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Bill Stewart Interview

Falk Willis from JazzHeaven.com interviews Master Drummer Bill Stewart

Falk: Hello everybody, Its an honor to have Bill Stewart here today. Welcome, Bill! Bill: Thank you, Falk! Falk: So, lets get it started. If you dont mind, Bill, could you give us a quick background of where you come from, and what brought you to New York? Bill: Sure. I grew up in Des Moines, Iowa. And my parents were both musicians. My dad played trombone, played a lot of jazz, and also taught instrumental music in schools for many years. And my mother has always been a choir conductor. She has taught in schools and churches and also worked with organizing choirs at schools with choirs from all over the world that would gather in a central location for a singing festival. She did that for a non-profit organization for many years, too. So, I come from a very musical family. My grandmother also taught piano lessons. There was a lot of music from an early age. Falk: What made you pick the drums? Bill: Well, I was given a toy set of drums by my uncle. I might have been five of six years old. They were more or less disposable drums. They were broken within about a day or two. But I think my parents thought that I liked that, that I enjoyed playing them, and so my dad was able to bring me sort of a make-shift scrap set of drums shortly thereafter. Those were real drums... I had a big 26-inch bass drum and a snare drum and one tom-tom and one 12-inch cracked cymbal. So that was my set for a couple of years. And I got better on that set. So a couple of years later, I was given a more legitimate drum set. And I used to play with records a lot. Falk: What was the first style of music that you were interested in? Bill: Well, I was interested in jazz in the very beginning and it was around the house. My dad had a lot of jazz records. I was more familiar with some of that than all the pop music that was happening. Although I was familiar with some of that, too. Id say, at an early age I enjoyed jazz music; also singers, like Aretha Franklin and Ray Charles Falk: So, not just jazz-jazz, but it was also some more funk stuff?

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Bill: Yeah, and that was, of course, the 70s. The early 70s, and mid 70s, just when things were turning to disco. Just when all the soul singers were either dropping out, or being replaced by disco (laughs) Falk: (Laughs) Bill: So, thats what was starting to happen at about the time I was nine years old. So that was all in there Falk: And then how did that all transform into you moving to New York? What came before that or what led up to that? Bill: Well, lets see: I played in school bands. Once I got into high school, I played in kind of a high school jazz band, as well as concert bands, marching bands, and all that kind of stuff. And, by the time I was a senior in high school, I was working five or six nights a week, pretty regularly, mostly with a Top 40 band that played a little bit of jazz, and other things. But we were working in hotels and clubs where people would dance. But I was in high school, and I was playing three sets every night, on all week nights Falk: Wow. Bill: So, I was sort of making money before I left high school and then I went to college, to the University of Northern Iowa in Cedar Falls, Iowa, for one year, where I did all kinds of things. I was in marching band, I was in the orchestra, I was in a jazz band, I took a composition course. I took trumpet lessons briefly Falk: Interesting... Bill: I was studying music, as well as taking literature classes, and I started doing all these things there. I felt spread very thin, and I was kind of doing a mediocre job on all of them. So, I started thinking about something else, or somewhere else to go where I could focus more on one thing, which was playing, more or less, jazz music. So, I ended up planning to go to William Paterson College in New Jersey, was accepted and went there, so that was my move to the East Coast. So, at my second year in college, I was half an hour outside of New York City. I didnt have a car. I didnt have any company, and I had a set of drums out here. But I was there, so I had access to a lot of the things that people have access to when theyre in New York, or close to New York. Falk: What year was that? Bill: It wouldve been fall of 1985 when I came to New Jersey. I started there and immediately met people that were better jazz players, and more interested in the kind of things that I was interested in. The students that were there at that time a few of which became known people later, that... Falk: Like whom? Bill: Lets see During my stay at William Paterson College, Peter Bernstein was there for a year, and I ended up playing a lot with him. Falk: So, you know each other over 20 years now? Bill: Oh yeah. Lets see, who else was there Jesse Davis, the alto saxophonist, Doug Weiss, the bassist, who I played quite a bit with. Eric Alexander was there. I think Joe Farnsworth was there, just slightly younger, but he was Copyright. JazzHeaven.com Click Here for more FREE Interviews

