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A look inside The Jazz Gallery

Posts by James Kogan

Photos courtesy of the artists.

This Tuesday, December 12th, saxophonist Yosvany Terry and bassist Darryl Johns finish off their Mentorship Series tour with a performance at Shapeshifter Lab in Brooklyn. The experience has found Johns jumping right into Terry’s working band, playing the leader’s characteristic originals alongside the likes of drummer Marcus Gilmore and pianists Manuel Valera and Glenn Zaleski. We caught up with Johns after the group’s show at the Jazz Museum in Harlem to talk about his work with Terry thus far.

The Jazz Gallery: I saw you perform at the Gallery with “Orange” Julius Rodriguez’s group, and another time as part of Adam O’Farill’s work “I Want My Life Back”. How do you know these guys, and what’s it like to grow up in a community with so many talented, young musicians?

Daryl Johns: Well, I’ve known Adam for a long time, since both of our dads are musicians. The first time I met Adam was at a rehearsal with his dad’s band, when I was 9, and Adam was 11. Orange Julius I’ve known since we did precollege together. I was a junior in high school and he was in 8th grade. So he’s always been my little bro, and I love him. And I’ve kinda just stuck with them. We’re both very close. As people, I can be myself around them, so they’re very cool people to play music with because of that. It really helps when you know the person because it’s chill and you feel like you don’t have to be anybody or play a certain way.

TJG: You come from a very musical family. What was that like, and how deep are the family’s musical roots?

DJ: The roots go as deep as my great uncle. His name was Jimmy Tyler, and he was the first of the musical people in my family. He never really made it that big, he was always low key but he played with Count Basie and Duke Ellington. There are some recordings of him, actually, with Count Basie and Clark Terry, and he sounds really good. He has, like, a bar-honking tenor player vibe. And he played, also, with Wild Bill Davis, so he’s almost like a rock and roll saxophone player—he’s sick. There’s a good recording of him called “Bleep Blop Blues” with Count Basie. Then, besides him, there’s his brother, Robert Tyler, who’s my other great uncle. These are all my dad’s mother’s siblings. And my mom’s dad used to play trumpet. And my parents met at NEC, actually!

I started playing bass at 7, and I’ve always played drums.

TJG: You make some music under the moniker Sweet Joseph. Is that project the result of a specific kind of energy for you? How does that part of your musical personality interactive with your more traditionally jazz-oriented playing? Both are lyrical, but perhaps in slightly different ways.

DJ: Sweet Joseph is a band I started when I got to college, and it’s mostly a recording project right now. I wrote the first song that started it all called “Whoops, Reason Is Bathtime.” I was in a practice room and wrote this song that sounds like the theme song to Full House, with crazy jazz modulation and it’s a pretty orgasmic song. So I called down to my friend, guitarist David Zyto, “Come down to the second floor and let’s play this duo,” and it sounded like Mike Moreno and Aaron Parks guitar and piano.  And I just remember smiling while playing it. It was just such a sweet… it was almost like biting into the sweetest vanilla custard—you’re eating this thing, and you’re smiling, and you can’t stop smiling. And that vibe is why it’s called Sweet Joseph. That project, which is still ongoing, is a reflection of the feeling of inspirational emo rock, but there are still sad undertones. In the indie rock vein, but with jazz influences, of courses.

I definitely went through a period when I got to college that I got a little burnt out. I have some hand problems with bass that are still going on that I’m trying to get under control, so Sweet Joseph is my way of resting from bass and still being creative. I found that playing with band, it was more like friends getting together and messing around, whereas with jazz it almost feels like, especially playing with older people, it can feel like they’re not your friend and they need to earn your respect. And I got tired of that. And I got into Mac DeMarco—this indie rock guy who goes crazy on stage—and I saw that and realized that seems way more fun, and unlike my experience in the jazz world. So I had this feeling of wanting to do what I want. I don’t care if I don’t make money doing it. I don’t care about being the best. I just want to make dope music and I want to have fun, and that’s it. Just with my friends. I don’t have to impress anyone. But now, these two worlds are starting to cross paths and I am realizing how I can make my jazz experience feel like that

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Photos courtesy of the artists.

This Thursday, November 30th, The Jazz Gallery continues our Mentorship Series with a performance featuring mentor-saxophonist Yosvany Terry and mentee-bassist Daryl Johns on our stage. This is the third show for Terry and Johns—earlier this month they performed at the Kimmel Center in Philadelphia and The National Jazz Museum in Harlem. We at Jazz Speaks caught up with Terry after the show in Harlem to talk about developing rapport with new musicians on the bandstand and the diverging paths of formal education and musical mentorship.

The Jazz Gallery: Your last show in the series was at the National Jazz Museum in Harlem, and the atmosphere was jovial. Being someone who travels a lot and also a resident of Harlem, how does it feel to play in the neighborhood?

Yosvany Terry: I think it’s a special feeling, especially because the music that we’re playing came out of the community and we don’t get the opportunity to play there as much as we we would have loved to, and just to see what the warmth and incredible reception was. It stimulates musicians who perform in Harlem. It’s special, also, because I’ve been living in Harlem for sixteen years and if I count the amount of times I’ve played in the neighborhood, two hands would be too much. It’s hard to believe.

I’ve performed a lot through the Jazz Mobile, which brings jazz to the community in their truck. So whenever I work with them, I feel a similar way. You see that people really engage with the music. No matter what you play, they feel the connection of being one with the community and the neighborhood. It’s vibrant. It’s an important feeling for us musicians, and especially me, to perform in Harlem.

TJG: What do you learn from playing with younger musicians about the direction and health of jazz today?

YT: More than anything, I would say a different sensibility and approach to making music. I’m the kind of person that likes to play with older people because that’s how I get to learn from their experiences, and that’s the only way one can learn, so I like to think of it the other way around. This has been a wonderful opportunity for Daryl to perform with musicians who are somewhat older than him and a result to get more experience. So I like to think it flows the other way and works to his advantage. Whenever I’m working with a new member in my band, I’m always open to whatever they bring. And yes, I tell them how I hear the music, but it’s in their hands to bring their own sensibility to it. I’m always to new interpretation of the material, because that’s the only way that it stays fresh and renovates itself.

TJG: Is there a difference between instruction and mentorship? Do you think about pedagogy when you are mentoring someone, or is it a different kind of relationship?

YT: The difference between education and mentorship is that you have completely different relationships with the people in question. Once you’re in the classroom, you’re sharing information with students. The level of the students are different, so it can be challenging to create a one-on-one relationship. But when you’re mentoring someone, you have more opportunities for an intimate relationship where you can be super precise and you can be direct, which is conducive to growing and learning this art form.

TJG: In a lot of traditional art forms, there have always been distinctions between apprenticeship and mentorship, but a lot of those practices solidify hierarchical relationships, and insist that younger practitioners “pay their dues”. Do you think it is the same with jazz music?  

YT: Yeah, of course. This is all connected, and it’s coming from the old African ways of teaching—the elders passing information to the younger generation. I’ve never looked at it from a hierarchical form, because the only way you can get experience is to get together with someone that has and has lived through those experiences. It’s something natural, in a way, when we think about how one gets knowledge. The only difference is that now you can go to a college to get a jazz education but, still, once you graduate, you have to learn from elders. So you still have information to acquire. So far, this is the only way that it’s been done and still, today, it’s the way things happen.

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