Joel Spencer may be the busiest drum-mer in town. First, Spencer and his wife,local Chicago pianist Joan Hickey, bothteach jazz studies at the university level,Hickey at University of Illinois andSpencer at Northwestern University,where he currently serves as Lecturer inthe Jazz Studies and Pedagogy programunder the directorship of Don Owens.Joel instructs students privately eachweek in his home teaching studio as well.

Then there is his long-standingMonday night gig at Pete Miller’s inEvanston with fellow University ofIllinois graduates, bassist Kelly Sill andpianist Mike Kocour. He can also be seenregularly at the Jazz Showcase, and/orperforming with the outstanding jazztenor saxophonist Chip McNeill, who hasrecently become the head of the JazzStudies Program at the University ofIllinois and who, in Spencer’s words “ismost capable of carrying on the rich tra-dition of jazz at the University.” Indeed,part of Spencer’s busy 2004 scheduleincludes performing with McNeill at theRoanoke Jazz Festival in Virginia. Healso has long-distance stints plannedwith the Benny Golson Jazztet on aCaribbean jazz cruise in October featur-ing trombonist Curtis Fuller and trum-peter Terrell Stafford, and in Greece, atthe Athens Jazz Festival in November,with the Mike Kocour Trio featuringsinger Jackie Allen.

Spencer has appeared on numerousrecordings and television programs. As abusinessman, Spencer has ongoingendorsements from Regal Tip Sticks and

Brushes, Aquarian Drumheads and,most recently, Premier Drums. Spencer isone of many Chicago jazz artists whoemerged from the University of Illinoisjazz program of the mid- ‘70s. In thisCJM interview Spencer covers everythingfrom his take on the success of the U of Iprogram, his favorites in the business, towhat is was like pulling down $1000 amonth as a 15 year-old jazz drummer in1969 (at that time the average Americanworker made less than $6,000 a year).

Chicago Jazz Magazine: What gotyou interested in music?

Joel Spencer: My father greatlyenjoyed music through his activities as ajazz record collector and a part-time bassplayer. He was an electrician by tradebut would come home from work everynight and listen to records. I was beingconstantly exposed to music. The firstmemories I have are hearing great jazzartists such as Ella Fitzgerald, BennyGoodman, Duke Ellington and CountBasie. I remember just sitting and lis-tening to all these recordings with mydad and he would tell me about eachplayer in the group, identifying theinstruments and style of each of themusicians. At this time, I was particular-ly taken by the way that Slam Stewartwould sing in unison with his bowedbass solos with the Benny GoodmanSextet! My dad would say, “listen to thiscut,” or, “wait until you hear this; here’sthe Benny Goodman Quartet, that’sLionel Hampton on vibes, Teddy Wilsonon piano, Gene Krupa on drums.” He wasjust really enthused. When he was at

work, I would play the music andidentify the players on my own. Itwasn’t long before I had an opin-ion on what group and playerswere better and more interestingthan others. I must have been sixor seven years old at this time.When my dad would have a gig,my mom would bring my brotherand I and we would go listen tohim play. My father was a mem-ber of the Joliet Musician’sUnion, and each year at the unionbanquet they would have a namebig band perform. Throughout theearly to mid-‘60s, this affair pro-vided me with my first experi-ences of seeing and hearing livejazz performances by the greatestof all the big bands: DukeEllington, Count Basie, WoodyHerman and Stan Kenton. To sitin front of those bands and lis-ten…it was just incredible!

Chicago Jazz Magazine:Buddy Rich had a big influenceon you. When did you first hearhim?

Spencer: Yes! My dad and Iwere listening to records one dayand he played a cut that was newto me. I couldn’t help but noticethat I was aware of two things.First, the drummer wasn’t DaveyTough, because he was muchmore of a subtle player. Second, Iknew it wasn’t Gene Krupa,because Krupa was not nearly asquick and rhythmically sophisti-cated. But one thing for sure, thiswas absolutely the greatestdrummer that I had ever heard.Then the drummer played a solo,and I can still remember think-ing, this guy is UNBELIEVABLE!I could not believe that anyonewas capable of playing the drumsat that level of speed and rhyth-mic precision, and for that matterI still feel the same way today. Itseemed as though he was tentimes faster and more unpre-dictable than any drummer that Iever heard. Hearing Buddy Richfor the first time gave me every

reason for wanting to play the drums forthe rest of my life. I heard Buddy live forthe first time in August of 1969, and hisperformance was literally jaw dropping!

