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Author: Richard J. Skelly. Published in U.S. 1 Newspaper on

January 12, 2000. All rights reserved.

Steve Turre’s Odyssey: Trombone to Seashells

Even though he counts the great band leaders —

Count Basie, Dizzy Gillespie, Woody Shaw, Ray Charles, Art Blakey,

and Rahsaan Roland Kirk — as major influences on his approach

to jazz, trombonist, bandleader and seashell player Steve Turre

cautions

that his group, Sanctified Shells, is not a big band.

"It’s a large ensemble, it’s 12 pieces, but it’s not based on

a big band sound like Basie and Ellington," explains Turre

(pronounced

tur-ray), a 51-year-old jazz trombonist who has lived in Montclair,

a jazz musicians’ haven, since 1991. Turre, who is Mexican-American,

was raised in the San Francisco Bay area. His father is a

gynecologist,

his mother was a dancer who became a housewife and mother. Both

parents

were jazz lovers when they met at a dance hall where Count Basie was

playing.

Sanctified Shells came into being through a process of evolution,

he explains. The group features six brass players who double on

seashells

as well as drums, bass, piano, percussion, and saxophone.

"When I would take a solo on the shells, I would often play two

at once," he explains, "so one day I said, `Well, if two of

them sound like this, what would a whole group of them sound like?’

I was living in Spanish Harlem at the time, and [jazz bassist] Alex

Blake lived upstairs from me. He had an eight-track recorder, which

was a big deal in 1980," Turre explains. "He said, `Why don’t

you come upstairs and we’ll overdub it and see what it sounds

like?’"

As soon as he heard the sound of six and eight seashells beings played

at once, "I realized this had possibilities."

In January, 1981, Turre recalls, he performed with his as-yet-unnamed

group in a performance loft in lower Manhattan with six brass players

who doubled on shells and one percussionist. A year later he brought

the group to Prospect Park bandshell and the Whitney Museum of Art

with a second percussionist and bassist. Before he knew it, he added

piano and saxophone so that he wouldn’t be limiting himself as a

composer

and bandleader. Thus, the current version of Sanctified Shells

is composed of 12 musicians, including Turre on trombone and

seashells.

Turre’s latest album for Verve Records, "Lotus Flower,"

features

some of the shell playing that made him famous, as well as plenty

of the trombone playing that landed him the gig as trombonist in the

"Saturday Night Live" house band. That steady job has allowed

him to make his home in Montclair and to go on the road with the

12-piece

band.

Anyone who knows the jazz business will tell you anyone who is touring

with a 12-piece band is not making a lot of money. And that’s where

the steady gig on "Saturday Night Live" comes in handy.

The music on "Lotus Flower" features Turre’s sextet with

strings,

another format he’s comfortable working with. His wife, Akua Dixon,

co-founded the Indigo Quartet in 1970, the first jazz string quartet,

with drummer Max Roach’s daughter, Maxine, long before Turre arrived

in New York as part of Art Blakey’s Jazz Messengers. On "Lotus

Flower," and at most of his concerts, Turre pays homage to his

mentors: trumpeter Woody Shaw, drummer Blakey, and saxophonist,

multi-instrumentalist,

and seashell player Rahsaan Roland Kirk. He offers up his own

arrangements

of Shaw’s "Organ Grinder" and Kirk’s "The Inflated

Tear."

"Woody had a profound effect on my development, and the same with

Rahsaan Roland Kirk," he explains. Kirk was a vastly talented

bandleader who influenced everyone from Jethro Tull to John Mayall

and his Bluesbreakers to dozens of contemporary jazz players like

Turre. Kirk, who became famous for long wailing solos and playing

three saxophones at once on the bandstand, died of a stroke in 1977.

It was Kirk who introduced Turre to playing seashells, although Turre

points out the bandleader didn’t show him anything about how to play

them. "When I was 18, I sat in with Rahsaan at the Jazz Workshop

in San Francisco, and we just clicked," he recalls. "Whenever

he’d come to San Francisco, he’d call me. I was a kid, getting maybe

50 bucks for the week, but it didn’t matter, for me it was like

getting

paid for an education."

"Every time he’d come through, he’d have different instruments

and different tunes," Turre recalls of the Kirk, who continued

to challenge himself musically throughout his career.

"One time he had a gong and a shell on stage, and he just

mesmerized

everybody in the audience with it, including all of us on stage,"

he recalls. "After the gig, we were in the dressing room, I asked

him if I could try a shell. I said, `Oh man, I’m gettin’ one of

these.’"

Shortly after that, while in Mexico City with Woody Shaw, Turre’s

relatives attended the show. After the concert he went to their house

and they told him he had ancestors who played sea shells. "So

I said to myself, I guess I am supposed to do this."

