John Eckert Nonet July 24, 2007

Google 'til you drop, but you will not find the John Eckert Trio, quartet, quintet, or big band. That is because in a career spanning some 42 years, the New York jazz trumpeter never has recorded under his own name as a leader. He has been, instead, what in jazz is called a "sideman." (For a humorous description of the role, you might want to check out "I Want to be a Sideman," written and performed by songwriter/pianist/vocalist Dave Frishberg). Mr. Eckert's busy, varied career is proof, if any were needed, that being a sideman is not a secondary kind of job. Now 67, he has played on more albums and with more people than he can count. He guesstimates at least 50 albums-ranging widely from the American Brass Quintet--an internationally acclaimed classical chamber group--to big bands led by Toshiko Akiyoshi, Loren Schoenberg, Louie Bellson, et al, the brilliant saxophonist Lee Konitz's Nonet, the rock group Ten Wheel Drive, the iconic cabaret singer Bobby Short and the legendary vocal duo of Simon and Garfunkel. "All these gigs and more have been my career, and I am very happy about that," Eckert said in a recent phone conversation. "The players I worked with, the variety of musical settings, and the challenge of the high level of playing that is characteristic of New York City make my musical life exciting and often frightening-in a good way." Besides, explains Eckert, "Everyone who works in New York works as a sideman at some time. They play weddings, Latino shows, on Broadway. I played in a big band recently on which (poll-winning saxophonist) Kenny Garrett was the lead alto." Eckert agrees that sidemen often are overlooked, or taken for granted. Many critics, for instance, devote their entire reviews to the leader, barely mentioning other players. Eckert understands the situation. "It is impossible to take everyone into account when certain players are featured more than others," he says. On the scattered occasions when a reviewer has mentioned Eckert, however, the comments have been positive. When requested, the soft-spoken, seemingly modest Eckert dug up a few. He seemed almost embarrassed to read them, however, even though all were flattering and two compared his playing to the legendary Miles Davis. Eckert, who says as early as 12, he considered himself an improvising musician, considers himself a bopper through and through, and cites the be-bop era as a prime example of a jazz musician's need to play often. "So many greats played at a higher level, because they played five-six hours a night, six nights a week, for maybe 10 years," he maintains. "They were truly living the music. Like a bus driver, they'd get up and go to work, always trying to play a little better and a little different." Eckert, too, says he wants to play as often as possible. Thus, his enthusiasm about making the long drive to Erie to play Saturday night at Papermoon, as part of the downtown restaurant/jazz club series of monthly performances by national artists. Eckert, whose early major influence was Chet Baker, says he's getting his wish and playing more often now than at any time in his life. He is in a band that plays every night at a place called the Garage; he's a member of a be-bop big band led by Howard Williams ("the only band of its kind that I know of"). Finally, he's actually co-leading a new band. "It's nine pieces (influenced by the Lee Konitz Nonet?), and includes some great players like (alto saxist) Bobby Porcelli (T.S. Monk, et al) and (drummer) Eliot Zigmund (pianist Bill Evans, et al) and some truly fine young players. We're featuring entirely original material by members and outside writers," notes Eckert. "As I've said," Eckert summarizes, "I'm not concerned about where it is or with whom. I just want to play and play better."

Event submitted by Eventful.com on behalf of clmgarage.