By Jef With One F
By Rocks Off
By Chris Lane
By Angelica Leicht
By Corey Deiterman
By Angelica Leicht
By Corey Deiterman
This weekend in Houston another 17-year-old will grace a club stage with an act that, while not as esteemed Davis's, is certainly equally as pleasing. Trumpeter Brandon Lee will join Malcolm Pinson's Jazz Warriors for the first time at the city's most intimate venue, Cezanne. Alcohol will be served, but the downside is that none of Lee's friends and peers will be in the audience.
"They won't let anyone under 21 go in there without a parent, and most parents don't want to listen to [jazz]," says Lee. "There's a lot of people that miss out on an opportunity like that."
No one is saying Lee is at the same level as a 17-year-old Tony Williams -- at least not yet -- but most everyone seems to agree he has a promising future. His style is most often compared to that of Lee Morgan, the legendary hard-bop trumpeter who was murdered in 1969 by his estranged girlfriend. Curiously, Brandon Lee doesn't listen to Morgan much. The only "cats from back in the day" he really studies are Freddie Hubbard and Woody Shaw. Lee spends most of his time listening to younger trumpet players such as Nicholas Payton, Terence Blanchard and his favorite, Wynton Marsalis.
"[Lee is] a very modern player," says trumpeter Dennis Dotson. "He appreciates the whole spectrum. He's just a little sponge. He absorbs everything around him. He's just sort of a synthesis of everything that's been going on right now. I don't really think he's identifiable yet."
Dotson, who played for several years with Woody Herman and is a regular with Pinson's Jazz Warriors, gave private lessons to Lee during the younger trumpeter's freshman and sophomore years at the High School for the Performing and Visual Arts. "He had a little student horn that was so beat up it would hardly even play," Dotson says. "Then he bought a new horn, and he bloomed overnight. He was already playing, and when he got [the] problems [of an inferior instrument] out of the way and had a new toy, it was gas. It wasn't long before I virtually ran out of things to show him."
Lee's musical talents may be genetic. His father is a pianist and educator and has led several high school jazz ensembles in Houston. His brother, Daleton, just a couple years older than Lee, already has a reputation as one of the hottest young drummers in town and is studying at San Jacinto College. Brandon Lee grew up with jazz around him, always stealing away to listen to his father's Marsalis records, and in seventh grade he attended a jazz camp. Lee says that experience is "probably what got me interested in playing jazz."
That year Lee landed his first professional gig, when his father put him in his band. His memories of that show are a bit foggy. "I didn't know how to approach playing to an audience when I first started playing," he says. "I can't remember exactly how I felt, but I just know I was really nervous. Now, I don't even think that the audience is there."
Lee is a junior at HSPVA, the same school that has produced Eric Harland and Jason Moran, two highly developed players who have been showcasing their Houston-honed chops to national audiences, mostly through Moran's Blue Note debut, Soundtrack to Human Motion. HSPVA encourages horn players to study both jazz and classical and requires them to take theory, jazz fundamentals and improvisation classes.
As far as regular performances, Lee doesn't have any yet. He plays mostly weddings and occasionally gets the call to do a nightclub date; he hopes to land a regular gig this summer. Last year Lee played his first nightclub show at Fitzgerald's with the University of Houston Big Band and made his Cezanne debut in January as a member of Rick Porter's Music Unlimited Ensemble. Porter has played with some of the biggest names in jazz history, including Horace Silver and Thelonious Monk, and Lee was quick to absorb what he could from the drummer.
"He has a lot to say about everybody he plays with," says Lee. "He just gave me the music, and a couple of times I went to his house. I really got more experience playing with him at Cezanne than playing at the rehearsals. I enjoy playing his tunes."