Chicago Jazz Magazine: How didyou go about learning the drums fromthat point?

Spencer: I started taking lessons in1962, when I was nine years old, with agreat teacher by the name of DonCaneva. Don had just graduated fromDePaul University and was a verystrong player and educator. He actuallyplayed with Ahmad Jamal in a schoolcombo at DePaul. At nine, I honestlyknew that I wanted to play the drums fora living. In fact, I not only planned onplaying the drums for a living, but Iwould become rich and famous fromplaying the drums as well! Ah…youth!Well, it still feels good to be playing thedrums…if you know what I mean.

Chicago Jazz Magazine: So whenyou got to fourth or fifth grade you werepretty happening?

Spencer: As a rudimentary drum-mer, yes. I wouldn’t receive my firstdrum kit until I entered fifth grade. Ihad a great teacher and started practic-ing my tail off from a very early age. Bythe time I got to the district band age Ibegan to realize, either these guys arenot able to play that well or this reallycomes easy for me. This “ease” served asgreat motivation to continue, and withgreat determination. Once I started, Inever changed my mind as to what Iwanted to ultimately become.

Chicago Jazz Magazine: Becauseyou had been listening to your father’srecords you were years ahead of the pack.

Spencer: Yes, and around this time iswhen I actually started record shoppingwith my dad and started my own recordcollection. I really got into ‘40s big bandmusic and heard drummers like GeneKrupa with the Benny Goodman Bandand Davey Tough with the BennyGoodman Sextet, Buddy Rich with theTommy Dorsey Band, Sonny Payne withthe Count Basie Band and SamWoodyard with the Duke EllingtonBand. I knew of all of these great drum-mers and the bands they played in. Thefirst thing that I would do when I got upin the morning was to put a record onthe turntable. I remember my parentssaying, “Come down and eat before yougo to school,” and in the next breath theywould shout, “And turn off that recordplayer!” It was around the period of sev-enth grade that I “graduated” from thebig band recordings and started listen-ing to bebop! My father bought me acopy of Jazz at Massey Hall, which fea-tured Charlie Parker, Dizzy Gillespie,Bud Powell, Charles Mingus and MaxRoach—the bebop all stars! This musicinstantly changed my whole concept ofjazz.

Chicago Jazz Magazine: Did you goto any of the music camps in the sum-mers?

Spencer: Yes, I especially enjoyed theJazz Camp offered at the University ofIllinois in Champaign, with directorJohn Garvey, and the Jamey Aebersoldcamps. I was in the school band programall year, but looked forward to the sum-mer camps because they were really spe-cialized, focused and definitely moreintense. Every summer from sixth gradethrough senior year in high school, Iwent to one or two music camps eachsummer.

Chicago Jazz Magazine: It musthave really helped you to stay motivatedsince you were so far ahead in your musi-cal development?

Spencer: I started meeting playersthroughout the state and throughout thecountry that shared the same intenseinterest in jazz that I did. They couldrelate to the music in the same way Icould.

Chicago Jazz Magazine: How didyou stay motivated in high school?

Spencer: Of course, listening torecordings always provided consistentmotivation. I began to play gigs when Iwas really young. I started going out andsitting-in, and local musicians began tohear what I was capable of doing.However, my first professional playingexperiences occurred when I began towork with my uncle, Al Piazza, who wasa great jazz accordionist. Al was greatfun to work with, but could also be verydemanding, especially breaking in this14 year-old drummer. On one of my firstengagements with Al, we were on abreak and he was lending me someadvice and with some authority to saythe least. He remarked, “A drummermust be able to play solid time thatswings without being rhythmicallybusy…and if I were you, I would takethis advice seriously…you need to payattention and listen when you play withme. On the next set, let’s feature youwith a drum solo.” The next set beganand Al announced that our first selectionwould feature our 14-year-old drummer,Joel Spencer. Well, after the tongue lash-ing that I received after the last set, thiswas my chance to prove him wrong! Iplayed an extended solo and thoughtthat I really had redeemed myself, inwhich the audience acknowledged my

CHICAGO JAZZ MAGAZINE Page 5May/June 2004

in his own words... Joel Spencer

Continued on next page

Photo by Michael Barton.

