- written by Sandi Craig
When he's not belting out
tunes on his saxophone, playing solos with groups like The Manhatten
Transfer - in town recently jazzing it up with the Oklahoma City
Philharmonic - The "Brian Gorrell & Jazz Company" band is playing
high-profile gigs all over town, including the recent opening of the
Southwestern Bell Bricktown Ballpark.
He is a large, imposing man but exuberant and energetic, dripping
enthusiasm and talent about his music and career. Gorrell, a master
of the saxophone and keyboards, is busy recording tracks in his
studio for his new CD, "Soulmates", to be released in 1999. If that's
not enough, he also teaches saxophone and jazz studies at Oklahoma
City University, records, mixes and produces music for other artists,
and recently completed a master's degree in instrumental performance
from Oklahoma City University!
But, it was his proficiency on keyboards that launched his high
profile career with the Lawrence Welk Orchestra in 1994. After
completion of their new theatre and resort in Branson, Missouri, the
Lawrence Welk Group put together a new orchestra.
"They had some difficulty finding musicians willing to move to
Branson from L.A. to play in the new orchestra," Gorrell said. "I
found out the name of the person to call and he said all of the
(saxophone) spots were filled. He said 'Too bad you don't play
piano.' I said I did and was asked to send an audition tape."
Unfortunately, Gorrell said he had nothing recorded on the piano, and
he didn't think he had a chance of getting the spot against national
competition. Nevertheless, for the next two weeks he practiced and
recorded a demo and it paid off.
"I dropped out of school and took the job. I played on the very first
show -- The New Lawrence Welk Show."
The orchestra played second banana to The Lennon Sisters. They were
the big attraction and one of his personal favorites.
"Many women remember having their mothers curl their hair on Saturday
nights for church the next morning and watching the Lennon Sisters on
the Lawrence Welk Show," Gorrell said.
"The musicians were incredible to work with and so was the
experience," Gorrell said, but he left the show in 1995 because of
his desire to return to Oklahoma City and pursue his original music,
and also to finish his education.
He is nothing, if not ambitious. By day, he said he's doing his best
to keep jazz alive, inspiring talented, budding musicians to continue
in the tradition of greats like Count Basie, Duke Ellington, and
Woody Herman, as well as saxophonists like David Sanborn, Charlie
Parker and John Coltrane. At night, he jams with other musicians
around town and keeps up with the demanding schedule of his own
band.
He began the long road of his musical career at age 9 with piano
lessons taught by his dad, followed by saxophone lessons at age 12.
Even then he loved performing for an audience and began developing
his individual style. Gorrell's talent was recognized as a junior in
high school, when he began playing in a local college jazz band.
"My first professional job where I really got paid was at age 16 with
the Peter Krauss Orchestra. Prior to that I played in a lot of little
bands - little rock gigs. I had a garage band in high school called
'Soul Doubt' that made a lot of noise in my parents garage and the
whole neighberhood heard us," Gorrell said.
After high school, he enrolled in the jazz program at UCO (University
of Central Oklahoma), learned how to - and then played -the clarinet
in Dixieland bands, and met longtime friend bassist Phil Mitchell,
another UCO student. They played gigs around town together including
Tomasso's Little Apple Jazz Club, one of the hottest spots in the
city, around 1990.
"I worked with keyboardist Charlie Gigliotti and we became the house
band at Tomasso's. The owner was bringing a lot of national jazz acts
to the city around that time. We heard a lot of famous jazz artists
come through that club. So that was probably one of my first big jazz
gigs in the city where people started recognizing me," Gorrell
said.
Two of his early influences on the saxophone were David Sanborn and
Charlie Parker.
"Those two are stylistically very different as far as influences
(go). As I got more into jazz, I listened to Charlie Parker, who was
one of the originators of be-bop music," Gorrell said. "I have always
listened to a wide variety of music. In the art of playing jazz
music, everyone has to go though a routine of listening and
assimilating all of the styles of the music."
According to Gorrell, every competent jazz player has influences that
date back to the '30s and '40s. Thus music is built on the tradition
that began with early Dixieland jazz - the be-bop music in the '40s,
the Miles Davis era in the '50s, etc.
"All the musical roots in American music are related to Rhythm &
Blues and Jazz - 90 percent of every rock and roll song written in
the 1950s was based on simple blues progressions. Elvis Presley songs
were mostly three-chord blues that Muddy Waters and many others had
played decades before that," Gorrell said.
Consequently, Gorrell said he can teach theory, i.e., the mechanical
part of jazz, but the stylistic part is more difficult. He compared
the various articulations in jazz styles to language dialects, e.g.,
Parisians and Canadians both speak French but with different
accents.
"It's different from classical music, where you learn the majority of
the music from the paper. It's a very oral tradition, so everybody
owns many albums and spends a lot of time listening. All the great
jazz players go back and listen to their predecessors," he said.
In the early 1990s, Gorrell played with The Burton Band. one of the
oldest and most popular bands in the city, and he said
guitarist-singer Charles Burton had a great influence on his style.
He left that group in 1993 to join a new band called The Electric
Church Funk Band.
"I remember we played a gig at Sipango's and made 86 cents for the
night! I went from making good money (with the Burton Band) to
primarily just playing for the sake of the music. I played with
Electric Church for seven months. We won an award as the best local
band (Funk/Soul - Gazette Music Awards). We had a good shot at making
it big with that group," Gorrell said. Unfortunately the band broke
up because several of the members, including Gorrell, were being
pulled in different directions musically.
The diverse combination of the Burton Band and Electric Church has
influenced his style tremendously, he said.
"My style is traditional and contemporary - it goes back to those
early influences. My original music is mostly contemporary jazz -
with a blend of urban contemporary rhythms mixed with traditional
jazz. That makes the music sound unique," Gorrell said.
Last year he set up his own recording studio, Brimick Audio
Productions, in a spare room of his home. His intention was to work
on his own music, but the local demand for a recording facility that
provided production assistance without additional fees has thrust him
into the role of producer for other aspiring artists.
Meanwhile, Gorrell is making plans to introduce Oklahoma City's only
jazz record label "Brimick Records" to the public in the future by
means of a sampler CD which will feature 5 or 6 local artists,
including himself, Mitchell, Lee Rucker, John Moak, Ted Malave, and
posssibly several others.
Phil Mitchell, along with help from Gorrell, formed the "P-Light
Society Jazz Artists Development Association" as a way to help
promote local jazz artists and to encourage educational activities
that teach about the art of improvisation. The problem with the jazz
scene in Oklahoma City is not the lack of great players but the lack
of places for musicians to play - the venue.
"There is currently not really a place in Oklahoma City that we can
truly call a jazz club, but OKC could support a jazz club" Gorrell
said. "I think Bricktown would be a great location. I would play for
some of the other jazz artists and would be willing to do almost
anything to help support a venue such as this."
And, speaking of venues, Gorrell said he has played at hundreds of
different venues, but surely the most unusual was his own wedding
where he played "The Dream," composed by David Sanborn. Needless to
say, Gorrell is passionate about his profession!