The first time I played with Billy Hart, I knew instantly that he had what I needed to grow, and I’ve kept trying to learn from him ever since. Having planted the flag, so to speak, of modernity - if not even punk rock - with the Bad Plus, I then wanted to strike a balance with more traditional knowledge. In fact, a lot of what seemed “new” in the Bad Plus was just fresh ways of doing old things, for I first got into jazz through Scott Joplin and boogie-woogie and I still love the whole continuum. Most of the artists I admire have one foot in the past as well as one in the future. After doing your “own thing” for so long, what really struck you when you jumped into working with the older masters of the art of jazz?Įthan Iverson: Thanks Bruce! I remember that Albright-Knox gig like it was yesterday! That’s sort of the opposite of the path many musicians follow. You’ve had pretty unique career arc since then which many jazz fans are familiar with – making your initial mark as a co-leader in a successful group with a very distinct sound and then moving on to focus on working with some of the great living masters like Billy Hart, Ron Carter, and Tootie Heath. The promoter, the estimable Bruce Eaton, asked me some questions:īruce Eaton: It was many years and millions of miles ago for you but one of the most landmark concerts in the Art of Jazz Series was The Bad Plus at the Albright-Knox in 2004 – which if I recall correctly was the first date on the band’s first major tour or darn close to it. Friday night in Buffalo, I play duo with Tom Harrell at the Kleinhans Music Hall in Buffalo, New York.
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