Lessons from Russell Malone:

One of the many cool things about the Montreal Guitar Show was the all day mini concerts featuring some of the best Jazz and Acoustic Guitar Players you were ever likely to see in a row. Along with this were artist workshops with some of the finest Jazz Guitarists on the scene today playing and chatting with the audience in an intimate setting. It was in this situation that I got to see Russell Malone the afternoon after his Solo Guitar performance the night before

As you might well imagine, I was very excited to see Russell up close and personal as it were, and let me tell you, he did not disappoint! His personality was witty, charming and funny, replete with great stories and sage advice. And his playing was just as commanding as the night before.

Acting as moderator was Montreal’s own Rock Music Historian Craig Morrison. Craig’s role was to introduce Russell, ask a few questions, get Russell to play a bit and then hand over the Q&A to the audience, which he did accordingly.

After Craig’s initial introduction, Russell played Michael Jackson’s “I’ll Be There”, and like the night before, it sent shivers up and down my back. It was a beautiful way to start the workshop and showcased Russell’s thorough knowledge of the chord-melody style. After the tune, Craig asked Russell a few background questions which got Russell talking about his early years and his association with the late, great Bassist Ray Brown. Ray has played the mentor role in Russell’s life much to Russell’s benefit as a musician and individual I’m sure.

A pivotal turning point musically for Russell happened when he took the initiative to visit the influential Jazz Guitarist John Collins in LA. John was the last Guitarist to play with the Nat King Cole Trio and was somewhat immortalized through his playing on “The Christmas Song”. Ray Brown had hipped Russell to John Collins and it was Russell’s association with Ray that got him through the door, so to speak.

Once in, Russell recounted that John had asked Russell to play for him. Young Russell, “being all that”, whipped out his best Bop chops. In response to Russell’s fret-board wizardry, John Collins simply played a solo arrangement of the Billy Strayhorn tune “Lush Life”. Russell said that it sounded like a “small orchestra”, and that’s when he started listening to Guitar and Piano players differently. Paying special attention to inner voices, contrary motion and the harmonic abilities of guys like Jack Peterson and Gene Bertoncini. The lesson learned in all of this? “Don’t sell the Guitar short!”

Russell then got into talking about tunes and how important it was to really know a tune first before taking liberties with the foundation. Learn the melody, AND, just as important, the lyrics! Russell then began playing the melody to “The Heather On The Hill” followed by the harmony. Then he began building on the song by adding chord substitutions, counter melodies and lines moving in contrary motion.

Upon finishing the tune, Russell brought up an anecdote about another influential Bassist, Ron Carter. Ron was lamenting the fact that some players “don’t know songs, but they think they can write!” Learning songs has a great influence on what and how we write and as musicians we need to know what has come before us in order to have a sense of what, or what not, to write. Such knowledge provides us with the tools to find our own voice, giving us “the confidence to speak with that voice” on the bandstand. That said, Russell launched into his own “Pecan Pie” composition, after a warm introduction about visiting his grandmother in the South and loving the familiar aroma of Pecan Pie.

After the tune, Craig asks Russell about how he handles playing with different instruments that share a similar polyphonic function like Piano or Vibes. Turns out Russell likes playing with Piano Players, but that Guitar Players need to know/learn when to sit back, stay out of the way, listen and not use dense voicings that can interfere with the other chordal instruments.

Russell then waxed nostalgic a little by letting the audience in on his very early years. How at 9 years of age he heard the blues ala BB King and was influenced by Gospel and the way in which sermons were delivered, and that he also enjoyed the sounds of groups like the Bee Gees and artists like Dan Fogleberg. Basically stating that he enjoyed “any music that felt good”, and that he’s also a “sucker for a good melody!” He also talked about being introduced to Jazz by hearing George Benson on TV (Soundstage) when Russell was 12 years of age and that later on in years he got to meet and play with the legendary Hank Garland. The story involves Tal Farlow, Bucky Pizzarelli, Hank Garland and Russell ending up in Tal Farlow’s hotel room somewhere, with all playing together. According to Russell someone videotaped that moment in time and Russell has a copy!!! I doubt we’ll be seeing that footage on YouTube any time soon...:(

As the 45 minutes allotted to the workshop were winding down, Craig opened the floor to questions. Since no one was jumping in to ask a question I raised my hand and asked Russell about one of his common musical characteristics where he tends to play outside as much as inside, referring specifically to the tune “Mugshot” off his Sweet Georgia Peach album. Russell responded to the question by referring to a situation that happened early on in his career.

Russell was a sideman on a gig and decided to play “hip”, which meant going outside the harmonic confines of the tunes. He noticed that a table of young guys in the front row would cheer him on every time he played “out” so he continued to play it up. Also sitting in the audience was Kenny Burrell.

After the set, the group in the front row commented to Russell how much they really dug his playing and that he was really pushing the envelope. This made Russell feel good and he walked over to where Kenny was sitting and sat down beside him all puffed out like. He asked Kenny Burrell what he thought, expecting to get a thumbs up from Mr. Burrell. Instead, Kenny moved in close to Russell, put his arm around his shoulders and started chastising him like a Father to a Son: “Look at the room, the audience, the context will dictate the playing style. Be respectful of the music and with those you are playing with.” A powerful lesson learned!

Russell went on to say that as musicians playing with others, we have a responsibility to do things in a traditional or commonly understood manner. We set up intros and endings, play as part of the rhythm section, and work to make the music sound and feel like it should: “Nobody cares how fast you can play except for other Guitar players…and they’re all broke!”

Russell concluded the story and workshop with a sobering, yet important reminder of our role in all of this: “We are entertainers in Show Business!” Period.

Thus endeth the lesson.

If you ever get the chance to see Russell live or in a situation like a workshop, then take it. The music of an artist is just one part of the whole and getting to hear their words is just as powerful as listening to their own musical voice. Take what you will from all this and all the best.