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OceanlinerNotes Artist Interviews
OL:
We'd like to Welcome the incredible
Glenn Zottola,
Jazz Trumpeter/Saxophonist Musician
Great...
and famed Recording Artist to the
Grammy Stars!
& much more, to the
OL Oceanliner Notes Weekly
feature as our
Special Guest Artist!

OL:
Welcome Glenn, and thank you for giving us
and all of the OL Site Visitors, for what will
be a 7-part Interview on the Oceanliner
Notes Weekly Series,
for the entire week of
April 27, 2014. Once again,
thank you and welcome...

Glenn Zottola:

It's a pleasure!
The first thing I want to say...
I've been studying the Oceanlight Records
Website
before our Interview, and I'm blown
away. It is so beautiful and it's such
a wonderful service. The way that You present it;
it is very impressive!
I want to say...'well done'.

OL:
Coming from You, Glenn,
that's a special honor.
Thank you.

OL:
Glenn,
you're a Native New Yorker,
whose fantastic Career has spanned from
East Coast to West Coast... from performing
on the famed Ted Mack Show at the tender
age of 13, to the who's who of the
Hollywood
line-up of Recordings and Shows,
including the Suzanne Somers TV Show.
Can You take us back to where it all began
in New York. You were playing the trumpet
in Jazz Clubs as early as nine years old?

Glenn Zottola:

Well, I grew up in Port Chester, New York.
I grew up in a musical Family and that was
my foundation. My Mom played a wonderful
piano...kind of like Count Basie... and my
Dad was a trumpet player, my Sister sings,
and my Brother is a wonderful
trumpet player...
so it was growing up in a musical Family,
with Family jam sessions.
I remember back to being in a crib,
and my Dad would be rehearsing Big Bands,
in the living room...
so that's the foundation, for sure.
He was also a Conductor, so there was a lot
of classical music and opera
in the house, too.

OL:
Wonderful!
So you've been exposed to it all?

Glenn Zottola:
He formed the 'Westchester Pops',
and I actually performed at the
'Westchester Pops' at 9 years old.
In New Rochelle, we used to do concerts,
and he was the Conductor.

OL:
Wow, that's incredible, Glenn;
to have that kind of exposure,
and with your Dad at the helm.
Were You self-taught?

Glenn Zottola:
I was kind of an interesting character.
I had perfect pitch, when I was a kid;
and I also had imperfect patience (laughing).
I wasn't one that was a very studious type of
guy, to sit down in front of books
and practice. I just wanted to make music.
I heard lots of music in my head,
From when I was 3 years old.
I wanted to play right away,
and get out the music that I heard...
so, that's why jazz attracted me,
you know, as opposed to being a classical
Musician. A lot of my early years: were jam
sessions, playing records, getting together
with guys older than me,
in the neighborhood and jamming.
Basically, everything that I learned was
on the Bandstand.
 
OL:
The undeniable influence of coming from
a Musical Family...respectively your Father,
Frank Zottola,
the consummate Musician,
Conductor and Arranger for many of the
Jazz giants... and without a doubt,
your brother, the great Bob Zottola on
Trumpet/Flugelhorn. As a young lad,
what made You choose to first play the
trumpet and that it would become such a
natural evolution for You, being a part of
the Musical Family Zottola Dynasty?

Glenn Zottola:
Let me just add one more thing to my last
question, just to give you a real graphic
idea...my Mother would sit me on her knee,
and she would play the piano and sing
the tunes. I learned like 500 standards,
by ear, like that.
Trumpets...
they were all over the house,
because my Brother being 10 years older,
and with my Dad; the trumpets were
hanging on hooks, all around the house.
I mean when I went to school,
I thought that everybody
played the trumpet.  
I didn't know that...
so it was kind of natural. 
I heard trumpets since I was in the crib;
as I say, it's kind of a natural evolution.
 They were right there.
My Dad was my first Teacher,
so I gravitated to it. Plus, the trumpet
matched my personality.
I have a pretty strong personality,
and I don't have to tell anyone,
that the trumpet is pretty powerful.

OL:
Yes, indeed it is, Glenn.
You play it so beautifully
and with such excitement.
It's just terrific... the way that You play.
We love your style!

Glenn Zottola:
Thank you.

OL:

We know Glenn, that in your expanding
Professional Career, travels have taken
You to many musical corners of the earth.
Speaking of expanding... You also play both
the alto and tenor sax, in addition to
mastering your first instrument,
the trumpet.
How do You feel each of these instruments
affects your exciting and versatile
playing style?

Glenn Zottola:

Well, luckily no one told me that I wasn't
suppose to do that, because there are very
different embouchures.
Last time I checked,
there was like three of us that did that;
Benny Carter, Ira Sullivan
and Myself.
So, no one told me 'hey, what are You
doing?'
...but, when I was a teenager,
I was listening to records:
for example, Clifford Brown
was a big influence
 and Louis Armstrong before that.
Also, I always did love
Saxophone players,
like Sonny Rollins,
early John Coltrane.
I loved the instrument,
and the reason I loved
the instrument; that's true in what you're
saying, it did have a different mood to it,
and that's what I take from it.
On the Saxophone, I can express a different
side that cannot be done on the trumpet.
The saxophone is a real romantic
instrument...
so when I was a teenager, I wrote to the
instrument company,
because I was endorsing instruments as a
Trumpet Player, since I was
thirteen. I said to them You think You
could send me a Saxophone?
...and he sent me a Saxophone.
That's how it started.
It only took one lesson;
just where to put my fingers.
Only one, and I taught myself the rest.

OL:
And it was just so natural from there on?

Glenn Zottola:
Well, I transferred over everything.
I was already a Trumpet Player;
so I transferred everything musically,
that I knew from the trumpet, over to the Saxophone. It was natural.
I was pretty much
kind of a natural on the trumpet, also...
so, I never really had problem with
that kind of stuff. I think that if I'm going
 to tell any kids, or help them; if people encourage you,
and they don't stop you, or put up barriers,
you can do amazing things.
That's the whole thing with Jazz Education, its just to open the runway, so the person
can do some exploring, and not feel
hindered.

OL:
How very true, Glenn...
Speaking of exploring, what was it like to
perform at the Atlantic City Jazz Festival,
on a seat in your High School Band, with
Russ Martino,
Conducting? As a teenager,
it must have been awe-inspiring to perform
 on the same bill as some of the greats,
like... Dinah Washington,
Gerry Mulligan, Oscar Peterson Trio,
 Art Blakey,
and Wayne Shorter,
to name a few...
Tell us about that experience?
 
Glenn Zottola:
I grew up. Let's say, for lack of a better
word, kind of like a child prodigy.
My Parents were not Stage-Parents,
they wanted me to
be a normal kid. For example, when
Maynard Ferguson
heard me play on the
Ted Mack Show,
he wanted to take me on
the road as his protege... and my Dad gladly
turned him down.
He knew Maynard. He said,
"You know, that you've got plenty of time."
I had a boat, I enjoyed trying to be a regular
kid, but I wasn't a total regular kid,
so-to-speak, because of the music.
People were listening to Elvis Presley,
I was listen to Charlie Parker. I mostly hung
out with older people, but these
experiences... like my Parents had a Jazz
Club,The Atlantic City Jazz Festival.
It's like yesterday, when I think about it.
I'm in the wings, waiting to go on;
literally watching Dinah Washington,
sitting on a stool, singing her hit
of the day, which is
"What A Difference A Day Makes..."
and I'm mesmerized, by watching this amazing Lady sing, and waiting to go on,
myself. Then, at the same time,
Gerry Mulligan's
back stage, having a
tantrum over something.
Oscar
Peterson's there, and I'm hanging out
back stage with these Legends.
It was both educational,
and like a wild experience for me at thirteen.

OL:
Just to see how life is back stage, that's a
part of performing, wouldn't You say?