there at the same time for a couple of years. I am probably forgetting someone Falk: Well, thats good enough for now. Bill: Yeah, so, anyway, there were a lot of people there, as well as pretty well known teachers that included people like Harold Mabern, Joe Lovano and Rufus Reid. Rufus was actually the chairman of the department.The drum teachers that I had there were Elliot Zigmund, Horacee Arnold, and also substituting from time to time was John Riley. Falk: And since were talking about your musical upbringing, sort of speak, I think thats a good segue into what influenced you or who influenced you, in terms of your style of playing. Which teachers? Bill: What drummers in particular, you mean? Falk: Well, just your influences in general Bill: Well, I guess I listen to a lot of jazz music, and I knew a lot of the history of it... I sort of gravitated towards certain music and players that I enjoyed the most. And the drummers that I remember, I still think of a lot: Tony Williams, especially the 60s Tony Williams, Roy Haynes, Elvin Jones, Philly Joe Jones, Billy Higgins, Ed Blackwell, Joe Chambers, Paul Motian I hope Im not leaving someone out really Falk: (Laughs) Bill: I could name like 30 more people, really... Falk: Sure. And in terms of influential drum teachers - are there any? Or you would say, mostly, the records? Bill: Id say a lot of the work I did on my own and with records, and also seeing players play live But my teachers had some good advice, and good things to say, as well. I remember specifically Horacee Arnold showing me some things about the brushes that were very useful for me at that time. And Elliot made some perceptive comments about my playing, same with John Riley, when he substituted They gave me some things to think about. Falk: Any specific methods come to mind? Bill: I dont remember any particular method or system or anything like that. I remember the lessons being fairly loose. I dont remember any particular method. Falk: Do you practice a lot these days? Bill: It varies pretty wildly. I go pretty long periods without practicing. If I have some time off, sometimes I wont practice. For example, if Ive got a week off between 2 or 3 weeks of touring, sometimes I wont practice. Then again, sometimes I do. So, especially if I had something coming up, and I havent been playing for a while, Ill practice. I still feel like I get a lot of good out of the time that I spend practicing, so I hope to continue practicing but its also good for me to lay off a little bit, to rest my ears, and just clear out a little bit. That sometimes has a purpose, too. Falk: Right. Is there any regimen, for example if you had 2 hours of time and you would practice now, how would you split that up? Bill: If I hadnt been playing for a while, I would either just go and improvise at the drums, or I might play along with CDs just to get in the habit of making Copyright. JazzHeaven.com Click Here for more FREE Interviews

those motions and connect with the instrument. I dont sit down and warm up or exercise. Falk: Did you ever practice rudiments? Bill: Im sure that I did practice them at some point. But I cant say they were a regular or steady part of my practice routine. Falk: So theres no sacred drill you always do before a gig or something like that? Bill: No. Most days, when I have a gig, Im not playing until theres a sound check. Then Ill play at the sound check, and if theres none, then, Ill play on the first tune of the gig. I dont really warm up Falk: I remember an instance, when I heard you years ago, and I hadnt heard you for a while before that. I made a remark to you then that I really enjoyed that your playing seems always evolve - it was different than the time I had heard you before Bill: Yeah, I like that. I mean, I like to see all the things evolve, maybe even feel that Im getting better The musical learning process should be kind of a never-ending, kind of infinite thing. So it's nice to feel youre developing, rather than feel like youre playing the same old sh*t over and over again. (laughs) Falk: Right. (Laughs) So, lets see. In terms of New York, what are your feelings now? Versus years ago, where it was okay, if you wanna be a jazz musician, you HAVE to be in New York because thats where its happening. Do you also share that belief or the observation that over the last couple of years, all over the world the level of playing has gone up considerably, and there are many other places where theres a really high level of playing? Bill: I think its true that the world is getting smaller. There are players playing on a higher level, generally, globally, everywhere. Its just a smaller world, and everybody has access to recordings and things on the internet, and also a lot of places have jazz schools now. And people are learning to play jazz in academia as well. So, I in the time that Ive been a professional musician, Ive definitely noticed the level rising in places other than New York City. Falk: Right. Bill: However, I do think that New York still has by far the most concentration of great music to hear, and great players. And I still think its a great experience for less experienced or younger musicians to be here and take in some of those things. The scene in New York has changed, somewhat too, it seems Falk: What are your thoughts on that? And, if you compare this to when you first came here versus how it is now, how has that altered? Bill: I think one factor is economics. I just think that, for instance, rents in Manhattan have just skyrocketed. When I first moved to New York, when I first started doing gigs and exchanging phone numbers with people, this wouldve been in the late 80s, it seemed like everyone had a 212 Manhattan number, or the majority of people. And now hardly anyone does. Everyones in Brooklyn, Queens, Upstate New York, New Jersey. Musicians are more scattered geographically, I think. So in a way, it feels like less of a musical Copyright. JazzHeaven.com Click Here for more FREE Interviews

