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Derrick Hodge: Passion, Honesty, Acceptance

Full[Edited]Transcript

InterviewedbyphonebyBobDanziger.

Tuesday,December18,2018from9:30to10:30a.m.pacifictime

Wordsin[brackets]aresubstitutionsoradditionsmadebyme.

Introductions

[DerrickHodge“D”]Hey,how’sitgoing,man,thisisDerrickHodge.

[BobDanziger“B”]It’sgoingwell,goodtohearfromyou,howareyoudoing?

D]Good,can’tcomplain,busybutgood.

B]Good.I'vebeenlookingforwardtothis.

Permissions

B]IsitokayifIrecordthephonecall?

D]Absolutely

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B]CanIuseitintheclass,isthatokay?

D]Good.

Growing Up

B]Whatwasmusiclikeinyourfamilywhenyouwereveryyoung,whatsortof

lullabiesmayyouhaveheard?

D]Firstofall,mybiggestmusicalinfluencewasmyMother.FromwhatIhear,[as

aninfant]Ijustalwaysgravitatedtothemusic.ShesaidIwasbeatingtherhythm

tomusicthatwasplayinginthecar...Daycarecalledheroutofherjobtocome

pickmeupbecauseIwasbreakingallthebottlesonthecribplaying.Theolder

kids,the3yearoldsweresinginglullabies.Iwasintheoneyearoldclassbeating

therhythmandbreakingthebottles.

Duringthatphaseshewouldalwayssingtomeatnight–itwasoftengospel

influenced.She’dsing“Yes,JesusLovesMe,thisIknow,fortheBibletellsmeso,”

(sungbyDerrick)-songsthatarerootedinspirituals,traditionaltypesof

songs.Shewouldalwayssingthattypeofmusictome.Youknow,itkindofstuck

withmetothisday.

Wedidn’thavealotcomingupandthebiggestthingshewoulddo[is]turnonthe

radioeverynightandIwouldgotosleeplisteningtomusic,wakeupandtheradio

wouldstillbeplaying.Andshewouldalwaystellme,forthemeanwhileto

listen.Listentoeverypartifit,justlistentowhateveryoucan,andeverynightit

wouldrevolvebetween5or6stationsforthatweek.FromGospelHighway11

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(1100am)toPower99(fm-Philadelphia’sHip-HopandR&Bstation).Andthat

endedupbeingmybiggestregimenformycareer:listeningandwantingtolisten.

Later,whenIgotintocollegeyou’dhavetowriteonyourentryformyour

influences.Asidefromsomeonewhoplayedmyspecificinstrument,itkindofblew

them[away]becauseIwouldwritedownsingers.LikeNancyWilson.Ithinkit

wasindirectlytheinfluenceofmyMotherhearingtheimportanceofmelodyand

thewayshewouldsingtomeallthetime.Andatthatsametimeitkindof

coincidedwithhermakingsureIwasalwayslisteningtomusic.Thatinformedmy

decisionmakingasanartist.

Derrick Hodge’s Special Connections to the Monterey Jazz Festival

B]Sofirstofall,welcometotheMontereyJazzFestivalandCal-StateMontereyBay.

YouandAllisonarethe42ndand43rdartist-in-residenceinhistoryoftheFestivaland

it'squitealistofgreatmusicians.Youare2ndand3rdforCal-StateMontereyBay.So

welcometothefamily.

D]I'mreallyexcitedtobeapartofit.It’salotoffun.It’sthesamestagewhereJimi

Hendrixlithisguitaronfire.LikeItoldTim[Jackson],it’salwaysbeenaspecial

Festivalforme,soI’mexcitedtobepartofitanddowhatIcan.

PlayingatMontereyLeadstoSigningbyBlueNote

D]LetmestartwithDon[Was].ImetDonatMontereyJazzFestivalthroughmy

playingwithmybrothersRobertGlasper,MarkColenburg,andCaseyBenjamin.

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Mymanager...rightafterIleftthestagesaid,“Heyman,DonWasishere,he

actuallywantstomeetyou.”Anditwasjustthatquick,Istillhadmybassonmy

shoulder,walkingoffthestage,andhetoldmethat,and3minuteslaterI’m

standinginDon’sface.Andwesaidhello,andliterallybythethirdsentencehe

said,“YouneedtobepartofBlueNote.”Hegotrighttothepoint.AndIlookedat

himandIwaslike“Manareyouserious?”Hesaid,“Yessir,givemeyourinfo.”

