QUICK-NAME ME THE TOP THREE MODERN CLARINET PLAYERS.
LET’S SEE, WE HAD BUDDY DEFRANCO…NOW THERE’S EDDIE DANIELS…HMMMM…
BACK IN THE SWING ERA, THE AIRWAVES WERE FILLED WITH SOUNDS FROM THE LICORICE STICK. BENNY GOODMAN, ARTIE SHAW, WOODY HERMAN, JIMMY HAMILTON, BARNEY BIGARD AND BUSTER BAILEY EITHER LED BANDS OR WERE IN ONES THAT FEATURED THE EBONY TONED INSTRUMENT.
NOW, THEY’RE AS RARE AS SHRIMP COCKTAILS AT A BAR MITZVAH.
IT’S EASY TO UNDERSTAND WHY.
AS A CLARINET PLAYER MYSELF, IT’S TOO EASY TO TURN TO THE MORE FORGIVING SAXOPHONE, WHERE FINGERING AND ARTICULATION IS MUCH MORE FORGIVABLE IN THE WORLD OF MODERN JAZZ.
ONE TIME AT CATALINA’S JAZZ CLUB, I COMPLEMENTED BEBOP MASTER BUDDY DEFRANCO ON HIS MASTERY OF THE CLARINET. HE HUMBLY LOOKED AT ME AND SAID, “I’M STILL TRYING TO MASTER THIS FIENDISHLY DIFFICULT THING. IT’S A LIFELONG WRESTLING MATCH”.
EDDIE DANIELS, WHO IN THE EARLY DAYS OF HIS JAZZ CAREER AS A TENOR SAXIST FOR THE FAMOUS THAD JONES-MEL LEWIS ORCHESTRA, HAS BECOME TODAY’S GREATEST CLARINET PLAYER.
WHILE HIS FIRST FEW SOLO ALBUMS MIXED TENOR SAX, CLARINET AND FLUTE, HE GRABBED EVERYONE’S ATTENTION WHEN HE THREW HIS ENTIRE WEIGHT INTO THE CLARINET IN 1986 WITH HIS MIX OF CLASSICAL AND JAZZ ON BREAKTHROUGH. THE GAUNTLET WAS THROWN!
SINCE THEN, DANIELS HAS DEVELOPED A CATALOGUE DOMINATED BY THE CLARINET, USUALLY WITH THE SUPPORT OF PIANIST ROGER KELLAWAY
WHEN ARTIE SHAW DIED, THEY HAD AN ESTATE SALE, AND THE ONLY ALBUMS THAT WERE THERE WERE YOUR CDS.
I used to talk on the phone to him on occasion. My dear friend Tom Rainer (who is a great pianist) works with me when I come to LA, and he knew Artie really well. I’m surprised that my albums were around his house. Artie felt like his music was the classical music of our country, and in some sense he was right: it WAS part of our classical music. It was great and Artie was great.
Somehow, he and Benny (Goodman) used to go back and forth, as they were competitive.
BACK IN THOSE DAYS, IF YOU PLAYED THE CLARINET YOU EITHER TRIED TO SOUND LIKE SHAW OR GOODMAN. DiD YOU USE EITHER OF THEM AS A TEMPLATE?
No, the template that I work from is my guts.
I don’t really sound like Artie Shaw; maybe you might hear the smoothness and the sound. Artie Shaw was a swing player, although at the end of his life he did some bebop where he played this cadenza that was kind of special.
The clarinet is my main voice, and at some point in my career, back when I was in New York and was recording for GRP (Grusin Rosen Productions) I decided that the clarinet was what I should put out there, because I felt it was needed in that lineage of Benny, Artie and Buddy. Buddy De Franco used to say “There are only four clarinet players; Benny, Artie, Buddy and Eddie” (laughs) He felt that all of the other clarinet players come off of us or are inspired by us. Buddy was very interested in the originality of new players, and he was really very supportive of me .