community. I think some of that are just economic facts. I mean, for instance, Steve Swallow told me when he first moved to New York, which must have been in the very early 60s, that his rent was so low that he could just play a couple of casual gigs, like parties, just to pay his rent, and then hed be cool for the month. But thats not the case now. So, I think thats one factor and one thing that changed about the scene. And, of course, clubs have come and gone, and the price of hearing music in New York is higher generally. Falk: Yes. Bill: You know the clubs are catering to tourists and charging higher prices. Now if you work there if you work at these clubs, in a way, its better because the fees that they can pay are higher than they were 20 years ago. But lets face it, there are a lot of good musicians who arent really working at those clubs. So, yeah, the scene has gradually changed, I feel. For myself, I feel its a little less essential to live in New York at this point, but I still do think that its advantageous. And given the fact that I really do enjoy the city, I seem to be here to stay at the moment. (Laughs) At least for now Falk: Its not like you feel like I dont like it here, but I have to be here because thats where its happening? You enjoy being here? Bill: I do still enjoy the city, yeah. Whether I like it more than 20 years from now, Im not sure. Its changing you know, but, its still a very interesting city, I think. And one of the few cities in America, where you can walk a lot of places. Falk: For sure. Bill: Everywhere else you have to own a car. Falk: Very true. Do you go out to hear music? Bill: I do. Not as much as I once did, but I still do. Falk: Any stuff you like that you heard recently? Bill: Well, lets see. What did I hear recently? Falk: That you liked. (Laughs) Bill: Yeah. Well, lets see, I was down at the Village Vanguard a few times recently. I heard the Vanguard Big band for a fund-raiser for Dennis Irwin and they were playing with John Scofield. I was also there to hear Ed Simons Trio, with John Patitucci, and Brian Blade, and both of those things were quite good. Falk: Any advice for young musicians who are serious about it? How to succeed in this business? And also, how to make the move to New York, how to land the gig of their dreams? Bill: Thats a question I get asked a lot, but theres no big secret to that. Making all those connections is such a gradual process, I think. And its gonna happen more quickly for some players than others. A lot of it is just being able to play well and being able to play with a variety of groups. I think when you first come to New York and youre looking for work, you dont wanna only be looking for the certain kind of work thats gonna lead to your dream gig Because, you may never end up with your dream gig, but you might Copyright. JazzHeaven.com Click Here for more FREE Interviews

