by Emma Johnson

Interview w/ Dayna Stephens

Dayna Stephens is an internationally renowned jazz saxophonist and composer who has released ten albums and toured extensively across the globe. Most recently, Dayna has been on tour around the west coast of the U.S., promoting his newest album Right Now! Live at the Village Vanguard with Aaron Parks, Ben Street, and Greg Hutchinson as the Dayna Stephens Quartet. Raised in the San Francisco Bay Area, Dayna attended Berkeley High School, known for its jazz program. He went on to graduate from Berklee College of Music and continued his studies with jazz icons such as Terence Blanchard, Wayne Shorter and Herbie Hancock at the Thelonious Monk Institute of Jazz. Currently, he teaches at Manhattan School of Music and William Paterson University.

On top of these impressive credentials, Dayna is also an incredibly genuine and humble guy, and it came as no surprise to me when he agreed to take time out of his hectic schedule for a short Zoom interview with me.

Emma: What is your earliest musical memory?

Dayna Stephens: You know, it’s funny, I’ve never been asked that question specifically like that, or not that I can remember anyway. I’m having a hard time remembering specifics. I do remember being very small – I’m looking at the very saxophone I saw when I was like two years old and it was taller than me at that point. I remember seeing that saxophone. But then I remember hearing things like Earth, Wind, and Fire in the house, just like R&B, things like that, the blues. I had no idea what I was listening to. I remember hearing Stevie Wonder, Stevie may have been the first person that I knew who I was listening to at like five or six years old, but it’s so hard for me to remember back then at this point.

E: Coming from the Bay Area, what do you think are some of the biggest differences between the scene there and the scene here in New York City?

DS: Well, I feel there’s more of a need to be versatile in terms of what genre one plays in the Bay Area just because there are not as many musicians, the musicians there are need to cover a lot more ground. I mean, you do have people who really focus on jazz or really focus on salsa or different genres, but I find that a lot of the jazz musicians branch out into other genres. I feel there are certain instruments that are in higher demand because there aren’t as many people playing them. Like bass, for example, when I moved back to the Bay Area after college I was playing more gigs on my bass than I was on my saxophone just because there are not many bass players around. So, you know, things like that. Whereas in New York, there is a lot to choose from. Scarcity is not a problem in New York, I don’t know if it ever has been. Oh, the venues – there aren’t as many listening venues for jazz in the Bay Area. There are venues where you’re

background music, I call it “wallpaper music,” you’re there as part of the ambiance not necessarily to be listened to. But venues where local artists come to listen to each other, just to hear what they’ve been working on, I don’t find a lot of that in the Bay Area, unfortunately.

E: As a teacher, how do you connect with your students and what is the number one thing you hope to impart on them?

DS: A sense of confidence in bringing out their authentic musical vision. That’s it, really. Sometimes that’s through technique, sometimes it’s through giving another perspective on something that they wrote. Just reiterating the things that have been impactful in storytelling in the past. It involves a lot of things but at the end of the day it’s about them bringing us into their world as musicians, especially in this artform. Classical is all about being proficient on the instrument, making sure you have a good sound, and you’re telling someone else’s story. That’s a different story than in jazz, where it’s become what it is because of the unique voices within the genre and the way those voices tell their own story.

E: Speaking of jazz, how do you feel about the genre and what it looks like today?

DS: Well, to be honest, all words are tools, they’re pointers. So to me, “jazz” is just that. It’s a tool to kind of establish a common ground of where to jump off into things that are hopefully a bit deeper beyond the word jazz. For me, I don’t hold too much weight in the term. There’s just as many interpretations of what that means as there are people who listen to it, so it’s hard to nail down. Some elements are improvisation, composition – but again there are always outliers that go completely against all of the rules. I can say that I can feel happy and confident that it’s evolving as it should. I don’t think that it’s being restricted or confined in any way. The outcomes are always going to be subjective to the person listening. As long as it’s able to grow and breathe into all these other branches of this big, mega tree of different styles and unique blends then I’m cool with it. It’s just overwhelming because you really don’t have enough time to meditate and explore each one of those branches. But to me, I’m happy that jazz is continuing to evolve and represent the times that it lives in.