Glenn Zottola:
Also, I'm a Jazz Musician that absolutely
loves Singers. Some guys, today, don't.
The old days, they did...
But today, you know
Jazz Musicians are into instrumental music,
but I was mesmerized by Dinah.
I think I was more attracted
listening to her, than anybody.
As I mentioned, I grew up around a
lot of opera, and basically my approach
to playing, is a very vocal approach,
and lyrical, in a sense that...
if I'm playing a ballad,
I would always want to emulate,
Sinatra,
or Dinah Washington,
and Billie Holiday.
I have a lot of vocal approach ingrained
in my playing. I mean, in the old days,
the horn players like Lester Young;
these guys did lyrics to songs,
so when they play the music,
they even knew the lyrics.

OL:
In some Jazz Clubs where there are Singers
performing; a lot of Musicians do play very
lyrically, when intertwining with the
Singer's performance.

Glenn Zottola:
Absolutely! It's actually a lost art.
I've played extensively with Sinatra,
Mel Torme, Peggy Lee, Ella Fitzgerald,
and Joe Williams.
I've played behind these
people, and it's an art form that
I just love to do...
it's just kind of not getting in their way,
but adding to it.

OL:
Right... enhancing the performance.
As a teenager, Glenn, tell us about the
Family's "Someplace Else" Jazz Club in
New York,
and what it meant to You,
as a young Musician,
being in the company of
your brother Bandleader Bob Zottola,
performing with more top Musicians such as,
Tommy Flanagan, Ray Bryant,
Horace Parlan,
Bobby Timmons,
Booker Erwin, Bobby Jasper,

& many others?

Glenn Zottola:

That was a tremendous spawning ground for
me. For all the same era as The Ted Mack
Show.
I was 13 around that time. I didn't
realize how amazing that was, because
I hadn't really gotten into the professional
scene, yet. I mean, You talk about guys like
Tommy Flanagan,
You sit in every week,
with someone like that; I thought that was
the norm for piano players, you know what
I mean? And then, I learned something
different later, obviously. As you get out
gigging, not everybody is Tommy Flanagan.
The main thing about that experience,
besides the music; was the fact that all of
those guys, took me under their wing,
and they treated me so amazing! They saw
some talent and they were just so
encouraging. That was amazing for me.

OL:

What a wonderful launch into the gig world!
What was your very first solo performance,
and what selection did You perform?

Glenn Zottola:

It's kind of a funny story.
I'm in the 2nd grade in Grammar School,
where they get the whole School together;
where one event, I was to do this solo with
my Mom accompanying me on piano...
and it was this song called,
"Red, Red Robin,"
and I get to the bridge,
to the middle, and I go blank.
I was kind of scared you know, 2nd grader,
I was 6 or 7. I was kind of scared in front of
the whole School like that, right?...
and I ran off stage,
crying because I forgot the middle.
My Mom comes over and said, "Listen Son,
I understand that this is a big deal,
but I know that You can do this."
She just
gave me this pep talk.
I went back on,
and it all came back to me.
I finished the tune to a standing ovation.
 I never faltered, since.

OL:
Wow... that must have been quite an
experience... and you got a standing ovation!

Glenn Zottola:
That shows that encouragement early on,
can make a difference.

OL:
That shows a testament to strength of your
Family encouragement and your talent.
When You combine the two of those,
You get a standing ovation!

Glenn Zottola:
Yeah, you know, it was great, and I never
looked back. Can you imagine if I had ended
on a loss and had gone home like,
Oh my God, I screwed up...
I might have never continued, who knows?

OL:
Well, give yourself a break, Glenn.
You were seven years old...

Glenn Zottola:
You're right! (laughing)

OL:

Being around your Dad, and watching him
work, both as a Musician and Arranger.
You also got to learn from your Dad about
how an instrument works on the technical
side. He also extended his talents in the
manufacturing production of instrument
mouthpieces.
This must have given You a true
and direct understanding of both the
production and performing aspect of the
Music Business. What a huge world for a
young man, as yourself, Glenn. What would
be the most important thing that your Dad,
Frank,
has taught and stayed with You,
on your wonderful journey, starting out
as a Musician?

Glenn Zottola:

He was a master's, master craftsman.
This was a love for him. He had another
factory, making mouthpieces; tried to help
brass players,
 and it was a love for him to do that.
A lot of great players would come up to
the shop, and buy mouthpieces, you know...
but I learned, and he kind of taught me how
to use all of the machines. I became pretty
good at it. I think it's an advantage for
anything... like, if you're going to learn how
to drive a car, it helps you, if you know how
the car works, right?. It's fine while you're
driving, and then something happens,
and you panic. If you know how to change a
tire, it's a good thing... so learning about
mouthpieces and trumpets, and how they
work... I think that understanding
helps you,
as a player, too. You don't have to,
but it's a good thing.

OL:
What would be the most important thing
that your Dad has taught and stayed
with You, on your wonderful journey,
starting out as a Musician?

Glenn Zottola:
Well, my Dad, you know, was a great lead
Trumpet Player,
he was a great classical guy,
and he played jazz,
like Louis Armstrong, and
he was the first one to introduce me
to Louie
through records... and he gave me a few
pieces of advice, that were very simple.
I've got to be honest; they have
carried me throughout my whole career,
 all the way from playing with
Benny Goodman,
all the way through
Chick Corea.
Basically, one of the things he
said... when he saw that I really wasn't
really the kind of guy that liked to
play with books,
and I'd rather play with records...
he had all of Louie's records.
He said, "Listen, regarding Jazz, Song,
just embellish the melody like
Louie."
So that's what I started to do. I started to
take the melody, and take little
embellishments with the melody.
That advice...
even when I got up to be much
more advanced; like let's say
Charlie Parker
and Be-bop, people don't
realize when I equate Charlie Parker to
Louie... Charlie Parker
is a very melodic
player, and he's embellishing the melody,
much more sophisticated, but is still
embellishing the melody like Louie did...
so that's one piece of advice, that really
carried me all the way, because I'm an ear
player... so I just use that ability of taking a
song, and embellishing the melody, creating
my own themes with the melody. If you talk
about Mozart, you have the themes and
variations... so that's what jazz is all about.
 It's variations and improvisations.

OL:

With your Dad's well loved arrangements for
the Claude Thornhill Band, where he
arranged with Gil Evans; arranging on
"Autumn Nocturne..."
as a Musician Glenn,
what did You learn from listening to your
Dad's recording arrangements and what
would be your favorite of his recordings?

Glenn Zottola:

Claude Thornhill Band,

was an interesting Band. It was a very
advanced Band, for its day...
and of course Gil Evans,
who did all of Miles Davis' historic
albums, was an Arranger with my Dad,
on that Band. My Dad's arrangements were
pretty simple, they were not very notey,
but again, they were very lyrical. If I could
have a complaint about some of the
Jazz today; I miss sometimes,
more lyricism.
There's a lot of technical virtuosity going on,
a lot of notes, but I love lyrical music.
I pretty much come from what I would call,
'the golden age of Jazz'...
which is 1920, starting with
Louis Armstrong,
and ending in 1950,
with Charlie Parker... and then Miles and
people like that, beyond that. That golden
age of Jazz; not only did it swing,
and have a great groove,
it was very melodic and lyrical.

OL:
That goes back to what You were saying
earlier, about when You perform, You also
listen to Singers... you like to shape the
melody when you're performing
with Singers...?

Glenn Zottola:
Absolutely... phrasing is everything.
If you hear a great Singer, and you say,
Oh my God, listen at how natural their
phrasing is...
how they are making those lyrics
speak. Suzanne Somers told me that she
used to travel and she knew Frank Sinatra
very, very well. She lived right near him...
and on a plane, going to a gig, he would be
writing the lyrics out,
over and over, and over again;
on a piece of paper. His advice to her
was, "Make sure that You make these lyrics,
your own... so when You deliver that song,
it's like coming from You."

OL:
They should have a College Course, just on 
Frank Sinatra's
phrasing. It goes hand in
hand. Singers listen to Musicians,
just as much. It's definitely give and take?

Glenn Zottola:
Absolutely!
Frank
grew up in the Big Band era,
so he was listening to all of the
 Musicians playing.
I'm sure that he got a lot of that from
hearing Musicians. Oh, the other piece of
advice that I want to impart,
which is kind of cute, but my Dad said, "Listen Son, if you're
going to play the trumpet, just realize
something...
You have to be cocky. Not arrogant,
but You have to be cocky."
(laughing)
There was a time when I used
that advice, even with Benny Goodman.
 