get another gig thats really good, thats actually gonna be your dream gig. You know what Im saying? Falk: Yeah. Bill: So, I think its a gradual process of making connections and also getting the experience of playing with a lot of people. When I first came to New York, I did a lot of what we would call sessions, and go over to peoples places and rehearsal studios and play with them. Im not talking about getting paid. Im just talking about going to play, and making connections, and also, going out to hear music. Having people know youre kind of around, and youre there, and so you meet people thatll remember you. Maybe they hear you play somewhere, they hear a CD that youre on... Its about always trying to get better as a musician, learning from players that are better than you Falk: Right. Bill: And that really can help you learn faster. Falk: For sure. Bill: But, you know, when you come to New York, in the beginning, you cant be too picky. Someone wanted to take a drum lesson with me a while back and he made it clear that he was kinda shooting for this certain gig that he mentioned and you can keep that in mind, but dont plan on it! (Laughs) Falk: (Laughs) Bill: I could think of a lot of gigs that I probably would have liked to have along the way that I never had, and maybe never will. But thats okay Falk: Right. Heres an interesting sidenote on that Many, many years ago, I took a workshop where Jeff Hamilton was the teacher. Bill: Yeah. Falk: And we kind of became friends, and he was a very sweet guy. He let me play on his amazing old Ks And at the end of that workshop, which was over 20 years ago, he pulled me aside and said, So what are the three favorite gigs you would love to have? and that was kind of, his take on the question I just asked you. Well.., I told him, and one of them actually happened to be John Scofield, and he said, Okay, as an example: assuming that you are at the level that John Scofield needs a drummer to play at - heres how you do this: Do you know somebody that knows John Scofield personally? I said, No. And he said, Yes you do! John Clayton (bass teacher at the workshop) - his wife went to school with John Bill: Yes, I think thats right. Falk: And then Jeff said So what you want to do is to make a recording that is in the idiom that John is playing, and where youre obviously playing at a level good enough to play with John Scofield. Then you wanna give this tape to this person that knows John, in this case, John Claytons wife, and SHE has to give it to John. Otherwise, hell never listen to it. And thats how that goes. Bill: Uh-huh. Well, thats one approach. I know people do that sort of thing. I know John gets all kinds of things in the mail. Most of those things either dont make it to the CD player, or, if they do, they might not stay there for very long. I know a drummer who sent John a video for instance and, you Copyright. JazzHeaven.com Click Here for more FREE Interviews

know, I actually saw some of those videos, and it was not very good. (Laughs) Anyway I mean, it can work sometimes. I guess thats one way to go about it, if youre willing to do that. I mean, people even try to give me CDs and tapes and things. Sometimes I end up with a stack of stuff at home that I havent gotten to listen to. I can probably point to some things in this room that people have given me, that I havent been able listen to yet, because I dont have time. Falk: Sure. Bill: But, that is one way to do it, if you know somebody who knows somebody But the thing is, they have to be really impressed with what you give them. Falk: Right. Bill: If theyre not, then, its not gonna help you. So not only do you have to give them a CD or something, but youre banking on the fact that theyre gonna like it. So Falk: So, were brushing over the fact that it better be damn good. (Laughs) Bill: Yeah. Exactly. And even if it is damn good, theres a chance that it might not get listened to. Just because artists that are well known are just used to people sending them stuff and giving them stuff, and go, Hey, give me a gig. And at a certain point, that can be a turn-off for some people. Its probably better if a musician that that person knows recommends you to the person. Falk: Ah. I see. Bill: A musician that they play with plays with you somewhere else or something like that - thats a more likely situation. Falk: Okay. Well Enough about that one. Bill: Okay. (Laughs) Falk: What are your favorite sidemen gigs? Bill: Well, lets see Falk: And why? Bill: I have enjoyed all of the things that Ive done in different ways, and the things that Ive done on a semi-regular basis. I enjoyed playing with Scofield over the years, with the various bands that weve worked with. It started with a band with Joe Lovano and either Dennis Irwin on bass, or in the very early days, Marc Johnson. That was a great experience for me at that time, at that point in my career, as far as the direction of the band and the quality level. Falk: Sure. Bill: Thereafter, I played tours with John that included musicians like Larry Goldings and Eddie Harris. Also, I played with Larry Goldings' Trio for 20 years. Sometimes its the Peter Bernstein Trio, and occasionally even the Bill Stewart Trio. So, it goes by different names but mostly its been Larry Goldings Trio. We just did a week at the Village Vanguard a couple of months ago, and that was very nice again. I even played with Maceo Parker, which was an interesting experience and really fun and educational. Falk: You have to tell us that story about your experience with James Brown! Copyright. JazzHeaven.com Click Here for more FREE Interviews

