Buddy Rich Playboy's Penthouse 1961 Mike Mainieri
Published: January 11, 2010
It's hard to imagine vibraphonist Mike Mainieri in his
seventies. Not only does he look and sound like a man 10 years (or more) his
junior, but a quick look at the projects he's been involved in over the past
few years sound like anything but a septuagenarian resting on his not
inconsiderable laurels.
Mainieri may not have the instant name recognition of peers like Gary Burton, or even younger players like Joe Locke, Stefon Harris or Steve Nelson, but you can be sure that if you asked any of them who was registering on their radar as they were coming up, Mainieri's name would be high on the list. Rather than being pigeonholed into any particular style, Mainieri— whose unorthodox four-mallet grip allows him a flexibility few others can match—has done it all. Fusion, funk, straight-ahead, world music, free improv ... these are all but a part of Mainieri's seemingly encyclopedic purview. And while others stay away from innovations going on elsewhere in the world, Mainieri regularly collaborates with artists from
He continues to tour with Steps Ahead, his longstanding group with a membership that reads like a who's who of New York jazz from the past three decades, including saxophonists Michael Brecker, Bob Berg and Donny McCaslin, pianists Don Grolnick, Eliane Elias and Warren Bernhardt, guitarist Mike Stern, bassists Eddie Gomez, Daryl Jones and Marc Johnson, and drummers Steve Gadd, Peter Erskine and Steve Jordan. He's worked with some of Norway's most intrepid innovators on Northern Lights (NYC Records, 2006), a seamless blend of technology and conventional instrumentation featuring trumpeter Nils Petter Molvaer, guitarist Eivind Aarset, keyboardist Bugge Wesseltoft, live sampler Jan Bang, saxophonist Bendik Hofseth and turntablist DJ Strangefruit. And he's reformed one of his earliest collectives, L'Image, with Bernhardt, Gadd, bassist Tony Levin and guitarist David Spinozza, for a long overdue first album, 2.0, and a series of tours that will ultimately yield a live CD and DVD.
After a couple years' break to take care of a family health crisis, Mainieri is back and busier than ever. But before getting a big picture of what the vibraphonist has in mind for the future, a look at how he got here in the first place is in order: growing up during World War II in the Bronx, getting his first break with drum legend Buddy Rich, and becoming a hippie during the 1960s, at a time when most artists his age were striving to retain purity in jazz.
Mike Mainieri and Steps Ahead at Leverkusen 2008 - Beirut
Double click for full screen.
Chapter
Index
- Growing
Up in WWII New York
- Mainieri's
First Big Break
- Dropping
Out, Tuning In and Turning Up
- Seventh
Avenue South and the Emergence of Steps Ahead
- Synthi-Vibes
and The New Sting
- The
Norwegian Posse and Northern Lights
- American
Diaries and Behind Bars
- Dee
Carstensen and Marnix Busstra
- L'Image
2.0
and The Future
Growing Up in WWII New York
Mainieri's early days sound like the stuff of a Martin Scorsese film. "I came from a family of jazz fans," explains Mainieri. "A family that listened to opera and classical music. I had aunts and uncles that were show biz wannabes, not really professionals, but they were into the Big Band era. We were very poor, so there was the radio—and a phonograph, when I was older. But I did have an opportunity to go and listen to Broadway shows; when I was a kid in the '40s, you'd go and it was 75 cents. So that was me hearing music for the first time as a little kid. We had a small piano, half a drum set, and my step-grandfather's guitars (he was also a good bebopper), and I was plunking around. My grandmother gave me piano lessons, and I started playing music when I was eight or nine, and later went to a private music school."
Most artists have a story about how they came to their instrument, usually being moved by hearing someone else play. But then—as now—the vibraphone wasn't exactly a popular instrument, and in Mainieri's case, the story goes a little deeper. "My mom was instrumental in my playing the vibes," he says. "I had heard Lionel Hampton playing with Benny Goodman, and Red Norvo, along with Bags (Milt Jackson). I loved the Norvo trio with [guitarist] Tal Farlow and Charles Mingus, and my grandfather was a big Tal Farlow fan. My mom heard Marjorie Hines; there's a great photo of her on52nd
street
"She went to work, and I remember sitting underneath in the sweatshop, maybe 30 women in a basement," Mainieri continues. "They were putting beads and all sorts of stuff on dresses. It was really hard work, and I would sit underneath the frame they had for each woman, and there were all these conversations and gossip and stuff, and I realized how hard she worked. Then my father found my first set of vibes, and he tried to track down a jazz teacher."
