“We proclaim to you what we have seen and heard, so that you also may have fellowship with us. And our fellowship is with the Father and with his Son, Jesus Christ. 4 We write this to make our[a] joy complete”
1 JOHN 1:3-4
IF YOU EVER GO TO CHURCH, YOU HEAR LOT OF TALK ABOUT “FELLOWSHIP”
SOMETIMES, FELLOWSHIP MEANS NO MORE THAN A CHURCH POTLUCK OR PICNIC.
IN THE BIBLE’S DEFINITION, FELLOWSHIP DEPENDS ON PEOPLE DRAWING CLOSER TO EACH OTHER AS THEY BOTH DRAW NEARER TO GOD. THE FELLOWSHIP CAN BE AROUND A MEAL, IN A CAR, OR WITH THE BIBLE IN YOUR HAND. THE POINT IS TO ENCOURAGE ONE ANOTHER TOWARDS LOVE AND GOOD DEEDS.
GROWING UP IN THE CHURCH, DRUMMER BRIAN BLADE NAMED HIS BAND “THE FELLOWSHIP BAND” IN ORDER TO REFLECT THAT SPURRING OF THE SPIRIT. HE WAS ALSO A VITAL PART OF WAYNE SHORTER’S CLASSIC QUARTET ALONG WITH FELLOW DISCIPLES JOHN PATITUCCI AND DANILO PEREZ. THAT BAND’S EXPLOITS ARE HEARD ON A RECENT RELEASE OF SHORTER’S BAND IN CONCERT. IT’S NOT FOR THE FAINT OF HEART
HAVING SEEN MR. BLADE IN SETTINGS RANGING FROM THE STRATOSPHERE OF SHORTER TO THE POCKET OF A TRIO WITH CHICK COREA AND CHRISTIAN MCBRIDE, I’VE ALWAYS BEEN INTRIGUED THAT EVERY STYLE HAS THE DRUMMER SMILING THROUGHOUT THE SET, GLOWING LIKE A RHYTHMIC CANDLE.
WE RECENTLY HAD A CHAT TOGETHER, AND AS EXPECTED, IT WAS INSPIRING, WHICH LITERALLY MEANS “GOD BREATHED”..
I ASKED YOU FOR A PRAYER REQUEST, AND YOU WANTED A PRAYER FOR SOMEONE ELSER, JONI MITCHELL
She went through a deep valley for a bit; she’s so much stronger now. I was concerned that we’d never be with her musically again, so it’s good to see that so much has been healed.
HOW DID GROWING UP IN THE CHURCH EFFECT YOU BOTH MUSICALLY AND PERSONALLY?
It was the absolute bedrock foundation for everything else that I would do afterwards
I’m so thankful for my parents; they shared their faith with my brother and me first, but they then gave us that liberty, knowing we had to eventually make this choice, or not, ourselves. (chuckles)
Playing drums at Zion Baptist Church when I was 13, after my brother left for college, my folks never put up these boundary lines as to playing at any other place. Wherever I went, it was always praise music. (laughs)
I didn’t care if it was a dive bar, a concert hall, or some alley way, the opportunity to make music, given the lead of the Holy Spirit, I didn’t have to fear that I wasn’t where I was supposed to be.
That’s what the gospel has provided me in my life, both musically and spiritually.
I didn’t care if it was a dive bar, a concert hall, or some alley way, the opportunity to make music, given the lead of the Holy Spirit, I didn’t have to fear that I wasn’t where I was supposed to be
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“(Church) was the absolute bedrock foundation for everything else that I would do afterwards”
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DID YOUR FATHER GIVE YOU ANY ADVICE WHEN YOU WENT INTO A MUSICAL DIRECTION?
Never, really. My dad always had a radio show. He’s an amazing singer, not just an amazing preacher.
His love of music came with the package. (laughs) God planned it in there before he was born!
He just encouraged us if we showed interest. If I wanted to play something, he’d say, “Let’s get him a teacher”. When it came to drumming, he got me a teacher and encouraged that leaning.
Also my mom; she was a kindergarten teacher for 25 years. They were both teachers, so both pushed us about getting more information about what I was ever doing.
