Byron Landham

Byron (Wookie) Landham Drums:Banished to the Russian netherlands takes on an entirely different connotation when mapping out the trans-continental escapades of jazz musician, Byron Landham. Count em', over 100 high profile festivals worldwide, including two appearances at Novokwznetsk in Siberia, and thirty some odd recordings under his belt, it might be worth mentioning that this extraordinarily accomplished drummer is only 35 years old. His resume built the old fashioned way; Landham was an apprentice in the true sense of the word.Born in 1969, his “career” began to take shape at age 6 after attending his first annual neighborhood block party. The entertainment: a pubescent rhythm and blues band, and Landham remembers, “The drummer knocked me out, got me whacking on everything in the house until my mother gave in and bought me a drum set.” He started playing in earnest at age 7. He was the new kid on the East Oak Lane block and lucky enough to have a household-full, four sisters, a grandmother, mother and dad, but it was his sax-playing brother, six years his senior, that played a paternal role too, keeping Landham focused on his practicing, sometimes 6 to 7 hours a day. He teases, “I drove my mom nuts, but my good grades kept her at bay.”Even though the soul of the 70s were the melodies of choice, the Landham music compilation grew by leaps and bounds when an old family friend donated a record collection jam packed with jazz recordings. Landham had the uncanny ability to copy what he heard and if experience is indeed the best teacher, he's living proof; incessantly working on his coordination until it gelled. Possessing great natural instincts, Landham could hear how the drum set worked as a whole and yet, “I could separate out the snare, the bass drum, the hi hats, and keep at it till I got it right.”Inwardly driven and outwardly encouraged, Landham learned to read music and improve his synchronization by enrolling in Settlement Music School in 1981. He trained there for three years under Raymond Brucno, and aligned with a percussion group. Ensemble playing, an important second step in mastering an instrument, Landham actually had that knack from the get-go, frequently jamming with his attentive older brother Robert.During the summer months he also signed up for Settlement's six week Better Break Music Camp where he studied orchestra and chamber music, but instead of the traditional afternoon swim, the second half of the day was devoted to jazz with teacher, Lovett Hines. With group instruction still emphasized, his adolescent posse read like a veritable who's who on the contemporary jazz circuit, playing side by side with the young Joey DeFrancesco, Christian McBride and Louis Taylor. At camp's grand finale, they played a concert series at the Youth Study Center, the Art Museum, and the Philadelphia Zoo. They participated in a live WRTI radio broadcast and finally an outdoor show at the Dell East. Not exactly hard-core appearances yet, but as far as Landham was concerned, “This was the big time!” given he was all of 15 years old.When high school rolled around, Olney's Vincent Maola was waiting for Landham, the younger brother of his former star sax player. Landham was a drum major, played the timpani, classical concert snare and marimba. After Settlement and the high school band, that was it for formal instruction.This is when the apprenticeship really began. At 16 his brother carted him along to greasy, smoky bars just to mingle with other music makers. Never missing a chance to applaud his much-revered and demanding older sibling, Landham credits Robert for pushing him and helping him keep it together. Soon other band members took a shining to the thirsty teenager. Hanging out he heard sagas, wolfed down their personal narratives, he learned about focus, accepted invitations to sit in from time to time, and simply soaked-up the lifestyle. Seasoned tradesman such as Billy James, Edgar Bateman, Butch Ballard, Mickey Roker and Kevin Outterbridge imparted their wisdom and steered him in the right direction. On these late night jaunts, the oral tradition became an inspirational push. One intimidating anecdote shared by his newly adopted extended family, “It was at Minton's Playhouse in Harlem during the 40s and 50s, Parker and Davis hung there.” The nerve racking part, “If someone sat in and wasn't good enough, the bouncers took him out. They beat 'em up.” That story made a long lasting impression. Knowing harmony and chord changes weren't enough. Identifying with the culture wasn't sufficient either. He understood he had to live and breathe the language. Essentially, the ambitious adolescent took in all he could get, sure to exercise all five senses.Still a teenager, the professional assignments were launched. Landham traveled with the jazz mobile, played private functions via Robert's recommendations and in 1986 cut his first demo CD with his brother, Christian McBride, and Edward Simon, his previous band mates from the Settlement days (the studio, “well, not exactly state of the art”). It wasn't until a show with these guys that precipitated his first official call from Greg McDonald to play with Bootsie Barnes and the Jazz All Stars, featuring Sid Simmons, piano, and James Hicks Glenn, bass. His growing reputation around town kept those calls coming in: Charles Fambrough, Monette Sudler, a steady gig he could count on, former Philadelphian and Monk competition winner, Darryl Hall, bass along with Mike Kwas, piano, Frank “Squirrel” Williams percussion, Harold Watkins, trombone and Kenzell Honesty, sax. They played Camden, a hole in the wall club called Winston's House of Jazz, and Morgan's in Germantown. “Whatever I could get for some exposure.” The Landham name was clearly becoming a recognized one on the club scene. So much so, he started down at Ortliebs Jazzhaus after graduating in '87. While Mickey Roker was off touring, he sat in with bassist, Arthur Harper