Bill: Oh yeah. Falk: (laughs) Bill: Well, I was playing with Maceos band at that time and James was just getting out of prison. I think he had been there for a while, and so HBO, the Cable TV network, arranged a concert. It involved MC Hammer who apparently was influenced by James. But James hadnt been working, so they hired Maceos band to accompany James and play some of James material. So, anyway, we rehearsed during the day of the actual filming, so there wasnt much time to get it together. And when we rehearsed with James, he asked me: Drummer, wherere you from? Falk: (Laughs) Bill: And I said, I am from Iowa. He said, Iowa? Aint no funk there. (laughs) Falk: (Laughs) What was your answer? Bill: I didnt have an answer, everybody just cracked up. Falk: (Laughs) Bill: Everybody was cracking up Falk: Hilarious. Bill: It was funny. Bill: You know, even James wife called him Mr. Brown. It was pretty strange. Falk: Any other funny anecdotes that come to mind? Bill: Actually, we were talking about sidemen gigs I hadnt quite finished on that. Falk: Yes, please Bill: Lets see, I played with Pat Metheny for a year and a half, and that was really fun, and really different than other things that I have done, and we did a lot of touring and that music went in a lot of directions in the course of one concert. I really enjoyed that. Lets see, other sidemen gigs: Chris Potters band was fun. And we just ended a week with Dr. Lonnie Smith, that was fun. Falk: With Peter Bernstein? Bill: Yeah, Pete was playing, and also Nicholas Payton and Donald Harrison. Quintet or extended trio, however you wanna look at it. I am trying to think what else Ive been doing. I play a lot with Kevin Hays, the pianist, touring with the trio. I enjoy playing different kinds of things, as long as the music is on a high level. Falk: I heard some of Kevins music where he was singing and you were playing on it, and I really enjoyed it, and obviously didnt expect him to sing. Ive really enjoyed how well you played that on-the-surface simple stuff, but it had so much depth and meaning. Bill: Yes, its challenging to play something simple and make it sound like something deep. I like trying to do that. Falk: And I also thought: most jazz drummers couldnt hold their own in such a different style and still play at the same high level and you obviously do and did that. As you did with Maceo and others. When I listen to those songs with Kevin Hays (http://www.myspace.com/kevinhays), its so simple yet so well-played. It made me aware again, that one of those things I always admired in your playing was that level of attention to detail. It was Copyright. JazzHeaven.com Click Here for more FREE Interviews

so obvious that youve really cared about the nuances and the level of detail that went into your playing. Can you talk some about that? Bill: Yes, sure. Its harder to play something simple thats great than it is to play a lot of notes. Because its so simple, you can really relate, and communicate that feeling, and focus on the way its played. So it becomes more a matter of how its played, than what it is on paper. And, when youre playing a lot of busy notes, it should also have that same depth. It becomes more obvious, though, when youre playing something simple, when it doesnt have that special thing to it. I think its something I have been honing in on in recent years. Rather than playing things that are more complex, to try to play the simple things even better. Falk: Yeah, thats great. Bill: So, yeah, I think about that and I admire the players who have been able to do that. Falk: Who comes to mind that inspires you in that direction? Bill: Ive heard pretty much all the great players play something simple that knocked me out. Lets see if I can give you an example. Lets take Tony Williams, whos known for playing technically incredible drum stuff and all that. But I like this track he did on Miles record, its called Water Babies. He just played cymbals. Its pretty simple but its all brilliantly placed. And its not technically hard. Thats one example. Falk: Right. Bill: And then I used to listen to a lot of drummers who accompanied singers. Like Bernard Purdie with Aretha Franklin, the way he would play with her he plays something really simple but it had this feeling, too. It was special. Falk: I remember, years ago, I heard Billy Higgins at the Vanguard with George Coleman. Bill: Yeah, thats a good example, too! Falk: That was a prime example. At that time, I was thinking thats boring. I know that And boy was I wrong. And Ive really changed big time in my opinion about that. Bill: Right. I mean, Billy Higgins could just play that cymbal beat all night long, and I wouldnt get bored with that. I mean, who else could do it like he does it? Falk: Yes. Now We should definitely also talk about your projects, too. I know you have a record coming out. Bill: Its called Incandescence, and its on Pirouet Records. Falk: We should give people the name of the label and the name of the website, so they can hear some brief excerpts. Its www.pirouet.com and there you can basically hear excerpts of each track of Bills record. Falk: Do you want to talk a little bit about whos on that and what that was about? Bill: Yeah. Thats the group Ive been doing a little bit of work with for a few years now. With two musicians who Ive played with for many years, Larry Goldings, who plays mostly organ, and Kevin Hays, who plays mostly piano in this group. So its two keyboards and drums. I play with Larry in the trio Copyright. JazzHeaven.com Click Here for more FREE Interviews

