Virginia Mayhew

Phantoms

Artist Interview by: Beatrice Richardson

For the past sixteen years, saxophonist-composer-arranger Virginia Mayhew has been an active participant in the New York jazz scene. A native of San Francisco, Virginia came to New York in 1987, where she enrolled in the New School’s Jazz performance program and was awarded its Zoot Sims Memorial Scholarship.

Since her arrival, Virginia has worked with such renowned artists as Norman Simmons, Toshiko Akiyoshi, Lew Tabakin, Joe Williams, Leon Parker, Clarke Terry, Terry Gibbs, Kenny Barron, Chico O’Farrell and many others.

She has appeared in most of the city’s jazz venues, including the Blue Note, the Village hall, the Jazz Standard, Lincoln Center and Town Hall, as well as performing throughout the United States, Europe, the Newly Independent States, the Caribbean, Bermuda and Australia.

My first thoughts when I heard the CD Phantoms was, “What a great band!” Virginia Mayhew is a multi-instrumentalist, a gifted musician and a serious composer. She is a refined ensemble member and leader. He playing covers a wide range of influences, broad in scope with beautiful sound, and beauty in her rhythmic development of the music. I recently had an opportunity to interview this talented saxophonist as she was preparing to go on tour.

JazzReview: Please tell me about your album, Phantoms? What prompted you to create a piano-less quartet? What similar features or difference does the album have in comparison to your previous works?

Virginia Mayhew: I’ve had basically the same band since 1996. Kenny Barron recorded with me on my first two CDs. Of course, he is not available for regular gigs, so I used other piano players, especially Robert Piket and Xavier Davis. Other than those two, I had a difficult time finding people who really fit in with the group. Everyone in the core band (Ingrid Jensen--trumpet and flugelhorn, Harvie Swartz--acoustic bass, Allison Miller--drums and percussions, and myself) has a really exceptional tone, and I began to hear the band without chords. Also, I’ve been modernizing my sound and find a lot of freedom in this format.

As for similar features . . . same core bands, same composer/arranger (me).

JazzReview: How did your musical career begin? Are there any musical roots, foundations?

Virginia Mayhew: I started playing clarinet at age 10, began saxophone at 16. I studied and performed on classical clarinet/jazz and other saxophones until 1986. Then I focused on jazz saxophone and I moved to New York City in 1987. My mother played classical piano. My father and his father played piano by ear; my mother’s father played classical piano and mother was a classical singer.

JazzReview: You have worked with an array of renowned artist and groups. What collaborations are most precious to you?

Virginia Mayhew: My own band and working with Kenny Barron, Norman Simmons, Al Grey James Brown, and Toshiko Akiyoshi. I had some fun with the Diva Big Band.

JazzReview: Can you tell us about your traveling and performances in the newly Independent States(formerly USSR), and your position as the Jazz Ambassador for the U.S. State Department?

Virginia Mayhew: Yes, I did a State Department tour in April 2002 to NIS . . . Kazahkstan, Belarus, Moldova, Armenia, and the Ukraine. I met and played with many musicians, I did master classes, concerts, jam sessions and parties for ambassadors. It was a wonderful experience, and I’m doing another 6-week tour beginning in August 2003.

JazzReview: On your CD Phantoms, there is beauty in the melodic lines, beauty in the harmonic extensions and beauty in your rhythmic development of the music.

Virginia Mayhew: Thank you. Beauty is very important to me, also emotions.

JazzReview: How do you choose a particular musician to record with you? Is there a certain characteristic the musician must possess?

Virginia Mayhew: They have to be a great musician. They must swing, listen, not play too busy(in the rhythm section) and be opened-minded and enthusiastic.

JazzReview: Your sound has been compared to Dexter Gordon What are your feelings about this comparison?

Virginia Mayhew: Dexter was the first tenor player I was really into. He definitely was a huge influence on me, but it’s been 25 years since then! I think it’s a cop out when that’s all critic say. There is a lot more to my playing, including my voice.

JazzReview: Who were the original sources of inspiration and influences as far as improvisation?

Virginia Mayhew: Dexter, Lester Young, Sonny Rollins, Don Byas, and Ben Webster.

JazzReview: What does your music mean for you?

Virginia Mayhew: A means to express myself and bring some beauty into the world.

JazzReview: In general, which of your albums is mostly dear and close to you?

Virginia Mayhew: I couldn’t choose. They all mean a lot to me. “Nini Green” dedicated to my grandmother, “No Walls” to my mom and “Phantoms” to the people of New York City. [Nini Green was Mayhew's debut recording as a leader and was awarded four stars by Downbeat magazine in 1998. It also won the “Best New Release” by Jazziz magazine the same year.]

JazzReview: What are your future creative plans?

Virginia Mayhew: To keep growing and playing, more composing for small and big bands, college gigs, and recordings.

Virginia Mayhew’s superb technique makes her an extremely interesting person to listen to. Her latest CD, Phantom, is indispensable.

For more information: http://virginiamayhew.com

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