SINCE HITTING THE JAZZ SCENE IN THE EARLY 1990s, PIANIST CYRUS CHESTNUT HAS BEEN ONE OF THE FEW ARTISTS TO SUCCESSFULLY MELD JAZZ WITH TRADITIONAL CHRISTIAN MUSIC, BOTH MUSICALLY AND PERSONALLY.
ALL OF HIS ALBUMS, NO MATTER IF CHESTNUT IS IN HIS USUAL TRIO FORMAT, SOLO OR OTHER SIZE, INCLUDE A HYMN IS PART OF HIS DNA. THE REASON THAT THE MIX OF “SACRED” AND “SECULAR” IS SO EASY FOR MR. CHESTNUT IS FOR THE SIMPLE REASON THAT HE SEES NO LINE BETWEEN THEM.
CHESTNUT’S LATEST ALBUM, MY FATHER’S HANDS, FURTHER ADVANCES THE WHOLISTIC APPROACH OF CHESTNUT’S LIFE, WITH MUSIC DEDICATED TO HIS FATHER.
HAVING JUST DONE THIS ALBUM, CHESTNUT IS CURRENTLY CHANGING GEARS FROM HIS USUAL THREESOME TO CREATE A RARE QUARTET, PERFORMING AT SMALLS, AND HOPEFULLY BRINGING THE TEAM AROUND THE STATES.
WE RECENTLY HAD AN OPPORTUNITY TO CHAT WITH CYRUS, WHO, LIKE HIS MUSIC, WAS WARM AND CHEERFUL
YOUR LATEST BAND IS A DIFFERENT ONE; YOU HAVE WILLIE JONES III AS DRUMMER AND HAVE INCLUDED A RARITY FOR YOU, A TRUMPETER IN FREDDIE HENDRIX. WHAT WAS YOUR IMPETUS FOR MAKING THESE CHANGES?
This was a celebration of a record that I did in 2015 and 16, in which I did do quartet recordings, one with Stacy Dillard and one with Freddie Hendrix.
I’m well know as presenting myself in a trio, so I thought “Let’s try something in with a quartet”, as it will be a good opportunity to play that music which has never really been played. I like to switch it up a bit and keep people wondering (laughs)
These were Willie Jones III’s records. They were my records on his label. One was called The Cyrus Chestnut Quartet and the other one was Soul Brother Cool.
HOW DOES YOUR PLAYING CHANGE WHEN YOU GO FROM TRIO TO QUARTET?
I assume two roles.
There’s the role of being the front person, but then I also go into the role of team player/accompanist, It’s a different sound, a different style and even a different person on the team, so to speak.
Rather than me being solely responsible for developing everything, I have a little more help. So, it’s a different sound with a different approach.
Being a rhythm section player, it’s great to be in the forefront, but then a lot of the times the rhythm section player does the lion’s share of work as an accompanist.
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“I had to hone skills as an accompanist with Jon Hendricks. But Betty Carter was like Graduate School”
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DID YOU LEARN THAT ROLE AS AN ACCOMPANIST FROM YOUR DAYS WITH BETTY CARTER, OR SOMEONE ELSE?
I’ve been in the role of an accompanist ever since I’ve been playing in the church, playing behind the choirs, or playing with the congregation.
As the journey continued, I had to hone skills as an accompanist with Jon Hendricks. But Betty Carter was like Graduate School.
WHAT DID YOU LEARN FROM HER?
There’s not enough time for that!
Betty helped me to continue the journey of finding out who you are. That’s the best way I can say that. Betty was never a person that wanted you to recreate things. She wanted you to convey who you were.
I got from Betty Carter the need and necessity to always be at the point of creation. Even as an accompanist you can be a creator
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“I got from Betty Carter the need and necessity to always be at the point of creation. Even as an accompanist you can be a creator”
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I SAW YOU WITH HER AT CATALINA’S A LONG TIME AGO, AND IT WAS AMAZING TO SEE HER GIVING DIRECTIONS HALFWAY THROUGH SONGS.
That’s Betty. She’s going to get from you what she wants. You’re either going give it to her, or she’s going to pull it out of you.(laughs)
She knew what she wanted to hear, and it was up to us to be able to deliver it.
WAS SHE MORE OF A BAPTISM BY FIRE THAN YOUR TIMES WITH TERENCE BLANCHARD OR WYNTON MARSALIS?
Betty Carter was like finishing school. You can call it New York street boot camp or whatever. I’ve learned a lot of things from everyone, but at that time it was such a concentrated energy. It was more like graduate school than the graduate school that I went to. It was The University of The Streets.
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“Betty Carter…. was The University of The Streets”
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DID BLANCHARD, MARSALIS OR DONALD HARRISON GIVE YOU ANY MUSICAL OR CAREER ADVICE?
One time I was in Germany. I was playing, but not feeling too well, just trying to take it easy. Terence just lit into me and said, “ This is a privilege; not everyone gets to do this”. He then gave ****Art Blakey’s quote to him, which was “ You’ve got to play as if your life depended on it.”
There was one situation with Donald Harrison. I had to follow McCoy Tyner, and he’s so dynamic that who wants to follow him?
I told Donald that I don’t want to play.
Donald pulled me aside and said, “Look; McCoy does McCoy. You’ve got to do you. Just do that”
Betty Carter once told me “I didn’t hire you to play something that I’ve already heard”.
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“Betty Carter once told me ‘I didn’t hire you to play something that I’ve already heard’”.
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THERE’S SUCH A PARALLEL BETWEEN THAT THOUGHT IN ONE’S MUSICAL LIFE AS WELL AS A SPIRITUAL WALK. WE SOMETIMES FALL INTO THE TRAP OF FOLLOWING SOME TEACHER INSTEAD OF CHRIST DIRECTLY. WE COPY SOMEONE ELSE’S RELATIONSHIP WITH GOD.