He knew my sax playing, but he said, “Eddie, you’re the clarinet player. You’ve got to do this. “ He was very supportive of me and I listened a lot more to Buddy than Artie, but they were both great.
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“the template that I work from is my guts”
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ON THIS LATEST ALBUM, YOU’RE RECORDING WITH FOUR DIFFERENT PIANO PLAYERS, AND ON PREVIOUS ALBUMS YOU’VE DONE MATERIAL WITH FRED HERSCH AND ALAN PASQUA, AND DUETS WITH ROGER KELLAWAY. WHAT DO YOU LOOK FOR IN A PIANIST?
I want to play with piano players that I can learn from.When I play with Roger I can go in any direction with him. I don’t have to think about anything; If I play a wrong note he’ll turn it into a right note (laughs)
First of all, you have to be personally simpatico with them as human beings. All of the people you mentioned I have felt really close to. Fred Hersch was a long time ago, but his music is just so great. It just turned me on and made me want to learn more.
The piano has everything; it’s the harmony of all the music, so as a reed player I learn my music at the piano. When I hear a great piano player it inspires me.
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“I want to play with piano players that I can learn from”
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YOU HAVE A BUNCH OF DUET ALBUMS, SMALL GROUP SESSIONS AND SOME WITH STRINGS, SUCH AS THIS LATEST ONE. DO YOU APPROACH THESE DIFFERENT ENVIRONMENTS DIFFERENTLY?
There’s more space in the duets. When you’re just playing with one other person that means you can only argue with one other person. (laughs) In a band you can argue with only one person at a time, with only one other person, you are THERE; this is your family, and this is all you’ve got. It’s very open with a lot of air. Roger gives a lot of space where a space can just dangle in the air; it’s very special.
With Roger it’s more meditative, Zen and beautiful; with Tom Ranier it’s straight ahead like Oscar Peterson, able to play it any way. On the new album, Josh Nelson shows that he’s one of the greats.
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“There’s more space in the duets. When you’re just playing with one other person that means you can only argue with one other person”
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THIS LATEST ALBUM HAS YOU RETURN TO THE FLUTE, SOMETHING YOU HAVEN’T PLAYED IN YEARS. WAS THERE A MOTIVATION?
Here’s what happened…
When I made the clarinet my voice for the public, and make an inroad along with Benny, Artie and Buddy, as no one else was doing it. I still played the tenor a bit, I still practiced a bit with the flute, but I committed to GRP that I would play the clarinet. That was my choice.
We moved to Santa Fe, and I got rid of all of my saxophones and about 2-3 years ago I sold all of my flutes, as they were all just sitting there in my closet. I kept one C flute, but I wasn’t practicing with it regularly.
About 3-4 weeks before this latest album, Night Kisses , was to be recorded, my dentist did a bone graft in the back of my mouth and said, “You’re not going to be able to play the clarinet for 3 weeks, or you’ll blow out that bone graft and you’ll be in trouble.”
My best friend Ron Odrich said “Why don’t you practice the flute? That will keep you In shape, and then you won’t have any problem when you get to the gig.” So I started practicing the flute and fell head over heals in love again with it.
For three weeks I hit the flute hard, and by the time the date came up I was more together with the flute. I had bought a new flute, was all excited, and I realized that this Brazilian music was calling for.
I was a Latin player in a lot of ways. I did a lot of gigs in college with Eddie Palmieri and Barry Rogers, Eddie’s trombone player. I played lots of Latin gigs, and they are not all the same style.
When I heard the songs that (producer) George Klabin picked for this album, I started hearing my flute on a couple of tunes in my head.
Everyone knows me as a straight-ahead bebop clarinet player, able to play anything. Even on Heart of Brazil three quarters of the album was clarinet.
The clarinet did come back after practicing the flute for the three weeks, as the fingers and air kept me in shape. I then realized “Holy cow-I’m not too bad on this instrument!” There was some connection that I had with the flute.
So, when I got to the session, I saw that there were four songs that were right for the flute. I tried some of them on the clarinet, but I realized that this was why God told the dentist to tell me not to play the clarinet, and my buddy Ron told me to practice the flute.
