AS YOU MAY WELL KNOW, THERE ARE MANY CATEGORIES OF WHAT WE CALL “JAZZ”. ONE OF THE MORE OVERLOOKED AND UNDERAPPRECIATED GENRE IS THE ONE THAT EMPHASIZES THE USE OF JAZZ IN FOLK FORMS, SUCH AS THAT CREATED BY THE LIKES OF JIMMY GIUFFRE OR THE GROUP OREGON.
ONE OF TODAY’S PROPONENTS IS MULTI INSTRUMENTALIST DANIEL BENNETT, WHO HAS CREATED A CATALOGUE OF FASCINATINGLY SWINGING, LYRICAL AND YET EXPERIMENTAL ALBUMS. HIS MOST RECENT, MR. BENNETT’S MIND, IS A RAPHAEL-ESQUE TAPESTRY OF SOUNDS AND IDEAS.
WE RECENTLY GOT IN TOUCH WITH MR. BENNETT, WHO LET US INTO HIS MUSICAL WORLD VIEW. THE RESULT IS AN ENCOURAGING MESSAGE OF MIXING NEW WORLDS WITH THE TRIED AND TRUE CONCEPTS OF WHAT MAKES MUSIC WORK.
WHAT MADE YOU DECIDE TO BECOME A PROFESSIONAL MUSICIAN?
My older sister took me to a high school band concert when I was ten. A high school student named Chris Oldfield played ‘The Pink Panther’ on the tenor saxophone. I was hooked! I was fortunate enough to take lessons with Chris for a few years. This is where I developed my love for Jazz. I was introduced to the music of Charlie Parker, Lee Konitz and Paul Desmond. I quickly learned flute and clarinet. My early teachers always encouraged me to double on multiple reed instruments. When I am not touring, I play many theater gigs in New York City. I sub on Broadway shows and other theater productions. I recently orchestrated and played the music for ‘Whitman at the Whitney,’ a multimedia theater production at the Whitney Museum in Manhattan.
WHAT SAX PLAYER INSPIRED YOU THE MOST? I HEAR A LOT OF PAUL DESMOND IN YOUR TONE?
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“‘The Shape of Jazz to Come’ is still my favorite album. Ornette (Coleman) had such an original sound. So much emotion!”
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I am very influenced by Paul Desmond. The first Desmond recording I heard was ‘Two of a Mind’ with Desmond and Gerry Mulligan. I transcribe Desmond solos every day as part of my practice routine. I also love the sound of Lee Konitz and Art Pepper. Their musical lines are so sweet and melodic. Oddly enough, I also love the music of Ornette Coleman. ‘The Shape of Jazz to Come’ is still my favorite album. Ornette had such an original sound. So much emotion!
WHAT IS THE BIGGEST THING YOU LEARNED FROM YOUR TEACHERS? PARTICULARLY AT RWC?
Roberts Wesleyan University really changed my life. It’s a small Christian College in Rochester, New York. I was immersed in music all day and all night. But more importantly, I was growing in my faith. I became a Christian at the age of 16. I really needed a safe and supportive environment to develop and mature in my faith. Roberts Wesleyan was the perfect spot. I should also mention that I met my wife at Roberts Wesleyan. God moves in mysterious ways! I recently returned to Roberts Wesleyan as a guest soloist with the university orchestra. I played ‘Escapades’ by John Williams. It was a great reunion and a reminder of God’s faithfulness. It’s always impactful to come back to your roots from time to time.
WHAT INTRIGUES YOU AND ATTRACTS YOU TO THE MUSIC OF STEVE REICHAND PHILIP GLASS?
I first heard Violin Phase and Piano Phase by Steve Reich when I was at the New England Conservatory. To this day, Reich is my biggest influence. His Music for Mallet Instruments, Voices and Organ is mind-blowing to me. And of course, his epic Music for 18 Musicians was a huge influence for me. I also love his vocal piece Tehillim. His composition 8 Lines features a beautiful flute solo that is so incredibly catchy. I recently transcribed it. Steve Reich’s music is strongly shaped by his Jewish heritage and his love of history. Such a fascinating composer.
HOW DO YOU DEVELOP YOUR OWN SOUND ON DIFFERENT INSTRUMENTS?
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“I practice every day with a tuner and metronome. That may not sound too exciting. But that is the key! You need to have total control on any instrument”
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Slow and steady! I started by playing theater gigs in high school and college. I attempted to double on any wind instrument that was in front of me. I gradually honed my craft. I practice every day with a tuner and metronome. That may not sound too exciting. But that is the key! You need to have total control on any instrument.