From the earliest days with the instrument, Mainieri's approach to four-mallet playing was unconventional. "Through a friend," the vibraphonist explains, "my mom found this terrible alcoholic, and he taught me this weird grip. I don't use theBurton
Mainieri's early days sound like the stuff of a Martin Scorsese film. "I came from a family of jazz fans," explains Mainieri. "A family that listened to opera and classical music. I had aunts and uncles that were show biz wannabes, not really professionals, but they were into the Big Band era. We were very poor, so there was the radio—and a phonograph, when I was older. But I did have an opportunity to go and listen to Broadway shows; when I was a kid in the '40s, you'd go and it was 75 cents. So that was me hearing music for the first time as a little kid. We had a small piano, half a drum set, and my step-grandfather's guitars (he was also a good bebopper), and I was plunking around. My grandmother gave me piano lessons, and I started playing music when I was eight or nine, and later went to a private music school."
Most artists have a story about how they came to their instrument, usually being moved by hearing someone else play. But then—as now—the vibraphone wasn't exactly a popular instrument, and in Mainieri's case, the story goes a little deeper. "My mom was instrumental in my playing the vibes," he says. "I had heard Lionel Hampton playing with Benny Goodman, and Red Norvo, along with Bags (Milt Jackson). I loved the Norvo trio with [guitarist] Tal Farlow and Charles Mingus, and my grandfather was a big Tal Farlow fan. My mom heard Marjorie Hines; there's a great photo of her on
"She went to work, and I remember sitting underneath in the sweatshop, maybe 30 women in a basement," Mainieri continues. "They were putting beads and all sorts of stuff on dresses. It was really hard work, and I would sit underneath the frame they had for each woman, and there were all these conversations and gossip and stuff, and I realized how hard she worked. Then my father found my first set of vibes, and he tried to track down a jazz teacher."
From the earliest days with the instrument, Mainieri's approach to four-mallet playing was unconventional. "Through a friend," the vibraphonist explains, "my mom found this terrible alcoholic, and he taught me this weird grip. I don't use the
"So," Mainieri continues, "my mom would bring a bottle of wine and two dollars for the lesson, take three trains to the
"My mother is still alive, she'll be 101 in November [2009]," Mainieri concludes. "She made sure I didn't wind up in a gang or in jail—a lot of the kids wound up in trouble in my neighborhood, it was a gang-infested area. My brother and I played guitar a long time—he went into business, he never played professionally, he would be my accompanist when I practiced, he and my step-grandfather. So we had this close family, where we would gather every weekend and put on these sort of radio shows, as if we were really recording. I had an uncle, who'd be the emcee, and everyone in the family performed. So I was 12 and already playing, already improvising."
Twelve and improvising may not seem like much these days, but 14 and gigging was no mean feat then, nor is it now. More than that, Mainieri also began taking the reins as leader at an early age. "I started to play some local gigs," Mainieri explains, "and when I was 14, I put together this trio with a 16-year-old bassist and a younger girl on the guitar. We entered a contest on Paul Whiteman's TV Teen Club in
Mainieri's First Big Break
Mainieri eventually began studying privately to prepare for enrolling in Juilliard, playing all mallet and percussion instruments including snare drum and full drum kit. But it was an unexpected break, at the end of the 1950s, that pushed Mainieri's early career into high gear. "I happened to run into a drummer who followed Buddy Rich and big bands. Buddy used to come up to his house in the
Mike Mainieri with Buddy Rich
These days, it seems de rigueur to applaud after every solo, but back in the day, applause was something that performers had to earn. "I was doing a short interview the other day," Mainieri says, "[talking about how] everybody hoots and hollers after everyone plays a solo these days, I hate that. It wasn't [like that] back then. After a drum solo—Buddy Rich, Art Blakey or Max Roach would play an amazing drum solo—they'd get some applause from the audience, but people didn't applaud after a Lee Morgan solo, there was [only] a smattering of applause. I think it was the combination of pop music becoming popular in the late-'60s and early-'70s—those fans crossing over to fusion—and groups playing in concert settings, where there was a sense of freedom to express yourself. Now it's gotten to the point where it's really over the top.
"Nowadays, with young musicians, I think it [applause after every solo] affects their playing," Mainieri continues, "how could it not? Your ego is pretty strong when you're young, and most of the older guys, they're used to the applauding. But when you're younger and people don't applaud—even if they're not supposed to because [the music is] moving to a different section—the musician thinks, 'Oh, I'm not playing well tonight.'"
The dynamic between artist and audience isn't the only thing that's changed. "The music young musicians are listening today is at such a high level," Mainieri explains. "They're surrounded by all these cultures—kids from Cancun, from
"A facet of the business that has changed dramatically is that you used to play in a club for four weeks, maybe Birdland for four weeks, then Philly, then
Even how musicians write has changed. "I was checking out some music by Donny McCaslin lately," Mainieri says. "He played with me in Steps in the '90s. He's a great guy, someone you want on the road with you during a bitch of a tour, when you only have two hours of sleep, and then he goes and plays his heart out. I was looking forward to his new record because he was writing it when we were on the last tour. He had it on Sibelius and he was writing up horn parts and he would ask, 'What do you think about this trombone part?' And I would say, 'Yeah, great.' I was very happy to hear his record the other night, it's a great record."