Since then I’ve been practicing the flute 3-4 hours a day, so my playing on it is even better. The flute fit the quality and the sound of the music.
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“I want to say to people who are stuck in their houses during this period of our lives, that this record will make you feel better. It’s very calming and happy.”
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WERE YOU FAMILIAR WITH THE IVAN LINS SONGBOOK BEFORE THIS ALBUM?
Not at all. George Klabin sent me an attachment that had all 13 songs that are on the album that he wanted me to do. They were also the versions that he wanted me to do, because there were newer versions that had a different energy.
It was like an assignment; I had to learn to play these 13 songs. I didn’t have to over-practice, because once I listened to Ivan’s singing this stuff, I realized that it wasn’t going to be easy, but I had to do less rather than more.
Less is more when you have this beautiful singer. He’s not going “rat-atat-atat” but more “la da dee ***dah”, singing this beautiful melody with his voice, I was trying not to try too hard. The music was so beautiful that it kind of enveloped me. Ivan was happy with it; I was glad to make him happy with it.
I want to say to people who are stuck in their houses during this period of our lives, that this record will make you feel better. It’s very calming and happy.
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“You gain a bit of trust with an instrument when you’ve been playing it over 60 years”
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YOU MAKE THE FLUTE AND CLARINET SOUND EASY, AND AS A CLARINET PLAYER MYSELF, THAT IS NO SIMPLE TASK. MOST CLARINET PLAYERS MAKE THE CHOICE BETWEEN SACRIFICING TONE FOR CHOPS, OR VICE VERSA.
Bear in mind that I started the clarinet when I was twelve, and I’m a heavy practice.
So, the even fact even that I didn’t play the clarinet for three weeks I didn’t really lose anything. You gain a bit of trust with an instrument when you’ve been playing it over 60 years.
And still, it’s hard. I still practice the clarinet every day. I think I finally arrived in my 70s at a comfortable place with the clarinet after having played it for 60-70 years. I don’t have to worry about it any more, It finally really feels good, and I was a tone and technique practice.
When it came time to play the date and I was starting to play a little bit, I didn’t want to blow out the thing in my mouth, I felt that “it” was still there. I was also lucky because this music on Night Kisses is so lyrical and beautiful that you don’t even want to play it fast and furious. The music didn’t demand that.
When I listen to the music of Ivan Lins singing these songs, it just pours out of him like flowing water or smoke rings. It’s both easy and emotional. It was so heartfelt that I didn’t have to prove anything. I just let myself be.
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“When I listen to the music of Ivan Lins singing these songs, it just pours out of him like flowing water or smoke rings”
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WAS IT YOUR IDEA TO INCLUDE STRINGS?
Yes, we had the same string quartet also on the previous album Heart of Brazil. I love this string quartet as they are great guys, relaxed and yet fine players.
YOU’VE DONE STRINGS ON OTHER ALBUMS LIKE BREAKTHROUGH AND THE VIVALDI SEASONS
George Klabin told me that the album that actually turned him on to music was my Memos From Paradise that had a string quartet, Roger Kellaway, Eddie Gomez on bass and Al Foster on drums. We’ve known each other that long, over 40 years.
I invited George to those GRP sessions when I was living in New York, and he said that changed his whole life when he heard that music that Roger and I did with that band and string quartet. He just said to me the other day “You’re the reason that I do this” because he fell in love with that Memos album. Roger wrote most of the music and arrangements; it’s a beautiful album.
GIVE ME YOUR THOUGHTS OF BEING IN THE THAD JONES/MEL LEWiS BAND FROM THE BEGINNING
It was the best thing in my life at the time.
I was thrown into this position of being the youngest guy in the band with musicians who were amazing players who’d I’ve heard of all my life-Bob Brookmeyer, Pepper Adams, Jerome Richardson, Joe Farrell and Joe Henderson. It thrust me out into the public eye, which was great. It had a lot of demands about it.