E: I know this might be a bit cliche, but what advice would you give to a younger version of yourself who was just about to release his first album?

DS: Patience. Patience. Be patient. There’s a lot involved with that, but it all boils down to being patient. Like, ignore that sense of unworthiness that you have. I could go so deep into what patience means to me. Keep on your path. I would also say look for help, you can’t do it all yourself.

E: Before the end of your career, what is one thing you’d like to do or accomplish?

DS: That’s funny, I should think these things, but I don’t! There are players that I want to play with, that’s it for me. I want to play with Kurt Rosenwinkel, Jack DeJohnette, Dave Holland, and I don’t know, Brad Mehldau. And I’d love to play Carnegie Hall! But that one’s on everyone’s bucket list, I guess. But really, I’m mostly thinking, “what chord should come after this chord?” I’d rather stay in the micro.

by Joel De La Cruz

Interview with Benjamin Young, Double Bass/ Electric Bass player

Benjamin is a bassist originally from Boston, Massachusetts, he attended Berklee College of Music. He started playing the violin at the age of 3 and then eventually switched over to playing the violin. He currently lives in New York City and plays in many different rooms like the Harlem Wine room, Shrine World Music venue, Rockwood Music Hall among many other places. Benjamin currently plays in a jazz quartet and a guitar trio called YEStet with Kevin Scollins and Willis Edmundson.

1). What drew you to be jazz over other genres?

Jazz music, and music of the American songbook has always been a big part of my life. I grew up studying classical music, and ultimately fell in love with Black American Musical forms ( RnB, Blues, jazz, and Rock ) and improvised music, while in high school. I love the way that musicians have a different way to express themselves with their interpretations.

2). Are there any musicians that inspire you? What are the qualities about them that you most admire?

Lots of musicians inspire me, but some that come to mind are the most recorded bass player, Ron Carter, and saxophonist and Composer Mellisa Aldana. Both of them are incredibly masterful at their instrument and composing. The greater inspiration comes from their drive, and love for the process of learning and growing

3). What are some of the things that go through your mind as you perform in front of an audience?

While performing I try to keep my mind as clear as possible. My main goal is to be present, and listen as best I can. This ensures that the music is as authentic as possible.

4). What’s the best piece of advice another musician ever gave you?

The best advice that I’ve been given is to play what I like, if I’m connected to it then the audience will also have an amazing experience. Basically to be true to myself as a musician and human being!

5). What are your biggest interests outside of music?

Outside of music, I love to cook, and read.

by Giovanna Camacho

A native from Lisboa, Portuguese Sara Serpa is a singer, composer, improviser, who through her practice and performance, explores the use of the voice as an instrument. Serpa has been working in the field of jazz, improvised and experimental music, since moving to New York in 2008. Literature, film, visual arts, nature and history inspire Serpa in the creative process and development of her music. She has performed her own music in Europe, Australia, North and South America, singing at international festivals such as Bergamo Jazz Festival, Festa do Jazz, the Panama Jazz Festival and many more. She currently also teaches at The School of Jazz and Contemporary at The New School and at the New Jersey City University.

I was given the opportunity to interview Serpa and this is how it went..

Me: Who were your earliest inspirations? How do you think they helped you become the musician you are today?

Sara: I started playing piano when I was 7 and sang in a choir until the age of 18. I think that shaped my ears and what they look for , in particular Bach and Bartok. Learning Jazz opened my mind to other ways of making music- it liberated me from the conservatory rigid approach to music. The Miles Davis Quintet, Hermeto Pascoal, Kurt Rosenwinkel, Guillermo Klein, Mark Turner – these were musicians I listened to a lot and intrigued me in the way they wrote music, improvised and performed. Ran Blake and Danilo Perez were very important teachers. Today, Duke Ellington is also a huge inspiration.