efforts with some strong applause. Afterthe set, I asked Al what he thought of mysolo, and he quickly remarked, “If youever play a solo that sounds like this lastone, it will be the last solo that you everplay with me!” [laughs] He took greatinterest in me and gave me the experi-ence and confidence to eventuallybecome a professional. Al was also a stu-dio musician in Chicago during the1950s, and could be heard playing eachday on WJJD Radio for the “MaxwellHouse Coffee Hour.” During each showhis group would be featured playing anentire tune, but for the most part wouldcreate live music as to highlight theshow’s commercial breaks and providetransition music for lead-ins to the pro-gram’s featured segments. Every timeDean and Jerry [Dean Martin and JerryLewis] would come to the ShermanHouse they would use Al and his group,of which Chicago guitarist FreddieRundquist was a member. He knewmany famous people. In the ‘90s I playeda jingle spot with the great jazz accor-dionist Art Van Damme for Steve FordMusic. At the end of the session, I cameup to Art and introduced myself andasked if he remembered a jazz accor-dionist by the name of Al Piazza. Artquickly remarked, “Al Piazza! I remem-ber him from here, in Chicago, as thisincredible young player during the ‘50s,he could really play, he was the greatestjazz accordionist that I had ever heard!”He then asked how I knew him, and Itold him that Al was my uncle. Artasked, “You mean he’s no longer around?Sorry to hear that, he was a very giftedplayer.” Al Piazza was a fantastic musi-cian who died at the early age of 52 in1973, and unfortunately never receivedthe fame he deserved. I miss him verymuch.

Chicago Jazz Magazine: Tell usabout your first major gig.

Spencer: I was 15 years old and itwas five nights per week and with a pro-fessional band made up of accomplishedplayers. I got the gig because I had beensitting-in at different clubs and had theopportunity to play with a very talentedbassist by name of Roger Dewar whobecame extremely supportive of my play-ing. Roger told me of a new steadyengagement coming up at the RamadaInn in Aurora, Illinois and felt that thiswould be a great opportunity for me tobegin to receive some great experienceand exposure. Billy Matay, a piano play-er who had just come back from playingin Las Vegas for eight years, was puttingthe band together. So Roger called himand said, “There’s this 15 year-old kidwho can really play the drums and youare going to like him better than any

other drummer in the area”. Billy said,“you have to be kidding me… I’m goingto hire a 15 year-old kid?” Roger keptafter him and went as far as offering toserve as my legal guardian since I wasless than 21 years old. The band hadsome rehearsals planned for the new gig,so Billy told Roger, “Alright, have thiskid come over and play a rehearsal andlet’s get it over with! If nothing else, Iguess I’ll have to hear him play.” So Iwent and played the rehearsal, and aftera couple of tunes Billy stopped and said,okay, and then we played some moretunes. By the end of the rehearsal, Billysaid, “I can’t believe what I’m think-ing…I would hire a 15 year-old kid toplay this gig?” He said to me, “You reallywant the gig?” I told him yes, it would bethe greatest thing that could happen. Heasked, “You don’t have any bad habits, doyou?” I said no. He asked, “Do you listento your parents?” I said yes, I listen tomy parents. Then he looked me straightin the eye and said, “ I’ll tell you what,I’m gonna try you for two weeks, but ifyou act or sound like a 15 year-old drum-mer, I’ll fire your ass in a heart beat!”The Ramada’s large marquis, which youcould see off of I-294 at Route 43, read,“Billy Matay Quartet featuring 15 YearOld Drumming Sensation JoelSpencer”— Wow! [laughs]. Each night,the group would feature me on anextended solo on Ellington’s “Caravan,”and the band would literally leave thestage to take a seat at the bar and ordera drink and have me solo for what couldbe as long as 15 minutes! If I were tolook up at them at the bar, as though Iwere coming to the end of my solo, theywould all shake their heads no andmotion me to continue! I will always feelindebted to these guys for giving me thisinvaluable experience and accepting me

at such a young age. Well, I was onthat gig for the entire year that itlasted. My dad gave me a ride toand from the gig each night. Thegig was from nine to midnight, fivenights per week, and paid $250 aweek. For being a high school kidand living at home, you have noidea how much a $1000 a monthwas in 1969! My parents couldn’tbelieve it; the club paid me in cashat the end of every week. When Iwould get back from the gig everySaturday night, my Dad would say,“Okay, let’s see the money”. He wasafraid to think of what a kid wascapable of doing with that kind ofspending money. It was duringthat period that my playing wentfrom zero to 100. By the time thegig came to an end, a lot of musi-cians had heard me.

Chicago Jazz Magazine: Didthis lead to many other gigs?

