Aaron Parks
The first twelve questions — excluding #11 — relate specifically to his new album By All Means.
How did having musicians from different generations influence the music, if at all?
Having already worked with Street and Hart, a veteran rhythm section, how did that established trio dynamic interact with introducing Solomon as a new voice? How did it influence your approach to the music, your playing, or the group’s chemistry?
Did you choose them to realize a sound you already had in mind, or did their playing help define the album’s sound as you worked together? To what extent?
You’ve described By All Means as both a celebration of the jazz tradition (being ‘alive within that lineage’ rather than nostalgic) and a recognition of your influences, fellow musicians, and family. How did these intentions shape the way you approached your playing or interacted with your bandmates?
Some tracks are inspired by your personal life, like “For María José” for your wife and “Little River” for your son. How did these personal narratives shape your musical language?
You wrote “Anywhere Together” in your mid-teens. How does your approach to revisiting older compositions differ from writing new ones?
The track also draws on Wayne Shorter’s ’60s writing, Kenny Wheeler’s Gnu High LP, and post-bop more generally. Beyond these influences, what made you decide to include it alongside newer compositions like “For María José” and “Little River”? Was it about the mood it brings to the record, personal meaning, or something else?
By All Means incorporates a variety of styles, from post-bop to ballads. How did you decide which influences to include? Was it guided by the overall concept of the album, or did it come together more intuitively?
Did you aim for a particular emotional or narrative arc across the album, or did each track naturally find its own space?
When approaching By All Means, did you start out having a clear idea of what you wanted to achieve, or did much of it emerge naturally as you worked with the band?
More generally, when producing an album with other musicians, how do you decide on its direction? How do you negotiate your own artistic ideas with theirs?
With By All Means being a turn toward acoustic jazz and more traditional forms, what did you hope listeners would take away that might differ from Little Big III or your other albums?
Do you try to convey something specific to your audience, or is your focus more on expressing what feels true to you?
Have you noticed differences in the jazz scene depending on where you are?
How do you balance honoring jazz tradition with bringing your own voice to the music? Do you intentionally cultivate a distinct sound, or has it developed naturally?
How has your cultural background shaped your music, if at all? Is that something you consciously bring into your work?
What are your thoughts on jazz education today? In your view, what’s the best way to teach jazz?
Any tips for people new to playing jazz?