The church gave me that truly deep experience. The listening that was necessary to be a part of the worship
If you weren’t really tuning into what was being sung and spoken, then you’re missing it. Faith comes by hearing. The church gave me this bedrock foundation from the very beginning, so I could take that on stage with Wayne Shorter; I can take that on stage with Joni Mitchell; I can take it anywhere on any highway and byway.
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“I didn’t care if it was a dive bar, a concert hall, or some alley way, the opportunity to make music, given the lead of the Holy Spirit, I didn’t have to fear that I wasn’t where I was supposed to be”
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YOUR CATALOGUE REFLECTS THESE TWO LIVES. ONE IS INTUITIVE JAZZ, AND THE MUSIC THAT YOU LEAD THAT IS MORE TRADITIONAL AND ALMOST RURAL. LET’S START WITH THE JAZZ WORLD-WHAT ATTRACTED YOU TO THAT STYLE?
My teacher in High School, Dorsey Summerfield Jr, was a great saxophonist, having played with Ray Charles. He was the mentor of so many of us musicians in Shreveport, Louisiana during the 80s.
My brother played in his professional band, called the Polyphonics. My brother was in high school doing gigs, wedding receptions and clubs. He was five years older than I. The drummer that was in the high school band (which was a generation ahead of me) was in Mr. Summerfield’s band, and then I followed.
It was an opportunity of true life experience; he’d tell me “you need to be listening to this John Coltrane record. You’ve got to hear Charlie Parker, Thelonious Monk and Duke Ellington”.
I’d hear those names for the first time. My father was on the radio, so there were always records in the house. But this was different than James Cleveland, Aretha Franklin and The Hawkins Family.
I was drawn to that music right away; I started digging in and buying these recordings myself around the age of 16.
I was first thrown into the fire in Big Band! (laughs) I sat down with a chart in front of me “Horace Silver-Room 608” -I didn’t even have a clue what to do! I knew how to read music, but the application as to how to serve the ensemble as a drummer, well, it was a lot of responsibility
I had great friends that were playing so great as teenagers, so I watched them and learned the ropes, trying to grow the best I could
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“I didn’t care if it was a dive bar, a concert hall, or some alley way, the opportunity to make music, given the lead of the Holy Spirit, I didn’t have to fear that I wasn’t where I was supposed to be”
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DID ELLIS MARSALIS, RED TYLER OR HAROLD BATISTE TEACH YOU ANYTHING THAT YOU STILL CONSCIOUSLY KEEP TO THIS DAY
That was the next chapter, after I left home and moved to New Orleans
My teachers there, John Mahoney, John Vidacovich, Bill Huntington and Steve Masakowski along with Marsalis and Batiste all let me into the realness of the music.
My teacher John Vidacovich came up to me one time and said ,”I have this jam session at Tipitina’s, and I can’t make it. I’m usually the house drummer; why don’t you go and play the gig for me?” That kind of thing-unbelievable grace and sharing from my mentors
I should also mention George French, Emile Vanet and Germain Bazzle along with Alvin “Red” Tyler, because they were the core group of mothers and fathers as to how to deliver such beauty and depth of expression in any situation.
People might yell out “Fats Domino”, “Blueberry Hill” or “Green Green Grass of Home”…any song, any request, and they would turn it into gold! That taught me a great lesson. How do I truly serve the song here, and not have a preconception of “I want to be downtown playing modern jazz with Mr. Marsalis?”
But it wasn’t time for that. I needed to find out first who Earl Palmer was before Elvin Jones. I needed to learn the function of my role in a band, and know the fundamental need that you supply, and that only you can supply.
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“Wherever I went, it was always praise music. (laughs)”
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WHAT OTHER TIMES HAVE YOU HAD A “BAPTISM BY FIRE”?
George French and Emile Vanet invited me to play with them six nights a week at the Sheraton Hotel Gazebo on Canal Street in New Orleans. Just a trio, taking all requests, making it all groove and swing, feeling right and delivering the lyrics to a million songs.
I wasn’t playing great; I was just trying to figure it out. But they were patient with me; they knew that I was an upstart and they were giving me an opportunity.