Andheandmymanagerexchangedinfo,[Donsaid]“let’stalkMonday”andIkid

younot48hourslaterwewereindiscussionswhichleadtomysigningtotheBlue

Notelabel–rightthereatMontereyJazzFestival.SoI’mnotjokingwhenIsaythat

myconnectiontothisFestivalactuallymeanssomething.

That’showitstarted.Yes,itstartedrightthere,man.Rightonthesideofoneof

thetents.ThatleadtoarelationshipwiththemthatIjustdidn’texpect.

WhatisitlikeproducingwithDonWasandQuincyJones?

I’dbeenpartofafewalbumsontheBlueNotelabel.OnmyownI’dstarted

producingdifferentartists,andtheygotwindofit,itjustkindoftookoff.Andthey

pickedupsomeoftheprojectsthatIproducefromKendrickScotttoOtisBrown.

ThatjustbuiltupourrelationshiptothepointnowwhereheandIareproducing

albumsforthelabel.Justworkingalongsidehimisoneofthegreatestthingsinmy

life.Hisselflessnessandthewayheleaveshisaccoladesandresumeatthedoor.

WhatwouldIdoifIwasaroundpeopleexpectingtoaskmequestions,Iwould

startbyaskingthemquestions.He’sthatsametypeofguy.Talkingaboutaman

whowasproduceroftheyearsittingthereaskingmeabouttheprocessformy

optimalflight.Don,you’reDon.Butthatspirititjustreflects.So,ifyou’reanartist

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gettingthatkindofloveandrespectforwhatitisthatyouhavetosayfrom

someoneyourespect,thatmakesyouwanttobehonesttotheminyourmusical

statement.Notjusttryingtoproveapointasaninstrumentalistandplayabunch

ofnotes.Itmakesyouwanttobehonestandcapturethathonestybecauseothers

areshowingtheyvaluethatandtheywantthatcaptured.Andthat’swhyno

matterwhat,man,anythingIdoforthelabelIjusttrytobehonestinthemoment

andfigureoutwhatitisthatIreallyneedtosayanddon’twasteanybreathora

momentofnotewithinthat.IloveDonforchampioningthat.

Itreminded[me]ofwhenIworkedwithQuincy,thatopportunitywassomething

else.MybandwasperformingatBlueNoteJazzClub.JustinKauflin’smanagement

cametotheshow,andliterallycametomeaftermyshow,[andsaid]wewould

loveitifyouandQuincywouldproduceJustin’salbum.I’mlikeOK...Justtellme

when.Itwasprettyfunny.

B]WhatstudiodidyouproducetheJustinKauflinalbumwithQuincyin?

D]SowhentheymetwithmeatBlueNoteinNewYork,theyleftitalluptome,

man.EssentiallyIjuststartedaconversationwithJustin.Andwestarted

discussingtherecord...Isaidthatifwe’rereallygoingtomakeQuincyalltheway

IrecommendthatdoitinL.A.,atthestudiowherehehadalotofhishitsandhe

hadalotofhistoryat.Andweendedupdoingthat,man,werecordedJustin’s

albumatWestlakeinL.A.

Itwasincredible.Thosefewday’s,man,workingalongsideQuincy.It’ssocrazy,

youmentionedDon.Verysimilar.Theyareabsolutelyinthereworkingontheart.

Howtheyleavetheiraccoladesandresumeatthedoorandit’sjustallaboutthe

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situation,andthemtryingtounderstandwho[they’reinwith].Ithinkthemusic

endsupwinninginallthat,becauseit’saboutgettingintotheperson....Any

suggestions,anythoughtsImayhavehad,thewaythosethoughtscametobe,it

leadmetochampionmorethings,...becauseyouknowwe’rejustgettingtothe

music.Notjustflogandblogandbetheresowecansayweweretheretogether.

AndQuincywassocool,man.Theconversationswehadwillstaywithmefora

lifetime.Thebiggestthingoutofallofitinformingmetoalwayspayattention

tothemusicandnottrytobesoperfect...leaveroomforGod.

B]Twogeniusestwoabsolutegeniuses,Ithink.Wow,Ijustcan'timaginewhatan

extraordinaryexperiencethathadtobe.Stuffyoulearnedyoucan'tevenputitto

words.