I'm pretty strong on the Bandstand, in the
sense, and not arrogant, but just the fact
that he said, "Realize that you're playing
the Trumpet; it's a lead instrument,
you're leading a section,
or in a small group,
you have a powerful lead instrument,
so you've got to be cocky, know what you're
doing and play affirmative."
That's the other thing that I carried
with me, from my Dad.

OL:
Well, that's definitely part of your signature
sound... listening to your music here at OL,
it really does comes through.

Glenn Zottola:
Thank you.

OL:

As we look forward to traveling with You
Glenn,
throughout this
OL Weekly Interview
,
on many of your sensational recordings,
first let's talk about how
You pick and choose
the material that You wish to record,
as it relates to your Solo Albums?

Glenn Zottola:

Well, it's interesting, because yes like on all
my albums that I've done, in my own name;
I have chosen all of the material.
They mostly have been standards.
I'm not a songwriter...
so I'm sure that people who are
songwriters say that's a different scene, because they're
choosing their own material.
For me, I had this tremendous repertoire
of standards, because as had I mentioned;
my Mom taught me 500. I never learned a
song from a piece of music... which is
unbelievable. I look back at that now...
a tune that I recorded in 1981
"Lush Life,"
which is not an easy tune.
I never saw that
music on a piece of paper. In fact,
Coltrane
had an album out called,
"Lush Life,"
and I remember I bought
that album, and I loved it...
and I listened to it like a couple of
times, and I had it...
I had the song down.
The best way that I can put it;
these songs are engraved in my soul.
They are not something that I learned
by memory, from a piece of music,
they are something that are
in there, so deep, whether it be
Billy Strayhorn, Rodgers & Hart,

Cole Porter,
or Jerome Kern...
they are really in my soul...

OL:
It's just a part of your DNA, right?

Glenn Zottola:
Yeah... they're part of my DNA,
and that's how I pick the material;
pretty much on how I feel,
at the moment. What do I feel like
expressing; what song will do that
for me?

OL:

That's wonderful, who are some of your
favorite Jazz Artists that You grew up
listening to?

Glenn Zottola:

Okay well, first was Louis Armstrong.
He's my foundation...
and he is the Father of Jazz...
and then I was into the the hot
Trumpet players for a while,
like Maynard; you know,
I was very much into Maynard,
and then Dizzy...
but my next influence that
changed my musical life,
was Clifford Brown.

OL:
Yes, we lost Clifford at an early age.
He was only in his twenties?

Glenn Zottola:
He died tragically in a car accident.
He did some classic recordings with
Dinah Washington.
I remember when I had
his records, when I was a kid,
and he had a warmth in his sound,
that's what he's known
for, along with his tremendous
technique;
but he had a beauty and a warmth
that I think that was part of who
he was.
He wasn't a druggie,
he was a Family Man, clean cut
guy. In fact, a lot of people know that,
but he was kind of changing the way
people view Jazz Musicians,
because he was a very clean guy,
you know?... and a lot before him,
unfortunately had big time problems...
so to me, when I was a kid,
that all came through the music.

OL:
Interesting.
In general, would you say Glenn,
that music comes through
(pretty much what You just
said); how a person lives, that You can
understand them through music?

Glenn Zottola:
Absolutely...
I want to say something about
the Jazz Musicians, because nobody
had more problems than let's say,
Billie Holiday,
or Charlie Parker.
The thing that I loved
about those guys of that era,
that I can't say as much for,
I mean I don't know...
I might be wrong in saying this
maybe for the rock 'n' roll cats...
when they went on the
Bandstand, in spite of all of the
personal problems they had...
music was always first.
Charlie Parker
himself, said,
"Listen, it's not the drugs,
it's me."
He even acknowledged
that he would probably be better
without the drugs...
so they weren't like dramatizing
a lifestyle. They had problems for sure,
but those cats;
and I grew up with a lot of them,
music was always first,
before everything.
In jazz, you're naked up there,
you really are naked.

OL:
Well, you're bearing a part of your
soul... something's that deep
within You. We know that when You play
that piece, Glenn,
it's part of You, like You said...
it comes from You.
You take it and You really
make it your own... and so that's why,
the recordings that You have,
are just so special and so timeless.

Glenn Zottola:
Thank you so much.
I really appreciate that,
especially coming from
Oceanlight Records.

OL:
Thank you, Glenn.
It's an honor to Interview You.

Glenn Zottola:

 I want to say something to everybody,
because the Artist is so important.
I mean like, I can't imagine...
(like the world is not
in good shape, already)...
but without art,
it would be ridiculous, you know?...
Like look what the renaissance did
for the dark ages.

OL:
For sure.

Glenn Zottola:
So, you have these guys through history
that you know. Some have been in
decent shape, and then some like
Van Gogh,
or Mozart...
he wrote all of this beautiful music,
or Charlie Parker...The Artist is out there,
in spite of everything,
whether it be personal problems, or the resistance they have to the
art. They're still doing it.
I'm 66 years old, now...
and I've had a great run,
that I wouldn't trade for anything.

OL:
You mean that you're 66 years young.

Glenn Zottola:
Thank you.
I just think that it's so important for
people to continue to create.
I talk to Chick Corea about this
all of the time... and Chick is 72,
and he's at the top of his game...
and he said, "Glenn, this is what we do.
We are there to make people feel good,
man."
You know, he's out there
cranking it on the road,
50 weeks a year...
and I commend all Artists
that are doing that.

OL:
And like You, Chick
 has been doing that all of his life.

Glenn Zottola:
All of his life. He's got 20 Grammys,
and 44 Grammy nominations...
and he's has never sold out.
He had 44 nominations as a
Jazz Musician, oh my God!

OL:
He stayed true to his sound.

Glenn Zottola:
Yes!
So, we all are out there, you know...
including Oceanlight Records

OL:
Thank you, Glenn.
It's a pleasure to be in
your company, and to ask You to share
with all of our OL Viewers,
of your journey that
continues on, to this day.

Glenn Zottola:
What a beautiful service, of what
OL
is representing to give people
exposure to these Artists...
You get the inside, that they might
not get otherwise.
It's a fantastic service!

OL:

We Thank You for sharing
your experiences
with many up and coming Musicians,
who would love to know what it's like out
there, to be a Musician for a lifetime.


Glenn Zottola:
Right! They can always go to my website:
www.glennzottola.com
There's a lot of stuff on there.
TV, Video, Albums and everything!

OL:
Thank you. We'll certainly post the link,
Glenn!
For our OL Visitors and all
world-class Jazz lovers,
your own sound Glenn, has surely
been heard far and wide.
Tell us about your first 'road gig'
with the famed Glenn Miller Orchestra.
Who does their first gig on the road
at on 17 year of age, we ask?
None other than Glenn Zottola...
but we'll let You tell us about that,
Glenn...


Glenn Zottola:

You know, I've got to be honest with you.
Someone asked me about that recently,
and I didn't really enjoy it too much.
I did a little bit,
because I was playing with
some of the original guys. It was the first
time that I was on the road and you're
traveling in a bus, and they do these things
called hit and run. When you do a gig,
and they don't even check into a hotel,
you get in the bus and sleep overnight,
and go to the next gig. I was a very
Family guy, you know,
used to having my own room in my house,
and my boat, and my car...
living that kind of lifestyle... and I left,
after a short time. I said...
you know, this is just not for me.
I went from that Band, right into
Lionel Hampton...
the same thing.
You know, I've got to be honest.
I've never really, really enjoyed being
on the road,
except when I went on the road with
my own Band. But sitting in a Band,
or Trumpet section,
as glorious as that was...
I was always groomed to be a soloist
to be in front of a Band.

OL:
Each experience has its place.

Glenn Zottola:
Yeah, some guys are rug-rats.
I mean they do that their whole lives,
 and they love it. That's great, wow!
 It just was not my favorite thing.

OL:
Well, thank you for your honesty.
That's what Musicians today,
need to know.
Every experience means something.

