Take 5 with Jaleel Shaw
Did you ever wonder what your favorite musicians are listening to, or the recordings that influenced them? “Take 5” is a look at the music that inspires and excites them. It’s difficult to choose ONLY five recordings!
Jaleel Shaw’s new critically acclaimed recording is “Painter Of The Invisible,” his first in 13 years. Born and raised in Philadelphia, Shaw came up in the city’s iconic music scene, playing alto with its artists at an early age. After attending Berklee College of Music on a full scholarship and graduating with a dual degree in Music Education and Performance, in 2000, he moved to New York, where he earned his Master of Music in Performance from Manhattan School of Music. He issued his debut release
Perspective in 2005 to wide critical acclaim; the following year, he joined the Roy Haynes Quartet, launching a pivotal apprenticeship-turned-lifelong friendship that would transform his playing and change the course of his career.
“Top five lists are always so extremely hard for me because there have been so many albums by so many amazing musicians that have influenced me,” said Shaw. “I’ll try to list the albums that I totally wore out.
Bobby Watson: The Inventor
This wasn’t the first jazz record I’ve heard, but it was the album that drew me in and had a huge impact on me. It was instrumental in me deciding to take on music as a career.
When I first heard this recording, it sounded so modern to me. Bobby Watson has such an original, forward moving sound as both a saxophonist and a composer, and the band sounded like they’d played together forever.
Some of the songs, like “The Inventor” and “Heckle and Jeckle” had these super strong melodies written over vamps, which may have caught my attention as a young musician that was heavily into hip hop at the time. Then there were songs like P.D. On Great Jones Street, and Dreams So Real that had longer forms. Bobby’s approach to the saxophone - extremely expressive, soulful, with all the technique he had- was truly a groundbreaking revelation for me.
The whole album truly opened me up to the possibilities of playing and composing in a way that’s still very special to me.
Bobby Watson came to Philly the year this album was released. I got to meet him and play for him at a workshop, and he was very encouraging and supportive. From that point until now, he’s been one of the most important mentors/friends I’ve had in life.
Wayne Shorter: Speak No Evil
I don’t quite remember when I first heard this album, but I must have been around 12/13 yrs old. I remember the feeling of getting on a spaceship and going to Jupiter when I first listened to this. It consumed my thoughts, emotions, and opened my imagination not only as a musician, but as a human being. From this record, I dove deep into Mr. Shorters recordings on Blue Note as a leader, with Art Blakey, and later with Miles Davis.
A Tribe Called Quest: People’s Instinctive Travels And the Paths Of Rhythm
I started listening to A Tribe Called Quest at the same time I started listening to Wayne Shorter, so recordings by these two artists were on heavy rotation. The first song I heard by Tribe was “Bonita Applebum” while in the car with my mom, going home from my grandmom’s house one day. I heard that song and was mesmerized. I had to find out who these guys were.
I believe it was the combination of the amazing beats they produced and the lyrics by Q-Tip and Phife that had me hooked - and that most of their music had sampled jazz and soul records that I hadn’t heard before. So in a way, they introduced me to a lot of music as well.
Charlie Parker - Dean Benedetti Sessions.
This is actually a boxed set of bootlegged live recordings by Dean Benedetti, a fan who would literally follow Charlie Parker around just to record his solos. He would literally cut the tape off after Bird played the head and took a solo.
These recordings had a huge impact on me, and I can honestly say that out of all the Charlie Parker recordings, these were probably the most influential to me. To hear Bird live must’ve been an amazing experience, and although this recording can’t possibly be the same as being in the room with Charlie Parker, being able to hear him play extended solos really allows the listener to truly explore his genius.
Lee Konitz: Motion
Lee was another master that I got to meet who eventually became a friend/mentor when I moved to NYC, but I heard this recording when I was still studying at Berklee.
I started hearing about Lee Konitz while I was at school, and was eventually told to check this record out in particular. I happened to find it at a used record shop in Boston, but this version was a special 3-disc version that had all of the alternate takes. Every solo is incredible, and I transcribed a bunch of it. It’s a trio record with Elvin Jones on drums, and Sonny Dallas is on bass, and the synergy in the band is just amazing.
This is also the first time I had heard of the Lennie Tristano’s school. I’d been checking out a lot of Mark Turner at the time, but never quite knew where he was coming out of with Wayne Marsh. To find this recording at this time and have a better idea of this overall concept of playing was truly eye-opening and inspiring to me.
The first time I went to see Lee play, I was introduced to him, and I immediately asked him for a lesson. He invited me to his house for the lesson, and we became friends from there. From time to time, he would come to my gigs and support me. We would go check out music and talk on the phone from time to time as well. Looking back, I still can’t believe I even met him. I’m so happy that I got to know him as well.
Instagram: jaleelshaw/
twitter: jaleelshaw
Facebook: Jaleel Shaw Music
Discography
Painter Of The Invisible (Changu Records)
Echoes (Changu Records)
Soundtrack of Things To Come (Changu Records)
Optimism (Changu Records)
Perspective (Fresh Sound)
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