Written interview with drummer and composer Jae Sinnett – Parallel 49!
Jazz Blues European Union: – Thank you for taking the time to have this interview with Jazz Blues EU. Tell us about your music. When did you start performing?
Jae Sinnett: – My music is varied and diverse in style and content. From straight ahead swingin jazz to funkier jazz and exciting jazz fusion. I have basically four different groups. My Zero to 60 Quartet with sax, piano, bass and drums is straight up jazz and some light fusion acoustic jazz. My trio…The Jae Sinnett Trio…is swingin jazz and some light funk. My Blur the Lines Project is hard hitting instrumental rock/jazz/fusion with interesting jazz infused arrangements on rock classics like Frankenstein and Tom Sawyer. My Parallel 49 group is a jazz Septet. Four horn front line and three-piece rhythm section. I started writing my own music in the early 80’s and formed my first jazz Quartet to start performing seriously.
What do you consider to be your hometown and how does that affect your music?
I grew up near Pittsburgh Pennsylvania in the United States and came to Virginia in 1974 to start my military service. Once I finished my service I stayed and made the Norfolk area of Virginia my home. Virginia is logistically centered so to have easy access to Washington DC or New York City. So when my creative possibilities get muted here at home I can always go up to New York for artistic inspiration.
What performers have been your inspiration?
Several for different reasons. Many great drummers like Max Roach, Tony Williams, Elvin Jones, Jack DeJohnette, Philly Joe Jones, Steve Gadd, Dave Weckl, Steve Smith and many more. Non drummers…composer Vince Mendoza, John Coltrane, Charlie Parker, Bill Evans, Herbie Hancock, Chick Corea, Freddie Hubbard, Joe Henderson, Randy Brecker, Eric Marienthal and many more.
What do you find most challenging about being an independent artist in today’s music industry?
Marketing and maneuverability. There are 100 artists or more fighting over one gig. It’s challenging for sure to find your way into it. What I’m very proud of is that I have great groups than can deliver great jazz and luck plays into this as well. If the right person hears us at the right time then we no doubt will be ready to perform. Every artist needs that break.
What do you base your success on?
Longevity. Also, offering new layers of fresh creativity. We have a plethora of material that can transform the band from song to song. Extraordinary versatility with the musicianship. We also stay current with what’s happening in jazz today.
Can you talk about your experiences collaborating with other artists or musicians? How does it influence your creative process?
Some of my most special moments on jazz stages were with my groups and the many jazz superstars I’ve performed with over the decades. There were many. To name a few….Freddie Hubbard, Joe Henderson, Chuck Mangione, Randy Brecker, Ada Rovatti, Mulgrew Miller, Cyrus Chestnut, Fred Hersch, Makoto Ozone, Jon Hendricks, Sean Jones, Joanne Brackeen, Arthur Blythe, Chick Freeman, Scott Hamilton to name several. Each one taught me something new and beneficial to my development.
What was your latest musical release?
My latest release is Parallel 49 with the jazz Septet. The four horn front line is perfect for arrangements that tend to sound bigger than they art. It’s a very tight ensemble featuring intricate arranging, composition, featuring incredible soloists like saxophonist Ralph Bowen and pianist Allen Farnham.
Do you have any news to share? Could you share the story behind your latest new CD JAE SINNETT – Parallel 49 and what inspired its creation?
I teach in Canada every year for their JazzWorks Jazz Camp in August. I’ve developed amazing friendships there with some of the most amazing musicians. Canada has many. I decided I wanted to record with them. So, all the musicians on the record are Canadian except me. Unfortunately, it’s very difficult for Canadian musicians to come here to the states to perform because of political red tape. They inspired me though to write and arrange, and many have become great friends. They are incredibly talented and creative musicians.
How does your latest album fit into your creative path? Is this a goal you wanted to achieve?
Yes. I was very interested over the past 10 years to record with a larger ensemble and write complex, musical arrangements. Feature great soloists. Swing with a Septet. Very musical and unique textural challenge. It expands with way I hear my writing.
How do you approach the process of songwriting, and are there any specific themes or emotions you tend to explore in your music?
It varies. Sometimes I hear melodic or rhythmic motifs and build from there. Other times I hear chord progressions. When I hear a melodic motif, I envision a mood I want to create. Cinematic. Visceral. Somber. Uplifting. Many mood but it starts simply and I build up. Like creating layers.
As an indie musician, how do you navigate the balance between creative freedom and commercial appeal?
I have a real job! Ha! There’s a difference in having to play and wanting to play. Many musicians play because that’s their only source of income. That can work against creativity at times. My professional success in another field enables me to play what and when I want to play. I think every artist should have a plan B option for their professional career. Fortunately for me I’m a jazz radio broadcaster so I’m around the music I love all the time. I’m now working part time which frees up more time for me to focus on my music and performance.
What role does technology and social media play in promoting your music and connecting with your audience?
It’s significant. You create a fan base in your area but it’s more challenging to build a base abroad if you don’t have someone booking you abroad. Or writing about you. Social media is profoundly important and it’s an art in learning how to use these tools where they are effective with what you’re trying to do. My music has reached many abroad. Some group wrote me recently from Russia wanting to play certain songs of mind. Japan too. Italy. France. We just have to be consistent and persistent.
By Olivia Peevas
