My Thoughts on Being a Jazz Musician with Saxophonist Bruce Williams
Date Posted: May 09, 2018
Who has most influenced you in your career?
My oldest brother’s record collection, Bird, Jackie McLean, Cannonball Adderley, Frank Foster, Calvin Jones, Leroy Barton, Hank Crawford, Gary Bartz, Dexter Gordon, Wayne Shorter, Grover Washington Jr., Jimmy McGriff, Miles Davis, John Coltrane, Joe Ford, Kenny Garrett, Steve Wilson, Ben Webster, James Spaulding, Stanley Cowell, and Sonny Clark.
As a teacher, what do you think is the greatest responsibility you have to your students?
Being honest with them and being totally dedicated to the whole pedagogical process is my greatest responsibility. I also feel I have an obligation to help my students explore jazz from A to Z.
How do you manage to keep up your playing standard on so many different instruments with such a tight schedule?
I have several methods. One time I may choose to work on straight technique, at another time, on sound quality. The most important thing for a young musician is to realize that consistency and regular practice are essential to progress. In the long run, the standard of your playing is directly related to the work you put in. It’s up to you!
Why is jazz such a tough business?
First of all, because jazz has such a limited public… It takes years to build up a real following. You have to go to Europe and Asia and get known internationally before you can really become a big name in the States, even if you’re playing serious gigs with big stars. There’s no lack of talent in any field, from hard bop, to traditional, to avant-garde! I really do think that jazz is the hardest music to play.
How would you define your playing?
I feel that I am an intellectually soulful sax player. I love harmonic dialogue with great pianists and rhythmic conversations with great drummers. I play a little drums and I can really hear that connection on the bandstand. I love textural playing, but I also like to groove, funk, and swing. Having a pleasing tone and groove or swing are first – then comes the rest.
If you could have been there for one great moment in jazz history what would it be?
I’d choose when John Coltrane composed A Love Supreme. How incredible to see him go so deep inside himself, and bring out such a piece.
Bruce’s Vandoren setups:
Soprano sax: V16 S6 or S7 (depends which soprano I play) Optimum Ligature and Traditional #2.5 or #3
Alto Sax: V16 A9 small chamber, Optimum and M|O Ligatures, #2.5 Java Red
Tenor Sax: T55 Java, Optimum and M|O Ligatures, #3 Java Red
Clarinet: 5RV Lyre, M|O Ligature, #3.5 Rue Lepic or V12 #3.5 (depends on the room and the day)
I sometimes use traditional or V16 reeds on alto if the weather is tricky, but they are usually a half size softer (#2 V16's instead of 2.5 Reds) so that I can match up to the usual feel and resistance that I am used to. I only switch ligatures according to the room. They are both excellent products. It's like having a proper tool box.