David Weiss

[xricci]

In a jazz climate that rewards neo-conservative tributes and far-flung exercises in deconstruction, David Weiss has distinguished himself another way: through finding novelty and flexibility in the mainstream. The trumpeter, composer, and arranger has had the opportunity to learn from some of the music's quintessential figures. Weiss was born in New York City, but began his musical studies in earnest by attending North Texas State University. He graduated in 1986 and returned to New York. He soon found work with Jaki Byard, Frank Foster and Jimmy Heath and began to study with fellow trumpeters Tommy Turrentine and Bill Hardman. He also attended Barry Harris' weekly workshops, a valuable learning experience for Weiss and an opportunity for him to play with Mr. Harris and Walter Davis Jr. Weiss also began leading the “After Hours” jam session with many of the up and coming musicians of the day including Stephen Scott, Winard Harper, Leon Parker, Sam Newsome, Justin Robinson and Rodney Kendrick. Among the musicians he performed with during his tenure were Roy Hargrove, Clifford Jordon, Mulgrew Miller, Jeff Watts, Terence Blanchard, Benny Green, and Billy Hart.

In 1990, Weiss formed a band with tenor saxophonist Craig Handy and began performing in various clubs around New York. The bands various personnel included Benny Green, Stephen Scott, or Dave Kikoski on piano, Christian McBride on bass, and Billy Hart or Jeff Watts on drums. Weiss also assisted Handy with music to the NBC series “The Cosby Mysteries” and arranged the main theme for the show. Weiss began getting more calls for his arranging and transcribing skills. His arrangements/transcriptions have appeared on over 80 CDs. Highlights include CDs by Abbey Lincoln, Freddie Hubbard, and Rodney Kendrick, Alto Legacy with Phil Woods, Vincent Herring, and Antonio Hart, and a Rahsaan Roland Kirk tribute CD entitled Haunted Melodies featuring Joe Lovano, Donald Harrison, James Spaulding and many others. Weiss also arranged the music and performed on a series of tribute concerts to trumpet greats Freddie Hubbard, Booker Little, and Lee Morgan at Birdland in New York City. The personnel included fellow trumpeters Nicholas Payton, Tom Harrell, Randy Brecker, Terell Stafford, Brian Lynch, Eddie Henderson, and Claudio Roditi and rhythm section greats Pete LaRoca, Jimmy Cobb, and Idris Muhammad.

In 1996, recognizing a lack of serious new jazz writing, Weiss recruited some young, first-call New York musicians and composers to form the New Jazz Composers Octet. With their passionate rendering of thoughtful arrangements and firm rooting in tradition, the collective quickly established itself as the “sound of the new jazz mainstream” (Ben Ratliff, NYTimes) and was praised for their ability to “stretch hard bops kind-of-unstretchable formula (Jim Macnie, Village Voice). Of Weiss' contribution to the Octet's 1999 recording debut, First Steps Into Reality (Fresh Sound Records), Willard Jenkins commented, “a skilled arranger, transcriber and all-round coordinator, Weiss also brings righteous trumpet chops to this potent mix.” (Jazz Times). The CD was also lauded as a “gem” and received a Critic's Pick as one of the Top 5 Albums of the Year in Jazz Times. The octet recently completed their second CD Walkin' the Line (Fresh Sound Records) and Weiss used his compositions from this CD to win the prestigious Chamber Music America Doris Duke Jazz Ensembles Project: New Works Creation and Presentation grant, which provides funds to a composer to create a new work for his ensemble.

Weiss first developed an interest in writing for octet while arranging a couple of Freddie Hubbard compositions for the Hubbard album M.M.T.C. Both Weiss and Hubbard liked the miniature big band sound and decided to collaborate on another album of arrangements of several of Hubbard's more distinctive pieces from throughout his great career. In 2001, Hubbard recorded these selections with the New Jazz Composers Octet on New Colors (Hip Bop). The London Observer praised the Octet's “fine, surging ensemble sound” on the recording, as well as the group's “canny mixture of youth and experience,” and finally observed, “Trumpeter-arranger David Weiss is definitely a name to watch.”

In 2002, Weiss released his first album as a leader Breathing Room (Fresh Sound Records) featuring Craig Handy, Xavier Davis, Dwayne Burno, Marcus Strickland, and E.J. Strickland. The CD received great critical acclaim from JazzWise (4 stars, recommended, their highest rating), Down Beat (4 stars) and 52nd Street (4 ½ stars) among many others.

2003 finds Weiss touring the world with Freddie Hubbard and the New Jazz Composers Octet and with the trumpet summit band “Trumpet Legends at 65” a tribute to Freddie Hubbard, Booker Little and Lee Morgan featuring Nicholas Payton, Terell Stafford, and Tom Harrell.

More...

[xricci]

Walkin’ The Line
The New Jazz Composers Octet
Fresh Sound Records



Breathing Room
David Weiss
Fresh Sound Records

[xricci]

Have a question for David or a comment about his music? Please post it here.

