By Darlene Donloe
Kirk Whalum’s
personality matches the sounds that emanate from his saxophone. They are both
cooler than cool.
Whalum, an
ordained minister, is an immediately likeable and personable fellow with an easy-going
vibe and a mellow demeanor.
When the Grammy
Award-winner blows his sax there are no words, but it still speaks volumes.
On this day in
the Crystal Room of the old West Angeles Church of God in Christ in the Crenshaw
district of Los Angeles, Whalum is dressed in all black. A black hat, shirt,
pants and shoes. He quickly realizes he’s missing his signature item.
“It’s very rare
that I’m seen without a scarf,” he says while pulling an off-black/grayish one
out of his bag and placing it counter clockwise around his neck. He’s now
looking très chic.
As if he’s on
automatic, he picks up a flute and begins to improvise his delicious patented
soul-stirring music. It’s clear he’s in his own world. His eyes close
occasionally as if he seems to caress every note. It’s obvious why Whalum has
had a successful career and why he has such a loyal following.
An influential
figure in music, for years Whalum has been spreading his ‘message’ through his
acclaimed series, The Gospel
According To Jazz, Chapters I – III.
Today Whalum is
talking about his latest project, the fourth installment aptly titled The Gospel According to Jazz Chapter IV.
It’s been six years in between efforts, but Whalum’s enthusiasm for the project
hasn’t waned.
The recently released The
Gospel According to Jazz, Chapter IV, is a two-disc, 19-song CD and a
feature length DVD. It
explores the convergence of jazz and gospel infused with rhythm and blues. It can easily be
described as a “docu-musical’ saluting the music and individuals, both
past and present. Within the project are messages of tribute, tragedy and
triumph – musically illustrating God’s radical hospitality.
The part concert
film and part documentary features an all-star ensemble of some of the music
industry’s elite musicians who have all come together to speak their own
language without words. The group
includes: Rick Braun, Norman Brown, Kenneth Whalum, Doc Gibbs, Gerald Veasley,
Kevin Whalum, Shelea and John Stoddart.
In the film Whalum addresses social tensions and uses a collection of
tunes inspired by family, friends, influencers and heroes including Nelson
Mandela, President Barack Obama, John Coltrane, Paul McCartney, Wayman Tisdale,
George Duke, and Curtis Mayfield.
I recently
caught up with Whalum to discuss his career and The Gospel According to Jazz
Chapter IV.
DD: What is Gospel According to Jazz Chapter IV saying
that the other three gospels didn’t?
KW: These
projects are a snapshot, more so than the usual because when we do recordings
they are done over weeks and months. Gospel is about what night. It’s about
where I was on a specific night – spiritually and psychologically. Being in
collaboration with other musicians - that’s what it’s all about. We are overtly
embracing that God is the author and composer of all great music, especially
with improvised music. We are trusting God for the notes.
DD: Is there a
lot of rehearsal?
KW: There is all
this preparation for months, arranging and practicing. Then it’s all about that
one night. We try not to doctor it too much. It’s what happened that night. We
can share this moment of connecting and expressing the inexpressible. We know
God through his son Jesus Christ and make a connection and then we make the
connection with the audience.
DD: How did the
series begin?
KW: I was
touring with Jonathan Butler, Michelle Ferrell and George Duke. They are so
highly refined. You never know what is going to happen. One of these nights we
happened to go into Precious Lord or Oh How I Love Jesus. The people went
nuts. It was a standing ovation for minutes.
DD: So, it
pretty much fell into place.
KW: Well, what
happened was when I was dropped from Columbia (Records) unceremoniously after
12 years, I remember being deflated. My ego was on the floor. My wife (Ruby) of 35 years, I met her when
she was 15. She caught my attention. She said to me, ‘What can’t you do today
that you could do yesterday when you were a Columbia artist?’ I knew what I
wanted to do. How was I going to fund it? I don’t’ schmooze. So, we did Chapter
1. George Duke was so sweet to say he’d do it. It was such a huge thing. I was
able to build on that. When a person of his stature works with an artist like
me, that’s special. That was the big moment.
DD: Will there
be a The Gospel According to Jazz Chapter
V?
KW: Lord
willing. Six years since the last one. You have to start writing and arranging
and all the things administratively that you have to do. We have to raise
money. Now it’s easier.
DD: So, how do you
raise the money?
KW: Big part of it is promoting a concert. People
pay to come to the concert. That money helps us to fund the hard cost of making
a recording. Mack Avenue (Records) partnered with us and takes care of
distribution and marketing.
DD: There are 19
songs on the CD. Talk about how and why you selected the 19.
KW: Part of that
is me being a knucklehead and not being able to cut the bunch. We are only going to be doing just 12. It
always goes long. At the end of the day you apologize to the musicians. I wish
I did a better job of A&R. I go where God leads me. My brother Kevin is
really creative when it comes to re-appropriating mainstream songs. We have songs like Let ‘Em In, Keep On Pushin, Triage and Madiba, which is a tribute to Nelson Mandela. We also have Un Amor Supremo, a Spanish style
arrangement and tribute to John Coltrane’s A
Love Supreme. There are more of course. We have songs like Motherless Child and Love Is The Answer. All of these speak
for themselves.
DD: You’ve said
that music is a calling and that it chooses you. Can a musician be taught to be
great or do they have to have the calling to be great?
