Mar. 14, 2010

Accomplished, musically in touch, gentlemanly, humble, and patient to a fault. That’s Tom Braxton in a nutshell. Having a conversation with this marvelous saxophonist immediately took us from a normal interview setting in a literal sense to a sun-drenched patio and a couple of cold ones in a figurative sense. So easy and so pleasantly flowing was the conversation that spoke volumes about the man. See if you can capture some of that feel in this informative conversation.

TSJR: I think we have an idea as to the answer to this question, but here it is anyway: Who has served as the most influential figure in your musical life?

TB: I have to credit my very supportive dad with connecting me to jazz at an early age.  He introduced me to all the jazz legends: Lester Young, Miles, Coltrane, Charlie Parker, Stitt, Getz, Ben Webster, Coleman Hawkins and many more.  He would share how he had heard Count Basie and Duke's original bands and the great Ella Fitzgerald.  He put the alto sax in my hands in the 6th grade, after I had been playing piano for two years.  At the age of 90, my dad still plays his tenor sax and violin everyday, and he's still gigging!

TSJR: We understand that you also love to run relays as well. Tell us about how that love came about, and are you preparing to run in any events that we should note?

TB: Well, I ran track ever since the 4th grade. I just loved running. I ran all through middle and high school and actually took a track scholarship to Texas Tech and ran there.  Actually, it was interesting when we did the Smooth Jazz Cruise, a gentleman walked up to me and looked at me and said “You’re not going to remember me, but we were on the same track team some 20 years ago (laughs), and I said “Oh my goodness!” and took a second and remembered that we did run together back at Texas Tech and I really enjoyed it. I just run recreationally now. I just get out and put on the shoes. My kids are doing it now, so, we often get out and run together. So, I’m not doing anything competitively now, but I just love to do it to stay in shape.

TSJR: Tell us about the college years and the jazz fusion band you formed called “No Compromise.” Was it a springboard of sorts for your emergence in smooth jazz?

TB: Oh, it definitely was a great learning experience. I was planning on going to Tech for about a year, and then I wanted to transfer to North Texas because the University of North Texas up here in Denton is internationally known as a jazz school.  So, I went to Tech and I was in the marching band and the stage band, and I was playing some solo piano engagements around the Lubbock area, which is where I grew up, and I met this keyboardist from New York named Marcel, and we started writing some songs together, and we recruited some other guys from some of the other music departments and the next thing you know we had an ensemble and so we started playing quite a bit, and Texas Tech was so appreciative of what we were doing that they actually gave us a class, and by the time I was a junior or senior, we were getting credit for our ensemble. So, we did that for about 6 years, while I was in school and for awhile after I graduated, we traveled and opened a few concerts. It was a great experience. It was a great opportunity to write, as well. I did a lot of writing for that ensemble and got to try a lot of things and see what works and what doesn’t.  I still stay in touch with some of those guys.

TSJR: You also teach music and have music workshops and clinics. It’s always so great to hear musicians giving back in this way. Tell us a little about those workshops and why you started them.

TB: I think music education is very important, whether you do it for a living or not. I’ve worked as a Fine Arts director for a private Christian school for the past 10 years with a very flexible schedule, fortunately. I’ve also done some workshops. Kirk Whalum and I have done some Gospel According to Jazz workshops, and that was a blast. When you get to talk to young people and I go to schools and talk about the history of jazz, I just went to my son’s charter school a couple of weeks ago and did a presentation about African American History Month and focused on Louis Armstrong, Miles Davis, and all those fantastic luminaries of this kind of music. I think it’s important for them to know the history behind it. I make audiences laugh when I say “You know, I’ve got a big secret for you—jazz didn’t start in the 1980s (laughs).  A lot of them think “Yeah, it started in the ‘80s with smooth jazz, and I’ll say , no, you have to go back about 100 years. (laughs). I do love working with young people, and I still do private lessons when my schedule permits.

TSJR: What are some of the more memorable highlights of your career thus far?

TB: Wow, I guess what stands out would be the first time I did the Catalina Jazz Festival with Wayman (Tisdale). I remember how scenic it all was and what a great and beautiful place it was and how all the people loved the music.  I remember my first jazz cruise with Dave Koz. That was amazing. I played with so many people. I actually went on the stage to just play with Wayman and ended up playing with Jonathan Butler, George Duke, Dave Koz. There was one night when there were about 19 artists onstage at once from Jeffrey Osborne to Kirk Whalum, Wayman, Gerald Albright.  It was such a special week. It was a just a huge fraternity meeting of great musicians.  So, the jazz cruises are very special and I hold vivid memories of those and they always stand out.

TSJR: I know that your solo debut release has a story behind it, as does your wonderful experience with the late Wayman Tisdale. We’d love to hear about all of that, or as much as you care to share right now.