Musically, you’ve got to connect to the notes. How do they relate to you?
Spiritually, if you study the Bible, you can memorize all of the chapters and verses but how can you walk in it? How can you live with it? How can you make the words of the Bible live? How can you make music live? 922\
WHEN DID YOU FEEL YOU FINALLY HAD YOUR OWN VOICE AS A PIANO PLAYER?
I’m still working on it! (laughs)
WHAT ROLE DO YOU CURRENTLY HAVE IN YOUR CHURCH?
I still play for the church. I also teach in the university now.
WHAT IS THE PRIMARY THING YOU TRY TO CONVEY TO YOUR STUDENTS?
I just want to help them get to the place where they desire to get to. I want to help them further hone the voice and gift that has been given to them.
WHAT IS THE DIFFERENCE, OR SIMILARITY, BETWEEN PLAYING IN A JAZZ CLUB AND PLAYING IN CHURCH?
For me personally, there is no difference.
The environment might be different, but we’re called to deliver the sweet spirit of music wherever, whether it be in a club in front of 100 people, or in church The task is still the same; to make people leave feeling better than when they first arrived.
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“whether it be in a club in front of 100 people, or in church the task is still the same; to make people leave feeling better than when they first arrived
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AS A MUSICIAN, CAN YOU TELL, WHETHER IT IS AT CHURCH OR IN A CLUB, WHETHER YOU ARE CONNECTING WITH THEM OR VICE VERSA?
There is a certain energy that you feel, and it those beautiful moments, it makes playing a lot easier. You almost feel like you’re on a cloud. When those moments happen, it’s beautiful, and you continuously work to try to get to that.
YOU DID A RECENT ALBUM DEDICATED TO YOUR FATHER. WHAT WERE THE BIGGEST THINGS THAT HE CONVEYED TO YOU?
I play music because of my father.
He played piano, and he introduced me to music. He’d put me in the basinnet and then start playing. He said it would get me quiet so I’d go to sleep.
He told me that he would leave an inheritance to me, and it would be music, which I could use for the rest of my life. I’m very grateful for that wisdom.
DID HE ALSO ENCOURAGE YOU SPIRITUALLY?
Yes, through his life.
He influenced me by how he carried himself. He had a very giving spirit, always giving to others. He was very devout in what he believed.
WHEN YOU ARE NOT LEADING WORSHIP, IS IT DIFFICULT NOT TO ANALYSE THE WORSHIP MUSIC, OR CAN YOU PUT IT ASIDE AND JUST GET INVOLVED?
You can have a template in mind, but you have to be willing to open to how the Spirit flows. That’s not just for worship, but even when you’re on the bandstand. You have a template in mind, but sometimes The Spirit requires that you go somewhere else.
So, the question is really, if I’m willing to be able yield to the working of The Spirit.
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“You have a template in mind, but sometimes The Spirit requires that you go somewhere else”
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YOU MENTIONED YOUR DAD AS A MUSICAL INSPIRATION. ARE THERE ANY MUSICIANS THAT HAVE INSPIRED YOU?
I get that asked a lot, and it’s a very difficult question. There are so many different people for so many different reasons.
In my opinion, Ray Bryant was one of the greatest at bringing a fusion of gospel and jazz.
WHAT MUSICIAN, LIVING OR DEAD, WOULD YOU PAY $1000 TO SEE PERFORM?
I’d pay $1000 to see Ella Fitzgerald, and I’d pay $1000 to see Miles. Also Charlie Parker.
IS THERE ANYONE, LIVING OR DEAD, IN WORLD HISTORY, THAT YOU’D LIKE TO SIT DOWN WITH FOR AN EVENING AND PICK HIS OR HER BRAIN?
I don’t know if I’d want to pick his brain, but I’d like to be a fly on the wall and just hear Fats Waller tell some stories.
ARE THERE ANY BOOKS THAT YOU’VE READ THAT YOU WISH OTHERS WOULD READ?
Everyone should consider The Bible. It’s the great template of how to live life.
My father was a fan of the Warren Wiersbe series of books.
WHAT DO YOU LISTEN FOR WHEN YOU TAKE IN A PIANO PLAYER? ALSO, DO YOU HAVE A PET PEEVE WITH PIANO PLAYERS?
If they’re in the role of accompaniment, I get a bit unnerved when the piano player really isn’t listening and contributing.
Sometimes, when the piano player is playing solo, you feel that you don’t have to necessarily breath; you just have to move your fingers all over the place up and down. You can sound like you’re making an etude, rather than creating music
WHAT GIVES YOU THE MOST JOY?
Seeing people smile.
WHAT ARE YOUR FUTURE MUSICAL GOALS?
I just want to keep growing, and wherever the Good Lord sends me, that’s where I want to go.
WHAT DO YOU WANT PEOPLE TO SAY AT YOUR MEMORIAL SERVICE?
I left them better at departure than at arrival (laughs)
JUST AS J.S. BACH BOOKENDED HIS COMPOSITIONS WITH THE PHRASES “JESUS HELP ME” AND “TO GOD BE GLORY ALONE”, SO CYRUS CHESTNUT IS ABLE TO BRING TOGETHER HIS FAITH AND MUSICAL TALENT. AFTER ALL, DIDN’T GOD MAKE ONLY ONE WORLD, AND NOT TWO? CHESTNUTS HOLDS ONTO THAT VISION, USING HIS HANDS TO TOUCH IVORIES IN ORDER TO BRING IN MUSIC, “ON EARTH AS IT IS IN HEAVEN”.