Me: It is no surprise that music has a variety of genres. Why choose Jazz? What stuck out to you the most?

Sara: Freedom and creativity. Black culture.

Interview with Sara Serpa

Me: Looking back at your entire discography, is there a specific album/song that means to you the most?

Sara: Each album marks a period of my life – it is hard to choose one… Primavera and All The Dreams mark a period of blossoming and new life.

Me: Is there a certain message that you want to give to your listeners when they listen to your music? If so, what would that message be?

Sara: I hate cliches, but music is a universal language. My message is to listen with an open heart and non-judgemental ears. Music is not only about music, and it can certainly open the listener’s minds to other worlds and realities. That is what I have been trying to do in my latest projects, such as Recognition and Intimate Strangers.

Me: What are the struggles you face when it comes to your artistic career? Are there times where you lack inspiration? Do you get anxious before going on stage?

Sara: The struggles are many – I think about the lack of opportunities and representation of creative female and non-binary musicians in festivals, venues and in the scene in general. I lack inspiration when I listen to music that is only focused on the business/ marketing side. I get anxious the weeks before, but not before going on stage. I always want to be prepared for concerts and do think that a long term approach is the best to be centered during performances.

by Nia Almareles

Welcome to my interview! Today I will be interviewing Trumpet player Ryan Moquete who was born and raised in Bronx, New York. Ryan has one brother and two half siblings. In his free time Ryan likes to engage in some of his hobbies such as Photography, Sketching, Playing Basketball and Video games, as well as going to the gym. Ryan and I met in French class. I noticed he played the trumpet because he carries it everywhere he goes. Ryan even has an Instagram for his music where he soon will be uploading videos of him playing the trumpet. It’s called @ryanmoquete_music.
Interviewer: Good evening Ryan how are you?

Interviewee: I’m great Nia and yourself?
Interviewer: Very well thank you! Are you ready for your first ever interview? Interviewee: A little nervous but let’s get the show on the road!

1. At what age did you realize you were interested in studying Jazz and Why?

When I was 16, I decided that I wanted to play jazz but I did not think I would be going to college for it, only until my junior year of highschool. What made me interested in studying jazz was a summer jazz program I took part of at York College with professor Tom Zlabinger. In this program, we met 4 days a week and for the first half of our days, we would have lectures about the history of jazz or conjure up ideas for thought provoking topics such as “what is jazz?” or “is jazz dying?”. For the other half, that is where we would begin playing tunes and my love for jazz flourished. The energy while performing and even rehearsing was radiative.

2. If you didn’t pursue that route to becoming a musician, what path do you think you would have chosen, did you have any doubts along the way?

This question has always been the hardest for me to answer since I never really had the idea of another route. What got me on the route to becoming a musician was the enjoyment of learning and seeing progress. It is worth noting that my music teacher in middle school recommended I go into a music high school, since he saw that I was one of the few who enjoyed playing and learning what he had to offer. Since then I have been constantly learning about music and what it means to be a musician as well as the infamous imposter syndrome. Throughout this path I have miraculously landed on, there were always doubts of whether my “sound” (physical sound but also playing ability) was good and if I truly deserved knowing, playing, and even learning from many talented players. Luckily, I have had a great support system and learned that most people in this field want to grow. Now to answer the question, I probably would have taken up philosophy since that always intrigued me. Now that I have been studying jazz, I know that is the last thing I want to do because I hate writing.
3. In your opinion, what makes a good Jazz musician? (with Examples)

What makes a good jazz musician in my opinion is two things: 1) how they carry themselves as a player with others and 2) the content/ideas they bring in their playing. The first one refers to the idea of being a good musician in general. You can be a great player and all but what does that mean if no one on the bandstand likes you? The second one dives deeper into the core of a good musician which is their playing ability. The saying “a good musician steals” is what makes jazz in my eyes because even the greats did it. One of the many great musicians who helped develop jazz was saxophonist John Coltrane, who in his playing quotes a ton from Lester Young, another great saxophonist. Another example of a good jazz musician is being able to introduce/pioneer a different approach. The trumpeter Miles Davis is a good example of this because he introduced the idea of modal jazz during the hard bop era.

