Shades of Bill but Joe All the Way - An interview with pianist Joe McWilliams

 Shades of Bill, but Joe All The Way...

Bill Evans was playing as loudly as my neighbors could stand.  I'd climb inside all those rich beautiful harmonies, and live there, if it were possible.  Bill was at the piano, Scott LaFaro on bass, and Paul Motian on drums (the quintessential trio). Their tight telepathic anticipation transported me to a netherworld. The sheer romanticism of “I Loves You Porgy”, reminded me why I fell in love with jazz piano years ago (before I could spell a minor 9 chord). The lilting elegance of “Some Other Time” exemplifies the highest art form-where technique and artistry come together to make the uber-complex sound deceptively simple. There are shadings of Chopin and Satie and Debussy.  There is the solid locked-in groove.  There is stunning precision in the improvisation.  It’s sublime.  Every note feels perfectly placed, like flowers in a Japanese arrangement…

I had just finished interviewing friend and CT based jazz pianist, Joe McWilliams, and remembered how much I was reminded of Bill Evans the first time I ever heard Joe at the piano.  We talked about his influences. Modest and unassuming, like many good musicians, I never knew that Joe had opened for jazz legend Dave Brubeck, nor that both his mom and dad had been professional saxophone players.

Joe McWilliams = JM           

 Ellynne Plotnick = EP

EP: Tell me about your earliest memories as a musician. You mentioned that you had a musical family.

JM: “My parents were both fine sax players. That's why I feel closer to working with sax rather than trumpet (most of the time). My first gigs were in a trio led by my mother, where there was a drummer and I was playing a Rhodes and supplying a left-hand bass. I learned a lot of standards that way. I also played a lot with my father … mostly society gigs. My father played with Carmen Cavallero, José Melis and Hildegarde at one time. He loved Stan Getz. My mom had a sound between Johnny Hodges and Benny Carter. She rarely soloed, but did it tastefully when she did. She also had an all-woman big band in the 1950's.”

EP: Who were your biggest influences?  Whose music shaped your approach to the piano?

JM: “The seeds [that were] planted very early [were] people like Nelson Riddle, Jobim, Vince Guaraldi and Toots Thielemans.  Bill Evans was the guy from the moment I heard his sound. I had just started my first jazz piano lessons when I heard Bill playing Midnight Mood on WYBC. It knocked me out! I said, That's the sound I want! The sound impressed me because I had been playing everything from Bach to Rachmaninoff by that point, so I was already impressed with technique and nuance.  I was 17 at the time.

Bill opened the door to many others — backward and forward in the history of Jazz. Other huge influences were Bud Powell, Hampton Hawes, Oscar Peterson, Wynton Kelly, Herbie Hancock, Jan Hammer, Chick Corea, John McLaughlin, Joni Mitchell, Keith Jarrett … the list goes on and is rather eclectic.”

EP: How did each influence you? It’s no surprise to note many fine pianists (Bebop going forward), but you also place Joni Mitchell on that list.  Why?

JM: “The influence of Nelson Riddle might have been the first jazzy sound I can remember; I was probably about 3 or 4 when I heard the theme from the television show, Route 66. Then, I remember hearing The Girl from Ipanema and Bluesette on the radio. I have a pretty good memory that goes farther back than most people I've met. Music has ALWAYS made an impression on me. Many times, there's been a song that I may have heard once or twice, and I'm able to recall and put it together as many as 30 or more years later; I've always been able to do this. This is the key to how I have a large repertoire on call. So instead of picking apart what exactly appeals, I'll just say that music has always been a direct connection with my emotions, because I carry it with me... Classical and romantic composers [have influenced my] playing techniques, widened my scope of appreciation. I'm sure some place down the line, there are things (I'm not going to pick it apart) I've gleaned from ALL music. It's part of the whole. The same thing [about why I] mention Joni Mitchell with Jazz pianists … it DOESN'T MATTER where it comes from to me; I'm just happy it manifests at all. I could have easily have said "Bud Powell, The Beatles, Roy Orbison, etc.  I won't categorize what I took from each pianist. It's not a recipe.”

