Orrin Evans: Old Wine in New Bottles
Orrin Evans is a musician who seems to never slow down. The jazz pianist finished up a rehearsal with his eighteen-member band in Philadelphia, is set to record with saxophone great Tim Green and will embark on a European tour… all in the same week. Evans is the spokesman for the Philadelphia jazz scene, and while fathering two sons, has time to compose and conduct some of the most inventive jazz in the past ten years. While packing a bag for Spain, Evans was able to answer a few questions for the Revivalist.
The Captain Black Big Band is getting a lot of press recently. They were featured in the New York Times not too long ago.
Yeah, it’s a great mix of young and old musicians who might not have had the chance to ever play together. Our goal is to build new listeners. We wrapped up our album, self-titled, and it’s going to be released next week.
You grew up in a musical household. Your mom was a singer, your father was a playwright, and your uncle was a saxophone player. You must have felt a push in that direction early on.
Well, I had to take piano lessons. I was about eight. The bug was there, for sure, but I remember not getting into it then. [Laughs] It wasn’t until middle school that I fell into music and decided that’s what I wanted to do.
I know you went to a performing arts high school. Can you talk a little bit about that?
It was Performing Arts Middle and High School, and that’s where I really found an appreciation for not only jazz music, but theatre and different musical genres. It’s important to see people do what you do. My oldest son is actually about to graduate from the same school. It’s changed a bit, new auditoriums and everything, but it’s still the same place.
You talk a lot about the importance of Philadelphia musicians.
Yeah, I mean, there were lots of musicians I listened to, but it was Philadelphia that kept me inspired. I loved to come back from school and hear the sounds of the city. It was like an energy pack for me, like Popeye and his spinach [laughs].
Is it the same nowadays?
I mean, it has changed. Of course. There are not as many elders out listening. You used to be able to go into certain clubs and see guys like James Williams and John Hicks. You could go up and talk to these guys. But that’s just not the case now. And to tell you the truth, there is too much mutual admiration. People are afraid to say if something sucks.
Yeah, people see someone pick up an instrument and automatically assume that they know what they’re doing.
Exactly.
What do you listen to in your free time?
Obviously, I try to stay up on what’s happening. But I enjoy older hip hop and R&B; as long as the music has a good feel, I’ll listen. If it’s a good mix and everyone feels good, then it’s good music. I enjoy that.
How has media, in you opinion, changed the way music is presented? Has it been easier or more difficult for you?
Well, it’s easier to be an individual musician and for self-promotion. As for music, it’s certainly opened up the ways we share it. But it’s a different thing now. You really don’t hear the same stuff you did when I was growing up. It’s out there, in clubs and cafes, but a lot of it is not being acknowledged.
You seem to be comfortable where you are as an individual musician. You play with many people and meet many different personalities. But having that individual creative freedom, it must be different than having a band. It must trap certain musicians, if you know what I mean. Do you feel that?
I think I know what you mean. Richard Pryor actually has a joke that follows along same line. A guy says to his wife, ‘I’m going out to find some new pussy.’ And she tells him, ‘If you had a larger dick, you’d find some new pussy right here.’ [Laughs]. For musicians, you are trapped only if you want to be trapped. Sure, there are certain people, musicians who will limit you and only play a certain way. But it’s up to you to move on and open up what you’ve already got. You can feel trapped for a day, but after that it’s on you.
Right. And you’ve had experience with this?
I mean, sure. Musicians complain that, you know, they’re playing the same songs over and over. And that some these songs are from the 1920’s, 1930’s. But you know what, why don’t you do something hip with it? Bobby Watson, an alto sax player, was playing his music the same since 1977. And my band came along and put out an album of his music (Faith in Action) last year. We put a different spin on it. I don’t blame him for playing the way he did. He was comfortable with that. But we did something different with it. Old wine in new bottles.
Can you describe your writing process?
Well, it depends on if I’m working on something that’s commissioned or not. And more often than not, if something’s commissioned, it takes longer. But if I’ve got time, an idea will come out of nowhere, even when I’m not focused. I might even walk right by the piano. Or I might doodle something. A lot of wonderful things have come out of doodling. After the first idea, it’s waiting for the rest of the story. Slowly, it comes to you and you transfer it to the page, then to your bandmates, and then to the audience.
Do you write when you are travelling, or do you tend to work on projects you already have?
It really depends. On this trip, I’m going to collaborate with Paco Charlin, a great bass player in northern Spain.
And do you prefer to practice alone?
Any words you want to toss out to any aspiring musicians?
I guess whatever it is, even if it’s not music, know you can do it. Stay focused and keep people around you that you need. That’s the biggest thing. Find that core group of people doing what you want to do.
Interview by Alex Butler