with Peter Bernstein for many years and really love that. But I thought of having an organ trio with piano, instead of guitar, and also the possibilities of being able to write for that because I play a little piano. I play at home - not for anyones enjoyment, or lack thereof. Falk: (Laughs) Bill: I play the piano at home quite a bit. So I wanted to be able to write some things for two keyboards. I put out a record on my own, that I recorded in 2002. I must have put it out in about 2004, called Keynote Speakers, with the same group. This new one is on Pirouet. Falk: Is it all your music? Bill: It is, this time. And Im pleased with it and pleased that its coming out. Falk: So theres distribution in the States? Bill: Yeah, theres going to be distribution in the States. Theyre pushing it here. Theyve got a guy thats helping with publicity here. So, yeah, its gonna be available here, which is great. Falk: Any touring coming up with that group? Bill: Nothing lined up at the moment. We did a tour of Europe that was not that long. It was about 10 days. Its a little challenging to get Larry and Kevin together because Larrys been living in L.A. and plays with James Taylor a lot, and also Kevin once lived in New Mexico, but he actually moved back to the East Cost, so I hope to do some gigs with them again in the near future, but theres nothing on the calendar at the moment. Which is perfect timing for the CD release, dont you think? Falk: (Laughs) Bill: (Laughs) Falk: Thats what CDs are for replacement of musicians touring Bill: Right. (Laughs) Falk: One thing that really comes to mind again with this recording of yours, is that both Larry and Kevin have that same quality that I really enjoy in your playing: that real depth in their playing Bill: Yeah, I hear that I hear the depth in their playing, and I heard it develop over the years as well. And then it turns out we play well together, so thats even better. So yeah, its been fun to do that. Falk: Great. So thats that. What are you listening to now when you listen to music? What do you put in your CD player? Or if youre on tour, do you listen to music? Bill: If Im touring, it seems that I dont listen to music very much, because Im playing every night and thats the music I wanna hear for the day usually. When Im traveling in a car I dont find myself putting on headphones very much. Falk: You used to? Bill: I used to do that more, yeah. But as the years have gone, gradually, I listen less and less on the road. Partially because I just wanna have my ears be clear for the gig. Also when youre playing music in an automobile, you have to turn up the music so loud to hear it, to keep hearing the bass over the engine noises and stuff. I dont find it to be very satisfying listening. So I Copyright. JazzHeaven.com Click Here for more FREE Interviews

