Thursday, January 10, 2013

Take Five With Dmitri Matheny

By DMITRI MATHENYPublished: January 7, 2013
Meet Dmitri Matheny:
Celebrated for his warm tone, soaring lyricism and masterful technique, Dmitri Matheny has been lauded as "the first breakthrough flugelhornist since Chuck Mangione" (San Jose Mercury News). An honors graduate of Interlochen Arts Academy and Berklee College of Music, Matheny was first introduced to jazz audiences in the 1990s as the protégé of Art Farmer, and has since matured into "one of the jazz world's most talented horn players" (SF Chronicle). Matheny tours internationally, performing material from his nine critically acclaimed CDs, balancing fresh, original works with familiar jazz classics, hard bop, west coast cool and beloved standards from the Great American Songbook.
Instrument(s):
Flugelhorn.
Teachers and/or influences?
Teachers: Art Farmer, Carmine Caruso.
Major influences: Art Farmer, Miles DavisChet BakerClark TerryTom Harrell.
I knew I wanted to be a musician when...
I credit my father and his hip record collection for kindling my childhood interest in music. There was great music on our turntable all the time, from Rachmaninoff to Ray Charles.
According to Dad, one time when I was about five, he was spinning Kind of Blue. I asked, "Daddy what's that sound?" When he answered, "That's Miles Davis, a great jazz musician." I responded, "That's what I want to be when I grow up." The story may be apocryphal, but Miles is still my man.
Your sound and approach to music:
As a flugelhornist, I play jazz—lyrical, modern, mainstream jazz in the tradition of Miles Davis, Chet Baker and Stan Getz.
My discography as a sideman is mostly a balance of instrumental and vocal jazz, including original straight ahead material, familiar jazz classics, hard bop, west coast cool and standards from the Great American Songbook.
As a composer and bandleader, I like to bring in elements from other genres, such as pan-Asian instruments, Afro-Cuban rhythms, and film music orchestration. I'm a romantic who loves to create an atmosphere, set a mood or establish a scene in the mind of the listener. Jazz alone won't do it.
A critic, reviewing one of my CDs, said "their music is a fertile landscape without boundaries." That assessment feels right to me.
Your teaching approach:
Based on what I learned from my mentor, I advocate a lyrical, melodic approach to jazz which stands in contrast to the chord scale and pattern-based methods currently in vogue.
I believe that the improvised solo is an opportunity to express something entirely new and profoundly personal. I encourage my students to create their own melodies, tell their own stories, sing their own songs. The bandstand is no place to be plugging in recycled, memorized material.
In clinics and private lessons, we explore the mental processes that take place while playing a jazz solo and the skills required for true improvisation.
Read More: http://www.allaboutjazz.com/php/article.php?id=43663#.UO82jKXhEhQ

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