, as well as listening to what I play.
GROWING UP IN A CHRISTIAN HOME, YOU MUST HAVE HEARD BANDS LIKE THE DIXIE HUMMINGBIRDS
It’s funny that you mentioned the Dixie Hummingbirds, because I just met the last surviving member, guitarist Harold Carroll, and we’ve become friends.
The first guitar solo I ever copied was Harold Carroll’s solo on a song called “If You See My Savior” (editor’s note aka “Bedside of a Neighbor”). It still resonates with me when I hear it.
I didn’t know if Carroll was alive or not, but I saw a Facebook page of his and I thought “Are you serious?” I did a little bit of digging around and found out that he was in a nursing home in Philadelphia. As soon as I found out that information, that very day I got in my car, took my guitar and drove to him.
It was as if we’d known each other all of our lives. It was like meeting an old friend or relative. I took my guitar and played some old hymns for him. He just sat in his chair and cried. I have it all on video. If you go to my Facebook page you can see it.
I love gospel music. I love all kinds of music, but it’s with gospel that I started, and I still love playing those songs.
WHEN YOU WERE PLAYING WITH RON CARTER THE OTHER NIGHT, A BIT OF THAT DIXIE HUMMINGBIRD’S FEEL CAME OUT ON A COUPLE OF YOUR SOLOS.
I don’t remember what I played last night, but if it resonated with you then I’m happy.
YOU HAVE A PERSONAL SOUND AND STYLE. HOW DOES ONE GET A UNIQUE SOUND IN THIS DAY OF ELECTRONICS AND PEDALS?
. I’m not against electronics and effects, and if that’s what it takes for you to get to what you want to hear, or what you’re feeling, then that’s ok with me. Whatever it takes you in order to express yourself.
I think that everybody has their own sound and voice. You can check out the most derivative-sounding musician, and if you listen to them close enough, no matter how derivative they sound and how much of their influences you hear, you’re gonna still hear something that’s unique and personal to that individual.
It’s like if you and I put on the same suits. I try on the suit first, take it off and you put it on. Even though it’s the same suit it will fit each of us differently.
Everybody has their own identity. What they don’t have, particularly when they are young, is the confidence to speak with their voice because, let’s face it; when you were an adolescent you always wanted to be liked. You wanted the approval of other people because you wanted to fit in and be accepted…
There was a certain time in my career when I felt I had to play certain tunes or play them in certain ways because I wanted to be accepted. But after awhile you reach a certain point, and I realized that as much as I love all of the people who came before me, and all of my influences, when it comes to being Russell Malone, there’s no one better at it than Russell Malone. I’m the best there is at being me.
Once I realized that I started making some real honest music from the heart.
It’s like when you come to the realization that no matter how much you love your parents, they aren’t perfect. You might respect them, but you don’t have to make the same choices in life that they did. Then you realized that they aren’t perfect, and you might not like something about them, like you might or might not like my (guitar) heroes, I don’t have to make the same playing they do. When we come up to hear you play, then you can have your chance to say something.
One of my biggest influences, Kenny Burrell; I love that man more than the air that I breathe. But, he’s always talking about the importance of just being yourself. In fact, he even wrote a tune called “Be Yourself.”
Being yourself, knowing the history of the music and knowing that the music has to have a swing to it.
YOU GUYS ARE RIGHT, BECAUSE IF YOU CAN’T BE YOURSELF, YOU NEVER LEARN TO TRUST YOURSELF, WHETHER IT’S WORK, OR I A RELATIONSHIP WITH SOMEONE. SOONER OR LATER, YOU HAVE TO LET YOURSELF BE KNOWN. IF YOU DON’T ACT LIKE YOURSELF, YOU NEVER KNOW IF PEOPLE LIKE YOU BECAUSE OF WHO YOU ARE OR BECAUSE YOU’RE AN IMITATION OF SOMEONE ELSE. 1100
Exactly. It all comes down to accepting yourself, warts and all
BESIDE BURRELL, DID ANYONE ELSE GIVE YOU ADVICE ON LIFE?
I grew up in the South, and those were different times when everyone in the community looked after each other’s kids. Everyone loved each other, and cared for each other, and if they saw you screwing up, they would put you in check!
There were some old timers in the neighborhood, and if they saw us out in the street misbehaving or mistreating somebody else, they might check you, put you in your place and some times even whack you on the behind!
Everybody looked out for each other. You’ve heard that phrase, “It Takes A Village,” well that’s the way it was back then. It’s a lot different now about saying something to somebody’s kids because we live in such a sensitive time now. Everyone’s so hypersensitive and so eager to be politically correct; I’m just so happy that I was born when I was and raised up when I was in the ‘60s and 70s.