Glenn Zottola:
When I got the TV Show,
I thought that I had
died and gone to heaven.
I had this huge office, right next to
Steven Spielberg,
at Universal Studios.
I had my own golf cart
to go to the gate, to the Studio,
to tape the show.
I had my own wardrobe person,
my own make-up person.
I have a runner... say I need
a box of reeds, and he gets it for me.
I said I died and went to heaven.

OL:
Now that's what You call a real tour,
right?

Glenn Zottola:
Ten minutes from my house...
so after being
a Jazz Musician my whole life,
to get into that environment,
 was oh my God,
I can't believe this.

OL:
That's wonderful, what a great story!

Glenn Zottola:
With Suzanne, instead of staying
in third rate Hotels,
I learned by limo and private Jet.

OL:
We look forward to talking about
your stay on the
Suzanne Somers show.

Glenn Zottola:
You know, I've got a lot to say
about that, being a Jazz Musician,
in that environment.
Let me end it off, saying this:
You use everything, and I did. You know,
I've done everything in my Career... Broadway, all kinds of stuff;
Big Band music and Jazz,
and I used every bit of it on that gig,
as being Bandleader on
Network Television.
Great questions, too.
I totally enjoyed it!

OL:

Thank you Glenn.
We look forward tomorrow
in Part 2 of this 7 part Oceanliner Notes
Weekly Series,

as we begin to travel through
Jazz Trumpeter Great...Glenn Zottola's

most celebrated Solo recordings,
including his many recordings,
with the many world-premier Artists.
The best of the best.
Thank you very much Glenn,
for coming on as our Special Guest Artist.
Glenn,
is there any music commentary
you'd like to share with the OL viewers,
as we conclude this Interview
1 of 7 segment?

Glenn Zottola:
What do you mean by, music commentary?

OL:
We've asked You the questions.
Now, it's anything that You'd like to share,
as far as your Career,
with our OL Viewers.

Glenn Zottola:
I don't know who your listeners,
or who your public viewers are.
I'm sure it ranges from a
lot of great people and Musicians.

OL:
We have a lot of up and coming Musicians
that read the OL Interviews.

Glenn Zottola:

I'd like to tell all Artists,
from Student on up;
is just to keep on going. It's not an easy
route; because of the Society we live in,
unfortunately. Someone at a store,
one day, who I got friendly with:
the Manager at a store,
I think it was at Bed, Bath & Beyond...
and she looked tired all of the time,
and I said, what's going on? She said,
"Well, I have two kids,
and I've been here, thirteen years."
I could see that she was not
having any fun. I said,
You're not having fun,
right? She said, "Absolutely not..."
and I looked at her and I said, You know,
I understand. I've been very fortunate my
whole life, because in spite of any of the
problems connected with it;
every time I got on stage,
I had a lot of fun. I love what I do...
so what I want to say to any Musician,
or any Artist...
Student on up: there may be
tough roads, or you maybe even make as
much money as other professions,
but very few Professionals can say that
they love what they're doing.
If you listen to any Steve Jobs
or Bill Gates, or any of these guys;
always their advice, is 'do what you love'.
I think that's the best thing that Artists
have to realize, that what they're doing...
not only is it valuable,
but you can really love it,
 each step of the way,
and that's worth a lot!

OL:

Wonderful, wonderful!
Thank you Glenn. We'll see you tomorrow!
And thank you all for visiting
OL Oceanliner Notes Weekly!


OL:
Welcome Back, Glenn.
We are certainly enjoying
our time spent with You, this week,
this being Part 2 of our 7 day Interview for OL's Oceanliner Notes Weekly Series. Thank you once again.

Glenn Zottola:
Thank you, OL!

OL:
For our OL Readers,
Jazz Trumpeter/Saxophonist Musician
Great...Glenn Zottola
will be sharing with
all of us, his most celebrated
Solo recordings, including his many
recordings, with the many world-premier
Artists.

OL:
Glenn,
your wonderful recording sessions
with music giants like Benny Goodman,
Lionel Hampton, Frank Sinatra,
Peggy Lee, Ella Fitzgerald, Mel Torme,
Gerry Mulligan, Milt Hinton,
and Zoot Sims, are legendary. Let's start
off with your recording with one of the most celebrated Jazz Artists in the world,
none other than
20-Time Grammy-Winning Jazz Legend,
Pianist and Composer...
Mr. Chick Corea!
Tell us about your
timeless recording with
the one and only  Chick Corea,
on the George Gershwin /
Ira Gershwin
classic,
 "But Not For Me,"
and how it came about?

Glenn Zottola:
Well, you know, Chick is my best friend.
He's a very colorful guy...
but I told him, that I felt
that he was not only the greatest living Jazz Artist,
but I felt that he's one of the greatest Artists on the planet, today.
He's 72 years old. He has
decades of amazing, amazing stuff.
We got to be very close friends.
We hang out a lot together,
and we jam together.
I got a call one night.
I was going to bed and I was tired.
He said, "Hey, what are you doing?"
I said, I'm going to bed, I'm tired.
He said, "Well, why don't you grab
your horn and come on over?"
I was reluctant,
because I truly was tired,
but you know, getting a call from
Chick Corea,
is like getting a call from
Mozart.
You don't really want to say 'no',
you know?...
so I grab my horns, and I go over to his
house. He happened to be rehearsing his Trio for a tour.
Some players I've never met before.
I walked in, and he said,
"What do you want to play?"
I said Well, why don't we do
'But Not For Me'?...
kind of like the Miles' arrangement,
which is kind of a classic
arrangement. That arrangement has little
interludes between each solo.
He said, "Sure!"...
so he sat down, and that's it.
He just started an
intro. There was no rehearsal, nothing.
One take. I laid down that track...
and then we hit one more
tune, which is not on my new album.
We did Miles' tune "Walkin' "
 Then I said, great, I'm going back
to bed! I went back home
and went to bed, and the
next day, he hands me this tape.
It's a real testament to him,
but it's a testament to Jazz,
how you can get together with a
bunch of guys that you've never met before. One take, and it just
happens... and I'm very proud of that track,
because it just all felt right. A lot of it,
has to do with Chick. Not only is he a
great player, but he a
great accompanist, oh my God.
He just gives you so much space.
That's true with any great player.
They always bring you up...
up to a higher level.
In fact, I've had people tell me that,
 "My God, I love playing in your Band.
I feel like I play better than ever."
Good players do that to each other.

OL:
Right, they bring each other up to
a higher place?

Glenn Zottola:
Absolutely. Unfortunately, there's not
enough places for guys to play anymore,
like it was when I was growing up...
where I'd go to Clubs and sit in with
Legends, you know what I mean?...
that were playing in those places,
and to be next to greatness.
I'm not a trained player, I play by ear.
It's all learned on the Bandstand,
playing next to Legends.

OL:
Wow Glenn, that's wonderful.
We didn't realize, after listening to
'But Not For Me',
that this was a
one-take recording. Incredible!

Glenn Zottola:
One take. No rehearsal. Never met the
guys, before. People hear it,
and they don't realize that,
that's what is actually happening.
It is amazing, and that's the
amazing thing about Jazz.
Sometime when it goes down that way,
it's even better. I know Stan Getz didn't
like to over-rehearse. A lot of guys don't
like to over-rehearse.
You want spontaneity, you know.

OL:
In your 'live' recordings with Mr. Corea
and his Trio, on this song
and also on the song, "Walkin',"
what was your first thought in how you
wanted to approach any type of particular
recording style, especially on the recording
of "But Not For Me,"
the Miles Davis arrangement?

Glenn Zottola:
Well, like I said... when I said to Chick;
that kind of laid it down, when I said to
him, listen, to the Miles' arrangement.
It's better than a rehearsal.
It kind of gives you a guideline of
where you want to go... what kind of
pocket that you want to put it in.
Luckily, the guys were so good.
As you know, Chick plays a lot of modern
music. With those cats, that he had in the
Band, at that time... plus Chick himself;
he has great roots. Those guys were able
to just fall right into that groove that
I wanted.

OL:
Tell us about the Musicians that were on
Mr. Corea's Trio,
and what it was like
working with them?

