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Capstone turbine corp chatsworth ca write for me ashland police department ms indiana tourism essay competition ´╗┐welcome to a new edition of the neon jazz interview series with jazz musician a ranger and leader of the new york-based Nighthawks orchestra the great Vince Giordano and the director and producer of his life story in the documentary there is a future in the past amber Edwards the US film premiere is going to take place in Kansas City on April 14 2016 during the KC film fest at the cinemark palace on the Country Club Plaza Vince has been featured in many productions like HBO's Boardwalk Empire and he's been a regular on Garrison Keillor's prairie home companion for years he is steeped in preserving jazz from the bandstand and in poll for Amber she is originally from the Kansas City metro and this premier will be a homecoming both speak passionately about this production what it means and much more dig this collective interview my friends how long is this journey taken to get this on the felt into the public eye well quite a few years I mean it's been it's similar between two and three years that they were filming you know not consistently you notice they have other projects you know setting up different venues interesting gigs to film they tried a lot of different angles you know and I love their film work they did wonderful things with peg leg Bates and Michael Feinstein and Jerry Herman they kind of film out of the box a little bit which is nice you know I had first heard Vince teardown his name when I joined the union when I was 16 or 17 and back in those days if you join the union to be about 19 73 or 74 you start getting the International musician magazine in the mail and I would see this little ad looking for old scores old jazz scores any kind of old music call me Vince Giordano and that was the first time I ever saw his name this is kind of a homecoming for you you're coming back to Kansas City how does it feel to be able to present this film and your own pound you know i am just sort of awash in nostalgia and I you know I love Kansas City it sort of you know its footprint it's so imprinted on me every time I come back I haven't been back in a couple years but every time I come back I'm always sort of surprised by the physical changes that have gone on and you know you you expect to see it the way it was in your childhood and it's not there I am so happy to be coming back particularly with this film which is about jazz music because you know that's where I learned to love jazz this is the best man I've ever played in it's the most important band I've ever played in and it's about the most important thing in my life right now so how do you feel about the premiere the American premiere of the film being in the home of Charlie Parker great I mean I mean Kansas City jazz it was way back you know to you day Bowman with the whole street rag and and Benny molten and kun Sanders original Nighthawks and where's Charlie Parker and Count Basie being in there and Georgie Lee I mean there's so much great jazz that has evolved out of Kansas City and it's got a wonderful i love the mar sound archive there Chuck Haddix it's a great city who appreciates where it came from and where it's going there is no band in the world that I've heard maybe all of them who played this music as well as this band to do it right you have to listen to the records you can't just read what's in the music and you have to read what's in the music because sometimes what's on the record isn't exactly what we play sometimes the arrangements or doctor to change this is going to be a hard thing for you probably it's going to seem strange but I'm going to ask you to kind of step away from this project and look at it and answer this how do you think Vince was portrayed at its home his life and how well and accurately did you get him nailed I will say that many people who have seen the film who are close to Vince including the guys in his band and people who have worked with him have said that we got it warts and all which was our goal I'm in awe of the arrangers they're the unsung heroes of this music is the guys that actually put the dots on the page what would you like the audience member to take away from this documentary when they leave the movie house what would be your ideal notion of how they feel about this film well one of the things that people have told me who have seen it is it how much work is involved you know in keeping the band together and particularly the vintage band and you know you're fighting so much competition out there with TV and Netflix and just all other kinds of forms of entertainment that's the present day and here you are it's just going to war all the time and and you know the amount of preparation to set up the orchestrating moving stuff around the getting the guys together they're rehearsing to try to achieve something that you know not too many people are interested these days is you know it's not the music of today it's a music of another time so they come out and say wow you know I have a different feeling it's just people just you leave they come to see us play and like wow that's fine everything is done and sort of like well you know when you go to a dinner you know when you have your nice meal but you really are not there since interception you know going out shopping and cooking and chopping and preparing and all that stuff and and that's what it's like it's like making a big man and you get to see how it's all started yes you're recreating something but you're trying to recreate something so vividly that it's alive now what do you want them to take away from it how do you want them to feel when they walk away from this experience about sense and what he's doing for the world of jazz and music overall yeah well I have two things one is that I want people to realize that he has basically pulled off a miracle it is it is a miracle that this band exists you know the big band financial model kind of imploded on itself in the 1940s so the fact that he has been keeping a big band together for almost 40 years in the 21st century is miraculous the commitment which I would say is a monomania the commitment that he has to this music and doing it the pure way the right way that's one of the things that we try to really bring out in the in the film is that he is absolutely a perfectionist but I I would like people to realize how much work and it's not just about schlepping his all of his gear and his 400 pounds of music with no road crew I mean that is one thing but just the sort of the mental commitment and the other thing is that I would like for people to kind of remember where jazz really came from and I doubt the festival has it hasn't an interesting book and you know they're showing this mild that Miles Davis biopic and so with Miles Davis you've got the epitome of cool cool jazz and Vince is all about hot jazz and I think the journey that jazz made of being something social something that you dance to something that you drink to something that you cannot sit still for which is what Vince offers to this kind of you know Cathedral experience where you listen and it cerebral its intellectual you god forbid you would dance to it and I think it's a good reminder of how all art forms evolved thanks for listening and tuning in to get another neon jazz interview where we give you a bit of insight into the finest players and producers in New York Kansas City and spots all over the world giving fans all that jazz and thanks to Vince and amber for keeping that spirit of jazz alive and well in the world through both music and film if you want to hear more interviews go to famous interviews with Joe dimino on the itunes store or visit the neon jazz blogspot com for all things neon jazz until next time enjoy the music my friends John Kelso they're singing pretty songs beyond jazz do my capstone research secret shopper Congregation of the Mission.

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