Spencer: Yeah. A gifted jazzguitarist by the name of PeterBudd, who was working at many of

the Rush Street clubs, came in one nightafter reading a small review on ourgroup in the Chicago Sun-Times. Heended up asking Roger and I to join himon a TV appearance on the “Mary DeeShow,” which at the time was a localvariety show that was broadcast livefrom Marina Towers on WFLD-TV. Weplayed the show and it was a success.There was an agent involved on settingPeter’s appearance up for the show… Ican’t remember his name… Anyway, Ireceived a call from him one day. Hewanted to know if were interested inplaying an audition with the group“Chase”, which was a group fashionedafter Blood, Sweat, and Tears, led by thefamous lead trumpet player Bill Chasewho had made a name for himself withthe Woody Herman band in the early‘60s. Well, this was the most excitingnews yet. At the time, Chase had anational hit tune called “Get It On”which was playing on pop radio allthroughout the country. I agreed to takethe audition, which was to be held atUniversal Recording on Walton Street. Igot to the studio and played severaltunes with the band and felt very confi-dent with my performance. Bill Chaseand his band members had so many goodthings to say; I thought he was definite-ly going to offer me the gig. But he tookme to the side and asked me what myage was; and I told him 17. He informedme, and in the most kind and gentlemanner, that I was much too young to goon the road with his band and that itwas important for me to get an educa-tion first and that I had a whole lifeahead of me to become a great musician.He advised me not to hurry this process.He said, “I remember when I was yourage I was in a big hurry. I can tell you’rein a hurry. You want a lot of successfulthings right now; I can hear it in yourplaying. I can see the ambition on your

face. You need to get that ambition inanother direction. You need to deal withthings in a different way. You need to getan education. You need to be patientabout growing up. And things will cometo you—and in the right way.” And Iunderstood. He didn’t make me feelsmall or defensive about it, and I wentaway with a good feeling a bout it. Hehad just echoed the advice that my par-ents had been giving me for months! Itwas at this moment that I finally accept-ed and believed a college educationshould come first before a career as aprofessional musician. Of course, I wasyoung and wanted success over-night.He wished me luck with my future as amusician and assured me that we wouldmeet again sometime soon, that hewould not forget about me.

Chicago Jazz Magazine: But younever did meet again.

Spencer: Meeting Bill again was notto happen. It was several months later,when I read in the newspaper, that thegroup Chase had all died in a planecrash. I was literally in shock. It wasduring this time that my parents hadbecome very concerned over the quickdevelopments in my career, my growingup much too fast, and fearful that thiswould all keep me from attending col-lege. While hiding this news and myemotions from my parents, I tried tocarry on with business as usual. Inregard to the band Chase, I felt someserious shock and sadness as well ascontemplating the reality of my fate con-nected to this devastating event.Somehow the tragic news of Chase elud-ed them, and it was years before I final-ly revealed this news to them. I willnever forget Bill Chase’s kindness andconcern for taking the time to lend mehis most important advice.

Chicago Jazz Magazine: Howwould your parents have reacted if youhad gotten the gig to go on the road?

Spencer: No question, my parentswould not have let me take that gig.That’s a very fast-paced world, and thereare obvious dangers in being that young,making money and a little fame going toyour head. Bill Chase also said some-thing like, “If you’re serious, if you’redetermined, if you have the talent, therewill always be a place for you; you don’thave to find that place now.”

Chicago Jazz Magazine: How didyou go about picking a school?

Spencer: I was exposed to this unbe-lievable jazz program at the Universityof Illinois and it’s director, John Garvey.Given the strength and direction of thatprogram, and the type of artists thatwere there, I very much wanted to be apart of that. Although I planned toattend college at North Texas StateUniversity, I had come to realize that theUniversity of Illinois was perfectly tai-lored to my artistic ambitions. Here iswhere I met players who eventuallybecame great known jazz talents such asEd Petersen, Jeff Kaye, Eric Schneider

CHICAGO JAZZ MAGAZINEPage 6 May/June 2004

Joel and Buddy Rich 1969.

“pull quote here”

Joel at the Aurora Ramada Inn 1970.

Joel and Count Basie 1969.

and Steve Laspina, as well as JimMcNeely, Ron Dewar, Howie Smith, RickBendel, Ron Elliston and John Monihanwho were all great players and served asmentors. The list goes on and on: DonHeitler, Ray Sasaki, Morgan Powell, JonBurr, Art Davis, Dan DeLorenzo, SteveJensen, Jeff Lindberg, Kelly Sill andDennis Luxion. An incredible communi-ty of creative musicians!