Glenn Zottola:
Well, there's a guy... he's actually Israeli,
and I was following his Career recently,
because he's out on his own now.
He does a lot of stuff in Europe,
with String Quartets and Symphony
Orchestras. His name is Avishai Cohen.
Anybody listening, can Google him.
At the time, when he was playing with
Chick,
he was a real straight ahead
Jazz Bass Player, and he still is, I'm sure;
but now he's doing his own music,
playing with String Quartets. Some of his
music sounds to me, for lack of better
words, very Mediterranean, now. He's into
a lot of grooves that are from his culture,
and everything like that. The Drummer is a
really good Drummer from New York,
Adam Cruz.
I have a lot of stuff with
Chick playing
drums...Avishai and me and
Chick
on drums. I have stuff with me and
Chick
; Chick playing the marimba.

OL:
Is it something you are looking to release?

Glenn Zottola:
I would love to, if he's cool on it. I sent him
some new tracks. Man, "That sounds
great." He like it. I thought it would be
interesting for people hearing him play
the marimba.

OL:
Wow, that would be interesting.
He's a Piano Man, so to hear him on
another instrument;
that's just another dimension.

Glenn:
 You know, I got to say something about
Chick. Chick
has been around a long time,
but he's not resting on his laurels, or faded
in any way. Being with him, is like being
with Mozart. He'll play me some chords
and stuff and he's so excited about music,
still. A hundred albums, 20 Grammy's,
44 nominations tied with guys who aren't
even in Jazz... but still fresh. In fact,
as far as I know, I think that he's doing an
album with John Mayer, right now.
John Mayer
came into his dressing room
I believe, and said, "We should do
something, together."
He does this stuff
with Gary Burton all of the time.
You know like when he was at the
Blue Note,
who can stay in the Blue Note,
for like eight weeks straight? Nobody.
He did a different Band every week.
Basically, what I'm saying; besides being a
great person, he's so fresh, still.

OL:
Working and recording with Chick Corea,
must have been like no other jam session.
Glenn,
listening to this spectacular gem of
a recording, we surely know the great and
spirited sound that You yourself, brought to
the already special Chick Corea
session...so can you share with us,
what was the one special memory that you
took away from playing on this session?

Glenn Zottola:
That it was perfect, for lack of better
words. I mean, it's not always that way.
In Jazz, a lot, it is that way, but this was
perfect... and the way the Band was
playing behind me, and with me;
I mean it just felt right. Everybody was in
communication, and I'm sure that it helped
that Chick was rehearsing all day long.
Everybody was like, there, before I got
there; so there was no effort.
Absolutely zero effort.

OL:
It just flowed out, so easily?

Glenn Zottola:
It just flowed out, for sure.

OL:
That's a terrific moment recording with
the great Chick Corea and his Trio,
Glenn...
and thanks for giving us
an inside look at some of your most
prized recording sessions.
Okay, now let's visit your special
Frank Sinatra
recording sessions...
Ol' Blue Eyes himself,
who was more than a Legend...
he had the world in his voice.
What was this great big world like Glenn,
playing on the Sinatra recording sessions?

Glenn Zottola:
Well, it wasn't a Recording Session,
actually it was Television. It was the
Mary Tyler Moore Juvenile Diabetes
Telethon,
in L.A. We got a call.
I was partners with Bobby Rosengarden,
a great Drummer, and we had an Orchestra
together. We got a call to go out there,
because we were already doing the
Jerry Lewis Telethon.
Bobby was the
Drummer on the "Tonight Show,"
all of the years it was in New York...
so, he called Doc. Said, "Doc, I'm in L.A.,
doing this Telethon, I need a Band,
can I borrow your Band." Doc said, "Sure."
So he basically gave us The Tonight Show
Band.
You can't beat that. We had a lot of
acts on that show and Frank was one of
them. What I can tell you about that night,
was playing Frank's charts, that I knew so
well; like, "I've Got You Under My Skin,"
"I've Got The World On A String,"...
I heard those charts so much. It was like
someone else was holding my Trumpet for
me; Nelson Riddle's charts and all of that.
Nelson Riddle
had the best arrangements
in the world. The music was playing me.
It was an amazing thing, especially with
a great Band, like The Tonight Show,
it wasn't a pick-up Band. It was a thrill,
and it was a thrill being on stage with
Frank
. I've  been thinking about doing
a project. I never really thought about
it much. I would like to say this now;
if someone is listening.
You know I always had a vocal approach
to playing through my horn, since I was
very, very young. The concept of singing
through the horn is very natural to me.
That's why I am very confortable around
singers...
Mel Torme, Tony Bennett, Peggy Lee...

and I never collide with them because my
approach on the horn is a vocal approach.
I never thought about this...I've been
listening to a lot of Sinatra,
lately and he was amazing. That's why he
was the 'Chairman of the Board'.
He admits it himself, working in the
Tommy Dorsey Band.
He was listening
and watching some of those great horn
players, how they used breath control.
Tommy Dorsey
was a master at breath
control. I think that he got into that
before any Singer before him,
and he took that away with him,
as a foundation. Not only does he swing,
but just his whole phrasing and his breath
control, and the power he has,
it's amazing. What I'd like to impart to
horn players today, regardless of what
music you want to play; I just feel if
there's more of a vocal approach in
players playing, Jazz players...
the music would communicate more,
and have more emotion. I feel that it can
get a little mechanical, these days.
These guys, they are all virtuosos;
nobody is putting anyone down.
The modern music doesn't really demand
someone...The older music demands that
you kind of sing through the horn.
I'm realizing this now. I am going to try do
something along the line that will try
to get this vocal approach across,
because it's something that I'm strong in.
I was reading some interviews, that Miles
would hang out at Jilly's Club,
with Sinatra, and he talked a lot about
Sinatra
and Sinatra's phrasing. Miles Davis
of all people. Miles was a very lyrical guy.
My experience with Frank was definitely
a high point in my Career.

OL:
Bravo
Glenn!
Yes, Frank Sinatra allowed the
arrangements to come through.
He wasn't intimidated by the arrangement.

Glenn Zottola:
Absolutely!
He let the music breathe.
I love that fact that people, obviously got
that. No one has really been able to top
Frank.

OL:
Chairman of the Board!

Glenn Zottola:
Absolutely!
But the thing I want to get across that he
had a way...Suzanne Somers told me that
she was a very good friend of Frank's. When he
went to gig, he would sit on a plane and he
would be writing up the lyrics to a song
over and over and over again. She said,
"I asked him, 'he said make those lyrics
your own so you will never take them back."
He really delivered the lyric,
but I want to say, he had that foundation
(breath control and phrasing).

OL:
Okay...
on the many sessions that You have worked
on; in general, do Producers prep Musicians
before-hand as to whether the session will
be an overdub session or a 'live' session;
and with your extraordinary versatility on
playing the Trumpet, Alto and Tenor Saxes,
Glenn,
do You bring all three of your
instruments to your recording sessions?

Glenn Zottola:
Well, yes and no.
For my own albums, I do. Tenor Sax
 is a new instrument for me, but I always
brought my Alto and my Trumpet to my own
recording sessions. For other people's
records; not so, I would just play
sometimes, Trumpet, because they already
had Saxophone Players, and stuff like that.
There was one album that I did which...
I didn't know, I had the guts to do that,
because I was just getting into Tenor.
This was a tribute to Count Basie,
with a lot of the Count Basie guys.
I brought my Tenor, and just put it on
the side. You know Frank West was on
saxophone and Freddy Green the bass
fiddle; I got inspired, and I'm sitting in the
Trumpet area, and I pulled out my Tenor,
and luckily I had a Producer that wanted
me to fool around like that. I recorded my
first recording on that album on Tenor,
from the Trumpet section. which is unheard
of, and I got so inspired... so yeah,
if it's someone else's album, I would be
playing on trumpet, but sometimes they
would ask me to bring the Alto. As far as
overdubs, I've done some on my recent
sessions, but all my 50 albums, all my old
records, never any overdubs.

OL:
Do You prefer 'live' sessions to overdubs?

Glenn Zottola:
Well of course. Although it's a funny thing;
at one point, I really wanted to do an
overdub. Most Jazz Players don't do that.
I remember doing lots of them in the pop
world, in the 60's and 70's. But I wanted to
do the overdub thing, and that's why I'm
doing that, now. I remember asking Chick,
and he said to me "Why do you want to do
that, Jazz is all about interaction."
He was right about that. I said, I want to
overdub. I asked him to write me a track
and he did. So, it's not a normal thing.
Usually Jazz Players don't do that.