EP: I knew from the first time I heard you that Bill Evans was someone you drew a great deal of inspiration from. The few times I’ve had the pleasure to sing with you, Joe, it was our shared affinity for Bill that drew me to your playing.

JM:  “I can remember my cousin coming to the house (I had to be around 4) and playing Alice in Wonderland, performed by Bill at the Village Vanguard. My guess is that I had seen Alice in Wonderland at the movies prior to that, so the seed was already planted. That would be around 1962. Now shoot to 1976 where I hear Bill's sound again in Midnight Mood. THAT's the way it works for me!

Another thing is my attraction to harmonic texture, especially Impressionism and Romanticism… I found that in Bill's playing. I suppose I related to those harmonies from the little bit that I worked with Ravel, Debussy, Schumann and Chopin. I also liked the moodiness of many of those Classical pieces, so once again, Bill Evans.”

I thought back to the first time I heard Joe McWilliams.  It  was at a newly opened club in Southport, CT that featured tri-state area jazz and blues musicians.  I sat in and sang “Detour Ahead” with the band- which I had associated with Bill Evans more than Billie Holiday.  Thinking back was bittersweet. It was a reminder that jazz clubs (including the one mentioned above) are closing left and right.  Not long afterwards, the historic Silvermine Tavern- which had been a mainstay for straight-ahead jazz artists and fans for years- closed its doors for good.

EP: Was Connecticut ever a great place for jazz?  So many places have closed down since I’ve lived here.  I’ve heard Hartford still has a few places to play as well as New Haven.

JM:  “I remember there were more places to play, [in years past] and I've always heard that there were more than that when my folks were around.  It's nice that there are [still a few] places to play, yet I wish that the club owners and agents who treat musicians with disrespect by not paying them what they had promised- would all be held accountable and possibly jailed. There seems to be some unwritten code that you can short change a musician, or not pay them at all, and NO ONE does anything about it. I'm proud to be a member of the Union.”

EP: That, sadly, is not uncommon. Besides diminishing venues and club owners who don’t honor contracts with musicians, what other challenges have you faced as a professional jazz pianist?

JM: “The fact I haven't owned a piano in 14 years would qualify as a challenge when it comes to working things out. A few years ago, I was nailed with chronic Rheumatoid Arthritis. It's no picnic, but I'm much better off now.  I don't want to make the RA a focal point. It's not up for discussion. I now know about REAL physical pain. It's not a joke.  I'm happy that I'm playing and that's that. I'm thankful that things are better than a few years ago. That's all.

I haven't owned a piano in 14 years because I haven't bought one. I've been thinking about it recently, because I've been in a practice mode for certain shows and projects I've done and am preparing recently. I can get to a piano in the studios I teach and the Church where I'm the Director of Music. So it hasn't been a huge issue. I have an electric piano for club dates that goes to a storage unit when I don't use it. It doesn't travel to the 2nd floor as a rule.”

EP: What do you hope for now?

JM: “Public acceptance. I would hope that people can find merit [in] and enjoy what I do.  Music hits deep with people.  I hope the music I play, whatever the style, touches the hearts of the audience, and we can enjoy a connection.  That’s where I want to live; that’s what I mean by acceptance.”

EP:  Has anything stood out as a Twilight Zone moment?  What was the most memorable experience you’ve had on the bandstand?

JM: “No Twilight Zone moments, but plenty of strange twists … a lot of my musical compadres have their own style - (Joe, ever the gentleman, refused to be specific...)

I have a lot of nice great musical memories, just not great stories to tell. I will tell you that the first of two times I opened for Dave Brubeck, we talked, and I told him how much I enjoyed In Your Own Sweet Way and The Duke. We spoke a little more and he went on to perform. About three or four songs into the concert, he cleared the stage and played a solo version of The Duke. It was great! At the end of the concert, I told him how much I enjoyed his solo performance, to which he responded "I played that for you!" That made my night. It’s one of my fondest musical memories.”

EP: How fabulous! Dave Brubeck has a lot of class, [as do you, Joe!] By the way, how would you describe your style?

JM: “I guess you have to hear me and make your own decision. I think what stands out about me is that while influences are discernible, I believe I have my own style.  [Obsessing over it makes me uncomfortable]. I just hope that people like what they hear.  Unconsciously it comes together in my preferred style of expression — Jazz. I won't question it.”

