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My Conversation with David Binney

By Glenn Astarita
August 14, 2024
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This article first appeared on All About Jazz in September 1999.

New York City-based saxophonist and composer David Binney has been getting lots of well-deserved attention over the last several years. Three excellent CDs with the unique and hard driving band Lost Tribe, stints with

Medeski Martin & Wood

band / ensemble / orchestra
b.1991

" data-original-title="" title="">Medeski Martin & Wood,

Drew Gress

bass
b.1959

" data-original-title="" title="">Drew Gress' Jagged Sky, Aretha Franklin, The

Gil Evans

composer / conductor
1912 - 1988

" data-original-title="" title="">Gil Evans Orchestra, and

Edward Simon

piano
b.1969

" data-original-title="" title="">Edward Simon to name but a few, place Binney among the top jazz performers/musicians of today. The recent startup of his record label Mythology Records which includes his fine solo effort Free To Dream, the group Lan Xang and pianist Edward Simon's solo outing La Bikina all deserve consideration for being among the best of 1998.

David Binney is known for his rapid-fire attack, monstrous chops, intelligent composing and arranging skills while becoming one of the most sought after session men in The Big Apple. The following interview was conducted specifically for All About Jazz:

All About Jazz: Who would you cite as your modern day influences (musicians and/or Composers who are still living)?

David Binney:

Wayne Shorter

saxophone
1933 - 2023

" data-original-title="" title="">Wayne Shorter,

Bill Frisell

guitar, electric
b.1951

" data-original-title="" title="">Bill Frisell,

Djavan

guitar
b.1949

" data-original-title="" title="">Djavan, Lou Harrison,

Ivan Lins

piano and vocals
b.1945

" data-original-title="" title="">Ivan Lins,

Hermeto Pascoal

flute
b.1936

" data-original-title="" title="">Hermeto Pascoal,

Herbie Hancock

piano
b.1940

" data-original-title="" title="">Herbie Hancock, Merle Haggard,

Bobby Hutcherson

vibraphone
1941 - 2016

" data-original-title="" title="">Bobby Hutcherson,

Bennie Maupin

woodwinds
b.1940

" data-original-title="" title="">Bennie Maupin,

Joe Zawinul

keyboards
1932 - 2007

" data-original-title="" title="">Joe Zawinul,

Jan Garbarek

saxophone
b.1947

" data-original-title="" title="">Jan Garbarek,

Joe Henderson

saxophone
1937 - 2001

" data-original-title="" title="">Joe Henderson,

Egberto Gismonti

guitar
b.1947

" data-original-title="" title="">Egberto Gismonti, Salif Keita,

Pat Metheny

guitar
b.1954

" data-original-title="" title="">Pat Metheny,

Keith Jarrett

piano
b.1945

" data-original-title="" title="">Keith Jarrett. I could go on and on, not to mention all the dead guys like Miles, Hendrix, Stravinsky, Messien, etc.!

AAJ: Many factors can contribute to inspiring a musician: the music of others, visual stimuli (literature, cinema, sculpture, painting, nature), Working with interesting peers, maybe even food. Is there any one catalytic element that seems to provide you with the most inspiration?

DB: I would say "all of the above" inspire me at various times. I would say that the most common catalysts for me would be: Listening to great music. Places I've been to including where I grew up in California. And, being single, the highs and lows of a relationship with a woman.

AAJ: How would you assess the audience's reactions to your music and/or involvement with other bands and collaborative projects? Have European or American audiences been more receptive to your music?

DB: Audiences react very positively to my music and to most every project I am part of, luckily! I get to play with some great musicians and this is "key." I find European and American (and Canadian) audiences to be equally receptive and attentive for the most part.

AAJ: What can a musician learn from being told by an audience member (post-performance) that he or she "played exceptionally well" or was "extremely moving" when he or she feels their performance was sub-standard?

