FOR 30 YEARS, RICK BRAUN HAS SUCCESSFULLY NAVIGATED THE JAZZ FIELD WITH A CAREER THAT INCLUDES GOLD RECORDS, WELL ATTENDED TOURS AND SESSIONS WITH THE LIKES OF ROD STEWART, TINA TURNER, TOM PETTY AND SADE?
SO WHY ISN’T HE ON THE TOP TIER OF JAZZ TRUMPET PLAYERS FROM MAGAZINES L IKE JAZZ TIMES OR DOWNBEAT?
STARTING OUT WITH THE FUSION GROUP AURACLE, BRAUN HAS CARVED OUT AN IMPRESSIVE CATALOGUE OF ALBUMS THAT IN A DIFFERENT ERA WOULD BE CONSIDERED RESPECTED BY ALL TYPES OF JAZZ FANS. UNFORTUNATELY, THE “JAZZ POLICE” OF THE DAY TAKES ISSUE WITH THE LIKES OF BRAUN AND OTHER ARTISTS OF HIS STYLE, WHICH HAS BEEN CURSED WITH THE TITLE OF “SMOOTH JAZZ”.
HEY, NOT EVERYONE IS KENNY G! BRAUN HAS FLEXED HIS CHOPS WITH THE LIKES OF KIRK WHALUM AND NORMAN BROWN FOR SOME HIGHLY SWINGING ALBUMS, AND HIS OWN ARE INFECTIOUS SESSIONS THAT ACCOMPLISHES WHAT JAZZ IN THE 30s AND 40s USED TO CONSIDER A SUCCESS-GET PEOPLE ON THEIR FEET AND DANCING.
FOR SOME REASON, THAT IS NOW CONSIDERED A CURSE, BUT NOT TO BRAUN, WHOSE LATEST EPONYMOUS ALBUM IS FILLED WITH IMPRESSIVE CHOPS AND RELENTLESS GROOVES.
WE HAD A CHANCE TO CATCH UP WITH BRAUN, FRESH OFF OF A 25 DAY TOUR. LIKE HIS MUSIC, HE WAS ACCESSIBLE, ENJOYABLE, CLEVER AND DEFINITELY SWINGING…
ALTHOUGH YOU NOW LIVE IN LOS ANGELES, YOU GREW UP IN PENNSYLVANIA
I left Allentown for the Eastman School of Music when I graduated from High School, and didn’t look back after that.
WHEN DID YOU MOVE TO THE SAN FERNANDO VALLEY?
I left the Eastman School after my junior year. I was scheduled to graduate in January 1977, so I moved out here in 1976. I moved into a band house in Canoga Park, with the fabulous Rhonda Fry living above us. Classic California surfer girl; they don’t make girls like that in Rochester. They’re not available. (laughs)
WHEN DID YOU DISCOVER BARONE’S RESTAURANT?
My manager, Steve Chapman, turned me on to Barone’s. He’d buy pizza for parties from the original Barone’s in Studio City, and subsequently I’d go in there whenever I could because their pizza is special.
Being from Allentown, we’ve got some pretty good Cheesesteaks there. Now, you may laugh, but for me, Jersey Mike’s Big Kahuna with the white bread is real good. They’re an East Coast franchise, you know. The get it kinda right.
**********
“When I solo or play on anything, (Miles Davis and Freddie Hubbard) is the toolbox that I have at my disposal; I’ve got those Craftsmen wrenches to use”
**********
YOU’RE 66 YEARS OLD, YOU GREW UP LISTENING TO MILES DAVIS, LEE MORGAN, ETC. HOW DO YOU BRING A “CLASSIC” STYLE INTO TODAY’S MUSIC WITHOUT SOUNDING LIKE A NEO-CONSERVATIVE?
I don’t think I really have a choice, because I was always inspired by people like Clifford Brown, Miles Davis, Freddie Hubbard, Lee Morgan and Chet Baker. They were all my trumpet playing inspirations, but I’m not saying I can play like them.
When I solo or play on anything, that is the toolbox that I have at my disposal; I’ve got those Craftsmen wrenches to use. (laughs)
When I practice, lately I’ve been getting my ass handed to me by a group of people I’m working with in this brass quintet. The tuba player is Doug Tornquist from the LA Philharmonic, and I’m trying to struggle ****and find my legit chops again and play classical trumpet. It’s a whole new level of humiliation.