4. What was your “dream job” as a child? Would your younger self be proud of the career choices you’ve made in the present day?(Give me juice)

As a child my dream job kept changing. It went from wanting to become an astronaut to being a youtuber. I believe my younger self would be proud of where I am right now because I have a set path I am on. As a child I felt as though I wanted to do everything and developed a bad habit of starting something but never finishing. I feel like my younger self would be more amazed that they would have found something to stick with instead of hopping over to something new.
5. How is it that you balance your Work, school, and personal life, alongside your introduction to becoming a jazz musician

Balancing out work, school, a personal life and the path of becoming a better musician is overwhelming but something that you have to get used to. There has to be order and everyone has different methods. The way I do all of that is strange. On the days that I do not have class, I work and vice versa. A lot of time spent during my classes (which right now are mostly music courses) are for rehearsing and in between each class I mostly practice. When I am not doing either I decide to have a social life which in the end is me practicing since my friends are also musicians. We get together and jam out most of the time, but I like to see jam sessions as an “unfocused practice session”.

Interviewer: I love that… Thank you so much Ryan. I really enjoyed this interview. Even though you said you hate writing, you are a great writer. I wish you the best of luck pursuing your career i’m sure you’ll be “un grand musicien”
Interviewee: “merci à bientôt”

by Zeenat Qanoongo

David grew up in the Cocorite district of Trinidad, which is located four lanes of roadway from the sea. Before a fortuitous BBC jazz broadcast at midnight on his grandmother’s General Electric radio forever transformed his relationship with music, he played a wide spectrum of classical and folk music. He was inspired by Joe Farrell’s and Kent Jordan’s talent to join the ranks of performers who have championed the flute as a viable jazz instrument. 

His own voice has been largely inspired by the field of jazz tenor saxophone, an instrument to which he’d always felt a strong connection but which he couldn’t play because it wasn’t offered in his band program at the time. His attention was initially drawn to the renowned figures of John Coltrane and Joe Henderson, but he soon moved on to other musicians.

Since moving to the United States and graduating from Queens College’s MA jazz program, David Bertrand has established himself as an unique voice in the New York jazz scene, performing with a rapidly growing generation of artists on multiple flutes and woodwinds at venues and festivals across the United States, the Caribbean, and Latin America.

1. Besides artists that you listened to that inspired you, was there anyone in your personal life (family, friends) that inspired you?

           Yes, I think there have been people in different points of my life that have inspired me. At hand I know that there is a gentleman in my church back home named Calvin Man, i think he was an engineer, I’m not sure, but he is an amazing human being. One of the things that I admired about him was how he was able to correlate faith into everyday life, and it’s not that he’s referencing one source. He, in our conversations about music, talked very often about being clear about your sources, in terms of what you gravitate to. And finding your own position as to what degree your influences have an impact in your music. I think because he was so content with life and comfortable in his own skin that for years i would watch him respond to music and worships that would happen in trindadian churches, Calvin did this kinda old school groove thing that was the coolest thing to see. But to have something that moves the body is universally appreciated. Another person that inspires me daily is our daughter Aila, she was born 4 months before the pandemic and life after has been a blur. But seeing how curious she is about the world and things that people take for granted like the birds, butterflies, the sky, random people, right? It’s actually inspired me to write a few songs, not in the sense of oh my daughter is so beautiful and lovely, but I think of life events and perspectives and the fact that she’s in our lives. It’s more about life through the lens of parents. So I do think that Aila is a huge source of my inspiration. 