I’M ABOUT THE SAME AGE YOU ARE, AND IN MY NEIGHBORHOOD IT WAS THE SAME WAY. ALL OF MY FRIENDS’ FATHERS HAD PERMISSION TO SPANK US IF ONE OF THEM CAUGHT ME DOING SOMETHING WRONG. IT WAS PROBABLY BETTER THAT HE GAVE ME THE WHACK ON THE REAR THAN MY DAD.
That’s what I’m talking about. Nobody was hypersensitive about it. And if you told your parents you were REALLY gonna get it.
But to get back to the question, my parents never discouraged me from playing music. They figured “Hey, he’s not getting into trouble; he’s not stealing, robbing or doing things like drugs.” They just left me alone and let me do what I did.
YOUR PARENTS MUST HAVE TAUGHT YOU WELL, BECAUSE YOU ALWAYS PRESENT YOURSELF WITH STYLE AND DECORUM, ON AND OFF THE STAGE.
It was the basic stuff I was taught. Show people respect, and don’t let anybody disrespect you.
I come from a very close family. We got along well, and we’re still close. My sisters and I we don’t talk all the time but we’re close. I remember one time with my mom. We were small and were squabbling about something, and she told us something I never forgot. She always stressed the importance of us getting along with each other, and loving each other, because she said “Mom’s not going to be around one day, and I’d hate to think that when I leave this world and leave you all behind that you guys aren’t all getting along with each other.”
YOU PLAYED WITH LEGENDARY B3-ER JIMMY SMITH. HOW DID YOU MEET, AND WHAT DID HE TEACH YOU?
I met Jimmy back in 1987 in Atlanta, Georgia. I sat in with him, and he taught me the importance of, once again, being yourself.
‘Cause there was one time when I first got that gig, as young as I was (25-26), I was playing all of the things that I had learned from Kenny Burrell, Wes and George Benson. All of my influences, because they had all played in his bands and I felt that I needed to do that in order to make the gig work.
He told me “I’ve already heard George, Kenny, Wes and all those guys. Now I want to hear you. It’s ok that you like those guys, but put some of your own flavor on it.”
He also taught humility. All of these old timers that I played with, the thing that was so special about them that I picked up on was just the importance of humility.
It’s important because the music is bigger than all of us. Because it’s so big, I have to strive to get better at it all of the time. Everyone of those people that I played with: Ron Carter, Bobby Hutcherson, Jimmy Smith, Hank Jones…all of them strive to get better.
And all these people that I mention, they PRACTICE.
IT MUST TAKE HUMILITY TO PLAY WITH A PIANO PLAYER, AS IT CAN GET EASY TO TRIP OVER EACH OTHER. YOU’VE SUCCEEDED ON SESSIONS WITH PIANISTS RANGING FROM MULGREW MILLER TO BENNY GREEN, ETC.
It all comes down to listening. It can be a train wreck, but it’s been shown that it can work, as Oscar Moore and Nat “King” Cole worked very well together; Oscar Peterson and Herb Ellis worked very well together, and Wes Montgomery with Wynton Kelly worked very well together. So, it can work; it just comes down to listening. That doesn’t go for just the guitar player; it also goes for the piano player…anybody! Just listen and trust each other. Like I said before, the music is bigger than all of us.
DO YOU EVER ASK ARTISTS LIKE DIANA KRALL WHY THEY HIRED YOU?
(laughs) I would never ask a dumb question like that, because a lot of times when you ask stupid questions you’ll lose the gig (laughs). You get the gig, go in and then just do the best of you that you can do.
That’s like if a woman shows you that she’s interested in you, if you go up to her and ask “So, why do you like me?” That’s just off putting. If a guy says that to a woman, she’s gonna think “this guy has no self confidence or self esteem, and I’m getting out.”
So just do the best of your ability.
YOUR CAREER HAS EXUDED PROFESSIONALISM AND HUMILITY. HAVE YOU EVER GONE THROUGH A SONG OR SESSION WHERE YOU THINK TO YOURSELF “I JUST DON’T CONNECT WITH THIS MATERIAL. I JUST DON’T LIKE THE SONG, BUT I’M A PROFESSIONAL, SO I’VE GOT TO JUST WORK THROUGH IT”?
There are certain tunes that just don’t resonate with me at all. But, if you hire me to play something, I have to be professional enough to get past your disdain for the song, and just make it work.
There are certain songs that I just don’t resonate with. I won’t get into the names of the songs, but with certain songs it’s like trying to force yourself to kiss a person that you’re not attracted to.
HAVE YOU EVER PLAYED AT A GIG WHERE YOU FELT LIKE YOU WERE IN OVER YOUR HEAD?
Oh, YES! Two come right to mind… I remember the first time that I played with Ron Carter, and he scared the living daylights out of me. And he still sometimes scares me, because Ron Carter is always right in the moment; he’s so unpredictable that you never know what’s going to come out of that bass.
I’ve been playing with Ron for almost 20 years now, and still the Old Master catches me off guard some times.
