Spinterviews – Spinterview

Mulgrew Miller Tribute (April 7, 2015)

James Tolleson — Tue, 29 Sep 2020 15:50:42 +0000

–James Tolleson (Robin’s son)

It means a lot to share this video and the interview transcript today. My dad, Robin Tolleson, passed away suddenly in June 2019 and never got to see or share this video (I thank Lee Hall in Greenwood for coming last minute to record the event). This was a passion project. He put hours of unpaid work into interviewing, writing, compiling materials, and calling people from all over to pull off this event for Mulgrew. While we have the video to share now, he primarily wanted to do this for Mulgrew’s family and other people in Greenwood to make sure they knew how much Mulgrew meant to the Jazz world.

For this project, he interviewed Tony Williams (an old interview), Wallace Roney, Donald Harrison, Donald Brown, Steve Turre, and Dr. Bill Bares. Click here to see a PDF of the Transcript of those interviews. Below is the event poster and an outline of some of the Spinterview quotes that are heard in the video.

There have been other tributes to Mulgrew Miller before and since (rightfully so), but in addition to the unique interviews done and format constructed, what made this event special was the the many family, friends, and local residents who remembered Mulgrew and shared their stories. At some point, I will create an outline of who spoke when in the Youtube video and add it to this post. For now, I’ll just mention that Mulgrew’s sisters, Arletta and Rosetta, were in attendance, as well as friend and collaborator Dr. Alphonso Sanders, his first piano teacher Albert Harrison, and some high school classmates.

Finally, this video is also more meaningful today than when it was recorded because we tragically lost trumpeter Wallace Roney, who was one of Mulgrew’s closest friends, to complications from COVID-19 on March 31, 2020. I’m grateful that we can hear him speak so joyfully of his friendship with Mulgrew in the spinterview.

Mulgrew Miller Celebration Interviews

Wallace Roney

Taking Duke’s place
Likeable guy
Foreign Intrigue years, trying to be great
McCoy argument
Mulgrew’s jokes
M’s first stroke
I miss my friend
Gift in the world
“Make a good tribute”

Tony Williams

Mulgrew on Foreign Intrigue
The Art Blakey connection
Satisfaction
Touring plans…timing.

Donald Brown

Not a day goes by
Session – Uplifting
Memphis State #1
Memphis State #2 The milkshake
Post-Phineas Generation
Contemporary Piano Ensemble
Great human being
Encouraging
Educator
His son Keith & Mulgrew
Brother Posey

Steve Turre

Real Deal
Elders In The Lineage
Nurturing
Formative Years with Mulgrew
The Road with Mulgrew

Dr. Bill Bares / UNC-Asheville

Mulgrew reflections

Donald Harrison

Big Brother
Looking Up To Him
The Donald Byrd Line
Mulgrew and Art
School Of Fish
The Rhodes
Remember And Expound
Who’s Country-est?
Wallace’s Invention
Corniest Jokes
Play From The Heart
Sharing with Victor Gould
Songwriter
Madame Chaloff
Mulgrew & Kenny Kirkland

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George Benson

Kendall Weaver — Mon, 09 Nov 2015 06:00:24 +0000

George Benson is a very good ping pong player. I discovered this while covering the Free Jazz Festival in Sao Paulo Brazil. I could hear the ball bouncing and saw a crowd gathered around the table in the lobby of the Maksoud Plaza Hotel. After the guitarist dispatched two opponents and started to walk away, I asked if he was “ready for a lesson.” Although I knew I was going to get beaten, my ruse worked, and soon I was in a hot and heavy game. It was a good battle, after which he invited me for a drink. One caiperinia turned into several, and our visit stretched into the afternoon. We arranged for a phone interview once Benson returned to his home in Hawaii. Benson enjoyed talking about his early inspirations and repertoire, and the expectations of his fans.