Plenty has been written about the lack of mentorship in jazz today, and Mainieri's experiences with Buddy Rich make even clearer just how much is missing in a jazz scene that's now top heavy with education, but lacking in the kind of ground-up lessons that can only be learned on the road with older, more experienced musicians. "There are the Buddy Rich stories, tapes—and comic books, too, probably," Mainieri says, chuckling. "Playing with Buddy was a snap—you played your ass off and he didn't bother you. I saw a fair number of his tantrums, but he and I never got into it until the end—and that was only about money. I had a blast, the time I was with him—I was young and he took me under his wing."
Rich not only pushed Mainieri as a player, he gave him the opportunity to hone his arranging chops. "I was thrown into the fire because he'd let most of the band go. He said, 'OK, kid, can you arrange?' and I said, 'A little.' We were a sextet and he said, 'Let's make it sound like a big band.' They've recently released an eight-CD box set of those small group Buddy Rich recordings on Mosaic, that I helped Michael Cuscuna put together. I had a ball playing with Rich because his friends were Frank Sinatra, you know, the Rat Pack—Jerry Lewis, those Hollywood actors. Lenny Bruce was one of his best friends. There was one time he took me to the Playboy mansion in
Dropping Out, Tuning In
and Turning Up
Working with Rich led to gigs with Sonny Stitt and Kenny Burrell, amongst others. He met bassist Eddie Gomez, who was playing with Bill Evans, and who would figure prominently with Mainieri soon enough. At the same time in the mid-1960s, everything was changing. The British Invasion and the emergence of theHaight-Ashbury district of San
Francisco were but two signs of the massive import of pop music that was
changing the musical landscape. It was around that time that Mainieri hooked up
with flautist Jeremy Steig and his group, The Satyrs.
"I'd quit the band [Buddy Rich] in 1964, when I got married for the first
time and we got pregnant with our first child. I decided I wanted to stay
closer to home and not travel as much," Mainieri says. "I started
hanging out in The Village. I met Donald McDonald and Eddie Gomez.
"Jeremy and the Satyrs started around 1965; I joined a little later," Mainieri continues. "They were backing Tim Hardin, so we were playing The Electric Circus [New York] and The Fillmores [New York and San Francisco]), opposite Jimi Hendrix; this was pre-Miles. It was like a renaissance in that period, the goals weren't the same—the marketing has changed everything. Cross-pollination is still there, though. That I'm going on tour with Richard Bona, that my bassist is fromCameroon
"That was the milieu of that day," Mainieri concludes, "and I feel that's happening again now. I'm encouraged by the collapse of the major labels. I saw what the major labels were like in the '90s—it was the beginning of the end. I saw the marketing budgets, and they had to grease this palm, that palm—a lot it of was smoke and mirrors. I'm glad that it fell apart; you put out a jazz album and the company had to put out $100,000 to compete with some smooth jazz guy. So the leveling of the playing field and the feeling that I'm going to do my record is a big change."
Not that there wasn't divisiveness in jazz of the 1960s. "There were camps," says Mainieri. "Free music was popular inEurope .
There were some cats that played straight-ahead—that was their love and they
looked upon our music experimentation and said, 'What the fuck is this?' And we
got fired [Jeremy and the Satyrs] from The Village Vanguard (New York
Hard to imagine, now, that Kirk was the voice of conservatism. "It was a big deal," says Mainieri, "we had a two-week stint there and it really hit home. It wasn't what Gary Burton, Paul Motian or Steve Swallow were playing, it wasn't that kind of a band. It was screaming. We had a blues singer, Jeremy with his Echoplex, Warren [Bernhardt] with his pedals, and by then I had amped the vibes. It was like, 'What the fuck?' [Jeremy & the Satyrs bassist Eddie] Gomez had played there;Warren Woodstock Joyous Lake Gary
[Burton
Working with Rich led to gigs with Sonny Stitt and Kenny Burrell, amongst others. He met bassist Eddie Gomez, who was playing with Bill Evans, and who would figure prominently with Mainieri soon enough. At the same time in the mid-1960s, everything was changing. The British Invasion and the emergence of the
"Jeremy and the Satyrs started around 1965; I joined a little later," Mainieri continues. "They were backing Tim Hardin, so we were playing The Electric Circus [New York] and The Fillmores [New York and San Francisco]), opposite Jimi Hendrix; this was pre-Miles. It was like a renaissance in that period, the goals weren't the same—the marketing has changed everything. Cross-pollination is still there, though. That I'm going on tour with Richard Bona, that my bassist is from
"That was the milieu of that day," Mainieri concludes, "and I feel that's happening again now. I'm encouraged by the collapse of the major labels. I saw what the major labels were like in the '90s—it was the beginning of the end. I saw the marketing budgets, and they had to grease this palm, that palm—a lot it of was smoke and mirrors. I'm glad that it fell apart; you put out a jazz album and the company had to put out $100,000 to compete with some smooth jazz guy. So the leveling of the playing field and the feeling that I'm going to do my record is a big change."