There was a time that I played with Freddie Hubbard, another guy who scares the daylights. It’s one thing when you play with these guys. You hear their records and you get a certain perception, and when you hear them in concert you get another perception of them, but there’s a whole other thing when you’re on the bandstand with them.
It’s like going to the zoo and seeing the lion in the cage; you’re on one side of the cage and the lion is on the other side. Now, it already looks intimidating enough behind the cage, but imagine yourself now in the cage with the lion. It now looks a lot bigger than what you thought. And, you can now hear it breathing, being closer you can feel its power, and you know that at any moment it could tear you to shreds. That’s the way it is being on the stand with guys like Freddie Hubbard; it’s a whole ‘nother trip when you’re on the bandstand with them.
Just think of all the guys that Hubbard has been on the ‘stand with: Art Blakey, John Coltrane…Ron Carter has been on the bandstand with Miles…he’s played with Wes Montgomery. So here I am standing next to this guy thinking “Holy Smoke!” And then listening to him! Ron Carter is everything to me, so I just hope that I don’t play anything dumb.
YOU HAVE A PRETTY LARGE CATALOGUE OF YOUR OWN MATERIAL. WHAT’S YOUR THOUGHTS ON IT?
I don’t sit and think about it. The only thing I’m concerned about is enjoying this journey, getting better and making more music.
I don’t think about my body of work. There are people who do that, and God bless them. But I don’t do that; I’m just trying to get better.
DO YOU HAVE ANY MUSICAL GOALS OR PROJECTS?
There are a few people I’d really like to play with. McCoy Tyner is on my “bucket” list; I’d really love to play with him. There’s something special about him.
YOU WERE ON THAT “GUITAR MASTER” SERIES WITH MAX JAZZ. WHAT MAKES SOMEONE A GUITAR MASTER?
I don’t consider myself a master. There are masters out there that I listen to, like Johnny Smith, Wes and George. But even those guys are so humble that they don’t consider themselves “masters.” They are also all trying to get better.
WHEN YOU PLAY WITH ARTISTS LIKE HARRY CONNICK AND DIANA KRALL, IT SEEMS THAT YOU EACH INSPIRE EACH OTHER
It’s fun playing with great musicians like that. Almost everyone that I’ve ever played with has been an inspiration to play with.
HOW DID YOU FIRST COME ACROSS RON CARTER?
I first started getting into jazz when I was 11-12 years old; all of those records with Wes Montgomery and George Benson. And although I was focusing onto the guitars, there was something about the personality of this bass player. First of all it was the sound that he got out of the instrument, and then his personality. I thought “Yeah”.
I loved the albums with George, Kenny and Wes, but there was something about this bass player. So, I got all of the records that he was playing on, and I noticed how he brought such attitude to these records. I knew then that I had to play with him, the same way that I knew that I had to play with Ray Brown, who’s widow was at the show the other night.
I’d seen him a couple of times on TV when I was a kid. I first met Ron Carter in the 80s; he put up a big concert with Jim Hall, and Joe Pass opened up for them. So I met two of my favorite guitar players that night and my hero of the bass.
The first time that we played together was on the set of a Robert Altman film. That’s when I started spending time with him, and we really just hit it off and he started calling me for gigs.
AGAIN, THE HUMILITY, RELATIONSHIPS AND RESPECT. WHAT WOULD YOU DO IF YOU WEREN’T A MUSICIAN?
I’ve never thought about anything else; it’s what I’ve always wanted to be. This is it, man. This is what I do and who I am.
AS CAN BE READ BETWEEN THE LINES OF RUSSELL MALONE’S ANSWERS, MOST OF THE THINGS YOU LEARN IN LIFE ARE NOT IN SCHOOL. QUALITIES LIKE HUMILITY, RESPECT AND THE ALL-UNDERAPPRECIATED HARD WORK ARE UNIVERSAL CHARACTERISTICS THAT MAKE EVERY WORKER, WHETHER IN THE ARTS, BUSINESS OR AT HOME, A NECESSARY PART OF CIVILIZATION. AS THE BIBLE SAYS, ‘DO YOU SEE A MAN SKILLED IN HIS WORK? HE WILL PLAY BEFORE KINGS.” ONE THING GOD HAS NOT CREATED IS A SUBSTITUTE FOR HUMILITY. IT IS A PARADOX, BUT MALONE HAS LEARNED THROUGH FAMILY AND LIFE THAT THE MAN WHO HUMBLES HIMSELF IS ALWAYS EVENTUALLY RAISED UP, SERVING AS AN EXAMPLE TO A WATCHING WORLD THAT CRAVES THIS VALUABLE LESSON.
HE’S LEADING HIS OWN BAND APRIL 15 AT THE MOSS THEATRE IN LOS ANGELES. DON’T MISS OUT ON AN EVENING OF SWINGING MELODIES!
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