One of my proudest “hipster” achievements was being an early adopter on Ari Hoenig. Long story short, I arrived in New York 3 months before the start of my first school year in grad school, and spent the summer checking out live music with other students who’d stayed around the for summer.
One of those things we checked out was Ari. And as such, I was able to share the discovery with my classmates when they arrived in the fall.
Who was this guy who looked like he was outrunning demons when he played, who had a crispness and simplicity to his playing, and yet who was pushing the boundaries on so many things. For those in the know, Ari was already making waves with Kenny Werner by the time I caught him with the Jean Michel Pilc trio.
But as more and more jazz students cottoned to him, he quickly became the unofficial mayor of what I’d call New York Village Jazz. (As distinct from uptown and downtown jazz.) And his own groups birthed at least a few stellar careers, among them that of Gilad Hekselman.
It had been years since Ari and I had spoken - I’d “fanboyed” to him a number of times after gigs - so it was great to revisit one of the most influential drummers when I was in school and the years afterward.
In this interview, Ari and I speak about the origins of his unorthodox style, forging a path as an individual artist, how to deal with the critical voice and self-doubt while developing as an artist, his approach to practicing improvisation and more.
I guarantee you’ll enjoy this one.