OL:
The gifted Vocal Jazz Legend Peggy Lee...
of Stage & Screen can no doubt be one of
the most shining moments in your
illustrious Career, Glenn. You are featured
on Peggy Lee's beautiful samba-styled
Harold Arlen
song, "Love Held Lightly."
When You do your solo features,
what is most important to You as a
featured Artist, the entrance or exit
of your solo? Or is it just the whole feel
of the moment?

Glenn Zottola:
I never met Peggy before that session.
Of course, I knew who she was. I think that
was her last album of her Career.
She did the whole thing while she was in a
wheelchair. Her spirit was so great,
and she was so feisty. When she found out
that I worked with Benny Goodman,
oh man, she started telling me all of these
Benny Goodman
Stories, and we had a
ball. Working with a Legend like that,
it's like working with Sinatra, or Chick.
These are people that you read about and
hear about. Now, you're playing with them;
and they're loving it, they are loving what
you're doing, on top of it.

OL:
We understand that this recording session
with Peggy Lee was in the twilight years of
her extraordinary Career. You must have
really cherished this recording even more,
Glenn,
knowing this?

Glenn Zottola:
She had a Nurse there, at the session,
 but her spirit was bright, and she was
feisty and everything. Great Band and
Grady Tate
on Drums.

OL:
Glenn,
in this day and age, if it's not a
major Recording Studio booked for 'live'
Big Band, or Orchestral sessions, some of
the more economy-friendly Studios,
are becoming less in demand; as Musicians
can now record more independently,
with their own digital equipment.
In your view, what would be the pro's and
con's of this and can the two systems
co-exist, and still get a quality product?


Glenn Zottola:
There's a learning curve, to being your own
Engineer. It's not the best situation.
I've never recorded at Capitol, and would
love to record there. I've recorded at the
best Studios in the world, and I've recorded
at the best Studios in England, where the
Beatles
recorded "St. Pepper." There is an
advantage because you're not on the clock,
when you're recording in your own Studio.
Just relax, take a break whenever you
want, as many takes as you want.
The Jazz world is not like the Pop world,
where guys have unlimited time in the
Studio, to spend three months,
five months, or six months, doing an album.
All of the early albums that I did,
they all required that you do, 2 or 3 hour
sessions, because they had a budget...
so, the con is the fact that there's a
learning curve; and the equipment they get
to rent, is not cheap. Chick's microphones
are like $9,000 each. So not everybody can
afford that. I get a pretty good sound,
I think, that people have liked what I did.

OL:
Without question.

OL:
This next question Glenn, is a very unfair
question, but we'll just go for it. Which top
5 of the many recording sessions,
do You treasure the most?

Glenn Zottola:
The one with Chick, for sure.
Peggy Lee's
session.
Maxine Sullivan,
also.
Not because I didn't have as much to blow
on, as I did with my own albums,
but I'm a funny kind of guy.
I'm a head-liner, but I also love to
contribute, when I'm around Legends like
that. And I also love Singers...
so, those sessions were done really great.
They spent a lot of time on the mixing in
the studio. The quality level was really
high. Peggy's quality level was high,
the Band was great. There's a couple more.
 I like that session that I did...
 'My Secret Love' session.
That was a really nice session.

OL:
We're guessing that they all
had their own special unique moments?

Glenn Zottola:
They really do. Someone asked Miles on
an Interview, they want to know what was
his favorite. He couldn't even answer it.
I'm looking at my list here... a Jazz session
with Milt Hinton, that was extremely
special. Then Suzanne Somers, of course,
that would be a 'live' Concert Video.
The Steve Allen album...
I would say Steve Allen album was
 a very good album.
I've got to be honest, now that I'm looking
at all of this; I really didn't have any bad
experiences, recording. I loved them all.
I walked away with something really
special. They are all like a part of my
recording track, through the years.

OL:
As we will be highlighting even more of
these very recording sessions,
in this OL Weekly Interview with You,
Glenn...
for our up and coming Musicians,
who want to do session work, what goes
into prepping for a booked recording
session, and how important is it to be able
to sight-read, even when so many of the
great Musicians play instinctively by ear...

Glenn Zottola:
That's a really good question.
I pretty much improvise, by ear.
I'm a pretty good reader. I sit in the
Big Band, I did Broadway, I could read,
for sure... but as far as improvisation,
I don't know anything about chords,
or harmony. I play strictly by ear,
which a lot of the old cats, play that way. Lester Young... the first time I played with
 Zoot, he said, "I'm an ear player, too."
A lot of the older cats played that way.
They don't hear anything like harmony.
I don't even know what key I'm playing in.
It's all by ear. If you're going to do session
work... the guys that really do session
work, they're great Musicians;
but Jazz players that do session work...
you're not necessarily great readers.
They're great readers for what they're
doing, when they are doing a Jazz session.
All of those albums that I did; I walk into
the Studio, and there's charts there...
and very little rehearsal, or no rehearsal.
When I listened to them back,
I'm amazed that I was able
to play that stuff. I tell you why,
because I was using my ear,
a lot, because I love the music that
we were playing.
So, I didn't have to struggle
reading the charts.
They kind of were natural.
As opposed to when I did,
the Broadway show, "Evita."
It was really, really tough.
That music was changing
3/4, 5/4, 6/8,
every two bars, was a different time
change. I remember this funny story.
Bob
was playing 1st Trumpet,
I'm playing 2nd. Bob knows my ability, reading-wise,
my Brother, Bob. He's great,
like a Studio Player;
even played 1st Trumpet in
American Ballet...
so, he much more
schooled than me. I'm playing this stuff
perfectly. He turns to me,
in amazement,
and he says, "You're not reading this,
right? You're using radar."
I said (laughing), Yeah, you caught me.
Forget about trying to read that music,
it was impossible. I had to use my ears. You've got to use the strength
that you have, no?

OL:
Well Glenn, You've got great ears,
of course!

Glenn Zottola:
You've got to be to able read.
You don't have to be the best, or the
greatest, but you've got to be able
to read, if you're going to do
a variety of work.
You can't play in the Big Band,
if you don't read.

OL:
Thank you Glenn,
for that advice for our up
and coming Musicians! We look forward
tomorrow in Part 3 of this 7 part
Oceanliner Notes Weekly Series,

as we make a visit to the Television &
Stage aspect of your Performance Career...
from the Suzanne Somers Television Show
to Airchecks, to performing 'live', honoring
the great Benny Goodman, at
Carnegie Hall, NYC.
Thank you very much
Glenn,
for coming on as our Special Guest
Artist. Glenn, is there any music
commentary you'd like to share with the
OL viewers,
as we conclude this Interview
2 of 7 segment?

Glenn Zottola:
I think just the point that I made, with
Sinatra,
and the singing through your horn;
and trying to get that kind of emotion into
the music. I'm not being critical of
anybody, but I'm just saying that the music
today... sometimes, not with everybody,
but sometimes to me, it sounds a little
mechanical. I think if you're playing very
modern music, if one listens to Stravinsky,
or any classical music, it is very modern,
but you see that those players are playing
with a lot of emotion. I would advise
players to go back and listen to some great
Vocalists. Listen to Billie Holiday, listen to
Sinatra.
I think today, that Jazz Musicians
don't have the same rapport with Singers,
that Jazz Musicians had in the old days.
In the old days, a lot of Jazz Musicians,
knew the lyrics to tunes. Lester Young,
put with Billie Holiday.
There's a tremendous rapport between
Singers and Musicians. Today, it can be
mechanical, but just basically, I would like
to see players today really get that emotion
that you hear from a great Singer.

OL:
Thank you Glenn. We'll see you tomorrow!
And thank you all for visiting
OL's Oceanliner Notes Weekly!