[david weiss]

Hey all, to update my hopelessly out of date bio, here's what I've been up to the past few months.

In March I recorded my new sextet CD "The Mirror" to be released in August on Fresh Sound, performed at the Jazz Standard with the Charles Tolliver Big Band and will tour Europe with them this summer, wrote mini big band arrangements of Wayne Shorter compositons for the Fresh Sound New Talent Big Band which debuted at the Jazz Standard.

And last month I did a short tour with Freddie Hubbard and the New Jazz Composers Octet and performed at Iridium with "The Cookers" featuring James Spaulding, Pete LaRoca, George Cables, Eddie Henderson, Craig Handy and Dwayne Burno.

Also not listed in the bio is that I've done a bit of producing as well including the debut albums of Jeremy Pelt, Marcus Strickland and Robert Glasper and also albums by Gregory Tardy and Myron Walden among others. I've also done some re-issues including Lee Morgan "Live at the Lighthouse".

I look forward to your questions.

[xricci]

Dave,

We interviewed Fresh Sounds Jordi Pujol back in April 2002 (see interview). How did your association with this label come about and when did you start producing records for them?

Along those same lines, can you tell us a little about Freddie Hubbard (meeting him, recording with him, touring with him). Do you have any funny Freddie stories to share?

[ebrew]

Hi David. I'm a beginning trumpet player of 3 years so you know I have to ask the typical trumpet questions. What kind of horns and mouthpieces are you playing on? If you were to offer general advice to anyone just getting started on the horn what would it be?

Thanks for taking the time to rap with us. Welcome!

[david weiss]

ebrew,

I play a Selmer 80J trumpet with the brushed brass finish and a Monette B6 mouthpiece. I've been playing the same setup for 6 or 7 years now and I'm happy enough with it. I've haven't found anything I've liked better but haven't looked very hard either. I also own a Schilke B5 that I use when doing "other" kinds of gigs. Back in the day I did a lot of Salsa and Haitian gigs and needed something a little easier to play and a little brighter.

As for practicing, all I can say is long tones, long tones, long tones and flexibilities. When I first started I studied with Carmine Caruso I got a lot out of his methods. I still do his exercises a bit. I also practice a lot of slurring up and down the horn. Also, get the Clark "Technical Studies", those were always a great help to me.

As for jazz, practice all your scales and transcribe as much as possible. If you are just starting out, start simply, some Miles Davis solos from Round Midnight, Kind of Blue or Milestones worked best for me. I remember transcribing Sid's Ahead and Bye Bye Blackbird early on. Also, Hank Mobley's solo on Pfrancin' on Someday My Prince Will Come is a great example of how to play around the blues. Good luck.

Mike,

Thank's for the set-up.

My association with Jordi started with his recording the first New Jazz Composers Octet record. He was interested in having a few of the other members of the band record as leaders but most at the time were under contract with various other major labels (what a difference a few years make). He asked if I knew of anyone else he might be interested in and soon I bought him Marcus Strickland and then Jeremy Pelt and Robert Glasper. After that Myron Walden was no longer under contract and we recorded him (we just finished his second CD for the label, a follow up to Higher Ground which I thought was a great record). I'm sure I'm forgetting a few dates. There are a few other guys I have my eyes on now that we are working on getting signed that I have high hopes for. Jordi has a genuine ear for the music and an excitement for the music I rarely see among record company executives. He takes a lot of chances and at this point, I really don't see anyone doing a better job at documenting this generations jazz scene. Since he is in Barcelona, he counts on people like me (and I'm sure I'm not the only one) to keep him in touch with the scene here.

I'll get to Freddie later....

[Clunky]

Welcome David, a couple of questions

who's in the FSNT big band and any plans to record- there aren't enough modern big band records made these days (economics I guess)FSNT is a great label for this listener although the rate of output is almost overwhelming.!! I've not had a dud yet amongst the 20 or so I have. The recent FSNT CD sampler " A collection of unreleased recordings" had a fine Myron Walden track (The snake charmer). Is this from his new album or an outtake from the first?

[david weiss]

For the big band gig in New York it was...

Avishai Cohen and Russ Johnson- Trumpets
Eli Degibri and Bill McHenry- Tenor Sax
Myron Walden- Alto Sax
Norbert Stachel- Baritone Sax and Bass Clarinet
Curtis Hasselbring and Dion Tucker- Trombones
Robert Glasper- Piano
Matt Penman- Bass
E.J. Strickland- Drums

And if you care, we did The All Seeing Eye, Genesis, Mr. Jin, Diana, and Pandora Awakened
There is also a Fresh Sound Big Band recording, completely different than this band, that will released in the Fall to celebrate the 10th Anniversary of the New Talent label. It will be a 2 CD set (and I believe, a DVD) that features arrangements from Guillermo Klein, Taylor Haskins, Avi Lebowich, Jason Lindner, Frank Carlberg, Andrew Rathburn, Pablo Ablenado and Magali Souriau. I think all your favorite Fresh Sound artists are playing on it. I, unfortunately, was in Japan on tour and was not availible for this but I'm sure it's a great session.

