Jon Mayer, piano
Durante demasiado tiempo, Jon Mayer - un pianista be-bop creativo, emotivo y extremadamente original - ha sido uno de los secretos mejor guardados de la comunidad jazzística.
Su historia se inició a finales de los años cincuenta, donde este pianista nacido en Harlem se graduó en la conocida High School of Music and Art de Manhattan y, mas tarde, frecuentó la Manhattan School of Music. Pronto empezó a trabajar con músicos de talla universal, como Kenny Dorham, Tony Scott, Pete LaRoca y Ray Draper, para grabar más tarde con dos de los saxofonistas mas influyentes de la historia del Jazz: Jackie McLean en Strange Blues (Prestige/OJC) y John Coltrane, en una sesion known conocida como “I Talk With The Trees” editada finalmente en 1990 en la compilación Like Sonny (Roulette).
Durante los años ‘60 y ‘70, Mayer permaneció activo, actuando en Europa y en los USA, trabajando entre otros con la Thad Jones-Mel Lewis Jazz Orchestra, Dionne Warwick, Sarah Vaughan y The Manhattan Transfer, además de componer temas para Les McCann, Nancy Wilson y otros. Pero, por diversos motivos personales, Jon entró a continuación en un largo periodo (tres lustros) de inactividad, durante el que raramente actuó en público.
En 1991, Mayer decidió que era el momento para volver a la escena musical. Se instaló en Los Angeles e inició una nueva carrera como líder, demostrando que su música había madurado con el tiempo, y ofrecía una combinación extraordinaria de lirismo, sentido rítmico y capacidad de improvisación melódica.
Muchos aficionados descubrieron a Jon Mayer con su primer disco como líder, Round Up The Usual Suspects (Pullen Music, 1996), una magnífca sesión junto a dos de los grandes del jazz: Ron Carter y Billy Higgins. Siguieron Do It Like This (A-Records), junto a Bob Maize, Harold Mason y Ernie Watts y Rip Van Winkle (grabado en directo para Fresh Sound). Full Circle (Reservoir, 2002). El último CD de Mayer para Fresh Sound está en el mercado desde 2005, y Reservoir ha editado My Romance, dedicado a la esposa de Jon, a primeros de 2006.
Mayer describe su estilo musical de forma muy sencilla: “Intento transmitir las diversas emociones y sentimientos que he percibido en la música de los pianistas a quienes admiraba cuando empecé: Bud Powell, Bill Evans, Red Garland, Wynton Kelly, Carl Perkins, Horace Silver: estos eran los músicos que estimulaban mis endorfinas, que abrían ventanas en mi pensamiento y me hicieron dedicarme a la música. Me he inspirado en ellos para crear mi propio estilo.”
Durant molt temps, Jon Mayer – un pianista be-bop creatiu, emotiu i extremadament original – ha estat un dels secrets millor guardats de la comunitat jazzística.
La seva història es va iniciar a la fi dels anys cinquanta, on aquest pianista nascut a Harlem, es va graduar en la coneguda High School of Music and Art de Manhattan i, més tard, va freqüentar la Manhattan School of Music. Aviat va començar a treballar amb músics de talla universal, com Kenny Dorham, Tony Scott, Pete La Roca i Ray Draper, per a gravar més tard amb dos dels saxofonistes més influents de la història del Jazz: Jackie McLean en Strange Blues (Prestige/OJC) i John Coltrane, en una sessió coneguda com “I Talk With The Trees” editada finalment en 1990 en la compilació Like Sonny (Roulette).
Durant els anys 60 i 70, Mayer va romandre actiu, actuant a Europa i als Estats Units, treballant entre d’altres amb la Thad Jones-Mel Lewis Jazz Orchestra, Dionne Warwick, Sarah Vaughan i The Manhattan Transfer, a més de compondre temes per als McCann, Nancy Wilson i altres. Però, per diversos motius personals, Jon va entrar a continuació en un llarg període (tres lustres) d’inactivitat, durant el qual rarament va actuar en públic.
Al 1991, Mayer va decidir que era el moment per a tornar a l’escena musical. Es va instal•lar en Los Angeles i va iniciar una nova carrera com a líder, demostrant que la seva música havia madurat amb el temps, i oferia una combinació extraordinària de lirisme, sentit rítmic i capacitat d’improvisació melòdica.
Molts afeccionats van descobrir a Jon Mayer amb el seu primer disc com a líder, Round Up The Usual Suspects (Pullen Music, 1996), una magnífica sessió al costat de dos dels grans del Jazz: Ron Carter i Billy Higgins. Van seguir Do It Like This (A-Records), al costat de Bob Maize, Harold Mason i Ernie Watts i Rip Van Winkle (gravat en directe per Fresh Sound). Full Circle (Reservoir, 2002). L’últim CD de Mayer per Fresh Sound està al mercat des de 2005, i Reservoir ha editat My Romance, dedicat a l’esposa de Jon, a primers de 2006.
