JerseyArticlesJazzCOLEMAN MELLETTcontinued from page 20point for me in getting serious about playing jazz.We did a little research and called the leader <strong>of</strong> theband, a great saxophone player named Leigh Pilzerwho is in the DIVA band. She recommended severalguitar teachers. [There are still great guitar playersdown there because you’ve <strong>got</strong> the military bandsand they have great players.] I ended up with PaulWingo, a local guitar guru. He straightened me outabout music theory and really <strong>got</strong> me heading in theright direction.JJ: And then you went <strong>of</strong>f to college?CM: I decided to do a jazz major in college and my<strong>first</strong> year I went to Duquesne. The minute I <strong>got</strong> thereI realized there weren’t that many other jazzplayers, but what was really good about going therewas a couple <strong>of</strong> things. First <strong>of</strong> all, Joe Negri taughtguitar there. He was the handyman on the Mr.Rogers show, but he was a great bebop player. Hereally comes out <strong>of</strong> the Charlie Christian school andit was great to be exposed to that kind <strong>of</strong> player andteacher. I was cruising through and had tons <strong>of</strong> timeto practice, so I practiced like a madman the wholetime I was there. There weren’t many bass players,drummers or horn players to play with, so I decidedto transfer to William Paterson and that <strong>of</strong> course isa brilliant program with a great reputation.JJ: Was that your <strong>first</strong> real <strong>experience</strong> inNew Jersey?CM: It’s funny, but I’ve <strong>got</strong> to paint a bit <strong>of</strong> apicture <strong>of</strong> William Paterson, because other than themusic school that school is mainly commuters. Soone <strong>of</strong> the things that happens is the jazz department[students] are the only people on the campuson weekends. We were all experiencing New Jerseyfor the <strong>first</strong> time [laughs] and I found the area challengingto drive around. I had never seen cloverleafsor jughandles and the toll thing was a little surprising.I remember it being really frightening. I probablyshouldn’t say t<strong>his</strong> to the Jersey Jazz journal, but Iswore I would never move to New Jersey after Igraduated. I have to say that William Paterson is in avery congested area and I don’t find the whole stateto be that intimidating. I moved back here because Iwanted to be with Jeanie, and I love living in NewJersey at t<strong>his</strong> point.JJ: Would you tell us about your teachers?CM: Rufus Reid is pretty awe-inspiring. He was thekind <strong>of</strong> guy who walked into aroom and all eyes and earswould be on him. He wouldhave a lot to say about a performanceor how to work as arhythm section. Kenny Burrellwas there for a year and Ispent the entire time followinghim around just picking <strong>his</strong>brain like crazy. That waspretty brilliant. I <strong>got</strong> to studyprivately with Harold Mabernfor a semester. He is such agreat player and NormanSimmons is a master in the art<strong>of</strong> accompaniment and allsorts <strong>of</strong> subtleties within therhythm section. His way <strong>of</strong>teaching was not typical. Hewould talk about conceptualthings <strong>some</strong>times and daysafter he told you what youwere to work on you wouldrealize what he meant. He wasdefinitely an awe-inspiringteacher. I am still learning from things he taught me.He ended up hiring me to play with Joe Williamsafter I graduated and that was another greatlearning <strong>experience</strong>.JJ: Would you tell us about that?CM: Sure. That was a great gig. I had alreadyplayed with Joe in a big band and small group settingsbefore at William Paterson. Norman called andthe gig was in Reno. So I went over to Norman’s andwe rehearsed. He said, “He’ll probably call ‘HowDeep Is The Ocean?’ I want you to know he likes tostart that with just guitar and you just play thechords real slow.” Later I fly to the gig and my plane<strong>got</strong> sidetracked and I ended up missing the soundcheck. So I was feeling pretty nervous. The gig isgoing great and Joe sounds amazing and he said,“Okay, now we are going to play “How Deep Is TheOcean?’ Are you ready, Coleman?” And I said, “Ohyeah. Ready to do it, ready to do it.” And I’m expectinghim to count [a slow] ballad and he wanted itfast. I almost missed the <strong>first</strong> beat I was so surprised.That was a good lesson; you have to beready for anything. That was a thrilling gig. I wish Icould have worked with him more, but unfortunatelyhe passed away about a month later. It was aserious honor to work with Joe.JJ: How about your lessons withKenny Burrell?CM: He was leading one <strong>of</strong> the combos that I wasin and he made us each play solo for him and whilewe were playing he would take notes and then giveus a list <strong>of</strong> pros and cons. My friends Paul Wells,Adam Scone and I had a littleorgan trio and we actually askedhim to do that pro and con thingfor our trio on <strong>his</strong> own time. Andhe did. He is a really, really greatabove: Coleman with <strong>his</strong> “boss” Chuck Mangione.below: Coleman Mellett jams with <strong>his</strong> Irish relatives — the accordionplayer is also named Coleman Mellett.gentleman and would answer any question I had.He actually took me to lunch one day.JJ: Did you keep any <strong>of</strong> those lists?CM: I have two <strong>of</strong> them in with my diploma. Heactually wrote me a recommendation for theManhattan School <strong>of</strong> Music and that is pretty greatto have. I felt shy about opening it. I didn’t feel itwas for my eyes; it was for the people at the school,so I’ve never looked at it.JJ: Did he give you any memorable advice?CM: Yeah, he said if you want to get anywhere injazz, develop your own sound. That is pretty muchindisputably good advice.JJ: Anyone else have advice that has stuckwith you?CM: Norman said as an accompanist you are notplaying to get your music out to the crowd. You areplaying to support the person standing at the edge<strong>of</strong> the stage. I take that with me on every gig. Thathelps me no matter what situation I’m playing in.Even if I’m playing with Chuck Mangione wherethings are a bit louder than a small combo gig. I’mstill basically playing for Chuck and it’s thesoundman’s job to carry my sound into the room.JJ: You have been with Chuck for a longtime. How did you land that gig?CM: I was on a low budget Manhattan cableaccess network show they played every day forweeks. Chuck saw that and <strong>his</strong> wife looked mynumber up in the white pages and asked me toaudition. By the way, that TV gig only paid like 50bucks so I was grumbling about the bread the wholetime. If I hadn’t played that gig and had my numberin the white pages I would not be with Chuck.JJ: How much time do you spend with him?continued on page 2422__________________________________ May 2008
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