D]Ohyeah,yeah.ThemostIcandoiskeepgoingandtrytomakesurethatspirit

ofallthoseinfluencesarepasseddowninwhateverIhavetosayespeciallyasa

speakerorintheeducationworld.IfIcanimpart[thatspirit]topeoplethatwant

toknowmore...theywalkawayinspiredinsomeway.

Theworldrightnowneedshonesty.That’swhatI’mcommittedto.

B]Amen.Yeah,man,Amen.Ijustneedtothinkaboutthatasecond.

OnJazzandCulture

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B]WhenIinterviewolderpeople,theytalkaboutDukeEllingtonorBillieHoliday.

Peopleofmygeneration,likeJohnClayton,orAngeliqueKidjotheytalkaboutJames

BrownandtheTemptations,StevieWonderandtheJacksons,morethantheydo

thoseearliergreats.AndnowItalktopeopleandthey'retalkingaboutCommonor

TheRootsandJDilla,andpeoplelikethat.Notjustmusiciansbuttheaudiencesnow

areusedtoturningontheradioorstreaming,andtherhythmsaremuchtighter.

Therewasalotmoregoingonwithaclearlyidentifiedrelationshiptothebeat,that

didn'texistinthe70’s.Earlieryousaidyouwerearadiobaby.Inanotherinterview

youmentionedyouwerea“metronomebaby.”Andnowjazzisthisgianttent:where

doyouseethebeatgoing,andthemetronomicaspectofmusicgoingatthejazz

festivallevel?

D]Ithinkit’sgonnago,inwhatwecalljazz,isgoingtogoasthepeoplego.

Becauseeverythingyousaid,itspeakstobelieveitornot,themainstream

definitionofwhatpeoplecalljazzhasevolvedwiththetimes.Idon’twanttoget

intothisbigdebate.Everybodyistalkingaboutwhatjazzisandisn’t.AllIknowis

whatwecallithasdefinitelychangedwiththetimes.

Inmusicculture,thewayofdealingwithdrumsandsamplinghasevolved.If

you’rehearingthatinthemusictoo,ifyou’rehearingthatattheFestivaltoo,and

you’rehearingthatmeansthereisacceptanceoftheenergyrelevanttothetimes.

Youjustmentioningdifferentartistsovertimeandhowthatsoundwasdeveloped

andtheinfluencesofCommonandDillaandallthoseguys,andhowthatcanbe

abletoflyunderthisjazzcategoryandyou’llhaveaCommononMontereyJazz

Festivalstageayearago.ItalsospeakstopeoplerunningtheFestivalbeing

willingtobeopentothepeopledefiningwhat[jazz]is.

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B]Commonkilledtoo,hewasahugehit.

D]That’smybrother,man,Iwasrightatthatshow.Thankhimforgivingmea

littleshoutoutfromthestage.IgottostandrightnexttoHerbie.Iwasbehind

HerbiewhenCommonwasperformingandIdidalittlevideoofHerbievibingout

toCommonanddancingtoCommon.Andeverybodytrippingoutbackstage

afterwards.ThatspeakstoartistslikeHerbiebeingthatopenandbeingthat

accepting.Italsospeakstotherespectthatartistsactuallyhaveforthehistory.It

meantsomuchtothem-Herbieshowingthemthatlove.

Ithinkit’satestamenttothatset,regardlessoflabeling,...notjustgettingcaught

upintodefiningwhatitwas.Andthat’swhyI’msohappytobepartofthis.

[MontereyJazzFestival]isaveryacceptingidea.

Talking with the Audience

B]Youaregoingtohavealotofstudentswhoreallylovetolearnaboutjazzandthe

JazzFestival.IntheAdultEducationprogramabout10%ofthemaremusicianswho

areregularsattheMJF,includingsomewhohaveactuallyplayed.Oftheremaining

seniorstudents,abouthalfhavebeentotheMJFoccasionally,andtheotherhalfare

curious,verygoodstudents,andhavebeentakingallthejazzrelatedclassesoffered.

TheMontereyareaisinteresting,becauseit'satouristdestination,andpeoplecome

fromallovertheworldandalotofthemgo,“HowcanIretirethere?”Sowehavea

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steadystreamofretireesfromallovertheworld,andtakingclassesandlearningnew

things,meetingpeople,isabigthingforthem.