EP: What are your artistic goals?

JM:  “To be the best player I can in any situation. If the music is stylistically unfamiliar, I want to play it properly and with feeling. I worked once in a traditional jazz situation where I had to learn a different repertoire. I had to learn how to play properly, without injecting post-bop sensibilities or "licks". It took awhile, but it paid off in the long run. I feel I'm a better player for that approach. It was the same when I used to play [old school] rock or R&B. I feel that if you care about what you do, you owe it to yourself to find the way to express it properly, and get away from the cookie cutter approach as quickly as you can. There are many great technicians. I hope that they find their own way to keep it fresh.”

EP: This interview has been a pleasure.  I look forward playing music with you in the future. Is there anything else you’d like people to know?

JM:  “Hire me. My number's in the book. If you're a jerk, don't bother … Life is too short.”

You can hear Joe McWilliams play on the Branford Green from 6:30-8:30pm on August 16^th (part of the Branford Jazz Festival) www.branfordjazz.com/Schedule.html

To contact Joe McWilliams for gigs:  jamcpiano@sbcglobal.net

The Revolution Starts Now & It Might Be Televised

Mainstream commercial music sucks!!!  In terms of craftsmanship and taste, current rock and pop have reached appallingly new subterranean lows.  Taste levels have plummeted so low, in fact, special geological tools are needed to mine that far below the earth's surface.  It's insidiously scary how crappy pop songs - with inane lyrics and banal melodies - invade the ear.  Turn on any commercial station and you are assaulted with the mundane.  Bludgeoned by the over-produced.  Leveled by mediocrity.

It's a Product, not an Art...Perhaps Britney Spears, The Black Eyed Peas, and Katy Perry could survive and thrive without auto-tune.  Maybe they have dozens of brilliantly moving songs that have just never made it past the major label marketing police. Not to single them out, but these "artists" represent the "McDonald's of music":  Convenient, easy to find, bland, no depth - musically or lyrically, lots of fat, few if any nutrients.  

However, you can't blame the Big Mac and fries. The product itself didn't create the problem.  People might not frequent McDonald's if healthier choices were just as convenient. But, you can't force people to eat dark leafy greens against their will, and those who own McDonald's franchises have no incentive to offer anything else. There is incredible music out there.  Unless you proactively seek it you'll never find it!  Therein lies the problem. 

While I have strong leanings towards certain types of music- primarily what gets labeled "jazz" and "classical"- I am open to any music that has depth and emotional content.  I could support an argument why jazz is the greatest American legacy, but that isn't the point I'm trying to make. In all genres and styles you can find examples of well-crafted music.  The parameters of style may vary, but if the music doesn't have substance, it's fast food.

So how do we fight the trite?  It starts with education and awareness. How do we as musicians and artists make people crave music of quality?  How do we encourage the masses to find music of substance?  Here are some ideas:
 

1) Write letters to commercial radio stations insisting that they adopt more diversity, more eclectic and inclusive formats spanning genres, styles, and eras.  If they refuse to change (which they probably will), only listen to community, college, & non-profit radio stations.  Make sure to support these stations, which depend upon listeners to keep on the air.

2) Take a chance on an indie artist you've never heard before.  Do some online research in a genre you like and listen to samples. Take the time to seek out more interesting artists.

3) Go back in time. Try baroque, early music, classical, opera, art song,  early blues, spirituals, Dixieland, bebop, fusion, gospel, folk songs, reggae, (even classic rock from the 60's/70's).  Music doesn't exist in a vacuum.  There's context and historical relevance.

4) Whenever possible go out to hear live music. 

5) Attend lectures, classes, and concerts where you can learn about music of quality. Try a concert series held at a local community or cultural center, like the 92nd Street Y, for example.  If you live in an area where there aren't many resources of this type, visit an urban area like New York City, where there is so much going on all the time.

6) Seek out World Music.  Every region of the globe has a music tradition.  Search online for different types of African drumming, Indian ragas, Southeast Asian gamelan music, Criollo from Peru, Baltic music... If you have curiosity, you will find music that moves your soul.  Experiment!

Have more suggestions?  Please leave a comment.