For a long time, I used to get really jealous of my jazz musician peers who grew up in musical households. So many of today’s great young players—Gerald Clayton, Anthony Wilson, Zack and Adam O’Farrill, the list goes on—come from families of jazz greats (not to mention, of course, the Marsalis Dynasty.) I remember hearing Clayton, for example, as a precocious dreadlocked teenager wowing all of us in jam sessions at the annual Port Townsend Jazz Workshop, where he is now on the teaching faculty, and his dad John is now the Artistic Director.
Even as a young player, I could tell how skillyfully these musicians soaked up new musical ideas, plugging them into a seemingly inborn musical logic. Of course, they woodshedded harder than the rest of us; still, I’ll never forget feeling like they had access to some secret formula. These guys had something special—and everyone knew that their proud papas had a lot to do with it.
What I never realized then, but have since come to appreciate since taking a dive down the Jazz Writing Rabbit Hole four years ago, is that I was getting a similar father-son transmission all along—I just don’t think that either of us knew it before. Read the rest of this entry »