Home » Jazz Articles » Interview » Jaleel Shaw: Philly Soul
Jaleel Shaw: Philly Soul

George Colligan
multi-instrumentalistb.1969
Jaleel Shaw has been one of my favorite young alto players for about a decade. We first played together with the

Charles Mingus
bass, acoustic1922 - 1979

Roy Haynes
drums1926 - 2024
George Colligan: OK. What's your earliest memory of music?
Jaleel Shaw: Wow! My mom told one of the first movies she took me to see was The Muppet Movie and that I came home and was singing the music a few days later. I guess that impressed her! She had me in these music theory classes for children around five or six. My mother always had lots of recordings laying around. She checked out a lot of late

John Coltrane
saxophone1926 - 1967

Alice Coltrane
piano1937 - 2007

Yusef Lateef
woodwinds1920 - 2013

Pharoah Sanders
saxophone, tenor1940 - 2022

Ornette Coleman
saxophone, alto1930 - 2015
GC: Do you believe that alto is your instrument, and if so, why? Some guys double or triple, but other focus on one. And when did you know that alto was the one?
JS: I originally wanted to play drums and trumpet. I think my mother thought both were too loud! So I ended up picking the saxophone. Maybe she secretly wanted me to play saxophone now that I think of it. There were no saxophones available when I signed up, and I had to start off on clarinet. But a year later, I got an alto sax.
I honestly didn't think of playing anything else for a while. I don't really remember having the opportunity to switch, but I think the alto stuck to me like a glove. I really got into it and started checking out as many alto saxophonists as I could almost immediately.
Today, I play soprano as well and I'm really into it. I've been thinking about baritone too. There's something in that sound that I like. But ultimately, I think that alto is a very difficult instrument and I'm still working out my sound and I feel like I'm always trying to find better set ups, better mouthpieces, etc.
GC: Who are your saxophone heroes? Who are your non- saxophone playing musical heroes?
JS: I could be here all day with this one! My first alto saxophone hero was

Bobby Watson
saxophone, altob.1953

Cannonball Adderley
saxophone1928 - 1975

Sonny Stitt
saxophone1924 - 1982

Johnny Hodges
saxophone, alto1907 - 1970

Charlie Parker
saxophone, alto1920 - 1955

Lee Konitz
saxophone, alto1927 - 2020

Antonio Hart
band / ensemble / orchestrab.1968

Kenny Garrett
saxophone, altob.1960

Myron Walden
saxophone, altob.1972
Since I'm a Philly native, I got to be around

Grover Washington, Jr.
saxophone1943 - 1999

Byard Lancaster
saxophone1942 - 2012

Maceo Parker
saxophone, altob.1943
In terms of non-alto players, I'm a huge fan of

Mark Turner
saxophone, tenorb.1965

Chris Potter
saxophone, tenorb.1971

Tim Warfield
saxophone, tenor
Sonny Rollins
saxophoneb.1930

Dexter Gordon
saxophone, tenor1923 - 1990

Stan Getz
saxophone, tenor1927 - 1991

Branford Marsalis
saxophoneb.1960

Joe Lovano
drumsb.1952

Steve Wilson
saxophoneb.1961

Sam Newsome
saxophone, sopranob.1965
GC: Ok, maybe a few guys who aren't saxophone players who are really big influences?
JS: Oh right!

Mulgrew Miller
piano1955 - 2013

Kurt Rosenwinkel
guitarb.1970

McCoy Tyner
piano1938 - 2020

Herbie Hancock
pianob.1940

Dave Holland
bassb.1946

Elvin Jones
drums1927 - 2004

Lennie Tristano
piano1919 - 1978

Freddie Hubbard
trumpet1938 - 2008

Lee Morgan
trumpet1938 - 1972
GC: When did you know that you wanted music to be your life?
JS: When I was 12 probably. I came up in a jazz ensemble that was run by a man named Lovette Hines. He's a well known jazz educator in Philly and he's responsible for