Chicago Jazz Magazine: Why doyou think so much talent accumulated inthe jazz program at U of I during the late‘60s and early ‘70s?

Spencer: I feel that some things justhappen by accident. Somehow all thistalent found its way to Champaign-Urbana. I’m not exactly sure how thathappened, but in the late ‘50s, JohnGarvey was hired as an Artist-in-Residence at the university as a memberof the famous Walden String Quartet.Garvey not only had all this backgroundas a classical violist, but in New Yorkduring the War he served as a studiomusician and played on a number ofSinatra recordings in the string section.So given his background in music andhis love for jazz, he created the begin-nings of the University of Illinois jazzprogram. He began to recruit talent thathovered around the area of jazz. And sohe starts finding this talent, and he’salso got this tremendous ear—he knowstalent when he hears it. And before youknow it there’s a University of IllinoisJazz Band. The next thing: they start toperform at national competitions andare up against some powerhouse pro-grams such as Indiana State Universityand North Texas State University, winsthese competitions, and starts gettingnational recognition, and it goes fromthere. Major artists that came to do con-certs and clinics said, You’ve got to hearthis band at the University of Illinois; it’ssounds and feels like a professionalband! Garvey was one of the very firstpeople to organize a college jazz pro-gram. He’s one of the founding fathers ofjazz being in a collegiate setting, alongwith North Texas and Indiana. The U ofI had an incredible jazz program drivenby a musical genius, John Garvey.

Chicago Jazz Magazine: So yourfirst exposure to the University of Illinoiswas through the jazz camps?

Spencer: Yes, the instructional andperformance level presented at the U ofI summer camps had everything to dowith bringing me to Champaign. Thejazz program in Champaign was one ofthe best in the country, and justifiablyreceiving national acclaim. When Iarrived, I found that there were reallygreat players whose technical and cre-ative abilities felt almost overwhelming.I knew immediately that this was theright place for me. Players were acceptedfor who they were, that is, their “person-ality” as an artist. John Garvey’s pro-gram was not about “manufacturing” amusician, but was all about nurturingthe creative individual identity of eachplayer. John’s goal was to develop theartist in an attempt to avoid the “manu-facturing process” of the typically well-schooled and pedagogically trained col-lege jazz player. John Garvey was a bril-liant musician and instructor!

Chicago Jazz Magazine: How didyou meet John Campbell?

Spencer: I moved to Champaign andbegan college in January of 1972.Around 1973, I kept hearing about thisextraordinary jazz pianist who lived inBloomington, Illinois by the name ofJohn Campbell. Kelly Sill went to hearhim play in Bloomington one night, andwhen he came back to school he calledme up and said, “You have to hear thisguy play!” So I went to the Holiday Innin Bloomington, and as I walked throughthe entryway, I could hear the group’smusic coming from the lounge. Hesounded like a cross between ChickCorea, Oscar Peterson and Bill Evansand he was burning! I was told that thegroup was a duo, piano and bass, but Icould faintly hear what sounded like adrummer as well. Upon entering itbecame clear. I saw John at the piano,Rick Drexler at the bass, and Johnsimultaneously playing a set of hi-hatson “two” and “four” with his left foot!

Chicago Jazz Magazine: That’swhen you and Kelly met John and beganplaying together?

Spencer: Yeah. That was the begin-ning of a musical relationship that hasexisted from 1974 to the present. It wasmy first experience as a musician where,if I would initiate a musical idea, theywould hear the idea and musicallyrespond to it, for example, within thecontext of an ongoing piano solo. Youhear this style of musical conversationhighly demonstrated in the musicalactivity of the Bill Evans Trio, MilesDavis Quintet and the John ColtraneQuartet. Our music always had a placefor musical thought to exist and torespond to.

Chicago Jazz Magazine: Did youguys ever do a recording of the Trio?

Spencer: No, that’s the one thingmissing from our past. We did a numberof recording sessions, which never werereleased. It’s a crime!

Chicago Jazz Magazine: In yourearly years in Chicago, is there any musi-cal moment that stands out as a career-changing moment?

