{"id":93043,"date":"2022-06-03T05:20:16","date_gmt":"2022-06-03T05:20:16","guid":{"rendered":"https:\/\/websitedesigns.com.au\/elankanew\/?p=93043"},"modified":"2022-06-03T05:20:16","modified_gmt":"2022-06-03T05:20:16","slug":"why-jazz-drumming-legend-eric-harland-had-to-go-to-bible-school-by-john-shand","status":"publish","type":"post","link":"https:\/\/websitedesigns.com.au\/elankanew\/why-jazz-drumming-legend-eric-harland-had-to-go-to-bible-school-by-john-shand\/","title":{"rendered":"Why jazz drumming legend Eric Harland had to go to Bible school – By John Shand"},"content":{"rendered":"

Why jazz drumming legend Eric Harland had to go to Bible school – By John Shand<\/strong><\/span><\/h1>\n

Source:<\/strong>amp.smh.com.au<\/a><\/span><\/span><\/p>\n

\n

Of all the reasons for dropping out of music school, Eric Harland\u2019s has to be among the weirdest. There he was at the prestigious Manhattan School of Music on a full scholarship, his career as a jazz drummer taking off like a rocket, and the notoriously hard-to-please singing great Betty Carter among those to hire him. But none of that mattered to Harland\u2019s mother back home in Texas. She was thinking long term.\u00a0Very\u00a0<\/em>long term. She had an unconquerable fear for the health of his eternal soul.<\/span><\/p>\n<\/div>\n

\n

\u201cI came from a very religious family,\u201d Harland explains, \u201cand it was really hard for me to enjoy being in college, because my mum was so concerned that I was doing something wrong, or something against God \u2026 I was so far away from home, and she was used to having that control over the family, and knowing where everybody was and what everybody was doing.\u201d<\/span><\/p>\n

\"WhyHis unorthodox solution involved returning to Houston. \u201cWhat I decided to do was go to theology school, because in order to be able to have a legitimate conversation with my mum, if I didn\u2019t have the biblical knowledge, there was no way to get her to understand where I was coming from,\u201d he explains. \u201cAnd going to theology school really taught me compassion. That was the first time I realised there\u2019s something greater than just being an artist, and allowing that part of myself just to be present.\u201d<\/span><\/p>\n

Harland had played in church as a child, and now for about eight months he returned to that while pursuing these new studies, and found the beauty of some theological concepts changed his approach to music: made it more collegiate and less concerned with what he personally had to say.<\/span><\/p>\n

He concedes he might well have arrived in the same place by studying philosophy rather than theology: \u201cBut without studying something that\u2019s exponentially greater than yourself, I feel like it\u2019s hard to surrender yourself to something that\u2019s going to be greater on the bandstand. It helps you to grow in so many ways.\u201d<\/span><\/p>\n

Having jumped the hurdle of his mother\u2019s fear, he relaunched his meteoric career \u2013 until 9\/11 obliterated New York\u2019s jazz scene in 2001. A planned tour with trumpeter Terence Blanchard was cancelled, and Harland and his wife, who had just had a baby four days before the calamity, decided to leave NYC. The first gig he could get when the dust settled was playing in weekend jam sessions at the Blue Note \u2013 scant remuneration for trekking in from Pennsylvania.<\/span><\/p>\n

\n

The world has wheels within wheels, however, and the illustrious saxophonist Charles Lloyd happened to hear one of those jam sessions, and invited Harland to join his quartet. The celebrated players associated with Lloyd\u2019s long history filled Harland with fear and self-doubt, yet how could he say no? \u201cThat\u2019s another beautiful thing,\u201d he says. \u201cThere\u2019s nothing wrong with being afraid. All you have to do is do the best that you can \u2026 I just had to be humble, listen, receive advice and just trust that everything was going to be OK.\u201d<\/span><\/p>\n

It was, because now Harland is coming up for 20 years with, Lloyd \u2013 nearly half his life. When he performed in an un-dampened City Recital Hall with Lloyd\u2019s Greek Project in 2014, his capacity to make the music burn at a whisper shone out. It was a skill he learned from his first teacher at about six \u2013 one he believes too few drummers fully assimilate.<\/span><\/p>\n

\u201cWhen the room is really lively they don\u2019t really know how to readapt their sound,\u201d he observes. \u201cYou have to play softer, but not lose the intensity or the support. You still want the drums to sound like the drums, but not be overbearing, just more accommodating for everything that\u2019s happening. It\u2019s all about giving a unified sound with the band.\u201d<\/span><\/p>\n

He points to many groups who play the same material in the same way regardless of the room, whereas Lloyd\u2019s band always instantly adapts. \u201cOne of the most beautiful things about jazz music is that you can play the same song a million different ways,\u201d he says. \u201cAs long as you have a band leader, like Charles, who\u2019s completely open and not really set for the song to sound the exact same way every time, then you can achieve some great musical creations on the fly, because the approach is just a little bit different.\u201d<\/span><\/p>\n

\n
\n

Each time Harland has been here he\u2019s come with a different venture, and this time he\u2019s joining saxophonist Will Vinson and guitarist Gilad Hekselman in Trio Grande 2.0, which made its debut album with one of Harland\u2019s few drumming peers, Antonio Sanchez. While Harland has recorded with both Hekselman and Vinson on their solo albums (and counts them among his favourite players), he\u2019s never worked with them together before, and is excited by the prospect. \u201cWe just hear the same language,\u201d he says. \u201cWe\u2019re going to really see what\u2019s possible and honour the music to the best of our ability.\u201d<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Why jazz drumming legend Eric Harland had to go to Bible school – By John Shand Source:amp.smh.com.au Of all the reasons for dropping out of music school, Eric Harland\u2019s has to be among the weirdest. There he was at the prestigious Manhattan School of Music on a full scholarship, his career as a jazz drummer […]<\/p>\n","protected":false},"author":3,"featured_media":93044,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"aside","meta":{"footnotes":""},"categories":[20],"tags":[44786,44785],"class_list":{"0":"post-93043","1":"post","2":"type-post","3":"status-publish","4":"format-aside","5":"has-post-thumbnail","7":"category-articles","8":"tag-jazz-drummer","9":"tag-prestigious-manhattan-school-of-music","10":"post_format-post-format-aside"},"yoast_head":"\nWhy jazz drumming legend Eric Harland had to go to Bible school - By John Shand - eLanka<\/title>\n<meta name=\"description\" content=\"Of all the reasons for dropping out of music school, Eric Harland\u2019s has to be among the weirdest. 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