Christian McBride
bassb.1972

Joey DeFrancesco
organ, Hammond B31971 - 2022

Johnathan Blake
drums
Bilal
vocals[Jaleel shows me a video]
GC: I did see that actually...
JS: So that was kind of the environment I was in. It was great!
GC: It's actually inspirational because you can see what an educator who cares can do for students and for the preservation of jazz. Without Mr. Hines we may [not] have McBride and may not have you!
JS: I honestly don't know how much I'd love music if it wasn't for my mom and Mr. Hineshe made it fun.
GC:Do you feel like you have a lot to live up to being from Philly? Was it a big deal to move to the New York area?
JS: I honestly think about Philly lineage a lot, especially when I see Christian McBride. That show on that video was one of my first performances. So I've always looked up to him ever since then and he's amazing. But I mean McCoy came out of Philly, Kurt Rosenwinkel is from Philly, and Lee Morgan was from Phillythat alone is insane to me! All of them were great musicians and great composers. There's definitely a vibe from Philly that I'm proud to be part of. I shouldn't say I feel like I have a lot to live up toI definitely want to do my thingbut I think it's amazing to be from Philly. That energy is amazing.
I used to be afraid of New York, but once I moved to Boston and experienced that scene, I don't think I was nervous about NY anymore. Boston was intense. There were a lot of great musicians there, most of who are in NY now. And these cats just kept me on my feet, kept me influenced and motivated, so that fear I had wasn't the same after Boston
I can say that as far as gigs go and my actual future goes, I was scared to death about moving to the city! But things kind of fell into place
GC: Which sideman gigs have been your favorite? Don't feel any pressure to say The George Colligan Quartet!
JS: [Laughs]Someone just asked me a couple days ago! It's really hard for me to pick one because I'm always thankful to play new music and learn new changes. I'm really into challenges, even if it means I fall on my face and end up embarrassing myself. So it's really hard to say. My first gigs were with the Mingus Big Band and the

Count Basie
piano1904 - 1984
I couldn't play the things I played with the Mingus Big Band in the Count Basie Big Band and vice versa, of course. I learned so much about time, swinging, and the blues from the Basie Band, and so much about being open and more free [sic] in the Mingus Band. With Roy Haynes, I've learned more about playing time. Roy has a looser ride beat so he's not playing ting-ting-a-ling, he's accenting what I play! So I really had to get my time together. Roy [has] always talked about Trane and Bird and how they both had impeccable time. But I've learned something from everyone. I'm playing with

Tom Harrell
trumpetb.1946
GC: Do you think social media/technology is helping or hurting the jazz scene? Or both?
JS: Maybe a little of both. I often wonder what Trane or Bird would tweet if they were alive now, or if they would even do that sort of thing at all. It's clear that it took lots of time and dedication for them to get where they got. We're talking about days when there were no TVs, and in some situations no phones, certainly no cell phones or smart phones. Now there's so much going on, so many distractions, and sometimes too much information. I wonder how much imagination and mystery is lost. On the plus side, as an independent artist, it's helped me a lot. I've put out two CDs on my own and I know it's really helped to get me out there. You couldn't make a post on your Facebook page 50 years ago to let people know your new CD was out. It's amazing that you can do that now.
GC: Any upcoming gigs or projects we should know about? Or past projects which we didn't hear enough about?
JS: I'll be performing at the Charlie Parker Festival on August 24th with my quartet, at the Philadelphia Art Museum with my group on the 23rd, and with Roy Haynes at the Newport Jazz Festival on Sunday the 4th. I'll be with EJ Strickland's band at Smoke on the 7th of August.
GC: Do you have any advice for the multitudes of young jazz students who are sitting in practice rooms around the globe, wondering what their next move should be?
JS: I would say practice like crazy, but get out. Go check out the artists you're into and try to get to know them. Ask questions; ask for lessons when cats come in town. I think it's important to get as much information as possible. Learn standards and get out to the sessions when you can and get together with your friends to play your originals. Start a separate bank account for your recordings and try to put a little bit of what you make into this account if you can. Don't sit around waiting for record labels to sign you! Try booking your own gigs and getting venues that may not normally have music to feature your group. I think it's time to try to open the scene up a bit more and try new things and create new opportunities.
Photo Credit
Lafiya Watson
Tags
Jaleel Shaw
Interview
George Colligan
United States
Pennsylvania
Philadelphia
Charles Mingus
Roy Haynes
John Coltrane
Alice Coltrane
Yusef Lateef
Pharoah Sanders
Ornette Coleman
Bobby Watson
Julian "Cannonball" Adderley
Sonny Stitt
Johnny Hodges
Charlie Parker
Lee Konitz
Antonio Hart
Kenny Garrett
Myron Walden
Grover Washington, Jr.
Byard Lancaster
Maceo Parker
Mark Turner
Chris Potter
Tim Warfield
Sonny Rollins
Dexter Gordon
Stan Getz
Branford Marsalis
joe lovano
Steve Wilson
Sam Newsome
Mulgrew Miller
Kurt Rosenwinkel
McCoy Tyner
Herbie Hancock
Dave Holland
Elvin Jones
Lennie Tristano
Freddie Hubbard
lee morgan
Christian McBride
Joey DeFrancesco
Johnathan Blake
Bilal
Count Basie
Tom Harrell
EJ Strickland
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