Like many independent jazz labels, Monarch Records was a labor of love. None of us got rich, but we had fun and were able to make available some quality music by Cedar Walton, Dave Ellis, Eddie Marshall and others. We released dozens of recordings before the company was sold. I'm most proud of our live recording by Art Farmer, one of his last and our best.
Red Reflections was my first CD as leader, recorded when I was 29. We mostly recorded my originals. Art Farmer recommended that we include "The Outlaw" from the Horace Silver book. We also did a Michael Brecker tune we all used to play at jam sessions in Boston. We played a string of club performances and then went into the studio—old school—so the recording really captures our live quintet sound just as it was in the mid-'90s.
One of my favorite players on the scene currently is Ingrid Jensen. Ingrid is inspiring because she's expanding the vocabulary for trumpet and flugelhorn, extending the innovations of Kenny Wheeler and Woody Shaw in a very personal and compelling way.
Incidentally, Art Farmer was also a fan of Ingrid. He predicted that she will ultimately be recognized as a major artist of historical significance.
I try to phrase like a singer, so I listen to a lot of vocalists, especially Ella Fitzgerald. And because I favor a melodic, lyrical approach to improvisation, most of the jazz instrumentalists I listen to are also from that tradition -- people like Stan Getz, Miles Davis, Paul Desmond, Chet Baker, Art Farmer and Ben Webster.
It's a remarkable gift, to meet your hero, the world's acknowledged master on your instrument, and for him to ultimately become your teacher and friend. Miraculously, it happened to me, and I will be forever grateful.
Mentor-protege relationships in jazz are so important. It's wonderful that colleges, conservatories and other institutions are now embracing jazz education, but I feel strongly that our master musicians need to maintain the lineage of the oral tradition.
There are some things you just can't learn in school.