Turre began playing under his own name as a bandleader in the early

1980s, but all the while, on tour with Dizzy Gillespie, Blakey, Shaw,

and Ray Charles in the early 1970s, he had been perfecting his

seashell

playing technique.

Although he attended Sacramento State University in

1966 and ’67, Turre never graduated. Instead, he switched to North

Texas State University, but found the formulaic methods of teaching

jazz there not to his liking either, since he had already been on

tour and learned first-hand from the greats by that point. He finally

received his bachelor’s degree from the University of Massachusetts’

University Without Walls in 1980.

Turre’s first big break was the chance to join the Ray Charles band

in 1972. He was just 22. "Ray had his own airplane, except when

we’d fly overseas, but for domestic dates, we’d use his four engine

turbo-prop," he recalls. "The musicians would jokingly call

it `the Buzzard.’ Some of the guys in the band were characters, and

they would be drinking. There were some rules in the band, no drinking

before the gig, but some guys would get a can of Coca Cola and just

pour rum into the can and then drink that on the plane.

"There was this older guy, Champ, an older trombone player, and

he was a heavy drinker," Turre continues. "We’d say, `Hey

Champ, how far is it from New York to Cleveland?’ and he’d say, `Oh,

about a half pint.’ `How far is it from New York to L.A.?’ He’d say,

`That’s a quart.’ That plane would go through the clouds, and it was

bumpy at times, but it was quite an adventure, and just listening

to Ray every night was such a treat."

Looking back, Turre realizes he benefited from the great blossoming

of music in the San Francisco Bay area in the 1950s and ’60s, and

his own music loving parents. In his youth, he was exposed to Mexican,

Latin, and Motown sounds in the 1960s as well as a variety of jazz,

blues, and rock ‘n’ roll.

"In the fourth grade, my parents took me to see the Ellington

and Basie bands," he recalls. He began playing the violin but

switched to trombone, which he loved.

"When I was in high school, a friend laid a J.J. Johnson record

on me. That completely turned me around, I didn’t even know you could

play a trombone like that," he recalls.

"I loved music, I wasn’t thinking about makin’ a living, I was

doing it because I loved it," he adds. Turre says Johnson did

for the trombone what Charlie Parker did for the saxophone —

broadened

the conventional parameters of the instrument.

Aside from "Lotus Flower," Turre’s other albums include

"Sanctified

Shells" and "Rhythm Within" for Antilles/PolyGram. But

Turre is particularly excited about his next album, which should be

out by late June on the Cleveland-based Telarc Jazz label. It features

Turre with just a quartet, his preferred group for shows at jazz

clubs,

along with the piano playing of his longtime teacher and friend, Ray

Charles.

Turre says he often feels Kirk’s presence and spirit when he’s on

stage playing seashells. "I was touring with Rahsaan up until

he passed," he recalls, "and definitely, there are times when

he comes to me on stage. He was definitely formative in terms of my

whole conception, he influenced me profoundly. Some guys would only

play one way, but he was eclectic and he’d play all kinds of music

a bunch of different ways. Rahsaan was open to all kinds of music,

not just jazz."

Asked about his days with Dizzy Gillespie’s last great big band, the

United Nations Orchestra, Turre laughs when he recalls how Gillespie

used his gift for humor to make people relax.

"It wasn’t just that he was funny, he was also deep. He would

use humor to put people at ease, because his music was so heavy, it

would frighten the other musicians, so he’d just want to make you

laugh first," he recalls. "He’d make you laugh, and then he’d

put that horn up and all of a sudden he’d play some impossible stuff

that would intimidate you. If you hadn’t been laughing, you’d be

intimidated.

I haven’t heard anybody who could copy Dizzy’s stuff."

Of the current version of Sanctified Shells, Turre says the group

includes pianist Stephen Scott, bassist Alex Blake, Abdou M’ Boup

on percussion, trumpeter Eddie Allen, and saxophonist Dan Faulk, among

others. At his Princeton University show, Turre promises to do his

part as an educator, taking time to introduce the background on each

tune.

Again, Turre stresses, Sanctified Shells is not a big band. "It

evolved out of a group with hand drums, so it’s a very

percussion-oriented

and groove-oriented," he says, "all the tunes we play deal

with rhythm, and the idea is that music and dance are connected."

"It’s all connected some kind of way," he adds.

— Richard J. Skelly

Steve Turre and Sanctified Shells, Princeton University

Concerts , Richardson Auditorium, 609-258-5000. The jazz trombonist

in concert with the 12-member ensemble on trumpet, sax, trombones,

piano, bass, drums, African percussion, congas, and the shells. $17

to $26; students $10. Saturday, January 15, 8 p.m.

[This author recalls meeting Gillespie backstage before a show at

Liberty State Park in Jersey City, around July 4th in 1985. Gillespie

was blowing off firecrackers and then looking around with a wide-eyed

expression, as if to say, `Who did that?!’]

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