2. How did the artists or people that inspired you impact your musical career and where you are right now?

           One of the things I enjoy doing is searching for interviews of the artists who inspire me, i feel that the previous generations had to deal with this inscrutability in terms of a personal perspective to who’s making the music. In the jazz world, biographies are a big thing. There’s the infamous bio of Miles Davis, but past generations didn’t really have anything aside from interviews that were topical, didn’t have that deep narrative coming from the musicians themselves. So in the 21st century we very much have that so I love to dig into interviews of musicians that inspire me. And one of the most current take-aways is the idea  of process in terms of the musician that you are and are becoming and being patient. So with proces is the idea that the musician you are seeing in the present didn’t just arrive, he or she would’ve had a range of experiences separate from music as well as thousands and thousands of hours of practice honing their personal voice figuring out what worked, what didn’t, what had to be refined, what has to be discarded, what has to be embraced. And they are alway so honest in their interviews. Stating I didn’t always sound this way but this is how I overcame it. Within that correlated the idea of patience that this music especially takes time because it’s such a personal expression, and it changes with how we perceive and respond to things. And because we are in such an age of Instagram, snapchat and toktok we think things are instant and we sometimes forget how many decades it takes for someone to get really good and those perspectives really inspired me. And I suppose also the idea that career trajectory specialty in music it’s not linear, nothing is guaranteed. 

3.(i’m sure you’ve gotten this question a lot) Did you ever hit a slump or a writers block during covid and if so, how did it affect you and how did you manage to get back on your feet?

          I love that you referred to writer block because very often that and your will and memory can feel disconnected and that happens often to us. During covid i would say i couldn’t practice my art, my craft. I wouldn’t say i was in a slump, i couldn’t practice my craft because all of humanity was quarantined. Still are and moreover as jazz musicians we are constantly putting our musical reflexes in the way of what we call sessions so a group of musicians will gather together and play through the pantheon of jazz. As a means of staying in the game like a martial artist or an athlete putting themselves in a real time situation to see how creatively they’d respond. Because I wasn’t able to play with real people, I felt that there were aspects to my musicality that wouldn’t be there if things were normal. In terms of overcoming it, it was the whole “hey” reaching out to a fellow musician saying that we need to plan a session together. But i also think what got me through ir was the perspective of having a family, as much as my position felt angsty everyone was going through it. There were people who were getting sick, dying because of covid. I recently lost my uncle to covid, december 2021, that one kinda hit home. Folks were going through so much tragedy, and i had my health, my family was safe and I could still play, and that I knew that my position was one of hope, that no matter what the situation looks like in the present tense, that once there’s a tomorrow there’s hope. But even if things can’t get better, there’s still a place for music in human existence that makes us feel various emotions that make us human. I thought about how I could use my gift, my ability to help other people in need.

4. How do you make sure that each of your pieces tells a different story or how do you manage to incorporate different feelings and emotions into each piece to make it stand out?

       Constantly reference the albums of artists that influence me throughout jazz history and theres a way in which you want to approach it with your analytical mind and emotional sense. Appreciating the records and how they were programed, in the sequence of songs, why was the swinging up tempo number here, so when ive had to record myself, that was a big thing i discussed with my friend Chris (whose an amazing musician) whose a decade older than me, so thats atleast one generation ahead of me. I go back to the record i listen to, and i still do and to appreciate how those players made those specific choices over the songs. There are ways folks consider the factor in terms of playing pieces together, where the uptempo numbers where you play your fast and exciting stuff and in ballads you play your slow stuff. And the ways in which you can flip your expectations as to what song you want to play based on what story you want to tell. Very often, the very predictable arcs that become no pun intended, architects for how it should be. In terms of playing pieces, I follow some traditional arcs, or if it’s a ballad, I have a more calm and serene approach to things. Maybe on a ballad I want to deal with angst, there’s this turmoil in your soul, with lots of different emotions, i may play a lot of fast and energetic things that relate to the emotions. On an uptempo post modern song with lots of harmony and interesting rhythms and it’s fast, I might start off serenely, the equivalent of manhattan. Play a sustained note to juxtapose against all the activity going on in the piece. To answer your question, when you’ve written a composition, what is the initial story, deciding how your statement will be conveyed.

