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<p>An interview that I did with Clark Terry was serialised in two
Jazz Journals in 1986. Clark was kind enough to say that it was
the best interview he had ever given, but of course that was due
to what he'd told me rather than</p>
<p>to any effort on my part. It's in a collection of his things at
one of the universities.</p>
<p>I'd like also to put the piece on Jack Purvis here, and will do
later.<br>
</p>
<p>Steve V</p>
<p>
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style="mso-bidi-font-size:10.0pt;mso-bidi-font-family:Tahoma;
mso-ansi-language:EN-US" lang="EN-US">`In my home town of St.
Louis there were so many
trumpet players, all the way back to Charlie Creath, the King
Of The Cornet,
Bruz Woods, Baby James, Levi Madison, Dewey Jackson, Mouse
Randolph, Sleepy
Tomlin. All were fantastic players, and us younger kids always
had a bunch of
these guys to look up to. Some we could ask questions of, but
some we couldn't
because in those days the older players thought that the
younger players were<sup>-</sup>trying to get in on their
scene. You
remember even Louis Armstrong back in those days used to keep
the handkerchief
over his fingers so that the cats couldn't steal his tricks.
But fortunately
that attitude is really the opposite of the situation today.
Those of us who
are involved in jazz education feel that it's a very important
thing to impart
knowledge to young people. Many of the things that are
involved can't possibly
be documented and if we go down with them so go down most of
the secrets.<o:p></o:p></span></p>
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style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:
justify;text-indent:7.2pt;line-height:normal;mso-pagination:none;text-autospace:
none"><span
style="mso-bidi-font-size:10.0pt;mso-bidi-font-family:
Tahoma;mso-ansi-language:EN-US" lang="EN-US">`Amongst the
first recordings that I learned to
solo from were Erskine Hawkins' <i>Tuxedo Junction </i>and
<i>No Soap. </i>I
was very much surprised to find out that the soloist was not
Erskine Hawkins,
but a trumpeter by the name of <span
style="mso-bidi-font-weight:bold">Dud
Bascomb.<b> </b></span>He had a unique approach to chords
and resolutions and
the harmonic structure he used was very original. He would
pick beautiful notes
out of the chord that the average person wouldn't even think
of settling on.
He would play flatted fifths, flatted ninths even back then
in the early forties.
So I was listening to him, and I was trying to use Lester
Young's type of articulation.<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:
justify;text-indent:7.2pt;line-height:normal;mso-pagination:none;text-autospace:
none"><span
style="mso-bidi-font-size:10.0pt;mso-bidi-font-family:
Tahoma;mso-ansi-language:EN-US" lang="EN-US">`I had a
different concept of the way the
trumpet should sound, and I played with a piece of felt over
the horn. Perhaps
my fluent technique came partly from the fact that I used to
practice on the
clarinet book when I was in the navy. The passages in the
clarinet books seemed
to be more legato and fluid - the trumpet ones tended to be
staccato. I just
loved to get involved in the velocity part of phrases.<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:
justify;text-indent:7.2pt;line-height:normal;mso-pagination:none;text-autospace:
none"><span
style="mso-bidi-font-size:10.0pt;mso-bidi-font-family:
Tahoma;mso-ansi-language:EN-US" lang="EN-US">`As a result of
this I became pretty versatile,
so that people hired me to play certain roles. These may not
have been roles
that I would have chosen for myself, but I tried hard to do
everything that was
required of me. I suppose that if I had had the security and
freedom I would
have gotten into a different vein a little quicker. Once I got
out of the big
bands I was more relaxed and able to get into what I
eventually considered to
be my thing. Most of the time in the old days the big band
leaders would ask me
to play something similar to the same solos each night so that
alone would
stymie you. That would put a stumbling block in the path of
your ability to
create.<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:
justify;text-indent:7.2pt;line-height:normal;mso-pagination:none;text-autospace:
none"><span
style="mso-bidi-font-size:10.0pt;mso-bidi-font-family:
Tahoma;mso-ansi-language:EN-US" lang="EN-US">`With regard to
the so-called half valve thing,
it's not true that I derived my style from <span
style="mso-bidi-font-weight:
bold">Rex Stewart.<b> </b></span>One of my contemporaries
mentioned that I
derived the style from Rex Stewart and the half valve, which
was untrue. I'd
never even heard or seen Rex Stewart at this particular time
and I never knew
what he was doing. After I got into the Ellington band some of
the guys in the
band played this record where he was talking through the horn
with Ivy Anderson
singing, and I learned to do that little bit from the record,
but it is
completely wrong to suggest that I developed a style built
around Rex's.
Leonard Feather said that I played the half valve style. The
only time my
valves are half-valved when playing is when they don't come
up, when they
stick or something. I'm too busy trying to make as clear a
note, as full a note
or as beautiful a note, as meaningful a note or as colourful a
note as I
possibly can.’ <o:p></o:p></span></p>
</p>
<br>
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<pre wrap="">_______________________________________________
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