AT: What made you decide to learn the piano?
AW: I was fortunate to have very attentive and supportive parents. When I was eight they noticed that I had a natural affinity for music, bought a piano and arranged for private lessons. In the words of Bugs Bunny: "I took to it right away!"
AT: Tell us about what we'll be hearing during the Cabaret on September 13. Why Fats Waller?
AW: I'll answer the second question first. About four years ago, my good friend and colleague Marion Hayden was approached by a Detroit concert promoter about putting together a tribute to Fats Waller to celebrate his centennial birthday observance. She recommended me to him and he booked us, sight unseen, to perform as part of a concert series he was organizing. Though I had a facile acquaintance with Waller's music from shows like "Ain't Misbehavin'" and a few recordings, I was amazed when I started searching for materials by the sheer volume of his work. Over the years the review has evolved to include not only the songs commonly associated with Waller ("Two Sleepy People", "Feet's Too Big"...etc) but also some rarely heard gems from his vast discography. We have about 40 songs that we drew from and the program varies from one performance to the next depending on the venue and the audience.
AT: Are you classically trained? If so, what made you decide to focus on jazz?
AW: I am. I actually came to other types of music relatively late. I was in college before I got my first church gig and started to learn Gospel. Though I have always listened to all types of music, I tended to focus on one genre at a time during my developmental years. As interest and performance opportunities arose, I would delve into different areas of study. Jazz has been a fairly recent pursuit and even now I don't really consider myself a jazz pianist. I'm probably more of a hybrid. My approach tends to be an amalgamation of the musical styles and motifs that speak passionately to me and that I feel I can speak through effectively.
AT: Tell us about who influences your musical style. Why?
AW: Ah, so many people! Artists who are serious and passionate about their craft, who think about what they're doing and have something to say. You can learn something from almost anyone. The trick is not to try and imitate but to use what you hear to find your own voice. I love the freedom of expression that was achieved by Tatum, Peterson, Horowitz and Cziffra; pianists who seemed to have no technical limitations and could therefore go wherever inspiration took them. I find the obstinate translucency of Monk and Miles very liberating. Then of course there's Waller whose formidable technical prowess and harmonic daring is often overlooked because he always seemed to be having so much fun! And for that reason he may be the biggest influence on my performing style because I want people to be glad they came.
AT: What was it like the first time you performed in Too Hot to Handel at the Auditorium?
AW: I had already played it [Too Hot to Handel] several times in Detroit and the performances were quite well received but I was blown away by the energy that comes from the Chicago audiences. Despite the tremendous size of the theater there is a palpable connection between the performers and the audience that is at once intimate and explosive. It's a great piece, but it's no walk in the park. I think I'm the only one on stage who has to play every number! After all these years, I still find myself hearing new things every time I perform it. The remarkable thing about the audience at the Auditorium Theatre is that they are right there with you for the whole journey. Listening, feeling, rejoicing.
AT: What is your biggest challenge in being a professional musician?
AW: Finding the time (and energy) to do all of the things you want to do musically - and do them well. You have to fiercely protect every performance by keeping yourself physically and spiritually sound otherwise everyone might as well stay home.
AT: What is the most bizarre thing that has occurred while performing?
AW: I was performing a Mozart concerto at an outdoor festival when a very large cat chased a squirrel onto the stage then up into the piano where they proceeded to battle until a thoughtful stagehand chased them away by dowsing them, the piano and the conductor with water.
