Jason Moran (Houston, 1975) is an American jazz pianist, composer and inspired pedagogue of the middle generation, who has been delighting jazz connoisseurs, music connoisseurs and the so-called ordinary audience for at least a quarter of a century with his unique author's and interpretive philosophy. Classically trained in piano, with that true child of his era - if we keep in mind his teenage affection for hip-hop and the subculture of skateboarding - Moran very early soared into ambitious creative spheres following a colorful personal route through the jazz geography, and always in the best company. Moran will perform on Sunday, October 27, at the jubilee 40th Belgrade Jazz Festival, organized by Dom omladine Belgrade. His current solo project Ellingtonia is a kind of tribute to Duke Ellington on the occasion of the 125th anniversary of the birth of this legendary jazz composer, who opened the first Newport Jazz Festival in Belgrade on October 31, 1971.
"WEATHER" To begin with, would you be so kind as to share with us your earliest memories of music, especially those related to your hometown of Houston? What is the first thing you remember from your childhood??
JASON MORAN: One of the first sounds I remember was the sound of crickets. This insect normally lives in trees, but when all the crickets make a noise together, it is a passionate chirping chorus, which made the air seem to shake to me.
You were only six years old when you started your classical piano education in the class of the distinguished professor Jelena Kurinec. How important was this piano lesson for your later artistic development and why?? How do you remember your teacher and her classes today?? What would happen when you worked and played together?
Mrs. Kurinec instilled in me a technique that I still have in my hands to this day. She was very strict about proper hand holding, smooth phrasing, fine dynamics and all that stuff. This kind of piano teaching was actually very helpful for me. There were two pianists at the lessons, side by side. She sat at one, and I at the other. I remember my mother sitting to my left and taking notes during each lesson, writing down all the professor's suggestions about finger placement, expressiveness, staccato, and piano articulation in general. Classes were held once a week, on Thursday evenings.
When and how did you discover hip-hop and what attracted you the most to this scene? Which artistic collective or musician from this genre has proven to be the most influential when it comes to you?
Growing up in the 1980s meant that hip-hop was - everywhere. My older brother listened to him a lot, so I heard the same things he did. However, the first band that really moved me was Run-DMC. But as a collective, Public Enemy was exactly the band that changed me. They talked about political issues within their incredibly condensed music, and it was really powerful and enlightening.
In what way are you hip?-hop helped you get to jazz? And why exactly Thelonious Monk was important to your own, the inner discovery of jazz music?
To begin with, we must understand that hip-hop is an offshoot of jazz music. There is even film footage from the 1940s where Louis Armstrong he raps before Billie Holiday. I mean, the hip-hop that I loved in the late 1980s and early 1990s sampled jazz records a lot. It helped me see the connection. Thelonious Monk, for example, had a gift for writing repetitive melodies, as if he were sampling them himself. He thinks about rifu, exactly like what a hip-hop producer thinks about loop.
Do you still skateboard?? Of course, that passion can be very dangerous for your hands.
A few years ago I definitely stopped skating. And you're absolutely right, I fell and hurt my thumb, and then I wondered why I was doing all that anymore. Let's face it, I love how skaters put their bodies on the line every time, only to land successfully after some crazy acrobatics in the air. Well, you see, it is a sacrifice for the principle.
You were the leader of the high school jazz band and part of the Texas High School State Jazz Ensemble. How popular was jazz among the youth?? And how much you yourself have learned from that kind of experience?
As I'd like to tell you, in my high school, jazz was thought to be the absolute most-cool music, and the coolest kids were considered jazz kids. And that was the key thing, because a lot of my friends – who I continued to perform with – actually graduated from this same high school. We all still have a deep respect for the way we learned from each other as well as from our teachers. And now there are very strict requirements for newcomers, because we have such a revolutionary take-off within the jazz scene.
photo: clay patrick mcbride...
At what point did you start playing jazz professionally?? How did it feel to make your own money as a musician?? And were you perhaps afraid of what older jazz peers would think of your playing ability and musical imagination??
I started playing music professionally in high school. My high school band at the time often performed around town. I always felt how important it was to compare forces with older musicians and I was never really afraid of it because I somehow knew that exactly this intergenerational exchange would be crucial for my artistic development. That then took me to New York to study with Jackie Bayard and Andrew Hill. I really appreciate all my colleagues who have ever taken the time to share with me what they think I could improve on.
You have set new standards in piano jazz music, beating many of the previous standards "best of" elections held at the end of each year. What would you say? - which solo album of yours can be considered a classic today?
Hmm, hard to say. But it's easy at the same time, since it's definitely my last solo album The Sound Will Tell You. On it, the compositions arose out of the pandemic, but which also mark a sort of beginning of the process of expanding my own relationship to the piano.
Pa, on that album, did you finally figure out what could be the essence of an instrument like the piano in jazz? And does classical piano education help there??
The piano is an orchestra. Duke Ellington uses it in this way, as does Mary Lou Williams or Count Basie. The piano is the ultimate accompanying instrument that can easily be transformed into a distinct soloist.
And how would you define the essence of your own art as a jazz musician? When you started to understand what could be the core of your own skill in your case?
When I moved to New York, I began to feel how insanely brave it takes to follow this path. Because jazz is not popular music, but it has a very dedicated audience and an incredible history. Because of all this, this music requires attention and care. And that "attention" is something that I would emphasize and that I have dealt with throughout my career. I could be both attentive and inattentive to her. I think that the music of Cecil Taylor, for example, is an excellent example of how jazz should be cared for and developed.
After so many solo albums and various artistic collaborations, what do you think - where is jazz headed in the future? Who are they, in your opinion, the most innovative contemporary musicians, who are able to make a connection between today and "of all tomorrow's parties"? Do you feel, by the way, like the Velvet Underground, whose title of a famous track we just mentioned?
The future is defined in the digital realm, but it's great to see a new generation continue to emerge on the scene while still retaining bits of tradition in their breakthroughs. As for the list of innovators, there are too many to mention individually. I would say that Immanuel Wilkins expressed something very important with his art, which many younger musicians immediately adopted. And he also took a lot from Ambrose Akinmuseri in his time. The circle of influence thus continues. And yes, the Velvet Underground are totally legendary.
This is not your first time in Belgrade, but at least the third, if we are not mistaken. How do you remember our city and people from your previous visits? What can the Serbian audience expect from you at the jubilee 40. Belgrade Jazz Festival?
What I really liked about my previous visits to Belgrade was that I felt that the audience always listens carefully to every sound. It's a privilege to meet people who really pay attention to what the artist is playing, along with everyone else in the hall. I am aware that we are probably still in some stage of recovery from the pandemic, but when we listen to music together - we heal together. I am therefore looking forward to my arrival because Belgrade has remained in my mind as a place to which I would return without hesitation.