George Benson talks about the Charlie Christian sound. “Take Five” from Bad Benson CTI (1974)
George Benson styling on “Honky Tonk.” “Breezin’” and “Six To Four” from Breezin’ Warner Brothers (1976)
George Benson on audience expectation, and doing what he wants. “Six To Four” from Breezin’ Warner Brothers (1976)

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Patrice Rushen

Kendall Weaver — Sun, 01 Nov 2015 05:00:58 +0000

Patrice Rushen scored a minor hit with the song “Forget Me Nots,” but when the tune was remixed for the Men In Black motion picture soundtrack, she had hit the big time. Many people did not know that Rushen was a Southern California piano prodigy who had been making jazz fusion and funk records for a decade, as can be heard in these rare music tracks from Prestige Records. In the three clips, Rushen discusses the influence television had on her musically, her classical training, and her musical hero, Herbie Hancock.

Patrice Rushen explains the influences that shaped her. “Kickin’ Back” from Before The Dawn, Prestige (1975)
Patrice Rushen’s classical side. “Kickin’ Back” from Before The Dawn, Prestige (1975)
Patrice Rushen talks about emulating Herbie Hancock. “Jubilation” from Before The Dawn, Prestige (1975)

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Carlos Santana

Kendall Weaver — Mon, 05 Oct 2015 05:00:25 +0000

Carlos Santana did more than just talk about the power of music to affect social change, he put his money where his mouth was. Carlos and his wife Deborah were big supporters of Communities In Schools in Marin County, California, and paid for a music teacher at San Pedro Elementary School in San Rafael for many years. I did a Blindfold Test with Carlos for Downbeat, and a cover story for BAM magazine, and here he talks about his motivation for playing music, the power of music, and his disregard for flags and borders.

Carlos Santana and consciousness revolution. “Samba Pa Ti” from Lotus, CBS (1974)
Carlos Santana and getting rid of the guns. “Samba Pa Ti” from Lotus, CBS (1974)
Carlos Santana declares himself a Planetary Citizen. “Samba Pa Ti” from Lotus, CBS (1974)

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Geddy Lee

Kendall Weaver — Wed, 23 Sep 2015 05:00:16 +0000

Geddy Lee was already a decade or more into headlining big arenas with his band Rush, but the bassist/vocalist clearly liked talking about the old days. Heroes of progressive rockers everywhere, Rush (along with British groups Yes, Genesis, King Crimson) made it cool to play odd-times, and made it sound so easy. Drummer Neil Peart and Lee made the 7/4 flow and groove. Rush was touring with southern fusion heroes, The Dixie Dregs, when we spoke. Lee talked about his inspirations, about the thrill of being in a power trio, and about being original.

Geddy Lee talks about the early days. “Tom Sawyer” from Moving Pictures, PolyGram (1981)
Geddy Lee’s observations on bassists overplaying. “Tom Sawyer” from Moving Pictures, PolyGram (1981)
Geddy Lee on why Rush always played original material. “Tom Sawyer” from Moving Pictures, Polygram (1981) and “New World Man” from Signals, PolyGram (1982)

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Al Jarreau

Kendall Weaver — Mon, 14 Sep 2015 05:00:23 +0000

Al Jarreau, vocalist extraordinaire, supported himself mainly working as a social worker in San Francisco in the 1960s and ‘70s. His inspiration to become a full-time singer came from seeing the reaction to his work with a trio led by pianist George Duke. Jazz fans were filling rock clubs with enthused listeners. Those two remained close over the years, and Duke is featured on the singer’s 1988 album Heart’s Horizon. In the interview done that year, Jarreau discusses his earliest influences, how he picks musicians for each track he records, and his struggles at stifling jazz tendencies when singing “a good old R&B song” like Heart’s Horizon’s “All Or Nothing At All.”