Not that there wasn't divisiveness in jazz of the 1960s. "There were camps," says Mainieri. "Free music was popular in
Hard to imagine, now, that Kirk was the voice of conservatism. "It was a big deal," says Mainieri, "we had a two-week stint there and it really hit home. It wasn't what Gary Burton, Paul Motian or Steve Swallow were playing, it wasn't that kind of a band. It was screaming. We had a blues singer, Jeremy with his Echoplex, Warren [Bernhardt] with his pedals, and by then I had amped the vibes. It was like, 'What the fuck?' [Jeremy & the Satyrs bassist Eddie] Gomez had played there;
Despite the purist backlash, the late-1960s and early-1970s remains something of a Golden Age, where artists began to fuse all kinds of musical elements into jazz, most notably the energy and pulse of rock music. The emergence of jazz-rock fusion may be attributed by many to Miles Davis and two seminal 1969 albums on
Mainieri had, by this time, released a few albums under his own name—his straight- ahead debut, Blues on the Other Side (Argo, 1962), the equally mainstream Insight (Solid State, 1967) and the more adventurous Journey Through an Electric Tube (Solid State, 1968), which included the 13-minute, completely free "Allow Your Mind to Wander." "It was pretty wild," Mainieri says with a chuckle. "I wish you could have seen the look on the face of the engineer after that long, free piece. He was used to recording straight-ahead, George Shearing type of jazz, and it ["Allow Your Mind to Wander"] ended with the drummer throwing his cymbals against the wall, which scared the hell out of Chuck Rainey, who was an R&B bassist. I remember Chuck played the bass, and then unplugged his bass and left the room, leaving this hum, like mmmmmmmm, which was great, because it was at this amazing crescendo. I put my bottom bars on top, you know, like the naturals on top of the sharps, and I was banging on them; we were totally stoned, and we thought that it was the greatest thing we had played all week. We looked up at the booth, and I knew that was the end of my recording career on that label."
But it was out of Journey Through an Electric Tube that White Elephant emerged. "There used to be a dark studio on Broadway," says Mainieri, "where they used to let me jam, and it was whoever showed up—we'd just jam and get high and play. It'd range from five musicians to 35 musicians, and girlfriends and wives; it'd just be this big hang. "
The farm from which White Elephant ultimately emerged, however, was Mainieri's; even at this early stage in his career, he understood the value of diversification. "I was raising seven children," says Mainieri, "and I was also a weekend farmer. I bought a 100-acre fruit farm with eight acres of grapes for $45,000. Everyone from White Elephant knew about the farm. I used to make wine there, too. I had the farm until about 1979. It wasn't a lot of work, not like what Joe Beck did, which was to drop out completely and become a dairy farmer, which he did twice in his life. I was a weekend farmer; you harvested in late September, and then you did nothing until the next harvest.
"I was a hustler," Mainieri continues. "I went to the city and roomed with Spinozza as I couldn't afford an apartment in
White Elephant, a double-LP, was released in 1972 on Just Sunshine Records. "It was actually released by one of the promoters of the
"But it was not to last. After the record company fell apart, White Elephant disbanded," says Mainieri. "Gadd, Levin, Bernhardt and I spent six months practicing in my barn, every day. That was the beginning of L'Image. We played
White Elephant, and ultimately L'Image, germinated the uptown
It was an especially fertile time for music and for live performance. There was so much cross-pollination amongst musicians that it was almost a full-time occupation to keep track of who was playing with whom and on what sessions. The Breckers had opened
Steps Ahead, 2009, from left: Richard Bona, Mike Stern, Bill Evans, Steve Smith, Mike Mainieri
But while Steps was acoustic and funky, Mainieri's fingers were in other pies as well. "I was also playing in a more electric group with Warren [Bernhardt], [Bob] Mintzer, [Omar] Hakim and either Eddie [Gomez] or Marcus [Miller]," Mainieri continues, "that played music from Wanderlust."
But it was Steps that got recorded first—albeit in
Mainieri also recorded the electric group that played at
With Steps selling plenty of records in
"I'll never forget the meeting with him," Mainieri continues. "We sat down and he said, 'Here's what I want you to do, what the cover is gonna look like, and I want it to be R&B-ish.' I said, 'Clive, you don't even know what I play.' He said, 'Of course, you play the xylophone, right?' And that was it for me. I went with Tommy [Lipuma] at Warner Bros. and made Wanderlust. Tommy was under pressure at that time, and he left Warner Bros.; I signed with him and then he started his own label at A&M, and that's when I made The Cat and the Hat (A&M, 1979), with Ben Sidran. Tommy was in business for about a year-and-a-half and then he went back to Warner Bros. Wanderlust simply didn't have a niche; it didn't fit in anywhere. I always wanted my albums to be eclectic, but that didn't go down with the labels back then. They wanted horns on it and I said, 'No, no.' Ultimately, I was very proud of Wanderlust, but it was just too eclectic. Still, it was the disc I was trying to make over the previous 15 years or so. The record company just didn't get it."
