 |
||||||||
|
|
||||||||
 |
||||||||
       |
||||||||
 |
||||||||
|
Search our site:
          |
|
 KIM PARK © 1995 Mike Metheny JAM talks with one of KC's premier saxophonists about a distinguished career in jazz.
KP: Stan Getz was one of the most complex personalities I've ever met. He was a friend of my dad's (the late alto saxophonist John Park) before I met him. We met for the first time at the Hollywood Bowl when I was with Stan Kenton in '73; I later encountered him when I lived the Bay area where I got to hang with him at some concerts. Then there was Stanford (in '88)... Stan called me and invited me to come to Stanford for a semester and teach saxes while he was in residence at the university. So I played with him there and we got to spend a lot of quality time together. I gained a lot of spiritual and emotional insight into the music through Stan. He was also "the nicest bunch of guys you could ever know!" (laughs) He could be a very volatile person, and he could open the door for you just as easily as he could close it. Stan was lucky, though, because he'd gained a certain mass recognition as a teenager and always pretty much had the jazz world at this feet from then on. Unfortunately, he did have his problems with addictions throughout his life, which he later conquered. And then there was the cancer that eventually took his life. When I played with him at Stanford, he had just come back from surgery to have a tumor removed from his lung and, at the same time, had just gone through a horrible divorce. I remember Stan saying "when they took the tumor out, it had my wife's initials all over it!" (laughs) But I loved Stan very much. And his music is still very much a part of me. Sometimes I almost feel like I'm channeling him, on the tenor, just like I feel like I'm channeling my father on the alto. I have all these trans-generational voices and ghosts flowing through my instruments at various times which, in a way, is very comforting. And reassuring. JAM: How about Clark Terry? KP: Clark Terry is one of the sweetest men I have ever met. I believe that Clark, more than almost any trumpet player -- or any instrumentalist that I've ever heard or known of -- has the incredible ability to virtually shape every note. Clark "sings" through his horn, and he's such a natural at it. I really believe that the main element in Clark Terry's music is love. And I have been very fortunate to stand next to him and improvise my way through his "love land." Also, Clark is one of the great proponents of jazz education and of sharing concepts with young musicians... maybe one of the first of his generation to do so. When Clark was young, older trumpet players would tell him things he was supposed to do "with his ears and his butt" (laughs) in order to play better! But they were actually just trying to throw him off so he wouldn't be undo competition! As a result of that experience, Clark has made it a point to foster and nurture the younger players. JAM: Al Cohn? KP: Al Cohn, of course, came out of the school that Lester Young started: the "cool school" of tenor playing. He was probably most widely known for his association with Zoot Sims. I had the pleasure of playing with Al on a couple of occasions. And because, through my father, I had come from that same melodic school of playing, Al and I were very compatible. My only regret is that I never got the opportunity to play with Zoot; but Al had the same creative, melodic spark in his playing, and playing with him was a good experience. JAM: Louie Bellson? KP: Louie Bellson is the most kind hearted, gentle man I believe I have ever met. He's just a teddy bear. In terms of his playing, his time is impeccable. ...In many ways, Louie is probably the "thinking man's Buddy Rich!" (laughs) I played with him a few years ago with the (UMKC) Jazzet; it was just after Pearl (Bailey) had died. Of course she was such a warm and caring person, and Louie was just crushed. But he has a new wife now who has him all fired up and raring to go. I first met Louie 22-23 years ago, and every time I've seen him since, he's been like an uncle to me. He has that vibe. JAM: Mel Tormé? KP: Mel Tormé is very talented man, isn't he? He plays piano, he plays drums, and, of course, he sings and scats and is very interested in jazz. Mel Tormé is one of the fortunate few who's been able to incorporate jazz into others things that have achieved relative popular success. I mean, if he'd never done anything other than write "The Christmas Song" he'd be set for life! I played with Mel on a couple of occasions -- once with the Atlanta Symphony, and then here with the Kansas City Symphony -- and he knew just what he wanted out of the orchestra and was able to get it in a good way. It's nice when a singer is also an instrumentalist. A lot of times with singers there are certain affectations... where they really don't understand the jazz musician. Mel Tormé does. "I really do believe the quality of life for jazz musicians in Kansas City can be considered to be very high. Jazz venues here are as good per capita as any city in the world, and there are some great jazz musicians