WHAT GOT YOU INTERESTED IN ARRANGING? WAS THERE ANY TEMPLATE/MODEL FOR YOU?
I am a saxophonist, but I actually write all of my songs from the guitar. The process is somewhat simple in many ways. I only write songs I can easily sing. I don’t restrict myself to any time signature or key signature. The composition goes wherever the melody is leading it. The melody is king! I have studied the music of Steve Reich and Philip Glass extensively. I am drawn towards repetition of phrases, gradual shifting of melodic shapes, and slightly free-form improvisation. All of these experiences have shaped who I am as a composer. I love any song with a great melody. I am equally influenced by Steve Reich’s ‘New York Counterpoint’ and Ornette Coleman’s ‘Skies of America.’ So different. But so similar in terms of musical resonance! I love the music of the Smiths, the Cure and Depeche Mode. I grew up playing in the church, so I love hymns like ‘It is Well with My Soul’ and ‘Come Thou Fount of Every Blessing.’ I see no boundary line between musical genres. I transcribe Paul Desmond saxophone solos every week. I just transcribed his solo on ‘Out of Nowhere.’ Some of his lines could have been pulled from a Bach invention. So beautiful.
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“I see no boundary line between musical genres. I transcribe Paul Desmond saxophone solos every week. I just transcribed his solo on ‘Out of Nowhere.’ Some of his lines could have been pulled from a Bach invention”
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WHAT’S YOUR BIGGEST TAKEAWAY FROM NEC?
Resilience! I studied Saxophone Performance at the New England Conservatory. While studying at NEC, I performed music by contemporary classical composers like Ingolf Dahl, Paul Creston, Eugene Bozza, Pierre Max Dubois, and Alfred Desenclos (to name a few). I also performed numerous transcriptions of pieces by Rachmaninoff, Bach, and Mozart. At the same time I was taking jazz lessons with George Garzone, Jerry Bergonzi, and Bob Moses. I took every possible jazz class. I made extra money by playing jazz on dinner cruises in Boston harbor. It was a wild time. But so rewarding!
WHAT DID YOU LEARN MOST FROM JERRY BERGONZI?
Jerry has a wonderful sense of humor. He’s a brilliant artist, but his lessons are casual and conversational. Jerry can play any instrument. He often would play piano or drums in our lessons. Jerry taught me to isolate specific ‘buzz notes’ within each chord. He was very focused on helping me find simple melodic shapes within standard tunes.
WHAT ATTRACTED YOU TO “FOLK JAZZ”. HOW WOULD YOU DESCRIBE THAT GENRE? WHAT RECORDINGS GOT YOUR ATTENTION?
My early recordings as a bandleader have a strong American folk aesthetic. I first formed the Daniel Bennett Group around the idea that my saxophone could be played much like a folk instrument. I played with banjo virtuoso Chris Hersch for many years. I grew up listening to music by Pete Seeger, the Weavers, Paul Simon, Joni Mitchel, and John Denver. My parents took me to see Peter, Paul, and Mary when I was ten. I still remember it like it was yesterday! I have always treated the saxophone like a folk instrument. I am here to tell stories. My music is bright and melodic.
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“I have always treated the saxophone like a folk instrument. I am here to tell stories”
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HOW DO YOU DISTINGUISH THIS STYLE FROM OTHER SMALL GROUP BANDS, SUCH AS THOSE LED BY JIMMY GIUFFRE, PAUL WINTER OR PAUL HORN?
That’s a great question! I love Jimmy Giuffre. He had many connections to the New England Conservatory. That’s where I discovered his music. Giuffre is folksy, but with a swing feel. I have never written a song with a swing feel in my life. Crazy! I don’t know much about Paul Winter. I do love Paul Horn’s music. There is such a deep contemplative vibe to his flute. I think my music comes more from new wave and pop than anything. I grew up listening to the Smiths, Depeche Mode and the Cure. So there is a bright melodicism to my flute. I really do need to dig deeper into Paul Horn’s music. Paul always sounds like he’s on a different planet. Cosmic!
YOUR MUSIC USUALLY INCLUDES GUITARISTS SUCH AS FRISELL AND HUNTER. WHAT DO GUITARISTS PROVIDE TO YOUR SOUND AS A GROUP?