Getting back to your question-where I live is being inspired by those trumpet players
*********
“I’m trying to… find my legit chops again and play classical trumpet. It’s a whole new level of humiliation
*********
LIKE HARRY JAMES, WEREN’T YOU INITIALLY INTERESTED IN THE DRUMS
I was interested, but I never got to play the drums, as I grew up in a row home with four brothers and one sister. So, when I told my dad that I wanted to play the drums, they told me “This is a row home; it is not going to happen” (laughs)
I did force my way onto the drum set when I was touring with War in 1982. We had two drummers, Harold Brown and Ronnie Hammond, in the original cast.
There was one song where Harold would come down and sing lead, so he’d come down from his drums to sing. Me, being a wanna be drummer and having several beers, decided to jump into the second drum kit. Nobody looked at me or said “Don’t ever do that again”, so for that tour, I was the second drummer for War for one song. (chuckles)
WHAT GIG OR SESSION WAS A “BAPTISM BY FIRE” FOR YOU?
The “Brass Quintet Live” video I just did a few days ago was one!
My first one was the Montreux Jazz Festival around 1979. We had a record deal on Chrysalis Records with our band Auracle, and had made the record Auracle. We went to the Montreux Jazz Festival, and it was as prestigious a festival as you can imagine.
I’m there, fresh out of college, playing stuff with Auracle in 13/8, 7/4 and all that, pretending to be the Mahavishnu Orchestra. At the side of the stage, introducing himself to me as we walk on to perform, is Freddie Hubbard.
Freddie is still one of my all time heroes and astounding musicians that ever played the trumpet. Playing before him was a baptism by fire; having him over there, watching us play our set.
And we hung afterwards.
There are lots of stories about Freddie…infamous and famous. In that particular case he was a joy to hang with, and it was such an honor.
WHO HAS GIVEN YOU THE BEST MUSICAL OR CAREER ADVISE?
This was a life changer for me…
I was with Auracle; we were still at Eastman and the band was just starting to get it together. I didn’t know at the time that it would be the vehicle to take me to the next step, or to California to start my life as a professional musician.
We were playing a gig in Buffalo, New York, opening up for George Benson, who was then on CTI Records and doing records with Freddie Hubbard and Ron Carter. He hadn’t done those famous records “Breezin’” or “Masquerade” yet, but he was still a hero.
So, we’re opening up for him, and we start playing all of this super-complicated music with the attitude of “we’re going to blow everybody away” . You could sense the aggression, and we went over pretty well.
George is watching us from the side of the stage, and after the set he comes over to us. He gathers us up together, to his credit (as he’s such a great guy), and asks “Fellas, are you guys having fun out there when you’re playing your music?”
We really didn’t have an answer. We just stood there and said, “Fun? What’s that? We’re here to kill.”
He said, “If you’re guys aren’t having fun, and showing the audience how much joy you’re getting out of playing that music, how do you expect anyone in the audience to have any joy?”
He left us with that message. For me, the “collegiate thing” was that “I’m going to kick-ass; I need to be as good as I can be, and that’s the only thing that matters. I need to bury anybody else that is playing this instrument, or beat any other band that is around.” That was our competitive spirit; it was like being on a sports team.
I had never thought of music as a joyful thing. That brought me to a new frame of mind, and that’s the same frame of mind that I bring to this day on stage. I’m having fun and I want to share that with everybody.
********
“(George Benson) said, ‘If you’re guys aren’t having fun, and showing the audience how much joy you’re getting out of playing that music, how do you expect anyone in the audience to have any joy?’”
********
YOU’RE ONE OF THE FEW LIVING MUSICIANS THAT HAVE PLAYED WITH LEGENDARY PRODUCER TEO MACERO, WHO’S NOTED FOR MILES DAVIS’ GROUND BREAKING BITCHES BREW SESSIONS
Teo produced the first Auracle record. I remember it like it was yesterday.
I credit Teo with being the inspiration for me for my first experience at being in a studio with a real producer, with a real kind of credits. I mean, he produced Bitches Brew and other Miles Davis albums.
I was in the studio, doing the record with Teo, and for whatever reason he started to confide in me. He’d ask things like “What do you think about this take, Rick?”
I don’t know why, but I got the feeling that of all of the band members, he was reaching out to me. That opened my eyes as to how much fun it is to make records, to produce them.
Teo was all about
We came into the studio, and we were young athletes, exercising our chops. We hired Lee Ritenour at some point to play on one of our records. Our whole goal was to stump him, so we wrote out this ridiculous line for him to play. Looking back on it, I think “what the hell was I thinking?”
So, Teo listens to us, and then says, “Guys, music is as much about the space as it is about what you play. Space is important.”