B]Forundergraduates,CSUMB’spurposeistobeforstudentswherenooneinthe

historyoftheirfamilieshavegraduatedfromcollegebefore,sooverhalfthestudents

arethefirstpersoninthehistoryofthefamilytogotocollege.Theundergraduate

studentsmostlygrewuponhip-hopandotherpopularmusic.

D]Right,bydesign.Likedesignedforit.That'scool,man.Ididn'trealizethatwas

thescopeofwhoattends[theCSUMBmasterclass/concert].That’sgoodtoknow.

Mymother'sgeneration,herandmyauntsanduncles,oratthemosttwo

[generationswerethe]firsttimers[inthehistoryofthefamilytogotocollege].

B]Samewithme.It'sfunseeingtheirfamilieswhenthosekidsgraduate.They

screamandapplaud–it’sabeautifulsound.Iwaslisteningtoyoursong“Dancing

withAncestors”andIreallyfeellikewhenthey'regraduating,theyarerealizingthe

dreamsoftheirancestors.

D]That’sallpartofmyjourney.Tryingtoacknowledge,inmanywaysnotadirect

way...ineverystepthatImakeIfeelthespiritofthosethatcamebeforemeare

withme.[They]areimportantinmydecision-making,ifIjusttakethetimeto

listen,andpayattention.So,funnyyoumention[“DancingwithAncestors”]

becauseoutofthespiritofwhatI’mtryingtobeabout,especiallyinwhatever

missionIcanshareorbeconnectedto,acknowledgingit.[Sharingwhathasbeen]

directly,[whathasbeen]pouredintome.[OrthatIlearned]evenindirectly,thatI

justgatheredfrommyears.

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B]MilesDavisusedtocomeoutinusedtocomeoutonSaturdayafternoonsintothe

audienceandsitandlistentotheconcert.AndsodidGeraldWilsonusedtodothat.

SodidDizzyGillespieforthatmatter,andtheywouldaskquestionsandtheywould

talktothefolkstheyweresittingnexttoandit'dbethiskindofpersonthisdayand

anotherkindofpersonthenextday.Ifyouwereoutintheaudienceandjustenjoying

themusicwithfolkssittingnexttoanolderpersonormaybeayoungerperson,what

questionswouldyouwanttoaskthem?

D]Ididn’tknowthatDizzyandMilesusedtodothat.That’sveryinteresting.

Iwouldstartwith:Sowhatdoyouthinkdoyouthinkofthismusic?Somethingto

openthemup.Ijusttrytopayattentiontohowtheyarereacting.Andifthey’re

reactingliketheylikeitI’lljusttrytomimicthatvibe.Whatdoyoulikeaboutthis?

Whatwouldyouevencallthis?Andoftentimesthatansweralonehasopenedupa

lotofunderstanding–asidefromapersonlikingornotlikingitoftentimesit’s

whattheyareunderstandingitasthatdefineshowtheylikeit.Ifithascertain

nuancesthenallofasuddentheyarealotmoreaccepting.Evenifonlyacertain

elementofitmightbejazzybutthey’retalkingaboutsomethingverymodern.

Ialsoaskquestionsaboutwhattheylikeaboutitthey’llbreakdownonething,like

“oohthatdrummersjammingorswingingorsomething.

AppreciatingtheUnfamiliar

Someartistslistentosomethinginthelast20years,they“wellthisistoothis,or

thisistoothat.”Goingbacknearly30yearsprior,Istopandsay–let’sbreakit

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down–whatisexactlyaboutthat,thatyouthinkyoudon’tlike?Sometimesit’s

askingenoughquestionsandyoustartopeningupanentireworldofdiscussion.

[Iwouldask]canyougivemedefinitionofwhenyousay,“Thisisn’tgood.Idon’t

understandthis.”Whataboutthisdoyounotlike?

Causeit’s,likewhoa,yourealizethatthechordchanges,thevoicings,andthesong

structure[ofmusicyoulike]issimilartothissongyoudenounced...what’sthe

difference–recordingstyle?Thelyrics?Maybethatgoesnormallywiththetime

orthewayit’sbeingrecorded.Butunderneathoftentimesthereisone...sound

orgreatthingstogetherthatseparatesit.Andoneofthethingsthat’spartofmy

journeyislisteningtopeoplesthoughtsandpeoplesopinions.Whatarethey

beforetheyhearasinglenoteofsomethingplayed?Whatisitaboutthemthatthey

areexpecting?