God gave me the gift of being in that band so I could be in the midst of those great players; It made my reputation as a player by being in their midst.
I love Thad’s music; it still sounds modern, and not dated at all. I still play some of those charts when I go out on my own gigs.
AND YOU’RE ON THE CLASSIC TUNE “A CHILD IS BORN”.
My son Josh (who’s now 49) was born the week Thad brought that song into the studio. I still have that chart, and whenever I play it, I tell people that my son was born within a day of the song, and Thad didn’t even know. It was just a coincidence; I’m one of the first to actually record the tune on my own, on an album Brief Encounter. I harmonized it for flutes and tenor; I wanted to grab it and record it before anyone else.
YOU’VE DONE THESE LATIN SESSIONS, A TON OF SOUL SESSIONS WITH JAMES BROWN, DAKOTA STANTON AND THE LIKE, AND WITH YUSEF LATEEF. WHAT WAS YOUR MOST CHALLENGING SESSION?
The Hub of Hubbard with Freddie Hubbard.
I didn’t even know I was going to be on it. I was travelling with the Thad Jones/Mel Lewis Band in Europe, and Joe Henderson was the other tenor saxophone player, a monster.
The tour was like a “Review”, with The Thad Jones/Mel Lewis Big Band playing with Freddie Hubbard’s Quintet. While there, Freddie had a recording session in the Black Forest, produced by this wealthy guy who just wanted to record a kind of jam session. Joe Henderson just didn’t want to do it for the $150.
So they came to me, as I was the only other tenor player, and I said “I’ll do it”. I love Freddie’s playing. The tune on that album, “Just One Of Those Things”, Freddie could just burn the heck out of that tempo.
That was the first tune he called he called at the recording session; it was SO FAST.
Here we are; we’ve just gotten off the bus after riding for 12 hours and arrive mid-morning. Roland Hanna, Richard Davis and myself just roll out after taking a nap, and as soon as we get in, Freddie immediately counts off the tempo “One! Two! OneTwoThreeFour” (laughs)
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“we’ve just gotten off the bus after riding for 12 hours and arrive mid-morning. Roland Hanna, Richard Davis and myself just roll out after taking a nap, and as soon as we get in, Freddie immediately counts off the tempo “One! Two! OneTwoThreeFour” (laughs)”
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That was the most challenging session, since I hadn’t even played the tune for many years. I would’ve like to review the song in my mind before recording it, but there was no time.
That was a big challenge. It ends up that I didn’t like how I sounded on it, but Freddie loved it. I had a chance to talk to him just before he passed away, and he said “you played great on that”. Getting a compliment from Freddie was a big deal, as he always played great.
That was the most challenging. With that tempo, it was like the traffic on the street was coming, and you think you can cross before that next car that’s coming at you while your first step is in the gutter, and you rush across the street to get out of the way. That’s what it was like.
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“it was like the traffic on the street was coming, and you think you can cross before that next car that’s coming at you while your first step is in the gutter, and you rush across the street to get out of the way. That’s what it was like (playing with Freddie Hubbard)”
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It was great, because all you can do is use your inner resources for that.
Opposed to that was this recent album Night Kisses. It had challenges, but for me the challenge was to just “be” the music; not overly “try” to do anything but be beautiful.
THAT’S A HARD THING TO LEARN WHEN YOU HAVE CHOPS.
Yes, and when you’re Jewish, and your “shpilkes” comes in and you want to play more notes than your therapist would have wanted you to play. (laughs)
THAT JUST LEADS INTO MY NEXT TOPIC. WHEN YOU GROW UP IN A JEWISH HOME, YOU CAN BE EITHER A DOCTOR, A LAWYER OR A FAILURE. DID YOUR PARENTS DISCOURAGE YOU BECOMING A MUSICIAN?
They wanted me to be a “doctah” (laughs)
They saw that I was getting pretty good at music, and my mother fatally said to me “If you’re going to play music, you’re either going to be the best, or your NOTHING!” Classic Jewish mother combination of encouragement and guilt.