listen to some at home now, but still, not as much as I used to. Sometimes, I listen when Im cleaning the house, depending on what it is, But, you know, I still listen to jazz music and a lot of classical things, too, a lot of modern classical things.. Falk: Do you mind giving us some examples of what you would put on? Bill: Yeah. Ive been listening to Messiaens Opera, which is incredible. Its called Saint Francois d'Assise, or St. Francis of Assisi. Its great. And its long, its 4 CDs worth. So, its hard to listen to all of it in one afternoon, but I guess you could, if you wanted to. And somebody just gave me a copy of Lygetis opera, so Im going to check that out. But I always listen to stuff like modern classical music, Bartok, Stravinsky, etc. Falk: More than jazz? Bill: I dont know about more than jazz. I still listen to jazz and still put on old jazz records and stuff, thats more of my house cleaning music though. Falk: (laughs) Bill: No, Ill sit down and listen to it, too. Falk: If you had to choose some of the most influential records for yourself? Bill: You could probably give me anything by the mid-60s Miles Davis Quintet, Ill pick that. For me, thats an incredible group. Everything they did pretty much. So, lets start with that and then add on to that. There are Miles Davis recordings from other areas, too, like the stuff with Philly Joe Jones and Jimmy Cobb, and even the earlier stuff of Kenny Clarke, Percy Heath, and the Gil Evans stuff. I like all that. But, you know, I also like older players like Ben Webster, for instance. A lot of the greats Lester Young. Maybe a good recording of The Rite of Spring. Im probably forgetting something that I couldnt live without on that island. But anyway Falk: And how about some of the records that represent some of your own playing best? Bill: Oh, lets see well I would say some of my records as a leader, maybe this new one and the ones I did for BlueNote. Those I was fairly pleased with. And the things Ive done with Scofield. Maybe one of the early ones like What We Do, and live at the BlueNote, the trio with Steve Swallow. Falk: So you still enjoy listening to those records that you did many years ago? You dont fell like Ah, thats not me anymore or something like that? Bill: Well, for once, I think its not me anymore but I think the music is still strong. But I dont sit around and listen to that stuff. Once in a while, I hear it again, years later. I might think that its better than I thought it was or I might think it was worse. I might think, Oh, thats not as good as I remember it. (laughs) I wanna feel that things are getting better, too. Ive made a lot of records that I think are good, with a lot of different people. The records that I made with Larry Goldings Trio with Peter Bernstein or EarthTones, which is under Peters name. For the ones I did with Larry, I would say, I like Moonbirds, which is on Palmetto. Falk: I really enjoyed also the very first recordings of this band years ago, on Minor Music. Copyright. JazzHeaven.com Click Here for more FREE Interviews

Bill: Oh which one? There were two. Falk: I dont recall now. I remember you were telling me that the choice of saxophone player was dictated by the record company Bill: The saxophone player on that record? Falk: Right. And that you had wanted somebody else to be on the record. Bill: That mightve been true. That kind of thing happens all the time, but I dont remember the specifics to that, but ah I dont know if the first choice wasnt available or the record company didnt want him or (Laughs) Falk: I think that the record company wanted this guy to be on there Bill: Now I do kind of recall that, yeah, yeah, yeah Falk which is a perfect segue We have a couple of minutes left here Any thoughts on the current state of affairs of the music industry? Recordings? Bill: Well, its hard to be really optimistic. Theres just a lot of crap out there, and a lot of people listening to a lot of crap out there, and not really paying any attention to the music. Everyones walking on the street with their iPods but I dont think that anybody is really listening to anything. Its just background to their lives. And its funny, when I hear jazz, its in restaurants where people are eating and talking. Maybe they think its classier than playing Top 40... I dont know, but it seems we have become just background music. I think peoples attention span is getting shorter. And of course, the record business is changing. People download music rather than actually buying something and hold it in their hand. I guess that could be okay but. Falk: You see that as an opportunity also? Bill: Its definitely an opportunity, it kinda levels the playing field for a lot of people, because now anybody can put out their CD and get people interested, and you dont need the record companies to approve of you as much now. Now you dont need to be found by Clive Davis Falk: Yup. Thats a beautiful thing. Bill: So thats kind of a great thing. But of course, the downside is that record companies have the ability to promote you and access to the retail stores. So, I dont know I guess people have to promote themselves. And if youre not good at that, it can be a problem I mean, I dont feel that Im such a self-promoter myself. I just kind of try to play music, and get better at it.. But I find myself having to do more things, send more emails and stuff (Laughs) Its definitely changing so quickly. I also wish there was more interest in peoples original music. It seems like, for instance, if you want to tour the festivals in the summer in Europe, you have to have some kind of a theme or something for it to get the festivals interested. Like tribute to Billie Holiday or something. Some kind of a catch It cant just be somebodys original music thats really good, or really different, maybe unlike what youve heard before. Its harder to do that I think. But you know, people are persevering and they are doing it. Me personally, I certainly cant complain because Im still playing a lot and playing a lot of music that I think is good. So Im not one to complain but I definitely see things changing.