But I got a call from my teacher to substitute for another of my teachers, David Lee Jr, who had played with Sonny Rollins. He was playing with Ellis Marsalis, and couldn’t make it one night, and Mr. Marsalis asked me to sub for him
So, here’s the baptism by fire: I asked George French for the night off so that I could play for Mr. Marsalis downtown. Big mistake! (laughs)
This is where the rubber meets the road: “Let your ‘yes’ be ‘yes’ and your ‘no’ be ‘no’.
Did I give George my word to play for him? Yes. I had to learn this the hard way.
I didn’t tell George why I was needing the night off, but he gave it to me, of course
But that night, whoever filled in and played drums for me at the Sheraton that night came down to the club where I was playing with Mr. Marsalis. He stood in the door and saw me down there
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“It was never random, even though I might get frustrated and lose the thread for a moment. (laughs) But that’s life! You just have to shake it off quickly.
Wayne would say, “Don’t look at it as a mistake; look at it as an opportunity” That taught me so much. We wouldn’t be defeated just then; we just had to learn from that moment”
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The next day, he fired me! I was heartbroke and so disappointed in myself. But I knew and learned that I had crossed a line that I shouldn’t have. Something was wrong.
But he did hire me back later on, because I was so sorry. That’s what took me to the next level, both musically and on emotional levels.
Playing with these men, like French and Bazzle, they just showed me the way
That lesson taught me so much.
Then later, I had made a commitment with someone, and had been talking to Joni Mitchell after being introduced by Daniel, and she tells me that she’s leaving show business. She said, “I’m coming to New Orleans for a jazz festival; and she’s going to come and wing it with me. She’d never even seen me face to face. She only heard something on a tape Daniel gave her. She just had faith in me.
But I had another commitment, and I told her that I can’t do it. I can’t tell you how much that hurt, because she is one of the great heroines in my life. But that situation with George and Mr. Marsalis rang in my ear.
I learned that God can bring back what the locusts have eaten away. God can redeem the time and bring it back to you. And He did.
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“If you weren’t really tuning into what was being sung and spoken, then you’re missing it. Faith comes by hearing. The church gave me this bedrock foundation from the very beginning, so I could take that on stage with Wayne Shorter; I can take that on stage with Joni Mitchell; I can take it anywhere on any highway and byway”
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THAT’S THE THING ABOUT CHURCH MUSIC AND JAZZ-IT’S MAN CRYING OUT TO BE FREE.
I’m inclined to agree with that.
There’s the “secular” world and the “sacred” world. But I don’t put up a big fence between them. It’s more being “in the world, but not ‘of’ it”.
Yes, we are set apart, and thank Jesus for that mercy and grace. I’m not saying that anything goes; there are sacrifices to be made and we are not supposed to idolize anything.
But I feel that there is a great responsibility for us to step out, and that light that He has given us, we have to let it shine through us. The gift is to be given.
IT’S INTERESTING THAT YOU SAY THAT, AS THE RHYTHM SECTION OF WAYNE SHORTER’S BAND WERE ALL CHRISTIANS
We all just left each other from a memorial concert and service for Wayne this past week. There was a lot to unpack and let go there. We had sweet memories, but I’m thankful that we still have each ***other to walk it out, to remember and honor Wayne. Hopefully, we will grow as he would want us to grow, as he encouraged us to.
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“there is a great responsibility for us to step out, and that light that He has given us, we have to let it shine through us. The gift is to be given”
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DID HE EVER GIVE YOU INSTRUCTIONS WHEN YOU FIRST JOINED THE BAND?
He never did.
In every way, I felt like It was always was an open door. It was like “I’ve called you, and you are equipped to bring what’s needed here.”
He never said those exact words, but with his actions, in his leaning in, he’d have you lean out; to give more of yourself was the testament of who he was.
He wanted us all to fly
I’m so thankful for that. Twenty years went by I feel like I blinked and missed it. It was so deep and so fun. I learned so much being around him, and John (Patitucci) obviously.
I call it “Divine Orchestration” because I remember purchasing three pivotal records when I was 16. An Art Blakey and the Jazz Messengers album, Ugetsu, Wayne Shorter’s JuJu, and Miles Davis Live at the Plugged Nickel. All of them were far over my head; I was not ready for them.
