NIck Rowland
We'll conclude our series of interviews this session with a man among men,the fabulous Nick Rowland. Russell has proclaimed him the "nicest guy in KC" and you get a sense of that when I try and bust his balls a bit at the end of the interview.
Where are you from and how did you end up in Kansas City?
Who are your main musical heroes and why?
My real heroes are Cannonball, Hank Mobley, Dexter Gordon, Miles Davis. I could sit here and name off dozens of other big influences (Parker, Shorter, Coltrane, Rollins etc.), but these musicians are the ones who move me the most. When I hear their music, it resonates inside of me. They made me fall in love with music. These are the guys I have transcribed the most and have learned the jazz "language" from. I might also throw in Joshua Redman, Kenny Garrett and Freddie Hubbard. Here I go, though. This list could really go on and on!
What kind of musicial training have you received?
I began taking piano lessons at the age of 6 and continued until I picked up saxophone at the age of 12 or so. Unfortunately, I didn't realize how valuable my piano skills would be down the road, so I quit when I picked up the saxophone. I studied saxophone privately from the 6th grade up until I graduated high school. My saxophone instructor was Jan Faidley. Jan is an amazing saxophonist and educator and she passed along to me a wealth of knowledge regarding the saxophone and music in general. My first jazz lessons were with Josh Sclar. He was a wonderful influence and mentor. After that I studied with Phil Brenner and then Todd Wilkinson (at Washburn University in Topeka). I owe a great deal to both of these gentlemen and remain good friends with them to this day. After moving back to KC from Topeka I began studying with Stan Kessler. I feel that it was during this time that I learned and grew the most as a musician. Stan is as gifted an educator as he is musician. Stan is the man! Not long after that I spent some valuable time studying with Jim Mair. I've been fortunate to study with so many of the finest professional musicians in this area, and wouldn't be nearly the musician I am today if I hadn't gained so much experience and knowledge from studying with each of these individuals.
What groups do you play with?
I've got my own jazz quintet called "Sansabelt" with Matt Leifer, Seth Lee, Rob Whitsitt and Nick Howell. We've been together for about 2 1/2 years now, although we're on hiatus right now mostly due to my own hectic schedule. I also perform regularly with the Chris Hazelton Quartet (or trio, depending on the gig), The Columns and occasionally with Clint Ashlock's big band, The New Jazz Order.
What does one of your typical practice session consist of?
Nowadays when I practice, I'm either trying to add to my vocabulary as an improvisor, or I'm trying to learn new tunes. Adding to my vocabulary consists of learning and inverting patterns in all twelve keys or transcribing a solo that I like. If I'm learning and committing tunes to memory, they're generally standards I need to know for upcoming gigs. Chris Hazelton keeps me busy learning new tunes!
Do you identify yourself as a jazz musician? Why or why not?
I really don't like to pigeonhole myself as a "jazz" musician. I'd like to think I'm versatile enough to play in any setting (with the exception of a symphony and things of that nature!). In the past I've been in bands that played funk, rock and roll, bluegrass, New Orleans brass band, etc. I worked for awhile with a singer/songwriter guitarist friend. That was a lot of fun and I think it worked well. I mostly play jazz music and it's probably my forte, but I usually don't "identify" myself as a jazz musician, mostly because I play, listen to and appreciate many genres of music.
Why do so many jazz musicians refuse to identify themselves as such? As soon as you ask one they immeadiately talk about all the other stuff they can play.
I think that those who play jazz do so because there's more substance. More complex chord changes, lots of structured improvisation, and many different styles within the genre itself. To answer your question, maybe "jazz" musicians just want to make it clear that they are capable of playing many genres of music. You're right, though. That does seem to be the case, doesn't it? I'm guilty, too! Perhaps we should wear the title of "jazz" musician with pride, and just let people realize our capabilities on their own.
You could never bust my balls, mainly because I only have one of them.
Posted by: Nick Rowland | 04/13/2011 at 12:39 AM