Jeff Ballard: A Life In Music
AAJ: I definitely hear two sides to your playing. A more bebop or at least more jazz-oriented approach rooted in the tradition of jazz, and then also a side that involves playing with your hands, and eliciting a multiplicity of unorthodox sounds from your drum kit. Did this start coming out in a band setting with those players you just mentioned or did it start earlier, maybe even with the Latin group you played in covering the music of Los Van Van and Irakere back in Santa Cruz?
JB: My playing with my hands wasn't really a result of those experiences. But some of those sounds were definitely coming from playing with tones like a conga drum would have. I was playing with some sort of an awareness of that timbre in the drums you know. Skin on skin. But there was a time playing with Ben Allison and those cats in the Jazz Composer's Collective where there was an actual overt concept which was to be pretty experimental. It was an obvious concept, saying, "OK, let's get some sounds out of our instruments that aren't commonly used, let's play them in a different way than what's the common practice.
So then you start searching around and scratching underneath the drums or playing by keeping the butt of the stick on the floor tom, then pressing it up against the ride cymbal at the same time and hitting that stick, which is bridging both the cymbal and tom, with another stick so you get these combinatory sound: wood and skin and metal. It's just looking for different sounds and different ways to play, pulling out sounds you can imagine. I think that that period of conscious experimentation with our instruments was an opening up into that for me. But also I think again it was always therethat thing of loving the sounds. Hearing the ring pop on the snare drum when just one finger hits it, you know? Then I saw some video of [Philly] Joe Jones playing with his hands and that sold me; that was amazing!
AAJ: Like on that Joe Jones trio recording, he does that solo with his hands.
JB: Oh man, he is a graceful master player
AAJ: He was way more modern than I would have ever imagined when I finally got around to hearing his playing.
JB: Also being in contact with Kenny Wollesen, he's a real sound painter as well. He's very aware of sound and the quality of sound and I think that rubbed off too. We used to live together in San Francisco.
AAJ: Now drummers tend to share information more freely with each other than many other instrumentalists. Was there a heavy exchange of ideas going on between the two of you during that time?
JB: Yeah, but it wasn't so much like, "I got this and you got that, let's play together and work this out." There were of course some of those moments, but it was more just the fact of our living together and checking out his record collection and hanging. Just living together. I think we shared that way rather than, "I'm working on this, what are you working on?' It was cool, it was more wide in life's sense and not just so pointed and, "Let's get to this, you know?
AAJ: Not so Drummer's Collective-ish?
JB: Not so much.
AAJ: So you have really known this group of, I guess you can't say "young lions" as that phrase was already claimed by another group, but definitely you've known this whole group of guys for a long time who are very heavy cats now in the jazz world. Was this a group of guys that you were around that just started putting different groups together and gigging?
JB: There were a lot of sessions with Ben Allison and Kimbrough. Then the Jazz Composer's Collective began. That was made up of a few musicians that I was working on stuff with, but also at that same time I started playing with Kurt Rosenwinkel, and Mark Turner, and [bassist] Ben Street. Kurt wrote a great batch of music, a lot of which we still play today. I think that the music he wrote was what Kurt had in his head and then as the way we played it developed, it.... helped refined our language a little more at the time you know. We were all more or less at the stage in our playing where we were clarifying our ideas consciously and unconsciously. Things like stretching the time, playing with time. We were pretty close, very much like brothers, a family vibe, a brotherhood. Rehearsing a lot.
But the foundation was already there. On one of the first gigs we played, it was just Ben, Kurt, and I, we played songs like Wayne [Shorter]'s "Footprints, or Mingus' "Reincarnation of a Love Bird or some blues, where the form of the tunes opened up totally and this without our talking about it at all. We were following what the music was saying and it was really Astoundingoutros turned into complete songs in and of themselves. I haven't had that much of a hookup like with those guys until my playing with Brad and Larry to tell you the truth. That was a very intimate hookup, like we came from the same egg, you know. It was wild.
AAJ: Did you have similar tastes in music?
JB: No, not necessarily. We all like similar things but we didn't come from the same place. I know Kurt had a lot of David Bowie and you know, more rock, more experimental rock stuff. Ben was coming straight from Duke, and [saxophonist] Steve Lacy, and I don't know what else. Mark listened to prog rock '80s bands when he was younger but when I first met him he was playing just like Joe [Henderson]. He had just gone through a phase of playing just like Trane, working his way through it, you know? It was a moment where we all met and where we were all kind of going through those steps finding our voices.
We all have our own methods and we all got to that spot where you realize, "OK, now we have to shed everything. And kudos to Kurt you know, because he brings in these tunes saying, "I want it like this." He'd give an analogy of wanting the music to sound like it's meat going through a meat grinder; the sound to feel as if your turning the handle. So we'd finally get it there somehow. I think what we have now came out of working that way.
Same as it was with Ben Allison. I just did a record with him these last couple of days. I love his tunes. His method of writing music varies. One way he used to find some music for this record was where he would come over to my place and we would play for a while and he'd tape it and then he'd go home and come back with some of the parts taken out of our playing together and developed a little more and we would try to see how the parts fit together, saying, "I'm doing this Jeff, maybe if you can play something in three and I'll do something in four. Now, we just automatically do that. We automatically, improvising, play by trying to fit parts together. Its kind of like a puzzle fitting together. I love playing that way. When someone asks me how I came up with some drum part for a song, that is the way it happens. Not always by sitting down with the composer and consciously slowly finding a part, but by asking myself in the moment, "What will fit? How do I want it to fit? It can fit uniformly or it can cut across like this or multi-rhythmically, contrapuntally.
Another guy who really influenced me early on in NY, was Guillermo Klein. Compositionally playing. That is really what I'm talking about, trying to find what the song needs, or deciding what would bring more to the song. Playing his music was like discovering and playing my own music but through a filter of his. I guess that could be said for all of these bands I played in and play with currently.
This was happened just after I finished with Lou, after some months or so of doing things with him, till his old drummer got back. I then got a gig with [vibraphonist/pianist] Buddy Montgomery for three or four months playing at the Parker Meridian Hotel here in town. He was one of what I consider the real serious soul-jazz cats. He is such a caring man and I'm very honored to have played with him and call him a friend. He's a very serious cat and playing with him was a great lesson as well. That lasted for a minute and then there was absolutely nothing for me for a long time. That was when a time I was doing all these jam sessions with these guys I've just mentioned and working, but doing other jobs besides music, totally away from music you know.