5. As a performer, you tend to be anxious or nervous to some degree, is there anything that you do, maybe a routine of some sort to help yourself overcome those emotions?

       I used to drink lots of water before performing. I’d look for a restroom so i’d be done with my business beforehand. I don’t tend to get nervous so much.

by Matthew Azucena

I live in the basement unit and my landlord lives above me in floors 1 and 2. On most weekends, I can hear him play music with his friends. Many times, I have also seen him put various instruments in his car for various gigs to supplement his income. So I figured he would be a good person to ask if he or someone he knew was a jazz musician. Luckily, he did know someone: Joe Giglio. Giglio is a guitarist and vocalist. He lives in Manhattan and has five published records. He got his Bachelors from SUNY New Paltz and his Masters from Purchase College. I interviewed him on 26 March 2022 over the phone.

1. What made you choose your preferred instrument?

 Joe Giglio saw the performance of the Beatles on the Ed Sullivan Show and was interested in the guitar from that point on. His older brother would also play many older records with guitarists, and this was what made him seriously look into learning how to play the guitar.

2. What draws you to jazz?

 He was drawn to the improvisation aspect of jazz. He told me that being able to make your music on the fly was something that interested him because it meant a little less music had to be put on memory, but also because he could have a lot of fun with his friends that also played jazz. He likened to having inside jokes with some friends but not with others in terms of how you play when together.

3. What is one important aspect of a band for you?

 That every band member needs to keep time. He mentioned, like in class, the drummer is the usual timekeeper. But he added that everyone had to not rely on the drummer to keep time. He recounted a couple times when a less experience band member lost track and made the performance not as good as it could have been if they just kept an internal beat counter.

4. What was your favorite encounter with someone you admired?

 More than a decade ago, Joe Giglio got to meet one of his influences, Sonny Rollins. This was at a concert in college. He recounted how he was nervous to approach him, but Rollins was extremely nice, and they were able to smoke and joke a bit before having to continue on with their respective nights’.

5. What is your favorite gig/recording session from memory?

 In May 2004, Giglio was set to record with Joe Diorio. Diorio was another person he admired, so Giglio was really excited for it. He said that Diorio was an amazing guitarist but suffered from medical conditions that would eventually partially paralyze his left side. This left without the physical ability to play like he once could. With this in mind, Giglio said that it was really cool looking back on the experience of one his personal greats in their prime. This was the one and only time he got to record with Diorio.

CONTACT INFORMATION

Cell: 212-666-3422
Email: joe@joegiglio.com
Website: https://www.joegiglio.com/news/ Youtube: https://www.youtube.com/user/joegig

by Martha Larios

Aya is a Japanese jazz vocalist and composer based in New York City. Her album Day by Day debuted in 2018 and produced by Grammy award-winning saxophonist Wayne Escoffery. After her album’s release Aya performed throughout Asia, completing tours in Japan, Paris, and Taiwan.

Aya developed her sound and style by studying with Steve Wilson and Carolyn Leonhart and is a 2017 graduate of City College under the Kaye Scholarship with Degree Honors Magna Cum Laude. Her vocal style is a light soothing sound that makes just about anything instantly captivating and is well recorded in her easily accessible album.

ML: What was your most memorable performance?

AI: My album release show at the Cornelia Street Cafe in the West Village. I was excited and very nervous at the same time, since it was my first time having an album release show. We had a great time performing to a full house and were fortunate to have a supportive audience.

ML: What are some of your early inspirations? What about them drew you in?

AI: Carmen Macrae and Sarah Vaughan. Their beautiful voices and unique phrasings drew me in. I found it funny and amazing that Sarah Vaughan sometimes even forgot the lyrics she was singing live but kept going and came up with new lyrics on the spot lol. Her showmanship and music interpretation are very inspiring.

ML: Is there a quote or motto you live by? If so, how has it inspired you?

