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 ERIC MARIENTHAL © 1996 Mike Metheny
EM: Well, I've actually known Mike McGraw for quite some time. There's a community college out here (in Los Angeles) called Orange Coast College; that's where we first met. Mike was playing in the college band and I'd just graduated from high school. Before I went to Berklee in Boston, I kind of took a year off and played in that band. Then years later, I'd come through Kansas City with Chick Corea and I'd see Mike at our concerts. One day last year he called me out of the blue -- he was aware of how I was coming to town with my own band -- and he told me the Boulevard band was recording an album and would I play on it? So, I did. JAM: And now you're coming to KC to play with the Boulevard band as part of the album's release, right? EM: Exactly. It will be a combination release party and concert. JAM: What's different about playing with a big band as opposed to a small group? EM: In a small group, where there are only one or two horns and you're playing by yourself a lot of the time, you have a lot more freedom. The challenge of playing in a big band is that you are part of a section; you really have to keep your ears open, play with the guys around you, and create an ensemble sound. I played lead alto with the GRP Big Band and that was in a section with five players who were all making careers out of being soloists. For the five of us to get together and create an ensemble sound was a real challenge. And a lot of fun. "...I really like a lot of different kinds of music, some of which are the more "popular" kinds of things: R&B, soul, folk music... And those elements -- especially on my last few records -- have really come out. " --Eric Marienthal JAM: One more question. There are those jazz purists who, let's just say, aren't crazy about the "smooth jazz" formats that are popping up on different radio stations around the country. As someone who gets significant support from those formats, how would you address that issue? EM: Delicately (laughs). You know, that's a tough question. And it brings up an interesting thing about the music business. (As a musician) you want to make the music you want to make; and just like in any kind of business, there is a particular kind of market for certain types of music that might be larger than for other types of music. Let say, for example, that you're a painter, and you know that if you do a certain kind of painting, the market is bigger for that particular genre. So, if you want to sell more paintings, you might want to go in that direction. But, if you're not adept to that style, or if your heart isn't really in it, it's gonna show up in your painting. And you're not going to sell (it) no matter how hard you try. It's the same with music. You can try to make a commercial record, but if your heart isn't in it, it's not going to be a very good record and it won't sell. For me, I really like a lot of different kinds of music, some of which are the more "popular" kinds of things: R&B, soul, folk music... And those elements -- especially on my last few records -- have really come out. So it's been good in the sense that I've had some success with decent airplay and sales. But you know, I think for someone to listen to a record and judge it because it's a particular kind of music is not really the fairest thing. Just because it's a type of music a person may not particularly like, it shouldn't reflect on the quality of the record. I remember the first record I made with Chick Corea (Light Years). For Chick, I have to say, it was definitely a "commercial" or "contemporary" kind of record. That record got one star in Down Beat. They panned it. But it's a great record! With some really great music. And not that much of a compromise at all! But because it wasn't Chick Corea playing acoustic piano and playing "hip" music, a lot of people just didn't care for it. That's a good example of not liking something because of what your expectations are. RETURN TO FEBRUARY/MARCH 1996 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved. |
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