Interview with Brad Walseth
Drummer/composer David Jennings has packed more musical experiences into his life than most artists could even dream of. Born and raised in Chicagoland, Jennings spent much of the '90s playing in various incarnations (ranging from big band and Latin to rock and fusion) in the Los Angeles club scene - including a monthly gig at the famed Baked Potato. While out on the west coast, Jennings played drums for the eclectic trio Toxic Jazz, which featured bassist Baba Elefante and guitarist Dave Murdy. This group recorded a self entitled CD in 1996 with special guest artist saxophonist Eric Marienthal. As if this wasn't enough - in 1996 David composed the soundtrack for the independent feature film Blowfish.
But there's much more - since returning to Chicago in 1998, he recorded a world music CD of original compositions entitled Essence of the Soul, and also completed several commissioned works for both high school and college ensembles. While earning a Master of Arts degree in Computer/Electronic Music Pedagogy from Northeastern Illinois University in Chicago (he holds a Bachelor of Arts in Music Theory from DePaul) David composed several works for computer and acoustic instruments. Besides teaching the jazz ensemble classes at Old Town School in Chicago, David teaches percussion and music theory at the College of Lake County, Illinois.
In addition, Jennings is a gigging musician AND the leader of his own "Acoustic Ensemble" - which has recently released an excellent CD of Jennings' orginal compositions called "Eternity." The David Jennings Acoustic Ensemble plays a highly anticipated live show at Elastic Arts this Friday April 27th. A true Renaissance man - Jennings graciously took time out of his busy schedule to answer a few questions for JazzChicago.net
JazzChicago: You were originally from the Chicago area, but spent several years playing in Los Angeles - what made you decide to return to Chicago?
Jennings: That answer has different layers, but I think the main reason was for my family. My Dad had major heart surgery in November of 1997 and I had been away for a long time. It was a love-hate thing in LA. That experience was the best education I ever had. I was fortunate to play with some incredible musicians from all over the world. It was a very interesting and intense time in my life. I made some life-long friends. I also learned a ton about composition. It is my second home.
JazzChicago: Who were your primary musical influences both as a player and composer?
Jennings: There are so many. For composers: Wayne Shorter, Charles Mingus, Monk, Chick Corea, Pat Metheny, Mahler, Richard Wagner, Stravinsky, Miles, Schoenberg, Prince, Robert and Clara Schumann, Schubert, Chopin, Bartok.
As a player: Tony Williams, Jack DeJohnette, Vinnie Colaiuta, Steve Smith, Lenny White, Coltrane, Miles, Art Blakey, Dave Weckl, Dennis Chambers, Chick Corea.
Also the sounds of nature, just walking outside is amazing. As I said, there are too many to name.
JazzChicago: The Acoustic Ensemble consists of some extremely talented players who work quite well together - how did you form the band?
Jennings: Dave Zielinski, who plays saxes and flute, is one of my closest friends whom I have known and played with for over 20 years. The rest of the guys I found, or we found each other, after I moved back to Chicago. I went through different players along the way. It takes a certain type of openness and understanding to play this music. That is one of the reasons that I love these guys. Most important is that we all really like each other and respect each other. This all translates on stage when we perform. Speaking of these guys: Jim Peterson on trumpet and flugel, Anthony Brock on bass, Michael Flack on piano, and as I said Dave Zielinski on saxes and flute. They are all world-class musicians who I feel so fortunate to have in the ensemble.
JazzChicago: People may not be aware that the College of Lake County has a music program - can you tell us a bit about the program?
Jennings: CLC is a junior college and the equivalent of doing the first two years of classes at a 4-year college. CLC pretty much offers the same music classes that you would take your first two years at a 4-year school. My close friend Michael Flack was hired 3 years ago to be the head of the instrumental music department. He has worked so hard to build this program up to be, in my opinion, the best community college music program in the state of Illinois. There are two jazz bands and starting next fall there will be jazz combos as well. Michael has put together an incredible staff to teach the music classes and private lessons. Our Dean, Dr. Jean Kartje, is incredibly supportive of what we are doing. I am biased, but I think our 4 levels of Music Theory rivals any 4-year music college for a fraction of the cost. The campus at Grayslake is beautiful with a state of the art performing arts stage-theatre. It is just a great environment to teach at and to learn. I love it there.
JazzChicago: It is somewhat unusual for a drummer to be the primary composer for a band - what is your method for coming up with new songs, and do you write from the piano when composing?
Jennings: I don’t know, people tell me that it is unusual for a drummer to be a composer. I think drummers have an advantage because they understand the rhythm section. It is kind of like a catcher in baseball, he or she is the only one who sees the whole field. Composition to me, is like playing an instrument-it takes practice and more practice to find your voice. I try to compose an hour to two hours each day. Besides writing for this group, I have written compositions for orchestra, chamber groups, wind ensemble, electric fusion, pop, hard rock, just about whatever I can. I have written and recorded a couple CDs of new age-world music. So these genres help determine what direction the composition will take. Sometimes I start with a harmonic progression, sometimes a melodic theme, and sometimes with a groove. I use a piano as a MIDI controller with a sequencing software program to compose.
JazzChicago: Speaking of that - you've done quite a bit of work with computers - can you discuss your opinions on the use of computers in jazz music?
Jennings: I think that this could be one of the “new” types of music that can be further explored in the 21st century. I often wonder and ask my college students where they think music is headed. Have we done all we could with the western tonal and atonal systems? The combination of music and computer generated sounds has obviously been around for awhile now, but I still think there is some ground to be broken. But to me jazz is about “earthiness,” being raw, exposing one’s innerself, and being spontaneous. The computer kind of goes against this. I don’t know, maybe there is a cool contrast there.
JazzChicago: There seems to be a spiritual thread running through your music - can you comment on this? And is there something you are trying to communicate in your music?
Jennings: Music is all spiritual to me. It transcends spirituality. It is the voice of our souls. Music makes you cry, laugh, love, listen, forgive, angry, joyful - just feel. Music has the power to make people remember who they are.
If my music communicates any of this, then there is nothing else.
JazzChicago: The Acoustic Ensemble will be appearing at Elastic Arts this Friday - what will people attending the concert have to look forward to?
Jennings: We will be playing music from our recently released debut CD, Eternity. We are also going to premiere some new compositions. The guys in my ensemble play their hearts out all the time. It is our chance to play because we love music.
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