The first jazz record I heard was Cannonball Adderley’s Live at the Club. Music laughed and cried while the audience clapped and shouted encouragement. The experience of that feeling became my calling.
For 37 years I studied, performed, composed, recorded and taught music. A peak experience came in 1998 when I recorded with drummer Elvin Jones. Before the recording his wife said, “The music may be good or bad. What’s important is the feeling.” Sage advice – craft should be subservient to authentic expression.
At a concert of 19th century Spanish guitar music I recognized that authenticity again – an abstract expression of pain and joy. I also heard the same emotional warmth echoed in 20th century Brazilian composer Heitor Villa- Lobos. I envisioned a bridge between the feeling in his music and jazz.
Read more articles
Griggs neither showboats nor intellectualizes during
performance. On the 'Jones for Elvin' recordings, his
saxophone tone is warm and inviting, sometimes as smoky and
intoxicating as an opium den. Other times it is lucid and
airy, almost transparent, as if a spirit's breath was blowing
through his instrument. While not a copy of Coltrane's style,
Griggs' playing is imbued with a meditative presence. It is an
expression of how he feels about jazz, though he also is
appreciative of his classical training. - Roberta Penn,