Following in the footsteps of Eric Harland, Chris Dave, Kendrick Scott, and others, drummer Jeremy Dutton has established himself as a worthy member of the great Houston drum tradition. He’s equally comfortable holding down the drum chair in groups of his peers and those led by acclaimed veterans like Ambrose Akinmusire and Vijay Iyer.
Dutton is also a probing composer, using his keen melodic sense to explore both his internal and external worlds. This Thursday, May 31, Dutton will convene a top notch group to perform his newest project, Mirrors. We caught up with Dutton to talk about his mindset on the bandstand, how he conceives of his sound, and the composers he admires.
The Jazz Gallery: Are you gigging a lot these days?
Jeremy Dutton: It ebbs and flows, but yeah, pretty consistently.
TJG: What kinds of gigs are you playing?
JD: There are some gigs that are jazz clubs and some that are concerts. It changes month to month. This month I’m doing a good mix of things—I’ll be at the Vanguard with Vijay Iyer, I have some stuff with James Francies out of town, and then I’ll be at the Gallery a few times with Harish [Raghavan], and then for Melissa Aldana’s commission project, and James’ [Francies] commissioned work. It should be a good month—some stuff out of town, and the Gallery is one of my favorite places to play.
TJG: Would you call playing The Jazz Gallery a concert or a jazz club hit?
JD: What I like about the Gallery is it can feel like either depending on the music being played and the audience vibe. I think it’s kind of in between the two.
TJG: Do you play differently in the two contexts?
JD: I try not to. I want to be consistent, and in every setting I am who I am. There are things like playing to the room and understanding balance, but in general, the core way that I approach playing music, the baseline, remains the same.
TJG: What is that baseline?
JD: For me, it’s about being conversational. It’s all about the moment and making something spontaneously, as opposed to everyone just playing their role. That can be cool too, and the moment might call for that, but in general I try to bring openness to what I do so the music can move however it wants to move. The way we do it in soundcheck doesn’t have to be the way we do it on stage. Anything can happen up there—sometimes it’s a mistake. Somebody might go to a section too soon or someone might forget a section. Then we have to react. But in that reaction there’s often an opportunity for something really cool, because the only way to move forward is for everyone to trust each other, and to me, that’s when the music sounds best. So that’s my baseline: listening to everyone and trying to receive what they’re playing and reciprocate that energy.