Spencer: As a matter of fact, yes. Onthe 1981 Chicago Jazz Festival in GrantPark, I was appearing with the JazzMembers Big Band along with guestartist Clark Terry. We had a wonderfulset and proceeded to the downstairs areaof the Petrillo Band Shell for some foodand drinks. Within five minutes, PennyTyler (then-president of the JazzInstitute of Chicago) literally came run-ning into the Green Room to tell me thattenor saxophonist Archie Shepp’s drum-mer John Betsch was not to be found,and that Archie’s group was to begintheir set within ten minutes. Penny wasfrantic: “Joel, please get up on stage andstart organizing your drum kit! ArchieShepp’s drummer can’t be found and weneed to start each set exactly on timebecause the festival is being broadcastlive over 250 cities across the nation!” –-as well as 50,000 people in attendance inthe Park— “We need for you to fill inuntil his drummer arrives!” I then pro-ceeded to inform Penny that I havenever heard Archie’s group before northeir sound check earlier that afternoon.

Well she, and everyone present, quicklypersuaded me—not that I needed it!—toget up there and make it happen. After Iget my kit set, I meet Archie off-stage,and he remarked in a rather aggravatedtone, “Our first tune is FAST...play asfast as you can!” It was obvious that hewas upset with his drummer, who wasabout to miss one of Archie’s biggest con-certs of the year. I must admit, I feltchallenged and put out with his sharpand sarcastic remark. So I proceeded togo out on stage with the mindset to playhim and his band into the ground! Thefirst tune was very fast, which I handledwith ease, while creatively challengingthe group. We got near to the end of thelast solo, and Archie turned to me andsaid, “DRUM SOLO!” I played anextended solo and smoothly brought theband in to play the return of the melody.Archie looked back with a huge smile,and turned to the audience and said,“How ‘bout a hand for our great drum-mer, Joel Spencer!” Just after this firsttune, I look off-stage to see most of theplayers in the Jazz Members Big Band,and Clark Terry and drummer LouieBellson literally cheering me on! It’s atthis point, that I notice a guy—also off-

stage—with a stick bag and cymbalsmotioning to me. It’s Archie’s drummer,John Betsch, who now has arrived.Archie simply looks at him shakes hishead no, looks back to me and counts offthe tempo to the next tune. WOW! Wefinish the set, and there off stage, andlooking extremely upset, is John Betsch.He proceeded to walk up to me and high-ly compliment my playing, which wasvery generous of him given the stressfulsituation that he was experiencing. Well,if that was not enough action within 50minutes, here comes Dr. Billy Taylor whoinvites me to be interviewed on NationalPublic Radio—live over 250 cities! Yes, Ionce got my “15 minutes”! Now and then,I run into pianist Kenny Werner, whowas the young pianist with Archie on theset in Grant Park, and we always talkabout that night in August of 1981. Thisexperience provided me with the confi-dence and acceptance that is so crucialto the beginning of a successful career asa professional musician.

Chicago Jazz Magazine: Let’s fast-forward a little. John moved to New Yorkin the mid-‘80s, and you began playingand leading different groups. What werethose like?

Spencer: Before John’s departure,we also did a lot of playing with some

CHICAGO JAZZ MAGAZINE Page 7May/June 2004

Continued on next pageArchie Shepp, Joel, Howard McGee Chicago JazzFestival 1981

Wynton Marsalias Quartet Tour 1983

John Campbell, Kelly Sill, and Joel 1999. Photo by Bill Klewitz.

great Milwaukee musicians and played aclub there called The Jazz Gallery. TheJazz Gallery featured weekly appear-ances by internationally known jazzartists. We had the opportunity to per-form with such artists as Sonny Stitt,Barry Harris, Charles McPherson, ChetBaker, Lou Donaldson and DakotaStaton. It was during this time period, inMilwaukee, where I met and startedworking with two highly talented localmusicians: pianist David Hazeltine andtrumpet player Brian Lynch. Of course,they since have moved to New York andhave created names for themselves inthe international jazz scene. When Johnleft for New York in 1984, I just hap-pened to hear of two very talented musi-cians from Champaign, pianist MikeKocour and saxophonist Brad Wheeler.John was leaving and decided that hewas going to sell his Hammond Organbefore he left town. I literally talkedMike Kocour into buying John’sHammond, over the phone, so we couldstart a new group along with BradWheeler on tenor saxophone. By the way,overnight, Mike Kocour was playing theHammond incredibly well—a great nat-ural talent as a jazz organist. We playedin clubs all throughout the Chicago area,especially at a club called OZ on NorthSheffield Avenue, and were featured onthe 1988 Chicago Jazz Festival with ourperformance being broadcast over 250cities live. This group was my first expe-rience as a leader. The group was greatfun and each of these players continues

to perform and producegreat music professionally.This group remained togeth-er, with the addition of gui-tarist Akio Sasajima in1986, until 1990.

