ROY AYERS: WHERE’S HE COMING FROM? | 8/1980
Introduction to Roy Ayers’ Philosophy
“The basic philosophy of most jazz purists is to just play and be creative. However, in the early 1960s, I looked at the profit made by the multi-million-dollar corporations involved in music, RCA, CBS, etc., and then I looked at jazz musicians who were starving. It was then that I said to myself ‘there is something wrong’,” Roy Ayers — TODAY.
Starting a New Chapter
The interview with Roy Ayers was taking place in the living room of his Riverside Drive apartment amid the flurry of people coming and going — a testament to his busy and dynamic lifestyle. Roy Ayres was conferring with business associates concerning the launching of his new record label, Uno Melodic Records.
Reflections on a Musical Journey
“I have been on some of the highest plateaus in my life with some of the greatest musicians in the world Curtis Amy, Gerald Wilson, Jack Wilson, Phineas Newborn, Teddy Edwards, Hampton and Hawes, Chico Hamilton and Herbie Mann. And my idol is the ‘granddaddy of the Vibes’, Lionel Hampton, who inspired me to play the instrument after a childhood encounter. But I have embraced different musical levels now, which I feel are creatively fulfilling, but not on the high plateau of Jazz. I have done this because I am aware of survival.”
Transition to Independence
In 1970, Roy Ayres, Vibist, singer, and pianist, left the comfort of the family of Herbie Mann, earning a salary of $20,000 a year, to go on his own. This bold move marked the beginning of his expansive and versatile recording career. He has since recorded 23 albums encompassing several musical forms, showcasing his versatility with jazz, pop, rock, Latin, R & B, or Country and Western.
Creating Opportunities for Black Musicians
He attempts to shed light on his eclectic taste: “We are starting our own record company to provide jobs for Black people because Black people don’t have jobs.” His commitment to empowering the Black community is central to his vision for Uno Melodic Records.
Balancing Creativity and Commercialism
When the question of creative quality versus dollars came up, his answer was prompt: “Dollars!” “Money is the vehicle I need to grow and to help others to grow.” His sharp tone and intense stare underline his concern regarding the economic condition of Black people. He believes all black musicians should incorporate messages in their music to stimulate and motivate Black people. Songs like Red, Black and Green, 2000 Black, and I Am Your Mind reflect this mission.
Facing Criticism and Moving Forward
Instead, Roy has alienated some of his jazz following and jazz critics like Leonard Feather. Roy recalls vividly the price he has paid: “Leonard Feather always gave me glowing reviews when he reviewed concerts that I played, however,” he continues, “after my first solo album in 1963, Leonard criticized me for sacrificing my jazz integrity. But, I consistently sell around 350,000 copies of every album I make.”
Launching Uno Melodic Records
Despite the criticisms, Roy is constantly on the move. The first release on Uno Melodic Records is due to debut within weeks. The label will introduce “Eighties” ladies, a disco group. Roy, however, still plans to record on the Polydor label. He says, “My upcoming albums will reflect a new black consciousness which has been inspired by my recent trip to Nigeria.”
Embracing Black Consciousness
Roy and Nigerian musician Fela Anikulapo-Kuti toured together for two months. “I became very enlightened about my blackness during the tour. I realize that it is time for me to promote black international exchange through Music. Now I am really going to be black. Sounding like a crusader, he continues: “Some of those la-dee-dah songs I do, f …’em. I’m going to do black songs. They will contain serious political messages. His experience in Nigeria deeply influenced his artistic direction.
A Revolutionary Musician
“I’m a musical revolutionary who believes that music is the strongest vehicle to communicate with people to make a change.” In stressing his point, Roy quotes the last three lines of a poem written by Lynn Joy Rogers: “We [Black people] must learn to say [to each other], I love you without hesitation, limitation or exploitation.”
Celebrating Milestones
Roy recently celebrated a milestone at the Village Gate — his 10th anniversary with Polydor Records. He marked the occasion with a dynamic performance alongside notable musicians like flutist Bobbi Humphrey. The performance ended with a fun-filled finale featuring numerous musical colleagues and friends.
Lighter Moments
Not wanting to harp on more serious subjects, I asked Roy if he could remember some lighter moments of his career. On the day following Richard Pryor’s release from the California hospital after near-fatal burns, he recalled an incident with Pryor:
“One night when we were performing on the same bill at the Kennedy Center in Washington, I walked unannounced into his dressing room. I knew him and I thought he would recognize me. He was on the telephone, so I just waved to him and sat down to play piano in the corner. Soon after, he hung up and eased around me slowly, giving me the OK sign with his hand, as if to say, ‘Everything is all right,’ and exited while I was playing, he didn’t return.
“The next day, my agent told me that Pryor had called his manager and wanted to know who ‘was that nut’ in Roy Ayers’ band who came into my room and started playing the piano?’ I told my agent, well you can tell him that Nut was Roy Ayers.”