It’s funny you bring this up, as the last four months I’ve reconnected with the very first musician that I played with, Danny Diamond, who was an accordion player. We had a trio with Ronnie Olson on drums.
We had a gig, and my mother got us a gig in New York at an installation at some club. So we played the gig, and on the way back, Danny’s father is driving us home in downtown Manhattan under the Manhattan Bridge where Chinatown and The Bowery are.
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my mother fatally said to me “If you’re going to play music, you’re either going to be the best, or your NOTHING!” Classic Jewish mother combination of encouragement and guilt.
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Danny’s father wanted to bring about a point, since we just had our first gig.
There was a vagrant on the street, trying to make a dime polishing your window. He comes up to our car, totally in tatters and he starts cleaning the windows. Danny’s father rolls down the window, and he tries to make a point that “you just had your first gig, and here’s a ‘bum’ washing my window” and asks him “What instrument did you used to play?”
And the guy said “trumpet”! (LAUGHS LOUD)
He was making the point that if we’re going to do this, if you’re not the best you’re going to be “poopkie” .
YOU HAVE A GREAT WORK ETHIC AND POSITIVE ATTITUDE. WHAT THREE BOOKS DO YOU RECOMMEND EVERYONE TO READ?
The one I’m reading now is from a Tibetan Buddhist teacher Vivid Awareness. It’s how to become ‘vividly aware’ in your life. It’s those kind of books I usually read.
I’ll read a Jack Reacher novel on occasion, but now that we’re all in trouble and the earth is going to fall into a huge hole, you and I are probably the only positive ‘meshugienas” around .
Everyone else is waking up and worrying what they’re going to do during the day, so I read more spiritual things
WHAT HAVE YOU LEARNED ABOUT YOURSELF DURING THIS LOCKDOWN?
I’ve learned that I’m getting on my nerves (laughs)
Actually, in a way I like it because it gives us a chance to get out of the craziness of the world and just be alone with yourself and family in a static environment where you can relax, watch TV and get some food.
For me, I like practicing, and I always have, so I’m kind of doing what I’ve always done. I practice, eat, watch MSNBC on TV and go back to my flute and clarinet.
WHAT DO YOU WANT PEOPLE TO SAY WHEN THEY’VE PUT YOU IN THE PINE BOX?
“He didn’t want to be buried in a pine box! He wanted to be cremated-you’ve made a mistake!” (laughs)
WHO WOULD YOU PAY $1000 TO SEE PERFORM, LIVING OR FROM THE PAST?
That’s a good question, because I’m cheap.
Bill Evans, John Coltrane, and Charlie Parker, who I never got to see. I would have loved to have heard Bird in person
THERE ARE MANY MUSICIANS OUT THERE IN THE WORLD, BUT FEW TRUE MASTERS. EDDIE DANIELS IS A JAZZ VERSION OF GEPPETTO, PUTTING LIFE INTO THE WOODEN CLARINET WITH EVERY ALBUM HE MAKES AS WELL AS EVERY CONCERT HE PERFORMS.
WITH THE SAME DEDICATION, HE TOOK THE KISMET OF A TOOTH PROBLEM AND RETURNED TO THE FLUTE FOR HIS LATEST ALBUM, A GORGEOUS TRIBUTE TO THE BRAZILIAN MASTER. BUT, IN TRUTH, HIS ENTIRE CATALOGUE IS A TRIBUTE OF SORTS, TO THE DESIRE TO DO WHAT WE ALL DO, BE THE BEST AT WHAT HE CAN BE. DANIELS, LIKE VERY FEW, HAS USED HIS TALENTS AND DRIVE TO ACHIEVE WHAT MOST OF US DREAM OF. LISTEN TO THIS ALBUM AS AN INSPIRATION DURING THESE TIMES; IT WILL BE AN ENCOURAGEMENT IN A PRESENT WORLD OF CACOPHONY, SHOWING THAT IN THE LONG RUN, BEAUTY ALWAYS CONQUERS.