AI: I have one in Japanese: 天真爛漫 (Tenshinranman). It’s a bit hard to translate, but it means being natural, simple, and yourself. I’m always trying to be myself, especially when I sing and compose songs.

ML: I read on your bio you’ve toured Japan, Taiwan, and Paris. What was that like? How did those audiences compare to the ones you’ve performed for in America?

AI: All audiences in all places were very nice and appreciated the music. I had more opportunities to talk to audiences after the shows in Taiwan and I really enjoyed my conversations with them. I did feel that there was a stronger connection to the audience at shows in Taiwan too. I also think there is a notable difference between the audiences in Japan and America. Japanese people tend to be more quiet during the shows and Americans tend to be more vocal. Though they are different, I like them both!

ML: Congratulations on being selected as a spring 2022 fellow at letsbespoken, I’ve noticed you were also a fall 2021 fellow as well, can you tell me a little bit about how you’ve helped other musicians grow in the music industry?

AI: Thank you! As a fellow, I’m actually receiving the mentorship. My mentor Gina Izzo, who is an amazing flutist, has been very helpful and we’ve been talking about my next album project. We had a few group sessions with other fellows. It was so nice to connect with other female musicians within the jazz and classical music industries. We’ve had a few group sessions, and one of them was learning how to write an artist statement. We had a specialist review our statements and it was very helpful. Also, it was a great opportunity to know what other fellows are doing with their music. In a different group session, we introduced each other, explained what kind of projects each of us was working on, and exchanged our thoughts. It was a very inspiring and encouraging session.

by Rebecca Vega

Francisco Jose Mela was born in Bayamo Cuba and went to go study at the Music School of Arts El Yarey during his teenage years and later went to attend the National School of Arts for Teachers, el CENCEA. During the earlier days he was able to teach with well-known Latin Jazz musicians in the country. He was able to tour with his band MelaSon Latin Jazz Band through Mexico. He came to study in Boston at the Berklee College of Music. This is when he was able to be part of the percussion faculty which is what he is known for playing today. He has five albums: Melao (2006), Cirio: Live At The Blue Note (2008), Fe (2010) featured in Mother Earth (2010), and M.P.T. Trio Volume 1 (2021).

Questions:

– When did you first begin to take an interest in music and what did you feel?

I started playing music when I was young, around the age of 9 or 10. I began to take it seriously and study at the age of 17. The more I studied the more I understood it and it made me feel that there was not anything more important than music, it became my greatest passion.

– Who is your musical role model?

Well, my musical role model at the time was a teacher in the school I attended, his name was Osmani Sanchez, he is a great drummer. Once I heard him play, I fell in love with the instrument. The skill and professionalism in which he played awoke my interest and since then I still play the drums to this day. Truthfully, I’ve never felt anything more special than when I played it for the first time.

– What is your most memorable experience you have had with music?

My most memorable experience was when I was finally able to play the drums with a group in all their songs from beginning to end. It was the most pleasant feeling.

– What is your favorite song and what is your favorite song you have composed?

I do not have a favorite song, but I do love to play Jazz. And from what I have composed, since I am constantly composing the ones I have already made sound old to me, so I like what I am making at the time and then I will come to like the next thing I create.

– What do you wish to pass on to the next generations music wise?

What I would like to pass on to the next generation is that the most important thing in the world of music is first, to be humble because it is easy to become prideful. Second, practice a lot to always be prepared. Third, learn to be flexible and always know when to listen to others.

by Melanie Friedmann

Essay #3 Jazz

Steve Picataggio is primarily a jazz drummer who studied and received his Master’s degree in jazz at NYU Steinhardt’s School of Music. He then studied with world-renown jazz drummers and he now teaches drum lessons. He is a known performer who has performed at many venues including Carnegie Hall. He also has experience composing and arranging his own work as he has a released debut album of his own jazz music titled “Two Feet On The Ground”.

https://www.bangthedrumschool.com/steve-picataggio/ http://www.pacehsband.com/steve-picataggio.html