here in town and lots of opportunities for them to play." -- Kim Park JAM: Bobby Shew? KP: Bobby Shew is a brilliant trumpet player. And it's a pleasure for me to have known such masters who have come out of the "old school." Bobby is a bit like Gabriel, I feel; he has technique like none other, and he believes in himself. He has his own undeniable technique that makes him in such demand all over the world and respected by his peers. But you know, the really amazing thing about Bobby is that he suffers from emphysema and has had to develop a sort of "yoga" way of breathing: a three-stage "breath grab" that enables him to achieve a higher volume of air than his fragile lungs would normally allow under other circumstances. Bobby Shew is what you would call, in the older terms of big band playing, a "horse." Bobby is a horse. JAM: One more... Phil Woods? KP: One of the most remarkable things about Phil Woods is that he established his style at an early age and, no matter what has come along, Phil has remained Phil. And he's still Phil. The Phil Woods style and sound is so unmistakable; he has one the greatest alto sounds ever. He is also a great "lead" player, even though he really doesn't get the opportunity to do that anymore, probably by choice. But I respect that so much, when someone can come up with their own unmistakable style. That's what makes a great jazz musician: that kind of individualism. And Phil Woods personifies that ideal as well as anyone. JAM: Let's skip back to your early years. Who were some of your primary jazz influences as you were growing up? KP: John Park first. John Park second. And John Park third. After that, I'd say fourth would have to be Stan Getz, because my dad loved his playing so much. Also, Charlie Parker and Cannonball Adderley. That's definitely the "big four" for me. Their records were always around my house... I got to listen to them a lot... and eventually play along with them. Then later, for a couple of years in high school, I attended the "Stan Kenton Band In Residence" (clinics) at Drury College in Springfield (Missouri) where I grew up. JAM: That leads perfectly to the next question. Your first real break was joining Stan Kenton's band, right? KP: Absolutely. JAM: How did that come about? KP: Well, Stan had heard me at two of the residencies at Drury. When the band came to town, there was this "hey, there's this guy who sells cars who plays his ass off... ya gotta come and hear him!" Of course, they were talking about my dad, John Park. So, they all went to hear him, were blown away, and then my dad sent me to the clinic and they all knew who I was because of my dad. Then, in January of '73, Stan invited my dad to join the band on lead alto. That spring, Willie Maiden was leaving, so Stan asked my dad if it would be OK if I came out and played the high baritone sax part -- Stan had two bari saxes in the band. My dad said "sure!" ...He'd always put me on gigs here and there anyway... and scaring me to death! I mean, when you're 15 years old and you're subbing for John Park (laughs) you're filling some pretty big shoes... and I really "clomped around" a lot in those days! Anyway, upon graduation from high school -- literally the day after -- I was on a plane to L.A. to join up with the Kenton band. I was with Stan for about a year. JAM: What were your impressions of Stan Kenton himself? KP: Stan Kenton was a very charismatic man. And a mix of seemingly conflicting backgrounds and personalities. First of all, he was a country boy -- from Kansas (Wichita) -- and yet, he developed a sophistication on his own through listening and playing the piano. Stan was a big fan of Wagner and I think he entertained concert pianist aspirations at one point. He eventually transferred that big sound he had in his head in the orchestrations for his band. Stan was, at the same time, very much a warm, fatherly figure; but, by the nature of his being a bandleader, he also had to be a disciplinarian. Things could get out of hand on the bus, and Stan would be like the "angry school teacher chastising the students in the class." Things would go from some kind of absurd hilarity (laughs) to sudden silence on the bus... then after a couple of minutes, somebody would snicker... and somebody would say something... and somebody would laugh... and then the whole bus would break into laughter and Stan would go (imitating a gruff, half-serious Kenton) "...why can't I get you guys to take me seriously!..." And there'd be more laughter. But Stan was a great man, there's no doubt about it. I know there were certain times in the latter part of his career when he was ill and couldn't be with the band. Without him in front of the band, the same music was played, but there just wasn't that fire, emotion and charisma that Stan would bring to it all. Just by being there. It was a great privilege to have known and worked with Stan Kenton, and there has been no end of benefit to my career from that experience. JAM: You mentioned the Kenton camps and clinics a while ago. You are quite active as an educator yourself these days; what is it about teaching that you enjoy the most?
