F. Scott Fitzgerald once speculated that there were no second acts in American life, but he didn’t expect Phil Parisot to be there. Seattle jazz lovers became pleasantly accustomed to hearing Parisot in the early years of this century, playing with modernist groups such as Big Neighborhood and the Jim Knapp Orchestra, straight-ahead swingers like trumpeter/saxophonist Jay Thomas and saxophonist Don Lanphere or subtly supporting top Northwest vocalist Kelley Johnson. After a long hiatus, Parisot left the city to pursue other ventures. It’s great to be able to report that Parisot has returned to the scene and is ready to pick up where he left off but with some major strategic changes. Parisot was a sideman in his early years. He learned tunes, practiced obsessively, studied the masters, and paid his dues in the traditional jazz way. You’re more likely today to hear Parisot, a 35-year old drummer, playing his own compositions with his quartet (Michael Glynn on bass, Dan Kramlich on piano, and Steve Treseler on saxophones). But Parisot was already a talented teenager, blazing out listeners. Parisot was born in 1981 and is a graduate of Seattle’s famed jazz education programs. Parisot was part of the Garfield High School’s first jazz band to compete in Essentially Ellington in New York in 1999. He also participated in Garfield units that regularly aced Lionel Hampton International Jazz Festival in Moscow, Idaho in 2000, where he received the award for outstanding drummer. Sight reading is something Parisot enjoys as much as swing time. He also played classical drums in the Garfield Orchestra. Parisot was surrounded by his school friends, including pianist Aaron Parks, flutist Anne Drummond and trumpeters TatumGreenblatt and JumaaneSmith, who all went on to have successful careers in music. Parisot affirms that he has the classic Seattle jazz pedigree. He was one of those kids who saved his money to be able to sit in the front row at Jazz Alley every night when Elvin Jones was visiting. Parisot also made it a point to meet his idol, Tony Williams, at the drum clinic that the ex-Miles Davis drummer held locally, four months prior to Williams’ death. Parisot began playing drums at nine years of age. He studied privately with Jon Wikan (of Maria Schneider Orchestra), and John Bishop (co-founder of Origin Records, which Parisot owns). Bishop was instantly impressed at how much Parisot knew by the age of 14. Bishop recalls that Parisot was the most advanced student he had ever seen at his age. “I would go to his house to learn and he would tell me, ‘Here’s the new Tony Williams thing that I’ve been working with’. And I would reply, ‘I kind of always wondered how you do that Tony Williams thing. Parisot graduated from high school in 2000. He then attended William Paterson University. Parisot also spent a year living in Manhattan with Garfield friend Greenblatt. Parisot was able to sit in on Roy Hargrove’s, Steve Coleman, Ravi Coltrane, David Gilmore, Antonio Hart, and also met Rashied Ali (ex-Coltrane drummer), who had been friends with Jumaane, a Seattle emigrant. Parisot recalls, “We would go Rashied’s at 10 AM and hang out until one in the morning the following day.” Parisot had all the Coltrane bootlegs. He was a mentor, a direct connection with Coltrane.” Parisot returned to the Emerald City in 2002. In five years, he established himself as a first-call sideman and served as faculty member at Cornish College of the Arts. Parisot also founded the band Axiom with bassist Jon Hamar, pianist John Hansen and saxophonist Alexey Nicholasev. Parisot says that Big Neighborhood bassist Doug Miller was a mentor at the time. He showed Parisot how to swing. But that was back then. Parisot, now a father to a 1-year-old child, is managing his time better. Parisot no longer teaches and does not play as much as sideman. He devotes most of his musical energy and creativity to his group and writing. Parisot began composing while he was at Paterson. He was inspired by his classmate, drummer Tyshawn Sorey and mentored and guided by Anthony Braxton drummer Kevin Norton who encouraged Parisot to create something he would like to play. The young drummer says, “That became my mantra.” Parisot’s writing shows a love for complex, angular and multi-metered music. Think Dave Holland and Chris Potter. But Parisot also knows that most listeners enjoy melody, soulful swing, and a cohesive mood. Creekside’s “Emerald Crescent” is a great example of this magic combination. Despite its unusual rhythms, it has a funky Horace Silver-like beat and a melodie you leave humming. Parisot’s writing reflects the influence from world music, especially West African and Afro-Cuban, as well as funk and fusion (a taste in Return to Forever) and, naturally, the grunge-rock that exploded in Seattle during Parisot’s childhood. He says that he was fortunate to be able to hear a variety of music at the time. His father, who was a weekend warrior on fretless electric basse, had an eclectic and open-minded taste. This included classic rock, jazz, fusion, and classical. Parisot was jazz-wise a “highly interactive” musician, but he grew to respect the drummer’s ability to keep time. He says, “I try and create an atmosphere that’s fun and playful and organic.” “All things have to be in tune with the mood and atmosphere of the piece. It must have a great sound and feel great. Parisot is a great soloist and drummer-composer. But, my project is not meant to glorify me. Parisot displayed the same understated musicality as Max Roach at a gig at Seattle’s Tula’s. Parisot made it a point to meet Max Roach at Jazz Alley before his passing. Perhaps the most important test is his ability to get high praise from singers who often disagree with drummers. Kelley Johnson says: “He is an orchestrator while he interacts. He uses subtlety color and textural chops that lay down the feel and help to tell the story. This is only one of many kudos coming from a jazz community that is pleased to welcome Phil Parisot to the fold.” From www.philparisot.com
