“ And that's what the avant-garde is; it's a very personal kind of a thing; it's stuff that you can do after you learn how to do everything else. ”
Ali performs in a duo with saxophonist Sonny Fortune at Sweet Rhythm in April. He recently sat down with All About Jazz New York in his home studio to discuss his current projects, the initial development of his 'multi-directional' rhythms, and his many illustrious musical associations.
AAJ: What can a listener expect from a Rashied Ali / Sonny Fortune duet performance?
RA: Well, what they can expect is to see two cats playing their hearts out. You know, because we just get up there, and we don't hold back anything. And we just do it from the way we were taught to do it by the masters; we just go right after the music.
Sometimes it takes us ten minutes; sometimes it takes us an hour to get it over with. We can play one song for an hour almost before we feel like we've exhausted every means of trying to get to what we were getting to in the music- take it to another level.
The repertoire could be whatever tune we play. It's not really a repertoire; we know so much music. We've been playing together ever since we started playing music back in the fifties or something, and we know so much music. And we were listening to all the great players like Coltrane, who was the cat who raised me in the music, and Sonny as well. And we listened to records with Bird, Clifford Brown- the history of the music, we know about that.
That makes us want to do more with the music. We try to play the music unadulterated ... no watered down stuff; it's just purely as on-the-money as we can. So there's no pretense in it. It's all sheer- well, I wouldn't say sheer brute strength, or that kind of a thing. It's that as well as beautiful melodic lines.
So we could play a standard; we could play Tin Pan Alley tunes; we could play originals. We do that; we go through all of them. We play Irving Berlin's shit; we play Cole Porter's shit; we play Charlie Parker's shit; we play Sonny Fortune's stuff; we play Rashied Ali's stuff. And we treat it all the same way. Say we play a standard like 'Love for Sale' or 'But Not for Me;' we try to exhaust the tune. It's like all of a sudden gravity don't work no more, you know what I mean?
You just go into a thing until it completely becomes like nothing. Everything just starts working together; that's when it's right. You can take any tune and do that. It doesn't have to be an original tune you write; it can be any tune. If it's music, you can do that with it; you can get free.
I mean being free, still playing 'But Not for Me,' but just open and loose. Being a drummer, you can understand what I'm saying, just to be able to play uninhibited, just to do whatever you feel like you want to do, and it's all right in there with what's happening. And that's how I feel about what we're doing musically.
AAJ: You've returned to the duet format throughout your career.
RA: I've dubbed myself 'The Duet Drummer.' I just remember even before Coltrane or any of that, I've always played with just a saxophonist or a pianist, whoever was available. I love playing with rhythm sections; I do. But it was really more open playing just with another instrument- a drummer, whatever. And I've been doing that all my life just about.
And when I did Interstellar Space with Coltrane, that really put it on the map, but if you go back and listen to some of my records before Trane - with Archie Shepp, Marion Brown, Albert Ayler, Cal Massey, just a lot of different people ' you would hear me playing duets with Marion on some cuts, duets with Alan Shorter on some cuts, or duets with Archie Shepp. In fact, Archie Shepp and I, we played duets for almost six months before I went with Coltrane.
That concept came actually from listening to Trane because I first heard Trane play duets with Philly Joe Jones back in the fifties, and then I heard him play with Elvin Jones all the time, just duets. The whole band would split, and [leave] just the drummer and the saxophone. So that kind of got me up on that really.
So by the time I got to play duets with Trane, I was definitely ready for it. And since, I think I have more duo records than any drummer out. That's been one of my fortes, although I love playing with a rhythm section.
AAJ: How did the idea for Interstellar Space come about?
RA: I didn't have a clue what was happening. John told me that we were going to be going in to the studio, and I said, 'Cool.' And I went in there, and I was setting up, and I didn't see Jimmy, I didn't see Alice; I didn't see nobody else. And I was like, 'Where's everybody else?' and he said, 'It's just going to be you and me.' And I went, 'Oh!'
So everything was completely spontaneous except for at times I would ask him to give me some kind of clue as to what was happening, you know like, 'Is this going to be slow like a ballad?' or, 'Is this going to be in a certain time like 3/4 or 4/4? Is it going to be fast? Is it going to be slow?' Because you know, he would just ring the bells, pick up his horn and start playing.
And I'd been playing with him not that long anyways, and I'm like, 'What the fuck?' And you know I would get in there, and I would play, and he would go, 'How do you like that?' and I would say, 'Well, I wasn't quite prepared for it.' And he'd say, 'Well, you want to do it again?' and I'd say, 'Yeah, let's do it again.'
There's probably some other takes of that stuff because we did a few things twice, but [John] didn't really like to do that. But he saw I was in such agony that he would do that for me; that's the kind of cat he was.
And so, that record came about like that. Meditations was like that too, actually. That's why I always wanted a chance to do [Interstellar Space] again at some point, but it's pretty hard to do it without [John], you know?
But I did Meditations again; I recorded that again [with Prima Materia, Ali's group featuring saxophonists Louie Belogenis and Allan Chase]. That turned out ok. Still, I wasn't ready for the original Meditations, but I like the original Meditations better than mine.