TB: Well, I had a great experience and career working with Wayman. We meant in 1992, courtesy of keyboardist Bernard Wright from the New York area. His wife is from Dallas, and he produced a project for me, and he was working with Wayman and Terry Cummings at the time. Wayman was looking for a sax player back then.  Actually, I had a solo career going back then, but people weren’t really aware of that (laughs).

So, Bernard introduced us, and we played in a ballroom in a hotel, opening for the Yellowjackets. You know, I played the very first gig with him, and I played with him on his very last gig, May 2 in Clearwater, FL (he died on May 15). A very special and gifted man. Very humble. I often had to remind myself of who I was hanging around with. He was in the NBA, a gifted musician, yet he never carried himself that way. You know, when you have a funeral in an arena, that’s saying something about how much you were loved.

TSJR: Now, with the latest CD, Endless Highway--and a great CD it is, by the way: What inspired it, and where were you trying to go with it?

TB: Well, every CD is different, you know, and this one was written under some interesting circumstances. It was actually during the period when Wayman wasn’t feeling very well, and he actually ended up passing away during that recording and, consequently, the Endless Highway was kind of a thread that was part of that—a metaphor of life’s journey, the ups and downs of that long highway we call life, and Wayman was on that next stretch of road that’s part of that highway.  All of the songs kind of wrap around traveling ("The Journey," "Open Road," a cover of "Ventura Highway," the tune by the group America, and so on) and describe the ups and downs of that journey.  It was actually a lot of fun putting it all together and it’s always great creating something with other great musicians.

TSJR: I’m sure you’re currently touring to promote the new release. Where are you headed?

TB: We have some different dates lined up. We’re trying to get as much exposure as possible. We’re excited about doing the upcoming Capital Jazz Festival with U-Nam, the Urban Jazz Coalition, and Brian Simpson. I’m also very excited about going to Holland at the end of March for a week of shows. Aside from that, we’re just trying to set up as many shows as possible so that we can get the exposure and keep eating (laughs).

TSJR: Considering your great journey and experiences thus far, what advice would you offer up-and-coming musicians who’d not only want to be successful but appealing to smooth jazz audiences—or even audiences in general?

TB: That’s a great question.  I tell young musicians to work at it from several fronts. One: Your character. Make sure you’re willing to work hard, be dependable, be on time, and be prepared. When you’re not playing, do your homework.  In other words, when you show up for someone else’s set, really know their music. That will impress people.  When I play with others like Jeff Golub, Peter White, Jeff Lorber, and so forth, I make sure that, even though I’ve played with them before, I go over their material again. Two: Work your craft. Everything isn’t microwaveable in this industry. Some hit it on American Idol and become famous overnight, but most of us have to work at it. Roll up your sleeves, do your homework, listen to other people and records. Get private instruction if you need it. Study the art of music. Three: Understand the business end of music. You’re only on stage part of the time. The rest of the time involves strategy and marketing and such. Also, don’t be afraid of some hard work.

TSJR: Along those same lines, with smooth jazz having once been rumored to be on its deathbed, what do you think the genre needs to keep it relevant and compelling?

TB: Another great question. I think a few things. One: Jazz has been around long before it was on the radio, and that’s huge, because people enjoy this form of music and seeing it performed live. I was talking to Dave Koz about this recently, and he mentioned how important it is to keep playing live.  As far as the genre itself, I think it just needs to be a little more open as far as styles are concerned. I think that it has gotten a bit stale and narrow. There are so many great artists and so much music (it’s hard to include everything, of course), but radio has gotten into the rut of playing the same people over and over. People have often told me that very thing. I think that the powers that be haven’t realized how intelligent their audiences really are. If you play something a little out of the ordinary, I don’t think it would make people turn off their radios. Also, jazz, just like other forms of music, has always evolved. It’s bound to change and grow, and smooth jazz may well morph into something else. Music seldom stays the same.

TSJR: Where can fans go for more information on Tom Braxton?

TB: Well, they can visit TomBraxton.com.  They can also go to my fan page on Facebook, and we’re on MySpace, as well. We’d also be happy if fans would join the Brack Pack on the website, and we will send you a periodic newsletter about what’s going on with us and where we’ll be. We won’t bombard you with e-mails, etc.--I too hate receiving a bunch of e-mails about every little thing. We’ll just make sure you’re kept abreast of our events, etc. maybe once a month or so.

TSJR: Any parting words for your fans?

TB: Well, thank you so much for listening and supporting us. Please spread the word and tell others about me (laughs).  We really appreciate it!

TSJR: Thanks so much for taking this time with us, Tom. All our best to you with your career in general and Endless Highway in particular.

TB: Thank you!

See? Accomplished, musically in touch, gentlemanly, humble, and patient to a fault. Did I forget to mention inspiring?  Let’s hope that, along this endless highway, we encounter the likes of Tom Braxton often.