Mayer descriu el seu estil musical de forma molt senzilla: “Intento transmetre les diverses emocions i sentiments que he percebut en la música dels pianistes a qui admirava quan vaig començar: Bud Powell, Bill Evans, Xarxa Garland, Wynton Kelly, Carl Perkins, Horace Silver, aquests eren els músics que estimulaven les meves endorfines, que obrien finestres en el meu pensament i em van fer dedicar-me a la música. M’he inspirat en ells per a crear el meu propi estil.”
For far too long, Jon Mayer – an emotive, playful and superbly inventive bebop-based pianist who always delivers ear-pleasing improvisations – was one of jazz’ better kept secrets. His story started in the mid-to-late ‘50s, after the Harlem-born piano ace had graduated from the famed High School of Music and Art in Manhattan and briefly attended the Manhattan School of Music. Mayer then became a regularly- appearing member of the thriving NYC music scene, playing with Kenny Dorham, Tony Scott, Pete LaRoca and Ray Draper, and eventually recording with two of the greatest saxophonists ever: Jackie McLean on Strange Blues (Prestige/OJC) and John Coltrane, on a session known as the legendary “I Talk With The Trees” date and finally issued in 1990 as part of Coltrane’s Like Sonny (Roulette).
In the ‘60s and ‘70s, Mayer remained active, playing in both New York and Europe with the likes of the Thad Jones-Mel Lewis Jazz Orchestra, Dionne Warwick, Sarah Vaughan and the Manhattan Transfer, and writing songs recorded by Les McCann, Nancy Wilson and others. Then, due to numerous causes, he all but disappeared, entering a 13-year period of inactivity during which he rarely performed.
But by 1991, Mayer was ready to return to music. He settled in Los Angeles and once again seriously pursued his career in the jazz world. People who heard him, initially with McCann’s Magic Band and as a leader, were readily impressed with his artistry, characterized by a supple and relaxed rhythmic feel and a keen sense of melodicism in his solos. Here was an authentic jazz musician, an artist who desired, as did Charlie Parker when stating his own personal goal, to play fast and clean and go for the pretty notes.
A wider range of listeners became aware of Mayer’s talents through his long-overdue debut, 1996’s Round Up The Usual Suspects (Pullen Music), a fine piano trio session with two genuine jazz giants: bassist Ron Carter and drummer Billy Higgins. Mayer followed up that dynamic premiere with the release of Do It Like This (A-Records), which features the trio of bassist Bob Maize and drummer Harold Mason plus guest tenor saxophonist Ernie Watts, who has been performing with the pianist at such heralded Southern California clubs as The Jazz Bakery and Steamers Cafe. That was followed by the live recording Rip Van Winkle (Fresh Sound). 2002 saw the release of Mayer’s Full Circle (Reservoir). Jon’s last efford for Fresh Sound is out in the market since the Spring of 2005, and Reservoir has put out My Romance, dedicated to Jon’s wife, in early 2006.
Mayer’s philosophy toward playing–and, really, his playing itself–is deceptively simple: “I’m trying to convey the emotional range and feeling that I perceive in the people that I admired when I started,” says Mayer, who goes on to name many of the very best jazz pianists: Bud Powell, Bill Evans, Red Garland, Wynton Kelly, Carl Perkins, Horace Silver. “Those are the guys who got my endorphins kicking, who opened up rooms in my psyche and made me say, ‘I want to do that.’ I think I’ve taken inspiration from them and come up with my own voice.”
Now happily married, Mayer is quite busy in Southern California, leading his trio, appearing with Watts, backing up visiting jazz stars like Benny Golson and Slide Hampton and teaching privately. He says he’s having the time of his life: “What’s great for me is finding new depths,” he says. “I feel like the new kid on the block and I have that kind of energy on the bandstand. It’s exciting to feel that I’m only now beginning to grow and explore my potential.” Critics and colleagues agree. In describing a Mayer performance, the Los Angeles Times said that the pianist “proved himself to be a musician of considerable technical abilities with a mature, engaging improvisational sense and an extreme sensitivity to the music going on around him.” Tenor saxophonist Gordon Brisker, with whom Mayer has recorded, extolled: “Jon always catches fire. He’s got a great rhythmic feeling, great jazz roots out of that Wynton Kelly bag. And when I stretch out, it doesn’t throw him. He just keeps swinging.”
It’s good, then, for jazz fans everywhere that Jon Mayer isn’t a secret anymore. A resourceful, dedicated, decidedly appealing musician, he brings joy through his art to all who hear!
