Julius Rodriguez engages his music from different points of view. Pianist, drummer, composer and budding producer, Rodriguez has worked with an eclectic mix of artists, from Wynton Marsalis to Brasstracks to his own expanding collective that includes such artists as Morgan Guerin, Daryl Johns and Maya Carney.
At 21, the artist and habitual collaborator has gone through some very adult changes in his personal and professional development, and he continues to evolve his music and his conception of sound. He spoke with The Gallery about how one instrument can inform others, his vision for the future of the music and which of today’s artists and producers are keeping him inspired in and out of the studio
The Jazz Gallery: Happy birthday, by the way.
Julius Rodriguez: Thank you.
TJG: For someone without all these years of experience, you seem have quite a sophisticated way of playing with and alongside singers.
JR: I love playing with singers.
TJG: Obviously the singers who collaborate with you are equally sophisticated in their expressions and their artistries—I might mention Jazzmeia Horn, Voilet Skies, Abir. What have you discovered about your own playing from spending so much time collaborating with these great singers?
JR: Generally, I like accompanying. I feel like some of my better ideas come when I’m accompanying because I’m thinking more about the big picture than my own solo or my own thing. That’s probably one of the biggest [reasons] why I love playing with singers. I also just love learning about the relationship between melody and harmony. As a pianist, you learn more about that learning your instrument.
I love the way singers are able to express melodies because the voice is different from the piano. The piano is note by note; with the voice, you can do different things with tone and quality and articulations. Being that I love hearing that so much, I’m always trying to find ways to accentuate that and play around it — make it sound good.
I’ve spent a lot of time listening to Billie Holiday, Sarah Vaughan. I’ve spent a great deal of time listening to Amy Winehouse—she’s one of my big favorites. Johny Hartman, as well.
TJG: Do you see a thread of similarities in what attracts you to each of these singers, or do like them all for something that’s unique to each of them?
JR: Well, I talk about Amy—she’s really one of my biggest musical influences. She obviously took a lot from listening to Billie Holiday, listening to Sarah, listening to Ella. But she grew up in the age that she did, so she has this sort of modern twist on it, which I think is a perfect example of what I think musicians today should be doing with our art: to have a deep sense of the history but also realize that we’re in 2019. Music has evolved; you should, with it.