Al Jarreau discusses his influences. “We Got By” from Look To The Rainbow, Warner Brothers (1977)
Al Jarreau talks picking musicians. “We Got By” from Look To The Rainbow, Warner Brothers (1977)
Al Jarreau’s jazz tendencies. “All Or Nothing At All” from Heart’s Horizon, Reprise (1988)

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George Duke

Kendall Weaver — Mon, 07 Sep 2015 05:00:12 +0000

George Duke grew up in Marin City, California, an unincorporated community developed first to house Sausalito shipyard workers during World War II. He attended Tamalpais High School in Mill Valley, already excelling in music, and went on to classical studies (trombone and piano) at the San Francisco Conservatory of Music. Stints with Cannonball Adderley and Frank Zappa led to outings with Billy Cobham, Stanley Clarke, a string of solo albums showcasing a love of funk and fusion, and another career in the studio as a successful producer. The world lost a warm, wonderful person and an amazing musician when George Duke passed away on August 5, 2013.

George Duke describes the time he tried to change the notes. “Sister Serene” from I Love The Blues She Heard My Cry, MPS (1977)
George Duke on playing with Frank Zappa. “Sister Serene” from I Love The Blues, She Heard My Cry, MPS (1977)
George Duke on being himself. “We Give Our Love” from Don’t Let Go, CBS (1978)

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Joe Pass

Kendall Weaver — Fri, 14 Aug 2015 04:00:38 +0000

Joe Pass played with ‘em all. Ella Fitzgerald, Oscar Peterson, Count Basie, the list goes on and on. But as amazing a guitarist as he was, Joe Pass was also very practical and down to earth. Old school class. His father was not musical, but he saw music as a way of Joe getting out of the Pittsburg factories. Joe retained that working class attitude, always teaching his students that it’s better to play, just play, play anything, than not. One of my first beloved jazz records featured Joe Pass – Oscar Peterson’s The Big 6 At Montreaux Jazz Festival, on the Pablo label.

Joe Pass describes his motivations for playing. “Green Dolphin Street” from Easy Living, Pablo (1986)
Joe Pass gives advice to his students on choosing gigs. “Why Don’t You Do Right” from Easy Living, Pablo (1986)
Joe Pass talks about finding your own sound. “Stompin’ At The Savoy” from Live At Dante’s, Pablo (1981) and “I Got Rhythm” from Summer Nights, Pablo (1990)

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Ginger Baker

Kendall Weaver — Fri, 14 Aug 2015 04:00:22 +0000

As Ginger Baker stormed out toward his barn I wondered if the interview I’d flown to his ranch in Santa Barbara to get would indeed happen. But after half an hour of discussing polo ponies, the drummer was feeling like talking music again, early jazz and blues, the idea behind Cream, and the African influence on his music. The man considers himself the world’s best drummer – jazz, rock, you name the style – but his answers and his music really reflects a self-lessness, a lack of ego, and a wide world view. In the clips Baker discusses his education, the role of technique, and doing the musical thing, “the right thing.”

Ginger Baker’s school days. “Sunshine Of Your Love” from Disraeli Gears (1967)
Ginger Baker talks musician vs. technician. “Sunshine Of Your Love” from Disraeli Gears (1967)
Ginger Baker on doing the right thing. “Interlock” from Horses and Trees Celluloid (1986)

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Herbie Hancock

Kendall Weaver — Fri, 14 Aug 2015 04:00:20 +0000

Herbie Hancock had just released his first album for the Mercury label, after a long recording career with Blue Note and then Columbia Records. I was excited to get the chance to speak with him for the first time in 1995. Herbie’s album’s had always been rhythmically exciting, but this one especially caught my ear because of the name, Dis Is Da Drum. I spoke with him by phone for Modern Drummer magazine, and you can hear several of his comments about drums, the rhythm of life, and the growing influence of jazz on hip hop.

Herbie Hancock discusses Dis Is Da Drum. “Dis Is Da Drum (Funky Serengeti Mix)” from Dis Is Da Drum, Mercury (1995)
Herbie Hancock laughs loud and clear. “Dis Is Da Drum (Funky Serengeti Mix)” from Dis Is Da Drum, Mercury (1995)
Herbie Hancock talks hip hop and jazz. “Butterfly (Funky Backbeat Mix),” from Dis Is Da Drum, Mercury (1995)

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