Less overlooked were the two albums that Mainieri released as part of the Arista All- Stars in 1978—Blue Montreux (Arista, 1978) and Blue Montreux II (Arista, 1978). In addition to the core group of uptown stars—Mainieri, Michael and Randy Brecker, Steve Khan, Tony Levin and Steve Jordan—guitarist Larry Coryell guests on several tracks. "Most people knew me from Blue Montreux, says Mainieri. "It was kind of an inside album that seemed to influence some people; I remember Joe Locke used to come hear us. I put the band together with
Synthi-Vibes and The New
Sting
Stylistically, Blue Montreux ran the gamut from Brecker Brothers material like the fiery "Rocks," with an equally burning solo from Coryell, to the title track from Love Play, a lyrical piece that also featured Mainieri's electric and synth vibes, perhaps the first vibraphone-driven synth on record, though it actually first showed up on Love Play. "The back cover of Love Play is me lying on it. It was an instrument built by a friend of mine who was living up inWoodstock EMS , as big as a computer. It had a painted keyboard on
it that was powered by static electricity from your body. It had dials and
oscillators, and I was looking at it because this guy was messing around with
electronic equipment.
"I said to him, 'Imagine if we could build something like this that looked like a vibraphone,'" Mainieri continues. "So we went out to the hardware store. But it started getting complicated; we went toAmherst College EMS
synth apart and put the guts inside the synth-vibe, so when I put it on a rack
I could turn around and play it. I started playing with my hands, and I
realized I could buy a metallic cloth that was used in mufflers so I could play
with mallets. I spray-painted the mallets with paint, and they triggered the
electric pulses from my body, so I could play with mallets.
"I'd take to the synth-vibe toEurope
with me," Mainieri concludes, "but then I came back from one of the Montreux
tours and someone walked away with it at JFK [Airport]. The funny thing about
it was that I eliminated the EMS and was using
a Minimoog with me, so whoever stole it opened it up, tried to play it, but
probably ended up using it as firewood."
Stylistically, Blue Montreux ran the gamut from Brecker Brothers material like the fiery "Rocks," with an equally burning solo from Coryell, to the title track from Love Play, a lyrical piece that also featured Mainieri's electric and synth vibes, perhaps the first vibraphone-driven synth on record, though it actually first showed up on Love Play. "The back cover of Love Play is me lying on it. It was an instrument built by a friend of mine who was living up in
"I said to him, 'Imagine if we could build something like this that looked like a vibraphone,'" Mainieri continues. "So we went out to the hardware store. But it started getting complicated; we went to
"I'd take to the synth-vibe to
L'Image 2008, from left: Mike Mainieri, Tony Levin, Steve Gadd
While Steps—now Steps Ahead—released its first albums in
The aptly titled Magnetic (Elektra Musician, 1986) was a significant departure, not just in its greater reliance on electric instruments, but in its more decidedly fusion nature. The opening "Trains," in fact, would have fit easily onto a Weather Report album of the time, no surprise given Steps Ahead's bassist for the album was Victor Bailey, who was also a member of the Joe Zawinul/Wayne Shorter} super group, and Erskine was a WR alum from its glory days with bassist Jaco Pastorius. Still, unlike Zawinul's "everybody solos and nobody solos" ethos, Steps Ahead was still about muscular soloing, though it was largely left to Brecker, with Mainieri focusing more on synth-vibes and keyboards. There were even vocals on the album, with Dianne Reeves singing "Magnetic Love," a drum-machine driven track more suited for the dance floor than the concert hall.
With Erskine leaving
Bendik, being Bendik Hofseth, a Norwegian saxophonist who was part of the same scene that included up-and-comers Nils Petter Molvær and Eivind Aarset, and established ECM artists like Arild Andersen. "It was the weirdest thing," Mainieri explains. "Maureen Thompson called me to write some jazz TV commercials. She was going out with a Norwegian drummer, and had produced Bendik's demo. They gave it to me, because of the studio I now had. I had this demo and it was this guy singing, and I thought, I really liked the tunes. But I said, 'Who's playing saxophone?' and they said, 'Everything, that's him.'