Oneofthethingsaboutjazz–jazzisaword.WhatmakesAmericanmusic,

jazz,anAmericanmusicsogreat,it’sameltingpotofalltheinfluences,and

jazzacceptsit.Andthat’swhatmakesAmericanmusic,Ithinkanartform

acrosstheglobe,great.Soit’snotoneconsistentthing.It’sameltingpot,a

hybridofallofthosethings.Andthecontrast–that’swhatmakesitso

beautiful.

YouhadIrvingBerlinandallofthoseguys,theyweresayingtheydidn’twantjazz

musicianstoplaytheirmusic.Butnowadayswhenwehearalotofthosethings,

it’sunderwhatwecallajazzinterpretation.Butthepersonwhooriginally

proposeditmightnothavewantedittoevencomeacrosslikethat

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Phrasing

B]Yeah,that'sbeautiful,man.I,IhappentobelisteningtoyourinterviewonLeftof

BlackwhenyouweretalkingaboutNancyWilsonrightatthemomentthewordof

herdeathcameinand...AndmaybeyoucouldtalkjustforasecondabouthowNancy

Wilsonaffectedthephrasingonthebassand,andhowyouapproachmusic...maybe

howsomeofhervocalphrasingaffectedyourownmusicality.

D]Forme,jazzwasn’tsomethingthatIhadreallylistenedtolikethatuntilCollege.

Ididn’thavearecordoranythinglikethat.WhenIgotintoCollege,Iwassofar

behindandalmostatanembarrassingpoint.MyprofessorTerellStaffordwasso

patientwithme,andsohonestwithmeaboutthingsIneedtocheckout.And

becauseofthatIwouldhangoutbyhisoffice...anythinghewouldplayIwould

hangoutbyhisdoorandlistentothemusic.AndI’llneverforgetmyfreshman

yearthefirstalbumthatheplayedthatIheardwasNancyWilsonwithCannonball

Adderley,andthesongwas“NeverWillIMarry.”AndofcourseSamJoneswasthe

bassist,butsomethingabouthervoice...allofasuddenIwasthrustintoadietof

hoursandhoursofjazzanddifferentsongsinthatidiomeveryday.Itwasalotto

takein.Becausesomethingabouthervoice,thefeelingofitstuckwithme.Itmade

mewanttoconnectwiththatstyleofplaying,notjusttheeducationalthing,I

actuallyfeltit.Andthatfeelingjuststuckwithme.ThesamewaythatIheardout

ofTerellStafford’sofficethatfollowingweekwhenIheardMilesDavis.Justthe

waythatthephrasingstuckwithme.Itjuststuckinagoodway.AndactuallyI

wouldtrytomimicNancyWilson’swayofdeliveringastory.AndIdidn’tknow

untillater,andIheardtheinterview,whereshetalkedaboutthatspecificrecord

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withCannonball,howshewantedtofitinlikeanotherhornplayer.Shewasinto

thatkindofphrasingforthatspecificalbum.

Butthatwayofphrasing,reallytryingtomakeastorycomesacross,aboveall,not

justtheoldexpressionofplayinganinstrument.Makingsurethestory...

somebodycanholdontoeverynoteyouplayregardlessofwhatinstrumentyou

play,whereyourstorybecomestheirstory.

PerformanceandPassion

B]IwenttoschoolwiththeJacksonsthereatFairfaxHighSchool,someoftheolder

Jacksons,andtheyusedtotellmethestoryaboutthefirsttimetheyplayedMadison

SquareGarden.TherewasnowarmupbandbecauseBerryGordywasconcerned

thatsincethiswasgoingtobetheirfirstbiggig,thatareallygoodbandwouldblow

themoffthestage,sotherewasnowarmupband,theyweretheonlyband.They

werejustthesekidsfromIndianaandhadneverplayedabiggig,andheretheyare

soloatsold-outMadisonSquareGarden.Theytoldmethestoryofhowtheusher

cameandtheywereinthegreenroom,andthentheyweregoingthroughoneofthe

tunnelstothestage,andattheendofthetunneltheyhadtheseblackoutdrapes.The

stagehandsweregoingtospreadthedrapesandtheyweregoingtojumpontothe

stageandthatwastheplan.Andononeendofthetunnel,andit’sthisdarktunnel,

theygothroughit,andononeendtheyarethesekidsfromIndiana,andthentheyget

totheblackoutdrapesandthedrapesopen.

