Buffet Clarinet

Evan Tate

This interview was conducted May 17, 2003 at Unterfahrt Jazz Club in Munich, Germany. Greg is currently touring with the New Sound Collective (now renamed "Structure") with Terri Lynne Carrington, Steve Khan, Jimmy Haslip. I spoke with Greg after the concert in the hall of the musician.

ET: You were born in St. Louis. How did you come to play the saxophone?

GO: Well, you know (in) the school band Junior High, Grade 7, age 12, there was a choice to play the trombone or clarinet. And of course, I jumped at the clarinet because it seemed more interesting. And a year later, it's actually 1972, I got my hands on a saxophone and immediately fell in love with it because it applied to more contemporary performance situations. But I stuck with the clarinet, as well as challenges. So I was doubly. And a year later I received a flute. So, when I was 13 I played the saxophone, flute and clarinet. So I made very quickly because I enjoyed it so much. And two years after the start, I was good enough to play with bands from the local. I played in the group of blues, pop groups and bands soul, and R & B. Because you know in the 70s, they did not have synthesizers if all bands had to have a horn section. So I learned to play in the bands of the soul, and play and blend into one section. It was really good. It is important and essential to my development.

AND: Do you get out of a family of musicians?

GO: No, not all musicians. It was just a twist of fate, and I'm really glad it did. Because the only musical I could stand and he was single and music has been a series of challenges, and it gave me something to work and work.

ET: You mentioned that you played with local R & B groups and such. What brought you to jazz?

GO: Well, I think while I was playing in these bands, it was a bit frustrating for me. Although we have taken instrumental solos it was generally more agreement as a groove or a vamp. And even if I do not know much about the superior properties of music, I learned that there were many more that could be done. There was a lot more potential. Thus, one of my friends gave me a folder Charlie Parker and I had never heard him play someone like that. I've never heard played sax so intricately and with such detail and complexity. So I have my hands on all records of Charlie Parker that I could. And then, Cannonball Adderley and Sonny Stitt followed. You know, the technicians of the saxophone. Master players of my instrument. Then it began. Because I said, 'wow, I did not know that was possible. " And then I studied on my own and I interviewed a large number of older players around St. Louis. I always asked many questions. No formal study, but harass them. In fact, following around their various concerts and being a parasite. When you're young, you must be shameless and full of desire. You can not afford to be shy. And you can not have fear of rejection and you can not be afraid to expose the fact that you do not know something. Wherever the information is, you should go for it. Of players in your peer group for players who have played a little longer, or older players. So I jumped in head first.

ET: What were some of the older players in the region of St. Louis?

GO: Some people like saxophonists Willie Aikins, and Freddie Washington, and guitarist Richard Martin, what are the local players in St. Louis. People may not know them at the national level, but they are important for the local scene and very inspiring for me because I could see and hear a young, great players at this level, of this caliber a professional level.