OL:
Welcome once again, Glenn. This being
Part 3 of our 7 day Interview for
OL's Oceanliner Notes Weekly Series,
we'll go right into highlighting some of your
most renowned and magical TV Gigs and
Stage Performances... from the
"Suzanne Somers Television Show,"
The "Martin" Show,
to jamming with
Smooth Jazz Saxophonist Dave Koz,
and with no less excitement...
performing with living
Country Singer Legend Kenny Rogers
and Grammy Producer David Foster,
to performing, honoring the great
Benny Goodman,
at Carnegie Hall, NYC.
What a whirlwind of a Career, Glenn!

Glenn Zottola:
I have a lot to say!

OL:
Starting off with Universal Studios, in California... the celebrated
Suzanne Somers TV Show...
Visitors at your Official website,
can have the pleasure seeing some great
video footage of You performing with the
Band, at her Club Indigo 'live' show.
Suzanne Somers,
surely known for her
sparkling character that she played as
"Chrissy,"
on the famed long-running
TV Series, "Three's Company..."
What some may not have known,
is that she is a fantastic Singer and
Entertainer. On the video clip on your site,
she does a great rendition of
"I've Got The World On A String,"
as she features You on Trumpet solo.
Glenn,
You really pop on this set!
Then on the closing number, You provide a
nice warm and lush sound for Suzanne
on your Sax. Tell us more about the
wonderful moments of this show?

Glenn Zottola:
I have to say, that I've had a lot of high
points in my Career. Benny Goodman,
Chick Corea, Carnegie Hall.
They are real
high points, but Suzanne and the TV Show,
was definitely right up there,
with everything else. I grew up as a child
prodigy. I did a lot of TV when I was a kid.
After this world of music that I did,
traveling the world; I ended up back on TV,
with Suzanne, coming full circle.
At such a high level, I only wished that the
show would run as long as
The Tonight Show,
because I really, really enjoyed it.
I thought I had died and gone to heaven,
because here I am at Universal, as a Jazz
Musician, with a big office;
next to Steven Spielberg. Ten minutes from
my house. Doing eight shows a week,
for more money that I ever dreamed
possible in music. Every time
I got on stage, I was playing for tens of
millions of people,
which few Jazz Musicians
ever experience;
you know what I mean?

OL:
Yes, of course, sure!

Glenn Zottola:
I mean, not even Rock Musicians.
The biggest stage is not tens of millions.
It's an amazing experience.
It's hard to even explain.
Even I explained it to my friends,
like Chick Corea, or whatever;
what it felt like to be in that position...
after all of those years in music.
Then working with Suzanne,
who was so gracious,
and she loved me so much.
Let me say about her, you know,
that she's known as an Actress first,
but she has a tremendous love for Jazz
and Music. She used to go see
Carmen McRae.
She was good friends with
Sinatra
. I never had one musical
disagreement with her, in nine years.
Her instructions to me; she just told me
to do your Glenn thing.
She never told me one note to play.
I'd sit with her,
hand-in-glove. As her husband called it;
we had real simpatico. Her phrasing was
very natural, and I fitted in beautifully
with it. It was definitely chemistry, there.
It was definitely a very big high point.
There's a video on my website. One of the guys in the band, invited me to her
rehearsal. She didn't know me. I'm sitting
there, listening; it sounded pretty good.
I said, do you mind if I sit in? She tells the
story on stage, and she said like,
"Who is this guy?"
I pull out my horn,
and I say, what tunes do you know?
I'm like this crazy Jazz guy (laughing).
I said, do you know
'But Beautiful'? She said, "Yeah, I know
'
But Beautiful'."
 I started playing it with her,
and if you look at that clip on my video,
you'll see her melting on the show,
but she melted that day, at the rehearsal.
She literally melted in front of me.
When I got through the tune, she said,
"I want you as my Bandleader, now."
The chemistry and the love was instant.
It never changed from that moment, on.

OL:

That's wonderful...
the feeling that Lady Somers really enjoyed
working with You and with a shared mutual
respect for each other's talents, it really
shines through, Glenn... and rightfully so.
We understand that in all of your 9 years
of working with Suzanne Somers,
that she encouraged your featured solo
moments to be free-spirited,
and for You to just be the spectacular
Musician that You are.
Share with us Glenn,
the art of give and take,
when performing with and providing
instrumental fills for Singers?

Glenn Zottola:
Absolutely. Well, first of all, I think I helped
her fulfill a dream, because she always
wanted to sing standards and Jazz related
music, and I gave her that platform.
I brought her up to another level, also.
She had it in her, for sure,
but I gave her that feeding of foil.
We're back to what I said about Singers and
Jazz Musicians, possibly getting more into
Singers. I love Singers.
I feel today, that some of the
Jazz Musicians are a little disconnected
from Singers. Guys want to blow,
they want to play a lot of notes;
it's not a singing type of thing... but I feel
different. I come from an era where;
if I'm working with a Mel Torme,
or a Sinatra, or a Tony Bennett,
Joe
Williams, or Suzanne...
I love, as we say, filling the holes.
In other words, not getting in the way.
Just enhancing and contributing to
what they're doing.
I remember when Chick heard me play
 "But Beautiful."
I played that video for him. He said,
"Man, you're comping for her."
'Comping'
means, what a Piano Player does for a
Horn Player. And it's true, what I'm really
doing is accompanying her on the
Saxophone... so I love doing that.
 I love doing that 'give and take',
back and forth.
It's almost a lost art, today. I hear guys,
sometimes playing with Singers,
and they're colliding with the Singer.
They're playing,
not in the holes, they're playing when
they're singing, and they're colliding.
That's not the way it's supposed to go down.

OL:
We hear that often,
especially in today's music. Clamoring to be
heard; there's a time and space for both,
but just not at the same time?

Glenn Zottola:
Absolutely. That's why certain Piano Players
are amazing accompanists, because they
know how to make it sound better, by just
enhancing it...
rather than having to try to be
on an ego trip. Suzanne and I, were the
epitome of that kind of rapport. I've had it
with other Singers, too,
but the things is I got
a chance to do so much with her,
over the years.

OL:
Glenn,
during your time spent
performing on the
Suzanne Somers TV Show,
did You ever
think that You would be swinging
on a combo
jam session with Country Singer Legend
Kenny Rogers
on upright bass, & the
phenomenal Producer David Foster
on piano?

Glenn Zottola:
That was so funny.
The deal with the Guests, that any Celebrity
that came on, was whatever they wanted
to do, they could.
A lot of maybe Academy Award Actresses,
people would be surprised,
that they can sing. I was at a party with
John
Travolta. I was telling him that
I wanted to do this Stan Getz project.
He started singing these Jobim tunes...
and I found out he's a real Pro. He can do
Sinatra
stuff, and everything.
When I think of John, I think about 'Grease'.
The same thing with Kenny Rogers.
He came on, and he picked up the Bass,
he started swinging his butt off,
and I'm looking at him,
and I can't believe it. I went up to him
afterwards, I said, Kenny, listen...
I'm so sorry, I've got to be honest with you;
I'm not a big fan of Country Music,
but you sound great! He said,
"No, I started off in a group, singing and
playing bass in a group that was like the
Hi-Lo's ." So, he had a lot of Jazz in him.
Also Actor, Hector Elizondo came on,
we did James Moody's "Moody's Mood
For Love
." It was Hector,
Suzanne
and Myself,
and he sounded like a Be-Bopper.
I said, Hey Hector? He said,
"I'm from
New York...Birdland!"
He's like a Jazz Be-Bopper.
So I learned a lot about everybody,
you know.

OL:
Wow, that's great!
With the best of the best
in the TV Band, including yourself,
Glenn;
how much does musical
spontaneity play into a TV Show,
like that of the
Suzanne Somers Show?