Backthentheyhadtheflashbulbsandtheysaiditwaslikeamilliongunsgoingoff,

pop-pop-popandalltheselightsflashandeverything,andinsteadofjumpingonthe

stage,theyfroze.Andthenafterafewseconds,theyjumpedonthestage,now

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superstarsandtherestishistory.Whentellingthestorytheyallusedthesame

phrase:thatitwaslikebeingborn.

Iamcurious,whenthefirsttimeyoulookedoutontheaudience,andyouhadthisbig

audienceandyouwereconnectingtoitasanartist,wasittransformativeforyou?

Whatdidyoufeelthefirsttimeyoulookedoutatlikeabiggeraudiencethanyouever

expectedtoplayinfrontof?

D]Firstofallthatwasareallycoolstoryyouwerejusttellingme.

D]Ifeellikeasanartist,youneedto[reflect][everything]aroundyou,which

doesn'tjustincluderadiobaby,itincludesevenoldergenerations[ofmusic]too.

Andthethoughtthatmightgowiththat,andperspectivesonwhat'sgoodorwhat's

great,orwhat'snot.Noneofithastobeaccurate...thosethoughtsjustkindof

defineyourartisticperception[as]aperson.Itallmatters,youknow.

Formeit’sbeinginthemoment,especiallylive...Whetherit’s15peopleinfront

ofme,or150,or600,or60,000.ThebiggestthingthatstoodoutformewhenI

wasinalargeaudiencewas–Iwassurprisedthattheprocesswasreallythesame.

(laughing)Iwassurprisedhowitdidn’tmatter.Itmatterednomoreornoless

thanwhenitwasasmallersituation.That’swhenIrealizedaboutmyselfthatIwas

tryingtodiveintosituationsandhopefullygivethemeveryaspectofmyselfthatI

could.Becausebelieveitornotwhenit’sawholelotofpeoplereactingtowhat

youaredoing...It’seasyforme,believeitornot.It’ssomanypeopleit’snotas

intimatethanwhentherearejustafewpeoplerightuponyou.Theyareliterally

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rightinfrontofyouwatchingeverybuttonyoupress.Andthenontopofthatyou

stillhavetofeedthemsomethingthathopefullyaffectstheirlives.

Ithinkwhatsurprisedmethemostwashowtheprocesshadn’tchangedthat

much.Juststayready.

Forothersit’sdifferent.Forothersit’sthatmomentwhenyourealizeyou’reon

thatplatformandthere’smorepeopleallofasudden,anditchanges.Formeit

wasn’t.

Andisn’titthesamewaytheinterviewImighthavewithyourightnowwill

matterjustasmuch,andIwillspeaktoyouwiththatsamepassionasifQuincy

wasrightnexttome.It’sthatsamething.

OnMakingWeaknessesaStrength

B]IbrokemybackwhenIturned18andIwasinbedandIlearnedhowtoplaylying

down,andsoIjusthadaccesstothelowerpartoftheneckanddifferentthings,andI

hadalotoftimeonmyhands,soIuseditlikeapercussioninstrument.Itwaseasier

toplaylikeadrumthanabass,differentthingslikethatand...WhatIlearnedfrom

that,verymuchlikeyouweresayinginoneofyourinterviews,whereifyoujustwork

superhardandyoutakeadvantageofthosekindofopportunities,itdoesother

thingsforyouinlife.Anditcertainlydidthatforme.

Andinfact,whentheygavemetheHonoraryDoctorate,andIwasCommencement

Speakerattheschool,ItalkedabouttheimpactthatJazzhadonmylifeandbeingan

improvisationalmusician,hadinmylife–especiallyifyouwanttodosomething

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that'sneverbeendonebefore.Iwasapioneerinalternativeenergyasanexample,in

andbeingthefirstintheUnitedStatestodothat.

Therewasnorulebook,therewasnoplaybook.ItmeantthateverydaywhenIcame

intowork,Ihadtoimproviseanswerstohundredsofquestions,andthatexperience

ofimprovisingeverysingledayandmakingamistake,hittingonenotethentryingto

turnthatintoabeautifulphrase,whateverthatis,justcameinincrediblyhandyand

allowedmetobemuchmoresuccessfulinlife.SoIdefinitelyagreewithyouonthe

valueofit,whetheryouendupbeingatouringmusicianornot,it'sjustIthinkthe

besteducationfrommypointofview.

D]Ireallybelievestronglyinthat,Ireallydo.