Chicago JazzMagazine: Didn’t you alsoplay at George’s restaurant?

Spencer: That began inthe early ‘80s, when Ibecame the drummer in thehouse rhythm section. Lateron, I would also become thedrummer in the houserhythm section at Rick’sCafé in the Holiday Inn onLake Shore Drive. At eachclub, I also served as thedirector of the house band inmaking personnel choices inregard to style and demandof each artist, that is if theartist wasn’t bringing a self-contained band with them. Iworked with a list of artiststhat, at times, could stylisti-cally be incredibly different.For example, during a five-week stint at George’s, Imay have started by work-ing with vocalist BillyEckstine, followed by trum-pet artist Woody Shaw, followed by vocal-ist Dakota Staton, followed by guitaristBarney Kessel, and then end up playingthe fifth week with Wayne Shorter’sgroup! Musicians from New York werealways quick to remind me that I hadthe best jazz gig in America. Believe me,

I could not have imagined a greater situ-ation for myself, a dream come true! Thisenvironment also presented the opportu-nity for me to earn out-of-town work aswell. As a result of my musical associa-tions, I toured with players such asBarney Kessel, Red Rodney, DorothyDonegan and Hank Jones. Engagementsat George’s and Rick’s were all one weekin length, and in the case of a returnengagement could result in a two-weekstint with the same artist. I was workingon the average of 25 weeks per year, justat these two clubs alone. Most impor-tantly, the learning experience, thefriendships, and those great audienceswill always remain invaluable.

Chicago Jazz Magazine: You alsoplayed quite a bit at Jazz Showcase.

Spencer: Yes. I really must credit mystart in Chicago with the opportunity toplay at Joe Segal’s Jazz Showcase. As ayoung kid, I would attend the JazzShowcase and wonder if I would everhave the chance to play there, especiallyafter just hearing Wilbur Campbell play-ing incredibly great behind the likes of—and listen to this: “The Tenor Titans”:Sonny Stitt, Gene Ammons, DexterGordon and Hank Mobley along withJodie Christian and Rufus Reid round-ing out the rhythm section! After hear-ing Wilbur, I knew that I had my workcut out for myself! Within a month of myarrival, I had the opportunity to becomea member of the John Campbell Triowith bassist, Kelly Sill. During this timeJohn was beginning to quickly establishhimself as the new “young lion” ofChicago jazz and jazz piano. This musi-cal relationship resulted in my firstengagement at the Jazz Showcase inwinter of 1978 with alto saxophonistBunky Green and John’s trio. Quick tofollow was the trio’s next appearance atthe Jazz Showcase in May of 1979. Thisengagement featured the great jazzvocalist Eddie Jefferson along with altosaxophonist Richie Cole. This engage-ment will always remain eventfulbecause our final performance of theweek was taped for a televised presenta-tion on WTTW, Chicago PublicTelevision. Later, this taped concert wasproduced into a video for internationalrelease. It’s still being sold all over theworld, “Eddie Jefferson and Richie Colefeaturing the John Campbell Trio: Livein Chicago at the Jazz Showcase”. Soonafter that an engagement with theamazing Chicago-born tenor saxophon-ist Eddie Harris, which also led to a fewsmall tours with Eddie. If you intendedon establishing yourself as a ChicagoJazz Musician, your primary goal wouldbe to eventually earn Joe Segal’s respectand play at the Jazz Showcase.Traveling this rite of passage was with-out a doubt the true test. While George’sand Rick’s Café remain a memory, todaythe Jazz Showcase still stands due to theincredible strength, commitment andmusical dedication of Joe Segal.

Chicago Jazz Magazine: Who is themost influential Chicago jazz drummer?

Spencer: Hands down, and withoutquestion: Wilbur Campbell! I will alwaysremember Wilbur for providing that bigfat beat, mixing it up, playing so great,and setting the place on fire! He was thegreatest!

Chicago Jazz Magazine: Howabout your favorite bass players?

Spencer: No specific order: RonCarter, Charles Mingus, BusterWilliams, George Mraz, Jay Anderson,Bob Bowman, Jon Burr, Ray Brown,Larry Gray, Rufus Reid, Eddie Gomez,and of course Kelly Sill.