I’ve shared concert billings with Bill Frisell and Charlie Hunter. I’ve never actually played with them. I’ve known Charlie Hunter for years. His trio has performed alongside my band at concerts in Rochester, Boston, and New York City. But since you ask about guitarists, I’ve been fortunate to tour with the great Nat Janoff for many years. Nat is a brilliant jazz fusion guitarist who also teaches with me at the New York Jazz Academy in Times Square. I compose all of my music from the guitar. I’ve played guitar since I was a kid. I’ve always thought of myself as a guitarist trapped in the body of a saxophonist.
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“I have never written a song with a swing feel in my life”
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WHEN YOU REHEARSE, ARE THE SOLOS PRETTY MUCH THE SAME, OR IS THERE A WIDE RANGE OF INTERPRETATION?
The solos can change a lot from night to night. We play every week at Tomi Jazz in Manhattan. It’s a very busy basement club. I have to play more aggressively in that space. We recently played our album release at the Blue Note. That venue is more spacious and open. It’s a whole different vibe. The music definitely changes from one venue to the next.
YOU TEND TO KEEP YOUR SONGS FAIRLY CONCISE. WHAT’S YOUR THOUGHT PROCESS BEHIND THAT?
I get this question a lot! My music is bright and melodic. Everything is clear and succinct. I’ve never enjoyed playing long solos. We tour as a trio. So each member is constantly contributing to the song. I think it would feel strange if one of us took a super long solo. It’s an unusual band for sure. Koko Bermejo plays drums and keyboard at the same time. Crazy! And Kevin Hailey plays a six-string bass. I’m constantly shifting between saxophone, flute and clarinet.
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“Each member is constantly contributing to the song. I think it would feel strange if one of us took a super long solo. It’s an unusual band for sure”
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YOUR WE ARE THE ORCHESTRA ALBUM SEEMS LIKE YOU MUST HAVE DONE A LOT OF OVERDUBBING, SINCE THERE ARE ONLY TWO OF YOU MUSICIANS ON THE ALBUM. HOW DO YOU LAY DOWN A FOUNDATION FOR SONGS LIKE THAT?
We Are the Orchestra was a bold departure from previous works. The album captures a rare duo performance with guitarist Mark Cocheo. We recorded and layered all of the wind, string and percussion instruments to create the sound of a large ensemble. Mark Cocheo played guitar, bass, and banjo on the album. We started by recording Mark’s parts. That’s the foundation of the songs. Then we layered my woodwinds and various keyboard sounds. We overdubbed 16 instruments on this album. The album was engineered by my longtime producer, MP Kuo. MP is a saxophonist, so she understands my sound and musical aesthetic.
YOUR MUSIC, SUCH AS SINKING HOUSEBOAT, TENDS TO HAVE A BIT OF HUMOR. DID SOMEONE INSPIRE OR INSTILL THIS ATTITUDE IN YOU?
I’ve played woodwinds in New York City comedy clubs for over a decade. It has definitely made an impact on me! I recently played woodwinds in ‘Blank! The Musical,’ the first fully improvised musical to launch on a national stage. The New York Times called the show, ‘witty, likable and ludicrous!’ I perform regularly at the Asylum Comedy Club in Manhattan. It’s a nice break from bandleading. I play in a fabulous house band. The cast improvises a musical for the audience. There’s a lot of audience participation. It’s a blast!
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“I’ve played woodwinds in New York City comedy clubs for over a decade. It has definitely made an impact on me!”
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PLAYING SO MANY DIFFERENT INSTRUMENTS, DO YOU EVER STRUGGLE AS TO WHICH ONE YOU ARE GOING TO PLAY ON A TUNE?
It’s always a struggle! Playing multiple instruments can be a mental challenge. As a young artist, I wanted to be good at just ONE thing. I saw myself as a jazz saxophonist. But life forced me into many diverse musical situations in my early years. At New England Conservatory, I performed numerous transcriptions of pieces by Rachmaninoff, Bach, and Mozart. In addition, I was playing new music by adventurous young composers. I was also playing jazz with renowned musicians like Bob Moses. In 2002, I performed the Concertino da Camera by Jacques Ibert as a soloist with the Roberts Wesleyan College Orchestra. I really struggled to “leap” back and forth between musical styles. But it truly shaped who I am as a musician.
WHAT DO YOU LISTEN FOR IN A SAX/FLUTE PLAYER? DO YOU HAVE A PET PEEVE?
I enjoy wind players who can play clear and melodic lines. Lee Konitz was a melodic genius. Every note has meaning. There’s something suspicious about a musician who always plays fast. Are they hiding something? But seriously, a woodwind player needs to convey the melody as clearly as a singer would. It’s not easy!