B]Soyousaidonetimeaboutmakingyourinsecuritiesastrength.That'skindof

howIdidit.Canyougiveanexampleofmakinganinsecurityastrength?

D]WhenIfirststartedatTempleIhadalotofdeficiencies,man.Again,Icame

fromahotbedoftalent,butintermsofactualskillset,readingandallthatstuff,

man,Ihadsomedeficiencies.Iwasn’taquicksightreader,ofcoursenotatall.I

justdedicatedthattime,Isaidletmejustfocusonthat.

That’swhyItrytobehonestinmystory.Iappreciatetheloveshownwhena

musicianwritesastorytheymighthaveheardonme.Maybedoingalotofone

takesonrecords,andsightreadingandallthatstuff.

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Ifeellikeit’smydutytostopthemwhentheydothatpraise,and“really?”Talk

aboutaddressingweaknesses,that’saprimeexampleofit.Andthatactually

openedupotherdoorsforme.BecauseIwasreallyfocusedongettingmyeyes

together,I’mabletoseedifferentthings.ThathelpedmewhenIchosetoreally

embarkonthecompositionalworldandtheopportunitiesthathadn’tcomeyet.I

wasabletogotothelibraryandstartstudyingscoresandstudyingthingslikethat

onmyown,becausethosethingsthatwereonceinsecuritiesnowbecameawayof

meusingthemasatool,asastrength–itopenedupawholeworld.Ichallenge

peoplesometimes:actuallyattackthosethingsthataretheinsecurities.Take

boldness,andjustgoforit.Whattheworstthatcanhappen?(laughing)

B]Yeah,absolutely.

D]Whynotjusttryit?

B]It’sinteresting,inthealternativeenergyworldcauseIwasupagainstalotof

prettybigcompanies,theyknewthatoneofmybigweaknesseswaspatience.SoI

sworethattheywouldneverbeatbymybeingimpatient.AndIwouldliterallysit

homeandIwouldliterallygripthechairreallyhardforliketwodaysortwomonths

soIwouldn’tdosomething.

Idothinkconfrontingwhatyourinsecuritiesare,andjustdealingwiththem

honestly,andtryingtomakethemastrengthisoneofthegreatlessonsanybodycan

learn.

D]Ohman.

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B]Yeah,ifyou'reupagainstareallycompetent,capableopponent,andinmycase,I

hadmoreorlesseveryoil,coal,andutilitycompanyintheworldopposingme.

They'vegotalotofresources.

Youhavetoassumeyouropponentsarecompetentandandfigureoutwherethey're

goingtoattackyouandmakesurethatthat'swhatisnotavulnerability.

D]Youspokeit.Youactuallyspokeit.Youspokewhatthatthingwas,the

patience.I’mgoingtoattackthis.There’ssomethingtothat.

Derrick’sFretlessBassSpecialCharacter

B]Youmentionedthatyourfretlessbasshasthelinesforwherethefretsshouldbe–

buttheyareinthewrongplace.Didthatforceyoutoimproveyourintonationand

eartrainingrealfast?

D]Imean,yeah.Ijustlovetheinstrumentanditwasoneofthosethings.I[was]

fortunatethatIhadagreatteacher–JoelRuffin....Itwasjustinteresting,butit

definitelyaddedtothecharacterofthatactualinstrumentthefactthatthatisone

ofthequirksofthebass.

Preparingtoappreciateyouandyourmusicbetter

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B]Whatshouldeithertheyoungfolkswhoknowmaybeknowalittlemoreabout

musicthat’sbeenontheradiointhelast20yearsandolderfolkswhoreallyskipped

afewgenerationsofmusicwhat,whatshouldtheybelisteningto,reading,watching,

thinkingabouttounderstandyouandyourmusicbetter?

D]Insteadofwhattheyneedtoknow,Ifeellikethebiggestthingis:Itellanyoneto

approachtheireverydayandapproachtheirmusicthewayIgrewup,tolistento

everythingaround,notjustthethingyoumightagreeordisagreewithhowit’s

said,[but]tryingtounderstandthepersonspeakingit.