KW: You can
absolutely be taught to be great. There is something about the way you learn
music. If you’re a musician you have an easier path. You have to perfect one
thing first. It’s a special thing. I’d
say in order to be an improvising musician you have to get the melodies from
somewhere. You have to find the notes. Spontaneous composition. I’m convinced
that you come pre-wired to do that. You know when someone’s got it. That doesn’t
always mean someone is devoted to it. Someone could be immature or distracted.
DD: Explain the
convergence of jazz and gospel.
KW: I don’t
consider it a convergence. I look at it a few ways. We can trace it back to its
roots in the church. At a certain point some took that music and took it in
bordellos and juke joints. One is called blues and one is called gospel. You
could say they started together. In blues for instance, you’re expressing the
inexpressible. You are addressing something deep down inside. The Gospel according
to Matthew is his perspective on it. The
Gospel According To Jazz series is the interpretation of this particular musician.
DD: You have
some newcomers on the CD. Just jokin. You have Rick Braun, Norman Brown,
Kenneth Whalum, Doc Gibbs, Gerald Veasley, Kevin Whalum, Shelea and John
Stoddart. That’s pretty impressive.
KW: Music is
such a broad thing. There are so many different strings. Rick Braun and Norman
Brown and the others are by no means newcomers. What’s nice about artists like that is that I’m
able to introduce to someone who is not a Christian artist per se, but is on a
Christian journey. They have something to say and express in a spiritual point
of view. Shelea is a newcomer. She has been building little by little. She
sings I See You. I wrote it for her.
I saw her being able to pull it off. She is well versed in jazz and R&B and
has a gospel edge to her. She was able to deliver this message. She got it
right away. It says, I see you in your madness, don’t fret, you’re good. It’s
about homeless people. People who are lonely.
DD: Talk about
what we will see in the film.
KW: You will see
a lot of great music and great musicians engaging and collaborating with other great
musicians. We’re kind of introducing this concept to some folk. Some say, ‘How
are you doing gospel music?’ It’s avant garde. We get to address that.
DD: Talk about
your musical growth since the beginning. How has it manifested?
KW: The very
first CD was Floppy Disk in 1985. It
was produced by Bob James. I had just graduated college. I had been playing in
Houston with my own band. The growth is almost like a boomerang coming back.
It’s exciting because in the radio format we found ourselves in Smooth Jazz.
DD: Does the
name ‘smooth jazz’ bother you?
KW: Sometimes it
bothers me because it’s limiting. When I grew up it didn’t exist. What I’m able
to do with The Gospel According To Jazz
is express jazz. I get to go deeper. The thing with any pop format designed for
radio is it’s all about selling ads. Smooth jazz gave them a handle. It was
very constricting. This is a particular sound they want. For a musician that is
like putting a cat in the box. Jazz is the music that gives the individual the
right to express what’s deep inside. You were hearing an individual when you
listened to someone like Billie Holiday.
DD: You’re an
ordained minister and received your Master of Art in religion. Talk briefly
about why you did both and how it has influenced your music.
KW: I don’t
think my music changed. I always knew I was called to represent God in the
marketplace. Growing up in the home of a preacher and pastor, I always saw
myself seeing what he was doing. I did the praying before we went on stage with
Whitney [Houston]. I would lead the Bible studies. I wanted my music to be accessible
to the masses.
DD: You wake up
and there is no more music in the world. How would that affect you?
KW: No more
music – the world would cease to exist. God speaks the language of music. When
we hear music. We all communicate through music. It’s intrinsic to me like breathing.
But, I don’t derive all of my joy from playing music. I love life. I love
languages. I could be a French teacher. I love people. I’m not convinced it
would take all the wind out of my sail.
DD: Tell me
about Bible in Your Ear where you
read through the Bible in a year. –When did you record this?
KW: There are
people like myself who struggle with reading. I like audio books. It take me a
long time to finish a book. I thought it was a nice thing to do. I actually recorded them all in one year. I first
did the recordings in 2006. I’d do two or three lessons a day.
DD: You’ve been
creating and making music for decades. What inspires you?
KW: I’m a people
person. I love my wife and kids, nature and being outside. Those are the things
that continue to inspire me. God is more real to me now more than ever.
DD: Does the
music you create say things to your family, friends and fans that you can’t say
verbally?
KW: I think so.
By definition it communicates on a deeper level. It doesn’t matter if you’re Japanese,
but if I pick up my flute, we are both edified by this. It’s a dialogue that happens. I believe God
speaks. It’s a melody.
DD: Talk about
the cruise next year on Holland America’s ms Eurodam. Ports Of Call include Ft.
Lauderdale to Grand Turk, San Juan, Tortola and Half Moon Cay. Who will be
there?
KW: Everyone can
go to TheGospelMusicCruise.com to get
information. It’s happening March 2016. We have folks like Kirk Franklin, Fred
Hammond, Marvin Sapp, Yolanda Adams, Take 6, Tye Tribbett and Shirley Caesar. Regina
Belle is the co-host.
Kirk Whalum’s
The Gospel According To Jazz Chapter IV is available at iTunes and on
Amazon. The DVD is $24.99; the limited
advance DVD with the producer’s cut is $34.99.
Twitter:
@kirkwhalum
Facebook: Kirk
Whalum