That was one of the messages he gave to me and the fellas in the band.
*********
“music is as much about the space as it is about what you play”
*********
WHAT’S INTERESTING IS THAT BOTH OF THOSE ALBUMS, IN A SILENT WAY AND BITCHES BREW, ARE CONSIDERED BOTH THE FIRST “FUSION” ALBUMS AS WELL AS THE FIRST “SMOOTH JAZZ” ALBUMS.
SO, WHY DOES “FUSION” GET THE GOOD REPUTATION, BUT THE “JAZZ POLICE” PUT DOWN “SMOOTH JAZZ”?
I don’t know-I just know that it’s true.
Those of us who are Smooth Jazz artists will always be looked down upon.
But at the end of the day, it’s fine, because when push comes to shove and you’re in a room playing with somebody from that world, and somebody like Kirk Whalum or Gerald Albright and I can hold our own in a straight-ahead setting. I love being in those settings and playing that.
I can only guess that it has to do with Smooth Jazz not having its foundation in jazz. The fact that it got the name “Smooth Jazz” is probably one of the most unfortunate things ever to be called. It should have been called “Contemporary Instrumental Music” or something. But “Smooth Jazz” caught on, and the name itself can leave a bad taste in your mouth. It’s like “this is something to fit into the background; it’s got to be part of the wallpaper.” That’s where it got the reputation where you walk into an elevator or airport and you’re going to hear some of our music. That’s not good! (laughs)
By name alone it’s been given a secondary position when it comes to music that has been created to be listened to, as opposed to music to create a background.
*********
“the name (‘Smooth Jazz”) itself can leave a bad taste in your mouth. It’s like “this is something to fit into the background; it’s got to be part of the wallpaper”
**********
THE IRONIC THING IS THAT JAZZ WAS INITIALLY MUSIC FOR DANCING, AND SMOOTH JAZZ WITH THE R&B GROOVE WAS MADE FOR GETTING PEOPLE ON THEIR FEET. JUST LIKE YOUR LATEST ALBUM, WITH SONGS LIKE “FEET FIRST” AND “FOUR ON THE FLOOR”. IT’S LIKE “HOW DARE YOU DANCE TO JAZZ”!!
ART BLAKEY USED TO SAY, “ALL JAZZ IS DANCE MUSIC”
Here’s the thing…
When I play my shows, inevitably by the time I get to “Grazin’ In The Grass” or “Use Me” (which are covers), people are up, dancing and having a good time. That very seldom happens in a straight-ahead jazz concert, where people just sit and listen.
In some regards I really enjoy that energy with people up on their feet. It’s so much fun.
DUKE ELLINGTON’S MOST FAMOUS ALBUM AT NEWPORT IS FAMOUS BECAUSE ONE WOMAN STARTED DANCING IN THE AISLES TO PAUL GONSALVES’ SOLO IN “DIMINUENDO AND CRESCENDO IN BLUE”
People forget that the Big Band Era of swing was the pop music of the day, and people danced to it.
Out of that came bebop, and then rock and roll came right after with hard bop, making jazz turn into this hard core listening environment and rock taking over the dancing part. It splintered apart at that point.
Duke Ellington, Tommy Dorsey and Harry James, those bands of the 40s played pop music.
*********
“People forget that the Big Band Era of swing was the pop music of the day, and people danced to it”
*********
SPEAKING OF ENJOYING MUSIC, YOUR BWB BAND (WITH KIRK WHALUM AND NORMAN BROWN) IS VERY POPULAR. HOW DID THAT GET TOGETHER?
That whole thing started back in the day when we three were all on Warner Brothers, which was the label to be on. George Duke, Fourplay and Kenny Garrett were on that label.
When I joined the label, the guy in charge of Warner Jazz was Matt Pearson. I am eternally grateful to him because he helped me in so many ways. He paired me up with Boney James, making the Shake It Up cd, which was the only project that I’ve been on in the Smooth Jazz world that went gold. That tour elevated me.
The BWB Project was also his idea. Matt wanted to make a “Superband”, so he produced the record. That was a very fun project; it took me to many places in the world that I wouldn’t have gotten to, if I hadn’t paired up with Norman and Kirk.
Both of them have a very strong presence in Africa, and we had the good fortune to go to Nigeria, Kenya and South Africa together and play some incredibly wonderful shows.
WHEN YOU DO STUDIO WORK OR TOUR WITH SOMEONE LIKE ROD STEWART, SADE, TINA TURNER OR TOM PETTY, DO THEY GIVE YOU SPECIFIC INSTRUCTIONS, OR DO THEY JUST LET YOU BE YOU?
