Artist Features
Randy Napoleon New Album With Many Guest Musicians
On his new album, Waking Dream, Randy invites guitarists Luke Sittard, Chris Minami, Jocelyn Gould, and Ben Turner, plus other instrumentalists, to record with him.
Randy was born May 30, 1977, in Brooklyn, NY, but grew up in Ann Arbor, Michigan, when his family moved there. After living in New York City, he has moved to East Lansing to teach at Michigan State University and continue a busy performing schedule. His first big break was playing with pianist Benny Green. For years, Randy was Michael Buble’s guitarist, before he joined Freddy Cole’s group and performed with him until the singer’s death. On his new album, Waking Dream, Randy invites guitarists Luke Sittard, Chris Minami, Jocelyn Gould, and Ben Turner, plus other instrumentalists, to record with him.
JB: So, before I ask about the new album, I am always curious to ask, to you, what are three of the most influential jazz guitar albums in your personal development as a guitarist, and why?
RN: Joe! You are asking an impossible question! I will probably change my answer tomorrow. All of Wes Montgomery’s small group records are deeply important to me. My favorite would be a toss-up between Full House, Grooveyard, and Boss Guitar. The first solo guitar record from Joe Pass that I heard was I Remember Charlie Parker. I love all of his solo records, but that one is etched in my mind. There are so many great guitarists, past and present. Oscar Moore, Charlie Christian, Barney Kessel, Kenny Burrell, John Scofield, Pat Metheny, Peter Bernstein, Russell Malone, B.B. King, Jimmy Hendrix, Grant Green. Thank goodness for all of them.
JB: Waking Dream features you and four additional guitarists, Luke Sittard, Chris Minami, Jocelyn Gould, and Ben Turner. Where did the idea for this come from, and other than they are all former students of yours, how did you select them?
RN: I figured if booking a trio was difficult, why not make it impossible and turn the band into an octet! I have never liked guitar ensemble music, and I was interested in using the sound in a different way. At my core, I’m a hard-bop cat who loves blues, swing, and standards. I will never be any of the guitarists I listed above. Hopefully, if I present the music in an unusual way, it will create something interesting for the listener. I’ve been writing some more extended compositions, and this instrumentation seemed to be a wide-open creative lane. These guitarists are part of my family. We are very close and have spent countless hours talking about every little detail you can imagine regarding guitar, sound, phrasing, etc. I knew they could play anything I wrote, and that we would be able to blend a breath together. I’m proud to note that at this point, they are all master guitarists. When I hear them, I’m proud and humbled! They didn’t pull any punches on this date!
JB: Talk about some of the challenges of writing the arrangements for this group.
RN: I didn’t have a model. That was a challenge and an opportunity for experimentation. I write a lot for five horns, this was different because the sound of the five voices is so much more homogenous. That creates a very lush, blended sound, but has less tonal color variation. I learned a lot from doing this. Some things worked better or worse than I expected based on my previous arranging experience.
JB: You have had a long musical relationship with composer Gregg Hill, and all the songs on this recording are either Gregg’s or yours. What do you appreciate about his music?
RN: Gregg’s music is like him, soulful, quirky, flexible, warm. Gregg is a very creative and open person. Working with him brings out my chance-taking side. He has become a great friend as well.
JB: When did you meet trumpeter Anthony Stanco and talk about your musical relationship with him? One of your tunes, “Hey Cute One,” appears on Anthony’s new OA2 Records album, In the Groove. Tell us about it.
RN: I met Anthony twenty years ago when he was in high school. I was still living in New York and was visiting home and doing some gigs in Detroit. I didn’t hear him until many years later, and I was shocked at his command of the trumpet and the jazz language. He is the real deal. Now we are colleagues at Michigan State University, so I get to play with him quite a lot. A few days before this record date, Anthony mentioned that it would be nice to have a soulful 3/4 tune on the record. I wrote this one quickly, one hour max. Usually, this is how I like to play, a simple head chart and then play jazz! My five-guitar project is a case of trying to stretch myself.
JB: Have you worked with pianist Rick Roe before, and tell us about the musical chemistry you have with him?
RN: Rick is one of my big brothers. I’ve known him since I was sixteen years old. I would go to listen to him with the Ron Brooks trio every week at the Bird of Paradise jazz club in Ann Arbor. I would listen all night, and they would let me sit in for the last few tunes. Rick is so inspiring, he is a legend in this part of the country. His playing is part of my DNA because I learned so much from him. We connect effortlessly because of that long and profound connection.
JB: What do you appreciate most about your rhythm section on eight of the ten tunes of the album, bassist Rodney, and drummer Quincy Davis?
RN: I have very similar answer for what I mentioned about Maest-Roe! Rodney has been my mentor and friend for over thirty years. He is one of my heroes and models. Quincy and I are peers, we’ve been playing together since we were teenagers. He is one of the most soulful, swinging, and creative musicians I know. I will always play with these guys. They are part of who I am.
JB: You play a Benedetto guitar. What do you appreciate about this instrument?
RN: Benedetto’s are perfect. I feel really lucky to have a guitar like my 16-B. It is resonant all over the neck, and feels incredible. It sounds great on loud gigs as well as acoustically. I don’t have feedback issues. I got this guitar three years ago, and it has really helped. I also have a Bravo Deluxe, which Chris was playing on this record. That is also a great guitar. They are really dedicated to quality and detail over at Benedetto.
JB: Living in East Lansing, Michigan, talk about the gigs you do, how you make a career teaching and performing work for you.
RN: I run myself ragged! I’m teaching during the week, playing little gigs in the region, and still often on the road on weekends or breaks. It is hard, and I always wish I had 48 hours in a day because I want to do everything full throttle all the time. I can’t travel as much as I used to, but I must say, I love teaching in the same way I love playing, so it is a win-win. I do dream of having more practice time. Overall, I feel fortunate. I have amazing students and colleagues, and still get my share of nice gigs. I’d describe my overall feeling as tired but happy!
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