Conclusion

B]Mylastquestionkindofgoesbackyourchurchexperiencealittlebit.Perhaps,

yearbeforelast,Mr.SippwasoneoftheperformersandhedidsomethingIhave

neverseenbefore.Onthegardenstagewhenhedidhiswalkabout,hewalked

straightbacktowheretherewasakindofhandicappedsection,therewerethree

peopleinthere.Iwasinmywheelchair,butI'mgood,andthereweretwoguys,who

wereinreallybadshape.Kindofshakingandinreallybadshape.Andhewalked

rightovertothemandheusedtheirhandstoplayhisguitar,andheheldthemand

hehuggedthemandhestrokedthem.Anditwasoneofthemosthealingthings,I

haveeverseeninmusicandthelooksontheirfacesandthelooksontheirfamilies

faceswereindescribable.Becausewhenyou'reinwheelchair,peopleoftenthink

you'recontagiousorsomethingandtheyavoidyou,theywon'ttouchyouandthat

sortofthing.Andherehewasjustalloverthem,itwasabeautifulthing.

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Mr.Sippcomesoutofthegospelbackground.Hewasagospelmusicianformany

yearsbeforehestarteddoingblues.TheloniousMonkyouknowwasagospel

musicianbeforehestarteddoinghisthing,andIjustwaswonderingifyoueversaw

thatkindofmagichappeninmusic,eitherinthechurchorinaconcertsetting,or

somethinglikethat?

D]Ohman,whatIcantellyou,moretimesthanIcancount,andwhenItellyouI’m

aproductofthat.Andtobeinthatimpactstickswithmeregardlessofgenre.That

feelingofimpactandconnectionissomethingthatIhopesomebodycansharea

storylikethataboutmeoneday.Thatmattersmorethan,asmuchasthestoryof

playingsomegrandstageorsomegrandsituation.Thatmattersjustasmuch,and

thatwhatmakesmevalueaNancyWilson,whenIhearhermindcircling...and

I’moverwhelmedwithhowmuchIneedtolearn.Somethingaboutthewayshe

touchedmethatmademewanttoconnectwith...music....Inspiringthevalue

ofthatisconnectedtosomanyfolkexperiencesandrealconnectionsthatI

witnessedasachild.Youwouldneverknow.Youjustdon’tforget.

D]HonestlyinthisinterviewIappreciateyoutouchingonthosetypesofquestions

andpoints.Insteadofjustnamedroppingandrandominstrumentals–I

appreciatethat.Becausethat’swhatIwanttogetto.It’savastsubject–that’s

whatIwanttopulloutofmyselfeveninthisresidencyandbeyond.

DerrickHodge:Iwanttogeteveryfacetofmyselfouttoyou.

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APPENDIX:InformationResourcesandWebpages

B]Mydefinitionofwhatisjazzforpurposesoftheseclassesisanythingthathappens

atanyjazzfestivalisinthetent.Itdoesn'thavetohavethiskindofbeatorthatkind

ofvoicing,it'sanythingthat'splayedattheJazzFestival,andthatisessentially,

everythingnow.SooneofthethingsthatIlovetodoandIdidfortheHerbie

HancockvideoisIwentthroughhisautobiographyandItookeveryartistthathe

mentions,otherthanstuffthathedidhimself,andIusedthatforthesoundtrackfor

hisvideo.Soitshowedhisgrowth,andIdidthatforAngeliqueKidjo.AndI’vedone

thatforyoualso.

Anyartistyou'vementionedonanyoftheinterviewsoranythingI'veheard,Ifounda

linktothem,whichIhaveonawebpagefortheclasssite.Sothatifthestudentsgo“I

reallywanttolearnmoreaboutCommon”there'sabunchoflinks.whereIwantto

learnmoreaboutJDillahere'sabunchoflinks.OrifIwanttolearnmoreabout

NancyWilsonhere'sabunchoflinksandtheycantakeitoutinanydirectionthey

wanttogo.

It'ssuchapleasuredoingthat.IdiditforAngeliqueKidjoandshementioned100

differentpeople.Sothatwasalittlemuch...Ohmygoodness.Butitwasalessonfrom

amasterinAfricanMusic,Frenchmusic,Brazilianmusic,USmusic,rockandroll,

funk,jazz,R&Banditwasafewverypleasurableweekslookingatmusicthewayshe

lookedatit.Andit'sbeenaverypleasurablecoupleofweekslookingatmusicthe

wayyoulookatit,too,it'skindafunlookingatmusicalgrowthofaperson.

D]Man,thatactuallymeansalot.Veryhonestandinformative.AndI’dloveto

checkoutthatpagewhenyouaredonewithit.

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