It’s always different.
Back in the day, I did a tour with Rod Stewart; I played on one or two of his records as part of the three piece horn section with Nick Lane and Jimmy Roberts.
I was on the road with Sade. We toured in New York and her manager Roger Davies came to me and said they had a spot for a trumpet solo on a Tina Turner, and they’d love for me to do it.
I was thrilled and humbled.
They flew me out from New York to Los Angeles. They picked me up in a limo, right off of the plane, and I’m dead tired, right to A&M Studios, and there’s Tina Turner.
The song was “Why Must We Wait Until Tonight” on the Private Dancer record, and I’m going to play the solo.
She was trying to tell me what to play; she was in the control booth singing what she had in mind for me.
I said, “Tina, why don’t you put some headphones on, come out here ,stand next to me and sing in my ear what you’re hearing, and I’ll try to copy it as you’re singing it”
She said “OK”; so there I am with Tina Turner whisper-singing into my ear. She’s in one ear, and I’m hearing the music in the other, playing what she’s singing to me. I’m thinking ‘How many men would die to be in my place?!?” (laughs)
*********
“so there I am with Tina Turner whisper-singing into my ear. She’s in one ear, and I’m hearing the music in the other, playing what she’s singing to me. I’m thinking ‘How many men would die to be in my place?!?’”
*********
NOT ONLY DO YOU DO MUSIC FOR PEOPLE TO ENJOY, BUT YOU ALSO DO FUNDRAISERS. WHY DID YOU CHOOSE AUTISM FOR YOUR LATEST CHARITY TO SUPPORT?
Every year for the past 15 years we do a New Year’s Eve show. At that show we support two charities. Some sort of autism foundation has always been the recipient.
My daughter is 21 years old, and she’s high functioning autistic, so we are very familiar with the struggles that people go through with autistic people in their family.
It’s unbelievably trying. On the other hand, we love our daughter beyond belief; she brings us so much joy. Her perspective on the world is so awesome.
A FRIEND OF MINE AT CHURCH SAYS THAT WHEN YOU HAVE A SPECIAL NEEDS FAMILY MEMBER, IT MAKES YOU EITHER VERY ANGRY OR VERY PATIENT.
Or both! (laughs)
WHAT DO YOU LISTEN FOR WHEN YOU TAKE IN A TRUMPET PLAYER, AND WHAT IS YOUR PET PEEVE?
Now you’re going down a dark alley!
I listen to all instruments for inspiration. When I hear someone playing, I kind of perk my ears up when I hear a lick and think “Oh, that’s fresh” or a certain choice of notes. That’s true for people like Chet Baker or Miles , who had amazing choices of notes.
One of my pet peeves is when the intonation is like nails on a chalk board. You’d have to pay me a lot of money to name names, so let’s just leave it at that! (laughs)
DID YOU EVER COME TO A POINT WHERE YOU THOUGHT TO YOURSELF “I’VE ARRIVED”.
No; that’s never going to happen.
It’s an ongoing process; that was pointed out to me really boldly last week when I tried to record with the Brass Quintet. I realized how difficult it is to play in tune, in time with four other people playing brass instruments.
It’s like doctors; they’re always practicing medicine. Will they ever get it perfect? I don’t think so.
*********
“It’s like doctors; they’re always practicing medicine. Will they ever get it perfect? I don’t think so”
*********
WHAT MUSICIAN, LIVING OR DEAD, WOULD YOU PAY $1000 TO SEE PERFORM?
Of course it would have to be Miles Davis, when he was doing stuff with his sextet of Cannonball Adderley, John Coltrane, Paul Chambers, Bill Evans or Red Garland and Philly Joe Jones. Very traditional, yet they played things like “Milestones”.
Also Billie Holiday, sadly, I’d like to hear her in her later years.
IS THERE A PHILOSOPHY OR RELIGION THAT GUIDES YOU?
I want to convolute that question a little bit.
When I’m performing on stage, something that would help me stay focused is being “in the moment”. Being present in the situation.
Guitarist Peter White and I joke about this idea of staying in the present moment. Staying on the “Cow Catcher On the Train of Life”
To do that, you cannot dig yourself.
If you play something and go “Wow, that was really…” before you can think of the word “good”, you’ve made a mistake.
**********
“To (be in the moment) you cannot dig yourself.
