1 Kenny Washington Interview
1 Kenny Washington Interview
1 Kenny Washington Interview
KENNY
These kids are funny, because they say they want to be
jazz musicians, but a lot of them are not serious. They’ll
get these degrees and everything but they still can’t
play. It’s amazing what they don’t know. And I’m not
even just talking about jazz history. I’m just talking
about playing their instrument. And a lot of that has to
do with what they had in elementary school, junior
high and high school and it’s not necessarily the
WASHINGTON
teacher ’s fault, it’s budget cuts. When I was coming up
in New York City in the ‘60s, we had all these programs,
because mayors like John Lindsay and people like that,
their whole thing was: keep kids off the streets. So,
when school ended at 3 o’clock, you had an option to
johan broberg
by anders griffen
K enny Washington is a representative of the legacy of TNYCJR: You continue to be a student, right?
bebop and hardbop. Appearing on over 250 albums, he is one
of the greatest straightahead drummers of the last 40 years. KW: Absolutely. I am a student of this music, there’s
Washington has accompanied many of the masters, no doubt, and there’s always something more to learn.
including Lee Konitz, Johnny Griffin, Dizzy Gillespie, And the older you get and the more you mature, the
Clark Terry, Benny Carter and too many other greats to more you start to understand and hear things you
name. He is especially well known for supporting trios led didn’t hear on records you might have been listening
by pianists such as Hank Jones, Tommy Flanagan, Mike to for 30 or 40 years. This music is amazing.
LeDonne, George Cables, Ahmad Jamal, Bill Charlap and
many more. A native New Yorker, Washington studied with TNYCJR: You mention being surprised when making
Rudy Collins and attended the LaGuardia High School for this or that discovery, but what do you intend to
Music and Art. He is also an avid listener and historian, accomplish with your study otherwise?
bringing his knowledge to a new generation as a private
instructor and educator at Juilliard and SUNY-Purchase KW: Just to be a better musician. I just want to know.
College. There’s always more music and I just want to know as
much about it as possible. The more you know about
The New York City Jazz Record: Are you still a regular the music, the better you will play it. That’s one of the
at The Institute of Jazz Studies (IJS) at Rutgers-Newark? things I try to tell my students up at Juilliard and at
Purchase: the more you listen, the better you will be as
Kenny Washington: Yes. I haven’t been there in a a musician. It’s important and it’s one of the things the
minute, but funny you should mention that because younger musicians lack. They don’t listen as much as
I was thinking about taking a trip up there. There were they should.
a few old records that I found out about and I wanted
to see if the Institute had them. TNYCJR: How long have you been at Purchase?
TNYCJR: Are you a record collector? KW: Maybe five or six years. I love Purchase. That’s
like jazz boot camp. All the people—Todd Coolman,
KW: You could say that, but I don’t care if the record Jon Faddis, Ralph Lalama—they take this music very
has the original Blue Note label, the original Prestige seriously. It’s a very good school. Sadly, it’s a well-kept
label and all that kind of stuff. And that’s why these secret. There are more kids that should be going to that
things are going for so much. [Collectors] don’t want school. You can get as much bang for your buck, or
the reissue; they want the original. And in some cases, more, than some of these other schools. Nobody in that
the reissue might sound better. I’m in it for the music. school is messing around. The problem is, the kids
I don’t collect records like stamps. want to be in the city. Juilliard is a good school, but it’s
a small jazz department and, let’s face it, not everybody
TNYCJR: I met you in the stacks at IJS and you had is going to get in. There are some other alternatives,
been checking out a lot of different stuff and some which I won’t mention. I say, “Don’t go there”, because
things I never heard of. you’re not going to learn what you’re supposed to
learn. I try to recruit people to come to Purchase all the
KW: The Institute is fascinating to me anyway, because time. And the first thing I hear out of a student’s mouth
I can be trying to find one thing and find something is, “That’s out in the boonies”, because they want to
else that I knew nothing about by accident. It almost hang out at Dizzy’s and play at Smalls and other clubs.
always happens. Or, you’re up there and one of those They think being seen is how you’re going to get hired,
guys up there that know a whole lot—Vincent Pelote, and that is true, but you have to know how to play
Dan Morgenstern or Ed Berger—you ask them one first. But they want everything now. Instead of going
thing or they might pop into my listening room and for the right kind of training, they just want to go out
say, “Hey, Wash, what are you listening to?” and I tell here and they still don’t have their shit together. So, I
them and then they start, “Well, you know, man, do tell them about Purchase, where they can really get
you know about such and such record? Da da da da da their shit together.
played with such and such and you can get better
sound from this issue.” TNYCJR: One of the big changes that has come since
These guys know so much. From there, I go and you were coming up is that the number of college-level
find what they’re talking about and I run into jazz programs has grown exponentially, but some of
something else I didn’t know about. So, I go in there the elders lament that there are just not enough
looking to get one or two records and I come out with qualified teachers.
ten. The people they have working there are really,
really knowledgeable. I get there in the morning and KW: Sure. Because some of these schools these kids are
I’m there for the day, man. That’s the greatest archive flocking to, and I’m not going to mention them, they’re
in the world. not getting what they’re supposed to. Let’s face it.