"I was amazed because everything sounded real," Mainieri continues. "The technology was amazing. I swore the drums sounded real, the only other person that played on it was Eivind Aarset—I love him, he's a genius. I was about to make a Steps album, so I flew him in from
"And the next thing you know, they're playing him at big A&R meetings, and they're saying, 'This is the greatest thing.' They put a guitar in his hands, made a video with girls dancing...and Norwegians are humble cats, all he wanted was to bring his band over. They wouldn't bring his band over [to the United Stats] but they took him to strip bars and had like thousands of dollars worth of wine. They hooked him up to play 'The Star Spangled Banner' at an NBA game. Here's this guy from
The new incarnation of Steps Ahead and N.Y.C. did well for Mainieri and the group. "The first record was for Intuition Records, a German label, and was kind of a hit there. There was one tune that was played on the radio incessantly, they played it like crazy. It sold about sixty or seventy thousand, and Steps typically never sold more than 20. That band toured
"It was very Italian," Mainieri continues, "they were expecting a jazz band! We come out and we start playing this rock tune. We're in this huge tent, and I start hearing whistles, which over there means, 'This really sucks!' Then our bassist steps up and starts singing a love song, and they went crazy, throwing stuff at us. We escaped with our lives, as they were rocking the bus back and forth; Bendik said, 'Tonight I lost my virginity!' But we made it through that and played all over
American
Diaries and Behind Bars
Mainieri's discography as a leader, outside Steps Ahead, is relatively small but in every way consistent in its significance. It's also vastly overlooked. Two particularly intriguing discs are An American Diary (NYC, 1995) and An American Diary: The Dreaming (NYC, 1997). The first, with a core group of saxophonist Joe Lovano, Eddie Gomez and Peter Erskine, explores music by a cross-section of American composers including Leonard Bernstein, Aaron Copland, Frank Zappa and Samuel Barber, as well as a handful of originals by Mainieri and Erskine. It reflects Maineiri's upbringing in a house where classical music was as influential as jazz, and Mainieri's arrangements are stunning, especially a waltz-time version of West Side Story's "Somewhere" that goes to completely unexpected places. The Dreaming, with George Garzone replacing Lovano and a variety of guests including percussionist Arto Tuncboyaciyan, wife Dee Carstensen on harp, cellist Erik Friedlander and slide guitarist David Tronzo, took a different turn; an even more personal album, it incorporates a wealth of musical and philosophical traditions that have resonated throughout Mainieri's life, ranging from Australian Aboriginals and the Sephardic tradition to Philippine folk songs, American folk music and the religious prayers of the Peyote Indians. Together, they paint an even broader picture of Mainieri and his appreciation of all things musical, but filtered through a distinct jazz prism.
"The Copland piece ["Piano Sonata (Vivace)"] was the seed for An American Diary," says Mainieri. "I had been listening to Copland; I loved his scores and following his pieces. I heard that piano sonata on PBS and I thought, 'Wow, that doesn't really sound like Copland.' There was this fast, vivace section that I thought it sounded kinda Monkish. Then I started thinking about exploring some other classical pieces. I went through everything—operas, Bernstein pieces, Zappa and Charles Ives' unfinished symphony. It came together slowly."
The Dreaming's genesis was a little different. "I was on the road with Steps, and [singer] Noa opened for me inIsrael
While the timing is still up in the air, Mainieri was so happy with the results of the two American Diary albums that a third is underway. "I'm about halfway through; I talked to Erskine recently, and he said, 'When are we gonna do it?' I said, 'I'm not there yet, I'm still building it.' I hope to have it complete by the end of next summer [2010]."
Both albums took considerable time to put together, but a third album released around the same time, that took far less, was Mainieri's Man Behind Bars (NYC, 1995). A true solo effort, with Mainieri playing all instruments—vibes, marimbas, chimes, xylophone, percussion, midi vibes, piano and drums—he literally recorded and mixed it over a weekend. With a series of spontaneous compositions, and a couple of well-chosen covers including a definitive reading of Wayne Shorter's Miles Davis-era "ESP," it's an album that sounds as though it was more preconceived, despite the truth of the matter. Drum machines drive the groove- centric homage to Jeremy & the Satyrs, "Satyr Dance," while hand percussion drives a Latin-esque version of John Coltrane's enduring "Equinox."
Still, the vibraphonist's feelings about the album were mixed, at least at the time. "I had a licensing deal with the German Intuition label, which put out NYC," Mainieri explains. "They were going bankrupt and I owed them one more album. They couldn't pay me and they said, 'You owe us one more album.' It was a Thursday, so I said, 'You'll have it Monday.' I went into my studio with my percussion instruments and a set of drums and, over the weekend, made the album. I thought, 'Wow, I should do this more often.' I get so distracted with things. I am still looking for the sketches of those scores. They were just little sketches, just ideas. I did the album in two or three days and sent it to Intuition, and said, 'Our deal is up.' I really didn't think much of that record. I didn't release it here, because I had a bad taste in my mouth. Other musicians have said, however, 'Hey, I like that album,' so I did finally release it, but I never sent it for review or promoted it in any way."
Mainieri's discography as a leader, outside Steps Ahead, is relatively small but in every way consistent in its significance. It's also vastly overlooked. Two particularly intriguing discs are An American Diary (NYC, 1995) and An American Diary: The Dreaming (NYC, 1997). The first, with a core group of saxophonist Joe Lovano, Eddie Gomez and Peter Erskine, explores music by a cross-section of American composers including Leonard Bernstein, Aaron Copland, Frank Zappa and Samuel Barber, as well as a handful of originals by Mainieri and Erskine. It reflects Maineiri's upbringing in a house where classical music was as influential as jazz, and Mainieri's arrangements are stunning, especially a waltz-time version of West Side Story's "Somewhere" that goes to completely unexpected places. The Dreaming, with George Garzone replacing Lovano and a variety of guests including percussionist Arto Tuncboyaciyan, wife Dee Carstensen on harp, cellist Erik Friedlander and slide guitarist David Tronzo, took a different turn; an even more personal album, it incorporates a wealth of musical and philosophical traditions that have resonated throughout Mainieri's life, ranging from Australian Aboriginals and the Sephardic tradition to Philippine folk songs, American folk music and the religious prayers of the Peyote Indians. Together, they paint an even broader picture of Mainieri and his appreciation of all things musical, but filtered through a distinct jazz prism.