WHAT MUSICIAN WOULD YOU PAY $1000 TO SEE PERFORM AND WHY?
I would pay $1000 to see Charlie Parker play the ‘Charlie Parker with Strings’ sessions. I don’t think we fully recognize the sweet melodicism of Charlie Parker. We focus on his fast bebop. But he had a gentle side that is really special. Norman Granz produced the sessions. The perfect blend of genres. These recordings were way ahead of their time!
WHO IN WORLD HISTORY, LIVING OR DEAD, WOULD YOU LIKE TO SIT DOWN WITH FOR AN EVENING AND PICK HIS OR HER BRAIN?
I would love to sit down with Ornette Coleman for an hour. Ornette passed away in 2015. He was a major influence on me throughout my musical journey. ‘The Shape of Jazz to Come’ is still my favorite record. Ornette had a sense of freedom in his playing that is infectious. I hope it’s OK to go on a tangent here. I would also love to speak with King David of the old testament. The man wrote 73 psalms that we sing and study to this day! I would love to hear what his original melodies actually sounded like.
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“I don’t think we fully recognize the sweet melodicism of Charlie Parker”
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ARE THERE ANY BOOKS THAT YOU’VE READ THAT HAVE MADE A DEEP IMPRESSION ON YOU THATY YOU RECOMMEND TO OTHERS?
I love all of Jerry Begonzi’s books. His ‘Melodic Structures’ book is my favorite. I teach Jazz theory at Cairn University near Philadelphia. I travel there once a week to lead the jazz program. I absolutely love Mark Levine’s Jazz Theory book. My university students really connect with it. Levine’s writing style is clear and easy to follow. That’s rare for jazz theory! On a more personal level, I read the bible every day. I’m currently reading the book of Colossians.
WHAT PHILOSOPHY OR RELIGION DO YOU ASCRIBE TO AS A MORAL COMPASS?
I am a Christian. I do nothing for myself. Earthly treasures will fade away. I worship God with my music. I’m really just a servant. It’s such a blessing to bring joy to all of our listeners. I hope I can point them to God.
WHAT ATTRACTED YOU TO CHRISTIANITY?
Great question! My deep personal sin is what drew me to Christianity. Jesus Christ will forgive ALL sinners. We don’t have to earn our salvation through rituals or personal achievements. I became a Christian when I was 16. God transformed my heart. Romans 5:8 in the new testament teaches us, ‘God demonstrates his own love for us in this: While we were still sinners, Christ died for us.’
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“There’s something suspicious about a musician who always plays fast. Are they hiding something?”
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WHAT’S THE BEST ADVICE SOMEONE HAS GIVEN YOU?
Worship God and serve the people.
WHAT GIVES YOU THE MOST JOY?
Playing baseball in Central Park with my wife and kids. There is no greater joy.
IF YOU WEREN’T A MUSICIAN, WHAT DO YOU THINK YOU’D DO FOR A LIVING?
I would play first base for the Detroit Tigers. Or at least dream about it!
WHAT FUTURE GOALS DO YOU HAVE?
The Daniel Bennett Group is in the midst of a very busy midwest tour through Kansas City and Austin. This summer we will tour Sacramento and San Francisco. We spend a lot of time on the West Coast these days. ‘Mr. Bennett’s Mind’ is our 10th studio album. We have many TV and radio performances coming up. We recently played music from the new album on Fox Carolina, Fox Arkansas, and New England Public Radio. Busy time! In the midst of this, I’m composing music for our next album. We develop a lot of musical ideas on the road.
DO YOU EVER TOUR AROUND WITH A BAND? HOW IS THAT DIFFERENT FROM RECORDING?
At the moment, I’m only touring with the Daniel Bennett Group. In the past, I’ve toured Europe with Musaner, a wonderful world music ensemble. I do collaborate as a sideman with great artists in the studio. But my touring is 99% with my own trio. At this stage of my career, I have to keep it simple!
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“Worship God and serve the people”
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DANIEL BENNETT IS ONE OF THE FEW MUSICAL MINDS THESE DAYS THAT CAN MAKE MUSIC THAT IS PUSHING BOUNDARIES, YET NOT AT THE EXPENSE OF LYRICISM AND BEAUTY. AND IN A DAY OF ABSTRACT CACOPHANIES POSING AS “CREATIVITY”, BENNETT PROVES THAT THERE ARE STILL NEW WORLDS TO CONQUER THAT DON’T RESULT IN BARBARIANISM. CHECK OUT DANIEL BENNETT’S MIND