DB: I don't know if there is anything to learn from this. I do know that if this situation occurs, and it does, I can usually tell if someone really heard what I was going for, regardless of the performance, or if they really didn't know what they were listening too.

AAJ: What areas of your own playing/composing do you feel need improvement?

DB: If you ask any artist who is really serious about their art, I think the only answer would be "everything."

AAJ: How's Mythology Records going? Are you working on expanded distribution? What lies ahead in the way of recording projects lead by musicians other than yourself?

DB: Mythology is getting a lot of attention from the press and I assume radio soon as we are just now servicing radio. People are not buying the CDs in droves but I think this because no one really knows about it yet. I don't have money to advertise right now. I am burnt on doing business for the label and am just concentrating on playing and composing. I am trying to delegate the business. My mother handles some and it looks like I will soon hook up with

Matt Garrison

saxophone

" data-original-title="" title="">Matt Garrison's new internet label/project. He has better resources. Edward Simon already has a great CD out on Mythology as does Lan Xang which is a collective. If I had the time and money I'd record a lot of people.

AAJ: Among the many talented musicians you've worked with, who has presented you with the most challenging and/or synergistic relationship? Who have you learned the most from working with?

DB: That's a hard one to answer because I love everyone I am playing with and it's all challenging to some extent. If I had to mention names I would say, in no particular order, Edward Simon,

Scott Colley

bass
b.1963

" data-original-title="" title="">Scott Colley,

Kenny Wollesen

drums

" data-original-title="" title="">Kenny Wollesen,

Donny McCaslin

saxophone, tenor
b.1966

" data-original-title="" title="">Donny McCaslin, Drew Gress,

Ben Monder

guitar
b.1962

" data-original-title="" title="">Ben Monder,

Adam Rogers

guitar
b.1965

" data-original-title="" title="">Adam Rogers,

Uri Caine

piano
b.1956

" data-original-title="" title="">Uri Caine,

Dave Douglas

trumpet
b.1963

" data-original-title="" title="">Dave Douglas,

Don Byron

clarinet
b.1958

" data-original-title="" title="">Don Byron,

Mark Feldman

violin

" data-original-title="" title="">Mark Feldman,

Dave Gilmore

guitar

" data-original-title="" title="">Dave Gilmore and

Marvin "Smitty" Smith

drums
b.1961

" data-original-title="" title="">Marvin "Smitty" Smith. A special mention has to go to

Jeff Hirshfield

drums
b.1955

" data-original-title="" title="">Jeff Hirshfield.

AAJ: Who are the musicians you have not yet worked with who would you like to record with and/or tour with?

DB: See the previous list and add

Squarepusher

" data-original-title="" title="">Squarepusher,

Ralph Towner

guitar
b.1940

" data-original-title="" title="">Ralph Towner, and

Jack DeJohnette

drums
b.1942

" data-original-title="" title="">Jack DeJohnette.

AAJ: Do you give private saxophone lessons to children? If so, do you think that someday you might be interested in composing music for children?

DB: I don't, and you never know.

AAJ: What is the current operational status of Lost Tribe?

DB: Fully operational. We're playing tonight at the Knitting Factory! We are looking for a new deal and are thinking of doing our own recording and putting out on Mythology.

AAJ: What will 1999 bring in the way of tours and/or recordings? Beyond 1999, what plans or projects would you like to see happen?

DB: Who knows! Right now it looks like I'll be doing nothing but it looked like this last year at this time and '98 turned into an incredibly busy year. I have many ideas. It looks like I will be doing some drum-and-bass stuff with

Zack Danziger

" data-original-title="" title="">Zack Danziger,

Tim Lefebvre

bass
b.1968

" data-original-title="" title="">Tim Lefebvre and

Jamie Saft

piano

" data-original-title="" title="">Jamie Saft.

AAJ: Does the phrase "modern jazz" actually have any meaning or significance? If so, where do you see "modern jazz" heading within the next five years? Where will Dave Binney fit into this?

DB: It means nothing to me and I will and won't fit into anything they want to call it!

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