JAM: You are also quite active in the local jingle scene. Is it difficult to shift gears between jazz music and some of the more commercial things you do? KP: Not at all. One of the things I've tried to foster throughout my career is to experience and enjoy all kinds of music. I draw musical inspiration from all manner of sources. My major criteria for "good music" is music that is played with heartfelt virtuosity. Although that doesn't occur in jingles very often (laughs). JAM: Back to the jazz side of things. As one who plays most of the instruments in the woodwind family, do you find your ideas and overall concepts affected by what instrument you are playing? KP: Very much so. I consider any instrument that I'm playing to be my "voice;" but they all have different characters and personalities. I relish that, because, once again, I like a variety of music, and I enjoy producing a variety of sounds. The influences and the sounds I hear in my head are fairly different, based on the instrument. For instance, Stan (Getz) was such an influence on my tenor playing, I can't help but come back to that style. And my dad on the alto... I can't help but come back to that style. As far as the flute, the sound I hear in my head is more Rampal or James Galway... the singing qualities of the classical flutists are what I admire. Pianistically, I really admire Bill Evans. So, as you can see, I have a different avenue for each instrument. Also -- and I guess I got this from my dad too -- I have always enjoyed doing "impressions" of the different saxophonists. It's fun, sometimes, to "think" like Cannonball Adderley... or Zoot Sims... or David Sanborn... or Earl Bostic. JAM: Have you experimented with the EWI (Electronic Wind Instrument) or any of the other wind synths? KP: A little with the WX-7 and the WX-11 by Yamaha. I did have the Casio wind controller for about a year and I believe it was probably the most user-friendly of all the MIDI instruments. But I have so many acoustic irons in the fire, and I think the spectrum of acoustic sound possibilities is so great, that it just doesn't come up for me anymore. JAM: What is your take on the current state of jazz in Kansas City? And around the rest of the country? KP: I really do believe the quality of life for jazz musicians in Kansas City can be considered to be very high. Jazz venues here are as good per capita as any city in the world, and there are some great jazz musicians here in town and lots of opportunities for them to play. Kansas City still has a very strong global identity in terms of the style of music that's played here, and I think people forget that it's still a vibrant commodity. As far as jazz in America, we keep trying. Unfortunately, I think that supply and demand probably doesn't present jazz as a viable commodity in terms of mass market appeal. Obviously if you're dealing with mediocrity, you can paint it up and gloss it over and pander it to the masses and have an unlimited supply of those musical deities that can be created by the media. In the popular vein you can find a million artists who, by virtue of studio processing and all manner of things, can be made to sound good. But with jazz there are only so many people who can do it. And understand it. So from a marketing standpoint, there isn't the demand out there. Also, jazz isn't really that accessible to the masses because, by virtue of education and background, a lot of people are denied exposure to true, indigenous culture... things that require a little deeper thought and introspection. We've become such a "cool" entertainment society that, anymore, people expect to just turn a knob and have it all sort of "wash" over them, rather than having to become involved in the act. Jazz definitely requires something more of the listener. Just like classical music does. JAM: Another good segue. You have performed with our own Kansas City Symphony on a number of occasions, and you will be a part of its "Jazzin' It Up" Casual Concert next April. Do you enjoy working with the orchestra? KP: Oh yes, very much. And we are so fortunate to have (Music Director) Bill McGlaughlin here in Kansas City. I mean, someone who has such national appeal and recognition as does Bill with his radio show, his guest appearances around the country and his clear affinity and knowledge of music, combined with the fact that he's such an avid jazz fan... you couldn't come up with a more likely public figure for creative music in Kansas City. RETURN TO DECEMBER/JANUARY 1996 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved. |
|
           |
|
||
 |
||||||||
