![]() ![]() I always make a conscious effort not to ever play with that pianist again. Every now and then I run across a pianist that didn't listen. A lot of times when a guitarist and a pianist play together, it can become disastrous if they're not listening and they're not sensitive. ![]() If they're listening and they don't get in the way, it's a lot of fun. I've had the good fortune to play with a few. "I like playing with a really good pianist. A lot of it I have to attribute to listening to vocalists." Those qualities can be heard on his recordings, like last year's offering that is done with a quartet that includes drummer Willie Jones III, bassist Gerald Cannon andopting to move away from the guitar-bass-drums triopianist Rick Germanson. I appreciate that because it's something that I work on. "In fact, people have said to meone of the greatest compliments I ever receivecertain things I play have a lyrical quality. I'm as much influenced by vocalists as I am instrumentalists. For me, they know how to get the most out of a song and out of a lyric, regardless of genre. He was attracted to the vocals as well as the guitar. He'd always liked music, listening to records his mother played by Sam Cooke with the Soul Stirrers, the Fantastic Violinaires, the Dixie Hummingbirds. He knew quickly that would be the vehicle for his personal expression. So people make too big of a deal about a person being self taught." His first exposure to the guitar was in church. I learned a lot just from watching them and hanging out and talking with them. But I've had the good fortune to learn from a lot of great musicians. Because you can't get better playing with people who are always telling you you're the best player in this situation or that situation. I sought out musicians who could show me things, who were better than me. I figured early on there was only so much I could learn on my own. "There were things I needed to get together in my playing. But I think if you are really serious and you want to get to another level, you have to admit there's a lot of things you don't know," he says. "You may start out not having access to a lot of academic information. "I've been so fortunate sitting and talking with a lot of these players." When Malone talks about learning to play his instrument, he speaks in terms that can be applied outside holding the piece of wood with six strings stretched from one end to the other. All of that stuff has an effect on how they deal with the music," says Malone. But I learned so much just studying the men. "I learned a lot musically from working with my heroes like Ray Brown, Ron Carter, Jimmy Smith, Sonny Rollins. A first-call sideman, he also leads his own exciting groups, something on exhibit on his 2015 release Love Looks Good On You (HighNote). He's an ace guitarist who can swing like mad, scorch the blues or provide just the right, tasty accompaniment. Malone's travels from Albany, Georgia, to Atlanta, to New York Cityand his playing with people like Jimmy Smith, Freddy Cole, Harry Connick, Jr., Diana Krall, Ron Carter, Sonny Rollins, Ray Brown and othershave contributed to the construction of quite the career. He can separate the wheat from the chaff in the world of music, business and life. Malone is astute and, as such, open and welcoming of ideas. He relishes observing the character of those around him and incorporating that not only into music but in daily existence. It's evident in the way he speakswith an air of deep knowledge, understated confidence and deep respect. He appreciates acquiring knowledge of all kinds. But the origins of his style and the status he's achieved do not have academic connections. His sound is full and rich his fingers fleet,the ideas springing from his head to his hands with speed and dexterity. Because nobody is completely self taught," ruminates Russell Malone, one of the best loved jazz guitarists by both fans and critics. "People make too big of a deal about being self taught. ![]()
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