But when I got the records, I connected the dots and realized “Hey, Wayne Shorter’s on this record; ****this is his own, but he’s also with The Messengers and then with Miles Davis.” He was already the thread of my musical life before I even met the man. He was already in my life. (laughs)
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“I learned that God can bring back what the locusts have eaten away. God can redeem the time and bring it back to you”
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I’VE SEEN YOU WITH SHORTER A NUMBER OF TIMES, AND THERE ARE MOMENTS WHEN YOU GUYS ARE SO OUTSIDE, I AM THINKING TO MYSELF, “ARE THESE GUYS EVEN LISTENING TO EACH OTHER? OR ARE THEY LISTENING ON ANOTHER LEVEL?” IN OTHER WORDS, ARE YOU EACH CONSCIOUS OF WHAT YOU ARE DOING, OR JUST LETTING IT GO?
(laughs) There is a very thin veil there.
Everyone is always listening intensely, and intently, to each other and to the architecture of the moment; what are we building?
But there is also this stepping out in that very sensitive area of listening and wanting to deliver what ***is needed. To know if it may mean, “Oh, I should not play right now”, or maybe I need to create a contrast. Perhaps it might sound like four divergent thoughts going off at one time. But even in that, we are all still aiming towards that one goal, which is to compose something together.
It was never random, even though I might get frustrated and lose the thread for a moment. (laughs) But that’s life! You just have to shake it off quickly.
Wayne would say, “Don’t look at it as a mistake; look at it as an opportunity” That taught me so much. We wouldn’t be defeated just then; we just had to learn from that moment.
This is a thought that happens within a second; it’s a process.
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“How do I truly serve the song here, and not have a preconception of ‘I want to be downtown playing modern jazz with Mr. Marsalis?’”
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CHRISTIAN MCBRIDE TOLD ME THAT WHEN HE DIES, HE’S GOING TO HAVE HIS CASKET CARRIED BY DRUMMERS. WHAT DO YOU LISTEN FOR IN A BASSIST, AND DO YOU HAVE A PET PEEVE?
I listen for that feeling between us; to rhythmically and harmonically have that completion. Just ***those two elements, that foundation and expression be so strong, even if it has asymmetry in its motion, it should be unshakeable.
I rely on that connection; I have it with Christian. I’m blessed and grateful that I have it with Patitucci, with Chris Thomas, Rolan Garr and Doug Weiss and Eddie Gomez, Scott Colley, all of these great bassists that I have played with in my life.
My pet peeve would apply to any other musician in the band who wasn’t willing to submit themselves to the moment, the situation and to the wholeness of making the group stronger. If there’s someone who’s not giving that, it makes the music challenging. It’s been very rare that I’ve encountered it.
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“In every way, I felt like (playing with Wayne Shorter) was always was an open door. It was like “I’ve called you, and you are equipped to bring what’s needed here.”
…he’d have you lean out; to give more of yourself was the testament of who he was. He wanted us all to fly”
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YOUR FELLOWSHIP BAND IS QUITE DIFFERENT THAN ALL OF YOUR OTHER PROJECTS. IS IT A RELEASE VALVE AFTER GOING INTO THE STRATOSPHERE WITH SHORTER, A BALM IN GILEAD, OR IS IT A RETURN TO YOUR RURAL ROOTS?
It’s all of that to me.
God has placed it on my heart, and those people were added for my life to not only enrich mine, but for us to enrich others’ lives without music, to get together.
I try to find opportunities for us, but you can’t say “we’re going to be a band forever”. You don’t make that thing happen for yourself. Maybe someone can, but I couldn’t. You can’t make someone love you and give of their lives in that way. This has been since 1996-97.
I met John Cowherd in 1988, so it’s been a long distance run, and I’m so thankful that we can still make that sound together. It touches my soul, and I hope that it touches others.
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“Everyone is always listening intensely, and intently, to each other and to the architecture of the moment; what are we building?”
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IT’S LIKE WE SAY AT OUR CHURCH, “YOU CAN’T FAKE OR FORCE FELLOWSHIP”
That’s right.
