Destined for a life lived prolifically, Jason Palmer grew up in High Point, North Carolina, two houses away from where John Coltrane spent his childhood. From a hometown legacy, the trumpet player/composer gleaned inspiration for his own creativity and output.
Palmer came to Boston in 1997 to study at New England Conservatory, and now teaches down the street at Berklee College of Music. This weekend, Palmer brings his chordless quartet to New York for a live recording of brand new music and previously unrecorded compositions. We caught up with Jason to discuss his work ethic, a moment with Wayne Shorter he’s never forgotten, and the case for leaving space.
The Jazz Gallery: I can barely keep track of how many records you’ve put out as a leader. What’s the current total?
Jason Palmer: I’ve kind of lost track over the years. I have one coming out this month, and I had one come out last month. I did a double live disc at Wally’s, so I think it’s eight. I got two in the can.
TJG: Your rate of releasing album-length material is rigorous. Over the years, you’ve released many inspired recordings including your interpretations of Minnie Riperton’s music and more recently Janelle Monáe’s. Has that degree of output always come naturally to you? Do you ever struggle with the pressure of releasing new music, particularly in the age of streaming?
JP: The whole streaming thing hasn’t really bothered me as much as I think it should. I try not to worry too much; I try to focus more on putting work out there to hopefully inspire people. I don’t necessarily think of it as a revenue generating endeavor as much as other projects that I do—teaching and composing and commissions.
So yes, it’s been easy for me because I’ve written a lot of material I haven’t had a chance to record and put out. I probably have a waiting list of about 100 tunes that I want to eventually record and put out there. And it’s a great opportunity to do it next week [at the Gallery], which is going to be a mix of old tunes I’ve written but haven’t recorded, and I recently composed a set of original music that we’re going to do, as well. I think we’re going to have enough to do a double disc. If all goes well, we’ll have enough takes between the four sets on Friday and Saturday.
TJG: Because you don’t put that revenue-driven pressure on yourself to put out these records, I wonder if that helps the process remain natural for you, year to year.
JP: Yes, and I’m lucky because I’ve been working with Steeplechase for six or seven, maybe eight albums. I have one in the can for them now; we did the music of Anita Baker. I recorded that back in December. And my agreement with them is that I can release one record every year. This year I happened to be able to put out two. So they offer me that commercial platform, and I’m sure if I didn’t have them, I would do it independently, which is what I’m going to do with the new record that’s going to be live at the Gallery.