Economics with a big band are certainly an issue. I'm going through that now trying to get the Charles Tolliver Big Band (which is an incredible modern big band, in my opinion, by the way) on the road. I'd love to do the Fresh Sound Big Band thing again, I thought the arrangements of the Wayne Shorter tunes came out nicely and there is room to grow with them but that only happens with more gigs, perhaps down the road a bit...

The Snake Charmer is an out-take from the Higher Ground session. It's a Marcus Strickland tune that I happened to like a lot.

Yes, Fresh Sound does put out CDs at an unbelievable rate but the recent climate for jazz CDs has even slowed them down a bit though they do have some nice things coming up. In addition to my CD and Myron Walden's, he has a Kevin Hays CD with Seamus Blake in the works.

[montg]

David,

Thanks for your time. I really enjoy 'Walkin' the Line'..so many highlights--Jimmy Greene on 'The Dove', Nasheet Waits on 'Deadweight'.... Can you tell us a little more about your new sextet album coming out in August? Who's on it etc?

[david weiss]

Hey montg,

Thanks for your kind words about "Walkin' the Line" it's the first CD I've done that I'm really proud of. Jimmy Greene is an amazing soprano saxophonist. He really has a unique personal voice on that instrument. We exploit it more on the next octet CD which is about half recorded at this point. My new sextet CD has basically the same band as my first, Marcus and E.J. Strickland, Xavier Davis and Dwayne Burno, with Myron Walden replacing Craig Handy. There are also a couple of octet tunes on it as well. I'm,hopefully, finishing it this week and I'm told it will be out in late August or perhaps, September. The title "The Mirror" comes from a favorite film of mine by the Russian director Andrei Tarkovsky.

Thanks for asking.

[Clunky]

I was very impressed with Xavier Davis when I saw him with Stefon Harris last year. His FSNT trio CD is pretty neat too. His speed around the keyboard is incredible and with plenty to say it's a good combination to have.

[kdd]

Hi David, I remember you were kind enough to chat with us once back at the old Blue Note board (I believe you came there in defense of Mr. Hubbard) but you also discussed the Lee Morgan "Live at the Lighthouse" with us. I don't know if this was asked back then but since you worked on this and with Fresh Sound, perhaps you can help settle a debate. Where is the Fresh Sound material recorded, at the Lighthouse or the Both/And? Do you know? Also, by chance, have you heard any other of the unreleased Blue Note sessions?

Also your mention of Tarkovsky piqued the interest of the film critic in me. Is there any significance to the choice of The Mirror.

[david weiss]

Clunky,

Yeah, Xavier's CD, I knew I forgot a couple. Xavier is a talented pianist and a very talented composer (I don't know if you know the octet CDs), his compositions on the next octet CD are incredible (but I'm a bit biased).

Kdd,

Yeah, I remember those discussions on the Blue Note Board, but don't remember if we discussed where the Fresh Sound Morgan stuff was recorded. I don't know for sure, and I don't think anyone does know for sure but I think it was indeed recorded at the Lighthouse. Even without any inside information, one could surmise that it was the Lighthouse. First, it was a two week engagement and the Blue Note stuff was recorded towards the end of the engagement. There were plenty of other nights this could have been recorded. Also the Fresh Sound release I believe says produced by Howard Rumsey or Rumsey wrote a few words for the booklet (I don't have the CD handy) and there are other live recordings on Fresh Sound from the Lighthouse so, do the math. There only "proof" that is was the Both And was that Benny Maupin sort of recalled that perhaps they did a radio broadcast one night when they were there. Since there is no radio chatter on the CD, I don't know what to say. Again, perhaps Howard Rumsey is the only one who might know for sure and I've never met him. It's a curious subject ,I know, but best just to enjoy the music, it's killing stuff. As I've said before there is plenty more stuff from that session that hasn't been released. As for the other stuff still in the vaults, I've heard some, many that have been speculated about here and elsewhere so if you can be a little more specific I'll try to recall what I remember. One thing for sure is that I've heard some pretty nice alternate takes from some classic released sessions that haven't seen the light of day yet.

As for Tarkovsky, I was always attracted to the mood of his films. He really takes you to another place. I wanted to see if I could achieve that with the music I wrote on some level.

[kdd]

Thanks David, I think anything you can tell us about any unreleased sessions and unreleased alternate tracks would be of great interest to many of us here. Specifically I think the unreleased Wayne Shorter session, the Tyrone Washington "train wreck" date, and any of the many Andrew Hill sessions are some of the dates most questioned about. I wouldn't know what to even ask for regarding unreleased alternate takes.
Also, does your group have anything interesting coming up? Any more dates with Freddie Hubbard? How's his health and playing been?