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Falk: Any young guys, you enjoy listening to, or that you see when you play the festivals? Younger drummers coming up where you think Well, that was interesting, or thats a talented guy? Bill: Yeah, yeah, there are some younger drummers that are really good. Like Rodney Green is a good drummer. Or, Francesco Mela, just heard him. Hes a very good player. Then, there are some guys who are younger than me, that are kind of in their 30s or something that are really good, too. People like Eric Harland. I am probably leaving out somebody really good once again Falk: And really quickly, before we finish, I want to make sure we touch briefly on your equipment! What cymbals are you playing now, are those new cymbals? New Zildjians? Bill: Yeah, in fact, theres a line of cymbals that I developed. Its out since the summer of 2008, I think. I developed cymbals before that were called K Custom Dry Complex Ride, and we made those in two different weights. So whats coming out next is gonna be called K Custom Dry Complex Ride II. And instead of being in 2 weights of 22, its gonna be all in one weight, but 3 sizes Its gonna be 22, 20 and also 24. Yeah, Ive been using those cymbals a lot recently on my tours. Falk: So youre actually playing them? Bill: Oh yeah, for sure. I mean they are really knocking me out, to tell you the truth. I really think theyre gonna be good. The first line people seemed to like, too. But these are different. The bell is different. Its a lower profile bell. And theyve been made a little heavier now, and the bell kind of allowed that to happen. It kind of gives them a lower pitch so I didnt have to go so thin to get pitch that I like. Since I have been at Zildjian, the cymbals have really improved dramatically over the years, especially in recent years. I am excited about them. Im not just saying that to plug a product or whatever, but you did ask, so (Laughs) Falk: (Laughs) Do you remember that little story? I think it was in 1992, where I heard you play at a club in New York. And I thought those are not the old Ks that he usually plays - And they were pre-aged Ks. And then I went up to you in the break, and said, that doesnt sound like the ones in the store that I bought. (laughs) And you told me that Zildjian had given you some and you didnt like them too much, and that you had started hammering on them and basically custom-treated them. Bill: Yeah, I did that. Well, I think that particular one, I dont even know if I would call it hammering I basically put cracks in it, you know I basically put little hairline cracks in it. I didnt quite know what I was doing with the hammer at that point. It got a little better at that after I saw you, I think, but I put cracks in that cymbal, and the end result was that it sort of dried and darkened it up and it was playable for me. So, yeah, I remember using that from time to time. And I remember you bringing your cymbal over at the club.

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Falk: Right. I called you the next day and said, Hey, would you mind trying it again on my cymbal? And you were interested in checking if you could replicate it. And you did. And it sounded great. I still have it. Bill: Does it still play? Falk: Yeah, definitely. Bill: The cracks didnt spread so much that it just. Falk: No, never Bill: Thats cool. Bill: I think I tried to put them away from the playing surface, like away from where youd actually hit it. Well, its great that it still plays. Falk: Its a very nice cymbal. I did some records with it as well. Sounded good. Bill: Good. I dont think that the one you heard of mine is still playable. I dont even know if I have it. I think I might have it somewhere but I think I could have easily put it out on the curb at this point. Falk: Okay, I think we are about out of time here Our hour is up, and I want to thank you very much for doing this. I know you were extremely busy and about to leave to Europe. So, thank you for squeezing this in! Bill: My pleasure. Falk: Any final words of wisdom you wanna give to our listeners? Bill: (Laughs) Falk: (Laughs) Could also be something funny. Bill: I really dont think I have anything at the moment. Falk: How about a musicians joke? Bill: Uhmmm Falk: I have one if you dont have one Bill: Okay, go ahead Falk: Uhmmm a guy calls a jazz club and says, Hey, I wanted to ask about the concert tonight. I wanted to find out when its starting. And the guy who picked up the phone says, Well, when can you be here? Bill: Ahhhh (Laughs) Falk: Not true for Bill Stewarts concerts of course! Bill: (laughs) Falk: There, there will be no lack of people. Bill: (laughs) Okay. Well, Ill keep that one in mind for future band rides. Falk: Okay. Well, Bill, it was a pleasure. Thanks for sharing all of this with us and hopefully we can do this again another time a while from now. Bill: Thatll be great. Falk: Okay. Bill: Bye, Falk. Take Care. Falk: Take Care. Check out http://JazzHeaven.com for more FREE Interviews, plus fantastic instructional videos & video interviews with the likes of Eric Harland, Jerry Bergonzi, Kenny Werner, Oz Noy & lots more...

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