Chicago Jazz Magazine: Tell usabout your experience with DanielBarenboim.

Spencer: In 1999, I was a member ofthe Ellington Tribute Ensemble. This 10-piece ensemble consisted of members ofthe Chicago Symphony Orchestra per-forming the compositions of DukeEllington as interpreted by pianistDaniel Barenboim, and featuring the tal-ented arranging and conducting skills ofClifford Colnot. This effort resulted in arecording for Teldec Records calledTribute To Ellington. The EllingtonTribute Ensemble performed for record-release festivities at the Quasimodo jazzclub in Berlin and Birdland in New YorkCity, as well as performing at SymphonyCenter here in Chicago. Having theopportunity to record and perform withDaniel Barenboim, an ingenious pianistand performer, was truly an incrediblemusical experience for me.

Chicago Jazz Magazine: Why did-n’t you ever move to New York?

Spencer: It seems as though I triednumerous times, but given all the greatartists that I was so fortunate to workwith here could keep anyone in Chicago.Chicago has always presented jazzvenues that have been as great as anylarge city throughout the world couldpossibly provide. I found myself perform-ing with world-class jazz artists, righthere at home, in Chicago.

Chicago Jazz Magazine: Do youthink it would have changed your play-ing?

Spencer: Not really. I was playingwith jazz artists for which any drummerin New York would have immediatelyboarded a plane to work with… How dothey say it? …in a New York minute!After my first night with Wayne Shorter,he said, “Hey you sound good, inventive,really solid!” He then looked me directlyin the eye, and seriously remarked, “See,we have a chance to play together andthat’s all that is happening for each of usthis week…we can only be in one placeat one time…this is the beauty and chal-lenge of playing this music.” He turnedaway, and a huge smile came across hisface, “Hey Joel, how about a glass ofwine?” Well-said Wayne, and yes, I willtake that glass of wine.�CJM

CHICAGO JAZZ MAGAZINEPage 8 May/June 2004

Joel and Daniel Barenboim 1999

2003—This is Chicago Jazz!The Joel Spencer QuartetChicago Jazz Magazine Productions

2001—Big Band SwingThe Doug Lawrence OrchestraDLM Records

2001—Sometime AgoThe Ken Spurr TrioKS Records

2000—You Talkin’ To Me?The Von Freeman and FrankCatalano QuintetDelmark Records

2002—Until YouHallway Records

2000—Sessions...with JoBelleJoBelle Yonely

1999—Tribute to EllingtonDaniel Barenboim and GuestsTeldec Records

1999—Pins ‘n’ NeedlesThe Frank Catalano QuintetDelmark Records

1998—Interior WindowJoel Spencer & Mike KocourChicago Lakeside Jazz Records

1998—Live at the Gold StarStephanie BrowningHEREnow Records

1998—Soul MatesThe Joan Hickey TrioChicago Lakeside Jazz Records

1996—A Night In The LifeEden AtwoodConcord Records

1995—GalleryThe Paul McKee OrchestraCorridor Records

1994—Never Let Me GoJackie AllenLakes Shore Jazz of Chicago Records

1994—Who Wrote This Song?Joanie Pallatto and Bob DoroughSouthport Records

1993—The Brighter SideThe Joel Spencer-Kelly Sill QuartetThe Jazz Alliance/Concord Records

1993—Humpty DumptyThe Akio Sasajima QuintetEnja Records

1993—Solo Plus OneThe Larry Gray QuartetPremonition Records

1993—Jazz Chicago StyleThe Ameritech All StarsAmeritech Productions

1992—Jazz HitThe Joel Spencer QuartetLake Shore Jazz of Chicago Records

1992—The Western IllinoisUniversity Jazz Ensemble featuring Joel SpencerProfessor Dale Hopper, Director

1991—East-West DialogueThe Barry Diester QuintetBelephon Records

1991—Presenting Emily HaddadEmily HaddadSharp 5 Productions

1990—The Movie Soundtrack of “In A League Of Their Own”Columbia Records

1990—Turning PointThe John Campbell Trio with Clark Terry Contemporary Records

1983—Just Buddy’sThe Buddy Childers Big BandDiscovery Records

1983—Live At Fitzgerald’sThe Jazz Members Big BandSea Breeze Records

1980—May DayThe Jazz Members Big BandSea Breeze Records

1977—The University of Illinois Jazz EnsembleThe University of Illinois Jazz Band Sea Breeze Records

Joel SpencerDiscography

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