www.jazzreview.com/article/review-6075.html -
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Published on: 3/1/2007
Last Visited: 5/24/2008
Aaron Diehl
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Such is the case with jazz pianist Aaron Diehl.Diehl is already making a name for himself in New York in joint concerts with the likes of Wynton Marsalis, Eric Reed, Marcus Roberts, Wess Anderson and Jonathan Batiste at various clubs, at The National Jazz Museum in Harlem and at Jazz at Lincoln Center.
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Still, Marian McPartland has already included him on Piano Jazz, and Diehl is touring around the world to perform in various venues.
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Diehl admits that he first turned down the opportunity to tour with Wynton Marsalis before he moved to New York, but he was able to turn around that decision to learn about the rigors of the touring regimens of professional jazz musicians.Now that Diehl is carving out a career in jazz, he is working on writing jazz in a liturgical context as part of his objective to incorporate jazz into community and religious activities.We caught up with Diehl after a concert in his home town of Columbus, Ohio.
Jazz Review: I enjoyed your recent concert at The King Center, but I was surprised when you brought out the horns in the second half.
Aaron Diehl: The reason I did that was because it is difficult to play as a piano trio for a long period of time.You have to keep things interesting.I decided to have a quintet in the second half.I've played with Wess Anderson a little bit, and he just suffered a stroke a few months ago.I know he has been practicing to get things back together again.He really brought the concert up to a completely different frame of mind.Wess wasn't planning on going anywhere that weekend, and he said he would do the concert.So, I was really happy that I would be able to play with him.I went to school at Julliard with Dominick [Farinacci], and he graduated a couple years before I did.But he and I have been playing together for four years, as have Carmen [Intorre] and Yashushi [Nakamura].We had a rehearsal before the concert, and then we went right into it.We had a lot of fun.
Jazz Review: Did the promoters know you were going to add the horns?
Aaron Diehl: No, adding Wess and Dominick was a bit of a surprise.
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Aaron Diehl:We went to Julliard together.
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Aaron Diehl: I have to order them from Japan, and sometimes I have trouble getting them over here.
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Aaron Diehl:That was a project that happened kind of at the last minute.
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Aaron Diehl:I did a tour in Japan last year with a Japanese trumpet player I went to school with: Satoru Ohashi.
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Aaron Diehl: We went to Tokyo, Osaka--we were up and down the whole country.
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Aaron Diehl: Todd is one of the most extraordinary arts educators in the world, in my opinion.
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Aaron Diehl:I had been speaking to Wynton for a while, and he had been a mentor to me.Actually, I got a call from Wynton out of the blue, literally, when I was practicing in the living room at home.He asked me to come and play with him in Europe.
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Aaron Diehl:I knew some of it from his CD's.
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Aaron Diehl: It included Reginald Veal, Herlin Riley, Wess Anderson, Ron Westray and Victor Goines.
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Aaron Diehl: We went all over western Europe.
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Aaron Diehl: I was accepted at Julliard before I went out on the road with Wynton's group.
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Aaron Diehl: I met him after I was at Julliard.I called him for a lesson, and he said, "Come on over."I had a lesson, and we stayed in touch from time to time.I remember that one time he called me and said, "I'm playing at the Vanguard.
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Aaron Diehl: I studied with her for four years.I wasn't by any stretch of the imagination skilled enough in terms of my experience with the repertoire to do a hard-core classical music major, and I didn't have a lot of time because I was majoring in jazz.She took me on because she knew I still had in interest in classical music as I did in high school.During every lesson, I would play a little bit, and then she would play what she wanted to see in my playing.
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Aaron Diehl: Yes, she has a copy of it.She likes it a lot.She had a lot of comments for me about interpretations of some of the Mozart melodies�some things critical, some things positive.She's an honest person.She doesn't hold anything back.That's what I like about her.
Jazz Review: you were involved in Julliard's outreach program to excite high school and college students in becoming professional jazz musicians.
Aaron Diehl: That's the mission of The Julliard School of Music in general--not only in the jazz program, but also in all of the other programs there.
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Aaron Diehl: I graduated last May--May 25th [2007].
Jazz Review: So now you're making a living as a professional musician.
Aaron Diehl: Now that I'm out of school a little bit, I have a chance to breathe.
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Aaron Diehl: Last Easter, we played the music of Mary Lou Williams, and we had a trio along with a trumpet come in and play.
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Aaron Diehl: I don't really know how she found me, so to speak.
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Aaron Diehl: He and I performed at a concert at Julliard two years ago.He did a residency for a whole week, and the band played a concert at the end of it.
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Aaron Diehl: My dad's name is Richard, and my mother's name is Estelle.
Jazz Review: It seems that they have helped facilitate your development in jazz.
Aaron Diehl: My parents have always been advocates for culturalization, for lack of a better term.
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Aaron Diehl: [Laughs] Yes, because my grandpa played trombone and piano.
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Aaron Diehl: She was my general music teacher.I played in the school musicals there as another performing opportunity for me, and she had me play for the masques.
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Aaron Diehl: Wow!
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Aaron Diehl: Yes.He has a lot of facility.He was thirteen at the time I met him at Interlochen.
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Aaron Diehl: Yes.