and pianist, Shirley Scott. He met more local legends, sax players, Ralph Bowen and Danny Turner. Landham compliments, “He played his butt off, no fear there.” Note to self, “Turner was a cat worth emulating.”Next came one coveted prize, his promotion to journeyman. Joey DeFrancesco, now signed with Columbia Records was experiencing some success and in 1988 Landham showed up for a rehearsal and their long time association was born. He debuted at Indigo Blues in New York City and went south to Blues Alley. He began to get so busy, he left Community College of Philadelphia and in '89 made his first of 15 recordings with the organ meister, a compilation album on Columbia called A Jazz Wonderland. The DeFrancesco partnership instigated another connection in 1991. Swiss sax player George Robert witnessed Landham's timing during a festival in Cancun, Mexico. A '92 European tour with the George Robert and Tom Harrell Quintet ensued.More referrals came in and Landham kept accepting offers. A drummer friend traveling with Roy Hargrove turned Betty Carter onto Landham in 1995. The audition garnered a strenuous, nomadic year including colleges and national and international festivals including the prestigious Melbourne and Wangeretta Festivals in Australia and Aänekoshi in Finland plus a guest appearance on CBS Sunday Morning, and a television documentary entitled Jazz Ahead. He's mentioned in Open the Door, a biography on Carter's life. Although a glamorous addition to his C.V., Landham divulges that working with le grand dame of jazz could be tough at times; however, “What I got from her was how to become very disciplined, a great sense of dynamics and a real precise sense of timing. I learned how to shade the music. Betty was strong. Her death took me by surprise.” The implication here is a paid internship in the School of Hard Knocks, but “class” was never boring. Carter really appreciated what Landham was accomplishing musically. In Italy she said to him, 'You're playing like a man and you'll have a bright future in this business if you keep doing what you're doing.' One reviewer commented on the lady's up and coming sidemen, “The trio she brings with her is surprisingly young and gifted. She is always keen to train up the young and brilliant, because only the young and brilliant can keep up.”Relationships come and go for so many reasons. Landham has assorted explanations for this. “Opportunities for playing a wide range of musical styles are one criteria, sometimes the bottom line dictates collaborations, quite possibly the leader's already established visibility, or maybe just down right worn out from playing one style for a long time.” In 1998-2000 Landham played alongside Russell Malone, traveled with his band to the Cork Festival in Ireland and recorded Look Who's Here on Verve Records; one instance where Landham was lured in by the sound. “This was an exciting band: piano, bass, drums, guitar; their music was fresh. I really love the acoustic set up with guitar added. Those are my roots”.The following cycle was an equally frenetic period in Landham's career. He played the Siberian festival with Tim Armacost. An invitation for a second go 'round had him a featured co-leader with the Landham Brothers. A road scholar by now, the peripatetic Landham chronicled an impressive performing roster, traveling or appearing with Brandford Marsalis, Bobby Watson, Grover Washington, Jr., Clark Terry, Chick Corea, Benny Golson, James Moody, Jack McDuff, Etta Jones and George Benson, and not one to let go of his bread and butter, his comfort zone, but most of all, the unmistakable sheer joy in life, performing with pal Joey.Pat Martino joined the bandwagon in '01 taking Landham back to New York to play the Iridium. Staying through 2003, the wind up was Holland's esteemed North Sea Jazz Festival. Landham calls the diminutive Martino, “an energy machine.” He generously geared to the way Landham played. “He leaves it open for the drummer. He likes to groove. We had some magical moments. Pat has a flair for writing beautiful ballads. There's downright honesty in his music.”The family man has segued into teaching: a master class at The University of the Arts and private lessons. His greatest influences are Elvin Jones, Clifford Jarvis, Philly Joe Jones, Art Blakey and Max Roach, but for further inspiration, he listens to classical Indian and Senegalese music knowing their rhythm is the foundation of everything.In between coaching and his regular gigs, Landham takes time out to write his “master” piece; a thesis of viewpoints conveying his improvisational posture; e.g. “Why you play what you play and knowing how to touch your inner self to find freedom within the music.” By and large about innate philosophies (Landham claims his gift is embedded in his soul), exercises are included too. He believes, “Playing is mostly about emotional content.” He wants to help the younger generation work from the inside out, with a little phrasing thrown in. “It's not so much about what you play but how you play it. It's about conviction.”Landham has lots to say, “The drummers from Philly, I think we all have this rolling sound. It's warm, not rigid. People here develop a full sound, in terms of roundness and bottom. It's good to have a cosmopolitan city like this where so many people have contributed to this art form and where so many are so open to help in any way they can. I try to do that myself. I try to give the young kids the brotherly love aspect of it. It's about playing sensitive. It's how you play what you play. How you say what you say. When playing you have to make sure you're not bullying the thing, or playing arrogantly. You have to play unselfishly and have to add something to everything else around you. You're working collectively, as a unit. Giving is a part of yourself, your being.”And so much more to play, he is now an official member of the guild.I edited my profile with Thomas' Myspace Editor V4.4