Jay Ashby Preview

By Bob PROTZMAN

Pittsburgh trombonist Jay Ashby just might be among the most accomplished and successful--yet least known--musicians in jazz.

Although his name doesn't show up in Down Beat critics or readers polls, Ashby, 43, has won four-count 'em-four Grammy Awards, and has already appeared on so many recordings that his credits take up three printed pages from the website www.allmusic.com.

The reason the Grammies or the numerous credits have not brought Ashby widespread recognition is that the recordings are not under his name.

Instead, Ashby was co-producer, co-engineer, sometimes player (trombone and percussion), and even singer on one occasion, on Grammy winning albums bearing the names of jazz luminaries like the Count Basie Orchestra, New York Voices, saxophonist/clarinetist Paquito D'Rivera, and venerable vocalist Nancy Wilson (twice).

All are on the upstart, but quickly growing McgJazz label, and recorded at Pittsburgh's Manchester Craftsmen's Guild, in studios designed and directed by-you guessed it, Jay Ashby.

For those who might wonder whether Ashby received a smaller version of the Grammy statuette (Grammette?), since the honored recordings are not under his name, the answer is no.

"Oh, no, it's the same Grammy; I have all four on a shelf above my piano," said Ashby by phone from the 'Burgh.

As for all those albums on which Ashby has appeared, he says he was unaware of the cited website, and that he has no idea of how many recordings he has done. "I haven't even tried to count," he says.

(This writer came up with close to 60, including collections/compilations, under the names of many big names in both jazz and pop, including those cited, Hendrik Meurkens, the Caribbean Jazz Project, The Clayton-Hamilton Jazz Orchestra, Tom Scott, the Dizzy Gillespie All Star and Bob Mintzer big bands, Joe Williams, Herbie Mann-Phil Woods, Stanley Turrentine, Ivan Lins , and Paul Simon,)

Ashby's older brother Marty, a guitarist, is executive director of MCG Jazz, whose mission is "to preserve, present and promote jazz." Besides its recordings, MCG presents a season of performances in its 350-seat theater.

Ashby established himself quite well in his 13 years in New York City, beginning in 1984, having met, among others, Brazilian-born trumpeter Claudio Roditi, and the legendary trombonist/composer/arranger Slide Hampton, who would become a major influence. Ashby toured and recorded with both.

He recalls a highlight coming on a Roditi album that included the now critically acclaimed) pianist Danilo Perez. "He was only 18, and this was his first record," says Ashby.

Ashby also spent 10 and 13 years, respectively, as a soloist in bands backing Brazilian singers Tania Maria and Astrud Gilberto, the woman who, along with Stan Getz and Joao Gilberto, made the song "The Girl from Ipanema" famous.

He traveled the world with both, and says, "That brought me into Brazilian circles, and I've done a lot of Brazilian music since."

Born in the Syracuse, NY suburb of Baldwinsville into a musical family, Ashby was almost bound to become a musician.

His dad was a guitarist, accordionist, music teacher-and owned a music store-so when the inevitable occurred and it was time for 4-year-old Jay to choose an instrument, it was rather like a kid in a candy store.

Somehow, little Jay picked up the trombone, not aware that through the years his choice often was described as "cumbersome," "unwieldy," and producing the sound of a "braying elephant."

"My oldest brother Dale was playing drums, and Marty was on guitar. I guess I just wanted something different," recalls Ashby. "I remember, though, that I liked the sound-or maybe I should say 'noise,' " he chuckled.

Jay's mom, a secretary, played some bass, by the way, so there was a family band that performed at weddings, store openings, etc. "I remember being on TV with the family when I was 7," says Jay.

Ashby began studies in the local school system, and recalls that many if not all his teachers were graduates of the famed Eastman School of Music. "The school system had a great music program," he says. He continued studying until earning a BA from Ithaca College in New York in trombone performance, and masters a masters in composition at Pittsburgh's Duquesne University, where he is a faculty adjunct.

Ashby, whose trombone heroes begin with Tommy Dorsey and include J.J. Johnson and Kai Winding (an incredibly talented and popular 'bone duo that made nine albums from 1954-56), Bill Watrous, and, of course, Slide Hampton, says the trombone is a bear to play, but also has its advantages.

"They're (instruments) all tough to play," he laughs. "But there are no buttons to press on the trombone (as on trumpets and saxophones), so intonation can be challenging. It's something you have to be really conscious of. On the positive side, its timbre and range are close to the human voice, and you can play those glissandos (sliding from note to note) that other horns can't."

Trombonist Jay Ashby, with pianist Basil Ronzitti, guitarist Frank Singer, fretless bassist Tony Stefanelli, percussionist Nick "Tito" Ronzitti, drummer Joe Dorris 8:30-11:30 p.m. Saturday Papermoon Restaurant & Jazz Club, 1325 State Street; 455-7766. Donations requested.

Bob Protzman has written about jazz for five decades and hosts "Everything Jazz," 9 to midnight Sundays on WQLN-FM 91.3. You can reach Bob at protz@verizon.net or jazzhosts@wqln.org.

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