One of the most famous drummers of all time in jazz music and one of its greatest visionaries, a particularly prominent figure of the 'jazz fusion' period from the seventies, Jack Dijonnet, is coming to our country on October 28 as part of the Belgrade Jazz Festival and will perform at the Sava Center. Dijonnet will present himself with his Trio, which includes two big new names: Ravi Coltrane and Matt Garrison, sons of famous jazzers. On the new album In Movement (ECM), Dijonnet once again proves to be a constant force in the exploration of possible spiritual directions in jazz music.
"WEATHER": You were born in a beautiful one, a large and unusually important city for the musical culture of the United States of America and the whole world Chicago. What are your memories of him?, from your earliest days, unforgettable and most significant?
JACK DIJONET: Chicago was a wonderful place to grow up. There were many types of music that we played at that time, and there was an atmosphere among all the musicians as if we were all relatives. One of my favorite memories of that era is the moment when I got an invitation to perform in a band led by John Coltrane in Chicago at the time.
Your first instrument was the piano, and you started playing it as a four-year-old. Who first taught you how to play this instrument??
I had a lot of different teachers, and all day long I learned everything I could about playing, both drums and piano, in parallel. But, quite simply – the first jobs I got required me to play the piano.
You mention your uncle Roy I though. Wood St. as the person who decisively inspired you to play and create music. Who was your uncle?, what music did he recommend to you?
He was my huge inspiration, he was always playing something around the house. Fats Domino and Louis Armstrong are just some of the musicians he discovered and inspired me to listen to.
As you remember today '60. in Chicago in general and when it comes to music? What kind of projects did you participate in then?, as a young musician, which personalities and musical ideas particularly attracted you at that time?
I was fortunate enough to be part of the early development of the AACM (Association for the Advancement of Creative Musicians) with Muhal Richard Abrams. He was a very good teacher who encouraged us to use the instruments as if we were painting a picture with them. He and people like Henry Threadgill and Roscoe Mitchell were around at the time, and we recently reunited for an album called Made In Chicago, published by ECM.
You come to New York in 1966. to play with Charles Lloyd in his famous Quartet? How did you like Keith Jarrett's playing style?, who you also met there?
When I first moved to New York, I played more piano than drums. Working with Charles and Keith was a magnificent collaboration. New York was buzzing with energy at the time and session gigs were happening everywhere, places where live performances were constantly being held.
They're late '60. are also the time for your creative encounter with the jazz great Miles Davis. What actually happens in the music and the sound when playing with Miles?
Working with Miles was like one huge adventure that led us to perform many times in huge halls or at rock festivals. Miles encouraged us to play and contribute to the music ourselves. At that time, the possibility of fusion of various sounds and musical traditions that came from all over the world inspired us the most.
After all, you started your career as a solo artist and band leader. Is a jazz artist, after honing his craft with various masters, feels a certain relief when he takes matters into his own hands and starts making music exclusively to his taste? How big is that?, however, and responsibility?
A musician must create his personal identity first of all, and only then - if he succeeds in creating something truly unique and original - can he continue to create as a band leader. There is no real relief in taking matters into your own hands just for the sake of taking matters into your own hands. But there is something very liberating about taking matters into your own hands as a leader, to manage your own musical ideas.
How would you describe your playing style??
I took the approach of a painter, in which I have a canvas in front of me and try to reach the final idea through the large and small strokes that I create.
On the new board In Movement you collaborate with Ravi Coltrane and Matthew Garrison. What is it like to play with fathers, and then with the sons?
I have a long-standing relationship with Ravi and Matthew, and I respect and value their adventurous spirit and endless creativity. We work great when we play together, and we can always take the music in several different directions. We are looking forward to performing as a trio in Belgrade.