"The Copland piece ["Piano Sonata (Vivace)"] was the seed for An American Diary," says Mainieri. "I had been listening to Copland; I loved his scores and following his pieces. I heard that piano sonata on PBS and I thought, 'Wow, that doesn't really sound like Copland.' There was this fast, vivace section that I thought it sounded kinda Monkish. Then I started thinking about exploring some other classical pieces. I went through everything—operas, Bernstein pieces, Zappa and Charles Ives' unfinished symphony. It came together slowly."
The Dreaming's genesis was a little different. "I was on the road with Steps, and [singer] Noa opened for me in
While the timing is still up in the air, Mainieri was so happy with the results of the two American Diary albums that a third is underway. "I'm about halfway through; I talked to Erskine recently, and he said, 'When are we gonna do it?' I said, 'I'm not there yet, I'm still building it.' I hope to have it complete by the end of next summer [2010]."
Both albums took considerable time to put together, but a third album released around the same time, that took far less, was Mainieri's Man Behind Bars (NYC, 1995). A true solo effort, with Mainieri playing all instruments—vibes, marimbas, chimes, xylophone, percussion, midi vibes, piano and drums—he literally recorded and mixed it over a weekend. With a series of spontaneous compositions, and a couple of well-chosen covers including a definitive reading of Wayne Shorter's Miles Davis-era "ESP," it's an album that sounds as though it was more preconceived, despite the truth of the matter. Drum machines drive the groove- centric homage to Jeremy & the Satyrs, "Satyr Dance," while hand percussion drives a Latin-esque version of John Coltrane's enduring "Equinox."
Still, the vibraphonist's feelings about the album were mixed, at least at the time. "I had a licensing deal with the German Intuition label, which put out NYC," Mainieri explains. "They were going bankrupt and I owed them one more album. They couldn't pay me and they said, 'You owe us one more album.' It was a Thursday, so I said, 'You'll have it Monday.' I went into my studio with my percussion instruments and a set of drums and, over the weekend, made the album. I thought, 'Wow, I should do this more often.' I get so distracted with things. I am still looking for the sketches of those scores. They were just little sketches, just ideas. I did the album in two or three days and sent it to Intuition, and said, 'Our deal is up.' I really didn't think much of that record. I didn't release it here, because I had a bad taste in my mouth. Other musicians have said, however, 'Hey, I like that album,' so I did finally release it, but I never sent it for review or promoted it in any way."
It's a shame, and with the passing of time, Mainieri looks fondly back at that time. "The three albums do connect. It was a good period for me; I was in a nice creative place around then, I had the studio and I hadn't had my daughter yet, or she was very young. I had a lot of time to write. I did go out on the road a little bit for those albums."
Mainieri has also worked producing his wife, Dee Carstensen—a vocalist, songwriter and harpist. "She came to
The first album on which the two collaborated was Beloved One (NYC, 1993).
"That wasn't her at all," Mainieri says. "I totally forgot she
played the harp. So when we decided to make the record, we said, 'well let's
make a pop record,' but she was really a folkie, and so her last album, Patch of Blue
(NYC, 2005) was much more like her, with the harp more upfront. That was before she got
sick."
Dee Carstensen and Marnix Busstra
Dee Carstensen and Marnix Busstra
The last couple years have been rough for Mainieri and Carstensen, as she was diagnosed with liver cancer, and Mainieri devoted much of his time to seeing her through surgery and treatment. In fact, with Carstensen becoming ill around the time of Northern Lights' release, Mainieri didn't have the time to promote it the way he'd have liked, and is considering reissuing it—which would be a great idea. The best news is that Carstensen's health has improved significantly, and Mainieri has begun refocusing his energies back on music. In addition to working on the new American Diary project, he's released an album with Dutch guitarist Marnix Busstra and his trio, Twelve Pieces. Mainieri first met Busstra in the guitarist's more electric, fusion-centric band. "I overdubbed some tracks with this fusion band, and we did some gigs in the
While the fusion project wasn't a particularly happy fit for Mainieri, it did lead to something else. "I hadn't played in a quartet with a guitarist in years," Mainieri explains, "and Marnix fell in love with the American Diary record. He wanted me to do another tour with the group [after touring with the fusion group]. But I didn't want to; I wasn't having too much fun with that band musically. So he said, 'I'm gonna write some stuff like American Diary.' We did a couple tunes and it was fun. And when I appeared on the album, it was first released in
And so, the NYC Records edition of Twelve Pieces is credited to the Mike Mainieri/Marnix Busstra Quartet. The pairing of guitar and vibraphone has rarely sounded this good. As to whether or not the relationship will continue? "There are lots of excellent vibraphonists over there," Mainieri says. "So we'll see what happens. But Marnix is a really good guy. Twelve Pieces is a nice record and I was happy playing with him. I think there's a double live CD that he wants to get out. The label he was on wanted to record Twelve Pieces with one overhead mike, a stereo record—like an audiophile label—and we couldn't hear each other. The studio was huge, built for chamber orchestra, and it was a like playing in a basketball court. But when we went on tour, we recorded it and I think he's going to release that plus some other pieces that were really happening."