1. How was your time studying at NYU? For example how was the program and what do you feel you got out of your time there? I studied at NYU from 2011-2013 for my Masters in Jazz Performance. It was my first two years living in New York and was such a great experience. It helped me get acclimated with the city, study with teachers I’ve always wanted to learn from and meet fellow students that I still play with today. NYU was the type of program that allowed me pick all my own classes and ensembles and being a self motivated student, I was able to get the most out of my time there. My main teacher was the legendary jazz drummer Billy Drummond who really got me ready for the New York scene and opened up my playing in a whole new way. But I also has the chance to go out and see all the musicians that I’ve only heard on records, seeing them actual play live in the city was such an eye opening experience. Nothing beats being in the same room as your heroes!
2. What is your main interest in terms of music. For example what do you enjoy most out of the many different things you do: performing, teaching, composing etc and why is this your favorite/why has this area impacted your musical journey the most? My career is split into teaching and performing. I absolutely love both aspects as both experiences often influence each other. I’ve found that my style as an educator is to support the student and truly deliver the information in a unique way; depending on their skill level, personality and how they might receive information. It takes a lot of clarity and intuition on my end and nothing is more enjoyable than when my student really gets it! As a performer, I strive to be an accompanist first and foremost. From the drums, I love to support the band and the music and play in a way that really helps make the vibe the best it can be. The audience doesn’t always know exactly what the drums are doing but if it’s clear and has a great groove, they can feel it! I think regardless of teaching or performing, I love being a positive and supporting role in peoples lives.

3. How has jazz specifically impacted your life? If I am correct jazz is your favorite genre to play, but why specifically is that true? and what opportunities has jazz brought into your life? I do play a lot of jazz music, primarily with jazz singers and small groups (piano or guitar trio). But I also play with a lot of Broadway actors both in cabaret settings or musicals. Because I consider myself an accompanist, I have found playing with singers to be my absolute favorite setting. It requires a great deal of clarity, intension and support for the singer and the song. My training in jazz comes in handy no matter what style I’m playing; my touch and sound on the drums, listening and knowledge of phrasing/song form and creativity. All of these aspects are so important. Being a jazz musician has brought so much joy and purpose to my life. I’ve been fortunate to build a life and a career in New York City, travel the county, perform in some of the best clubs/theaters and play and learn from my heroes. It really makes me who I am and has helped me become a more confident and happy person. I think the joy I express to others can be rooted in the joy of listening and playing music.
4. What is your favorite performance you have done and why? There’s been so many great performances over the years that I’m so thankful to have been apart of. One that stands out is my first time performing at Carnegie Hall. My parents happened to have been in town and they, along with my wife, were in box seats right in the middle of the hall. The music was so fun and I was so happy to have had my family there! I would also say most recently I had the honor to perform a few nights at Birdland Jazz Club. I’ve played there before but this was the first time since the pandemic and each set was sold out. It was amazing to play for a packed room again, especially being in my favorite club. To hear and feel the audience respond in real time was unreal!
5. I see that you have recorded your own music. Can you tell me more about your influences with composing and arranging? For example what styles, songs, and musicians have influenced you to creating your own sound. Also generally what influences and inspires you to compose. This specifically is interesting to me as I am mostly a songwriter and producer and hope to go into this field. I have composed a few tunes, one of which is on my debut album as a leader “Two Feet on the Ground.” The tune is called For This and is focused around a bass line that I simply heard in my head and thought had a great groove. It’s always a fun one to perform! In terms of arranging, I am a huge fan of the Great American Songbook. My biggest musical influences are Oscar Peterson and Ella Fitzgerald and their approach to playing these tunes are what I resonate with most. Nothing too obscure or fancy, just a nice fresh twist on an already great composition.

by Christian Hernandez

https://mus145.commons.gc.cuny.edu/wp-content/blogs.dir/19369/files/2022/04/JazzInterviewAssignment-ChristianHernandez.pdf