We make efforts, we make peace as much as we are able. But when it comes to that true feeling, as the Bible says, “Not by power, not by might, but by Spirit, says the Lord”. By His Spirit, and I have to trust that, when I bring us all together, it’s going to make God happy. That it is going to please Him.
I want that kind of faith.
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“My pet peeve would apply to any other musician in the band who wasn’t willing to submit themselves to the moment, the situation and to the wholeness of making the group stronger”
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YOU DO A LOT OF TRIO WORK. YOU HAVE ONE WITH KOPPEL AND COLLEY, THEN WITH COREA AND MCBRIDE, AND THEN WITH THE GUITARIST MUTHSPIEL. DO YOU COME IN DIFFERENTLY FOR EACH ONE, OR DO YOU FIGURE OUT WHAT’S NEEDED DIFFERENTLY EACH TIME? THOSE ARE THREE VERY DIVERGENT TRIOS
True, they are.
The friendships and relationships there are deep, and I feel connected to those people.
If one thing changes, then everything changes, so I try to submit myself to that moment and to that situation. Hopefully, I’ll bring what’s needed from my part, because we all have a part.
The communication in a trio is so quick between three people , and they give me such liberty. I’ve been spoiled by all of these situations. I feel that I can express myself freely, and I never feel that I’m having to explain something while I’m playing. It’s absolute freedom, and the others get it and give me that liberty. Hopefully, I can supply the same to them, that they can feel like they can fly
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“I feel that I can express myself freely, and I never feel that I’m having to explain something while I’m playing. It’s absolute freedom, and the others get it and give me that liberty”
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IS THERE ANY MUSICIAN, LIVING OR DEAD THAT YOU WOULD PAY $1000 TO SEE PERFORM?
I would need a million dollars; it’s a long list. (laughs)
I remember talking to Chick Corea about him going to the Village Vanguard, and Jimmy Garrison would be playing a twenty minute introduction to something, and ‘Trane would emerge from the kitchen playing as he walked towards the stage. I don’t know a lover of any kind of music who wouldn’t want to experience that.
ANYONE IN WORLD HISTORY YOU’D LIKE TO SIT DOWN FOR AN EVENING WITH AND PICK HIS OR HER BRAIN?
That’s a good one.
We have so many letters that the Apostle Paul wrote; he would be a great person to talk to.
ARE THERE ANY BOOKS THAT HAVE REALLY INFLUENCED YOU THAT YOU RECOMMEND TO OTHERS?
I just recently read a biography of Karen Carpenter, called Little Girl Blue. Most people know the death and sadness of Karen’s story, but the beauty and remaining gift that she left us…I would encourage people to read that. I’m into musical biographies.
I also liked Dave Van Ronk’s The Mayor of MacDougal Street. I like knowing peoples’ stories.
I just started Bury My Heart at Wounded Knee which is a history of the native people of this land. I’m very interested in that
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“I needed to find out first who Earl Palmer was before Elvin Jones. I needed to learn the function of my role in a band, and know the fundamental need that you supply, and that only you can supply”
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WHAT GIVES YOU THE MOST JOY?
My wife and I just left California to live in the desert.
Just walking in silence, hearing our feet on the gravel and sound. Simple things like that.
DO YOU HAVE ANY FUTURE GOALS?
I’m still composing, music with words, instrumentals for the Fellowship band. I want to grow in that area and continue to bring something to the table so we can create something together.
WHAT DO YOU WANT PEOPLE TO SAY AT MY MEMORIAL SERVICE?
Ultimately that I loved people and that I was loved.
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“I want to grow in that area and continue to bring something to the table so we can create something together”
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UNFORTUNATELY, THERE WILL BE NO MORE TOURS OF BRIAN BLADE WITH WAYNE SHORTER’S QUARTET. BUT THE LESSONS BRIAN HAS LEARNED WILL BE PASSED ON TO HIS SUCCEEDING BANDS AND PROJECTS. EVEN BETTER, WE GET TO TAKE PART IN MR. BLADE’S PILGRIMAGE, AND THE JOY OF WATCHING A FOLLOWER OF GOD IS THAT THE PATH ALWAYS LEADS TO A BRIGHTER LIGHT.