L'Image 2.0 and The Future
2009 also saw the release of 2.0, the decades-overdue debut from L'Image. The group has since done some touring, and there's a live CD and DVD coming up in 2010, from the group's first tour in 2008. "It was fun playing with these guys again, and it was a pretty successful tour," Mainieri enthuses. "The first gig was a festival, which was kind of a disaster because they spread us out on a big stage and we couldn't hear each other—it was televised and, of course, probably put up on YouTube. But all the clubs we played at, it was fine, it was happening. It turned out to be a successful tour and we're playing the Iridium this week [fall, 2009], so that should be a blast."
2.0 features a number of tunes played by L'Image back in the day, including the title track to Love Play. It's a treat to hear Spinozza featured—both as a player and with three compositional contributions—as he's guitarist who's remained busy as a session player in the ensuing years, but has never received the credit he's due. It's also great to hear Gadd's finessed groove on tracks like Warren Bernhardt's opening, gospel-tinged "Praise," a tune that could easily have fit into the repertoire of Stuff, Gadd's groove-driven collective from the 1970s. Finally, it's a rare opportunity to hear Tony Levin—who, in the last couple decades, has been more associated with progressive and art rock artists like King Crimson and Peter Gabriel—return to a jazz context. Once again, it's not about ability, it's about choice, as Levin easily winds his way through Maineri's more sophisticated changes on "Reunion" and the knotty but swinging "Gadd-Ddagit!"
Mainieri has also been talking about a Steps box set, a possibly six-disc set
of live performances, which would be welcome as well, since the last Steps
release was 2002's Holding Together (NYC), featuring an acoustic incarnation of
the group with saxophonist Bob Berg (who died tragically in
a car accident in December of that year), Eliane Elias, Marc Johnson and Peter
Erskine. He also has a set of duets in the can with saxophonist Charlie
Mariano, who sadly passed away in 2009. "That'll be my
next release, along with a solo vibes recording," Mainieri says.
"Charlie and I did a duo performance at an art gallery, maybe six years
ago. I was on my way home and working my way through Cologne
But the session didn't go off without a snag. "On my way to
So, nearing 72, Mainieri not only has a lot on the go, but he's continuing to expand his musical horizons and work in a wide range of musical contexts, ranging from the straight-ahead to the electro-centric. "I have a lot of stuff in the can and I have to do it while I'm still vertical," says Mainieri. Here's hoping he stays that way for a long time to come.
Selected Discography
Mike Mainieri/Marnix Busstra Quartet, Twelve Pieces (NYC Records, 2009)
L'Image, 2.0 (NYC Records, 2009)
Mike Mainieri, Northern Lights (NYC Records, 2006)
Steps Ahead, Holding Together (NYC Records, 2002)
Mike Mainieri, An American Diary: The Dreaming (NYC Records, 1997)
Mike Mainieri Quintet, Live at Seventh Avenue South (NYC Records, 1996)
Mike Mainieri, An American Diary (NYC Records, 1995)
Mike Mainieri, Man Behind Bars (NYC Records, 1995)
Mike Mainieri, An American Diary (NYC Records, 1995)
Steps Ahead, Vibe (NYC Records, 1995)
Steps Ahead, Live in Tokyo 1986 (NYC Records, 1994)
Steps Ahead, Yin-Yang (NYC Records, 1992)
Steps Ahead, N.Y.C. (NYC Records, 1989)
Steps Ahead, Magnetic (Elektra Musician, 1986)
Steps Ahead, Modern Times (Elektra Musician, 1984)
Steps Ahead, Steps Ahead (Elektra Musician, 1983)
Dire Straits, Love Over Gold (Warner Bros., 1982)
Mike Mainieri, Wanderlust (Warner Bros./NYC Records, 1981)
Steps, Paradox (Nippon Columbia/NYC Records, 1982)
Steps, Step By Step) (Nippon Columbia/NYC Records, 1981)
Steps, Smokin' in the Pit (Nippon Columbia/NYC Records, 1980)
Mike Mainieri, Love Play (Arista, 1977)
Mike Mainieri & Friends, White Elephant (Just Sunshine/NYC Records, 1972)
Buddy Rich, Classic Emarcy, Verve, GRP Buddy Rich Sessions (Mosaic, 1965- 1961)
Photo Credits
All Photos Courtesy of Mike Mainieri
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