If you play something and go “Wow, that was really…” before you can think of the word “good”, you’ve made a mistake”
*********
WHO TAUGHT YOU THAT?
“Self-diggage” was taught to me by Leonard B. Smith, who was a great cornet soloist. He conducted a ****district band that I was in during High School. He always told us (he didn’t use the word “dig”), that you can’t admire your own playing while you’re playing, because it’s a prescription for disaster.
WHO WOULD YOU LIKE TO SIT DOWN FOR AN EVENING AND PICK THEIR BRAIN?
He would probably swat me away like a fly within the first ten minutes, but Wolfgang Mozart. The genius of that guy was up there with Einstein. Mozart was capable of musical things ; it would be interesting to see what he would think of where we’re at now musically and bring his talent here now.
I don’t think there’s a place for him today to express that kind of talent now. Who would have the patience to listen to that degree of proficiency?
WHAT THREE BOOKS DO YOU THINK EVERYONE SHOULD READ?
Zen and the Art of Motorcycle Maintenance by Robert Pirsig. I just love the message of it; it’s all about being in the present and not allowing yourself to live in the past, and to fix things on the fly if you need to.
Pillars of the Earth by Kenneth Follett. That’s a great book
I like Michael Crichton’s books. One called Air Frame was really good. It has to do with an extreme turbulence disaster in mid-air.
The Road to Gandolfo by Robert Ludlum.
WHAT GIVES YOU THE MOST JOY?
Seeing my kids happy
WHAT MUSICAL AND OR LIFE GOALS DO YOU STILL HAVE?
The biggest hurdle for me is to be content with what I have.
I can look at something I just did and think that 98% of it is absolutely wonderful, but I’ll focus on the 2% that’s not.
I’d like to be content with my imperfection. That’s a difficult thing for me.
A life goal would be to be content and being able to accept things as they are, with more peace.
To be able to take a complement, say “thank you” and mean it.
*********
“I don’t think there’s a place for (Mozart) today to express that kind of talent now. Who would have the patience to listen to that degree of proficiency?”
*********
WHAT WOULD YOU LIKE PEOPLE TO SAY WHEN THEY PUT YOU DOWN IN THE GROUND IN THE PINE BOX?
“I thought that guy would never leave!” (laughs)
WHAT HAVE YOU LEARED ABOUT YOURSELF WITH THIS LOCKDOWN?
I’ve learned how to be a little more adaptable.
I’ve learned a lot about family, a lot more about my kids.
About myself, it was a big step for me to accept things just as they were.
There were a lot of times I’d think “I could be doing this or that”
I actually learned how to relax a little bit more. I did get COVID, and I was down for 10 days. I pretty much enjoyed those 10 days, except for being sick. It was nice to chill.
DID YOU MISS TOURING?
I just got back from doing a 25 day tour with Dave Koz, and I’m getting ready to hit Virginia for a gig
IT’S NICE TO STILL BE WANTED!
It’s an honor to have people who want to hear me play
I REMEMBER THE FIRST J AZZ GIG I WENT TO, WAY BACK IN THE 1970s, TAKING IN KENNY BURRELL. WHAT STRUCK ME MOST OF ALL WAS THAT ALL OF THE MUSICIANS WERE SMILING AS THEY GOT ON STAGE AND PL AYED WITH JOY. EVERYONE WAS HAVING A GOOD TIME, AND THE HAPPINESS WAS INFECTIOUS. WHAT A DIFFERENCE FROM THE ANGST AND ANGER OF THE ROCK MUSIC THAT HAD BEEN BLUDGEONING ME MY ENTIRE YOUTH. I WAS AN IMMEDIATE CONVERT.
SO, WHY IS THAT JOY NOW CONSIDERED A DETRIMENT? WHY DOES JAZZ HAVE TO BE SO SERIOUS? HAVE WE FORGOTTEN ART BLAKEY’S FAMOUS LINE THAT “ALL J AZZ SHOULD BE FOR DANCING”? THANKFULLY, ARTISTS SUCH AS RICK BRAUN HAVE NOT FORGOTTEN THE REASON PEOPLE WANT TO HEAR MUSIC. BRAUN HAS SHOWN THROUGHOUT HIS ILLUSTRIOUS CAREER THAT ART CAN BE USED TO NOT ONLY INSPIRE, BUT PUT A SMILE ON YOUR FACE AND FORGET FOR JUST A FEW MINUTES THE DAILY TROUBLES OF L IFE? WHY LISTEN TO MUSIC FOR NAVEL GAZING WHEN BRAUN CAN GET YOU ON YOUR FEET?