Glenn Zottola:
Well for me, it was total spontaneity.
I ran that thing like a Jazz gig.
One day I come into the Studio,
and they're tearing out pages and pages of
sheets, on the script. Something was wrong,
and the Director was frantic. He was a good
Director. He did all of Dick Clark's Shows.
He said, "We had just lost one-third of our
script. How are we going to do this?
You're going to have to write all
new music."
I said, what do you mean, write all new
music? Listen, just tell me, give me a color,
give me a mood, give me whatever you feel,
in my headphones, 30 seconds before the
commercial break, and I'll give you what you
want. I did the whole show,
without a script, and he was in shock.
He said, "I've never
been with anybody in Television, who could
do that."
I said, Barry, I'm a Jazz Musician.
So, what I brought to TV, I don't think
anybody before me, or after me, has done
that. I ran it like a Jazz gig. Sometimes the
Bass Player would tap me on the shoulders
and say, "Hey Glenn, it's like 15 seconds
before back on, do you know what we're
playing?"
I said, give me 5 more seconds,
let me think about! (laughing).
I would never be there, if it wasn't for
Suzanne
, I'm not a TV guy, you know.
Let me tell you how it worked. That show,
I'm bragging now, down time on the show at
that time, was $50,000 an hour. Since you're
down, because someone made a technical
mistake and you're down for a half an hour,
it costs the network $25 grand. Nobody likes
that. I didn't have one minute of down-time,
because of any mistake I ever made.
 They were never down, because of me.

OL:

We love that, Glenn!
Those were good times, indeed...
and with more to come,
with the two TV Stars
Tisha Campbell-Martin

and Tichina Arnold,
most notably then of the
famed "Martin" TV Sitcom Show.
They were set to appear on the
Suzanne Somers TV Show,
as their show also filmed next door,
at Universal Studios,
in California as well?

Glenn Zottola:
The 'Martin' Show
was taping right next to
us. Suzanne said that, "We're going to have
Tachina and Tisha on, and can you go over
there, and find out what they want to do?"
I must have spent, a maximum,
maybe 30 minutes with them,
and we were laughing, having a ball.

OL:

On the Suzanne Somers TV Show,
Tisha
and Tichina did a knock-out duet
cover of Chaka Khan's "Sweet Thing."
You were in on it, Glenn, from the onset,
when You were assisting them on the
arrangement, as prep,
in their dressing room...
how did that come about?

Glenn Zottola:
I brought a little tiny tape recorder.
I said, what do you want to do?
They were singing that
Chaka Khan & Rufus,
Mary J. Blige
tune, "Sweet Thing"...
and I spent maybe 20 minutes with them,
went back to the show, worked up an
arrangement for them, and that's
what you see.
They're very good, aren't they?

OL:
It looks like they've been singing together,
forever. They are very good!
It came through on the stage.

Glenn Zottola
:
They were very tight. They were like two
Sisters. I loved working with them.
They were a ball!

OL:

Moving over to another favorite Guest Artist
who appeared on the
Suzanne Somers TV Show...
Smooth Jazz Saxophonist Dave Koz
stopped by to jam with You and the
Band...Nice groovin', Glenn...
Both You and Dave killing on the Sax...
How often would cool Musicians like that of
Dave Koz,
sit in on the show and just jam
with You and the guys in the band?

Glenn Zottola:
I knew who Dave was. He was doing the
'Make A Wish' Foundation Show.
Dave
came on, and we hit it off.
We were just jamming on the commercial
breaks. I'm not trying to brag, I'm trying to
do this, so to tell everybody who I am...
trying to impart to younger Players.
I love doing a wide variety of stuff.
I'm proud of the fact that I can play with
Benny
Goodman, Chick Corea,
do Broadway, do Television...
and play with Dave Koz,
which is completely different music from
what I play. I'm like the real chameleon of
music. I've always been that way.
I think that playing by ear,
is a factor there,
because I just go where my ear goes.

OL:

Carnegie Hall Theater,

in New York City...
with Clarinetist Bob Wilber &
the New Jersey Jazz Society Band...

a momentous 50 year Anniversary,
in celebration of the great
Benny Goodman
(1930's)
Swing Band
sound.
You were a big part of this Tribute Show,
Glenn,
sitting in on the same chair as
Trumpeter great Harry James
once
performed... Tell us about your terrific
trumpet solo and recording cover
on the great Louis Armstrong's, "Shine,"
during this Carnegie Hall Tribute Show?

Glenn Zottola:
I worked with Benny for two years,
and that was an amazing experience.
I get a call in New York from a friend of
mine, who is a great Pianist, John Bunch.
He used to be Tony Bennett's accompanist.
He was working at the time, with Benny...
and he said, "What are you doing? Benny
needs a Trumpet Player, can you come over
to the
Astor Hotel, right now?" I said, sure.
I was living in Manhattan, so I went over to
the Astor Hotel. I walked in, and there's
Benny Goodman,
with the whole Band.
Not the Big Band, this is the Sextet,
a small Band. He doesn't say anything
to me. I pull out my horn,
and we jammed for 45 minutes.
We get through and he comes up to me,
and he said, "Can you leave, tomorrow,
to go on the road?"
I was trying to be polite,
because I knew he had a Trumpet Player,
and I'm not going to mention the name, who
has quite a name; this Trumpet Player.
Benny
says, "I didn't ask you that.
Can you leave, tomorrow?" Something must
have gone down, obviously. I said, sure...
and that's it. I went on the road with
Benny,
with his Sextet. It was a great Band.
Connie Kay,
was on drums,
a very famous Drummer.
We're ready to go on stage, and I go up to
Connie
and I say, do we have any charts?
He said, "Yeah, we've got charts."
He pulls out this old piece of ripped paper.
He hands it to me, and on it,
is a rift of this tune, "Undecided."
He said, "Here's your charts."
So, I got the message; okay there were no
arrangements, right? I went on, and I played
the gig, and that was it. Benny gets on the
microphone, and introduces me
for my ballad feature.
He talks to the audience for like
five minutes about me. He says, "You know,
I ran across this kid, and I hired him.
Everybody's been in my Band.
This young man can hold his own with
any of them."
He names all of these guys...
including Harry James,
and I can't believe that he said all of that,
because he wasn't that kind of guy.
After the gig, I said, Benny,
I really appreciate that. He said,
"Well deserved, young man."
I didn't have any problems with
Benny Goodman
.
He was very, very nice to me.
As for Carnegie Hall, you know,
you'd have to know the history of music.
In 1938, after Benny was on the road.
He thought that he was bombing out.
He was going to disband his Band,
but he didn't realize, over the radio;
he was getting this incredible
cult following of Teenagers.
People don't realize, this is very similar to
Elvis
, or the Beatles, later.
What they call the bobby-socks,
they were Teenagers,
and they were listening to this new music.
'swing'; which was very different from
what was before that. Benny Goodman
was the first white Big Band Leader to play
Black Music, because he had an integrated
Band. He had Lionel Hampton, he had
Teddy Wilson
, and his arranger was
Fletcher Henderson
,
a great black Arranger.
So, his music was not rhythmically,
a music that white kids were used to hearing.
To put it a better way...
what they were used to hearing, was much
more 'corny'. So, when Benny came along,
and kids started hearing this music,
over the radio, it was like hearing Elvis.
Same thing... and I have to tell people this,
because Elvis did the same thing.
All of these guys were around like
Chuck Berry
, and Elvis loved that music.
Elvis
was the first white guy to play that
music. Count Basie and Duke Ellington,
couldn't play the big fancy White Hotels
in 1938. They couldn't get into those rooms,
so therefore white kids would never
hear that music. Chuck Berry couldn't
get on Ed Sullivan, in those days.
So, when Elvis brought his thing to the
white kids, they went nuts. Same thing...
so, when Benny brought that music to the
white kids, they went nuts.
This was a radical new music.
Benny
thought that he was
bombing out. They would go into these
Hotels, and they didn't like the music,
when he was traveling across Country.
He was building up this cult following,
on the radio. So, in 1938, when he came to
Carnegie Hall
. which was the first time that
Jazz was ever at Carnegie Hall...
that was the beginning, really, of the 'swing'
era. That became the National Music of the
Country. The night that I did the Anniversary,
which was 50 years later,
we played the same
exact program of '38, same songs,
and everything. Anybody who was there at
the original '38 Concert, now in their
60's and 70's; we let them sit on the same
stage with the Band. As I was playing,
I was looking at their face, and you can
literally see decades come off of their faces,
as they were re-living that historic moment.
This is when 'Swing' music became the
National Music of the Country.
We're not talking about something esoteric,
like Jazz. This was the music of the Country,
that lasted all the way through World War II.

OL:
In this 50th Anniversary of
Benny Goodman
at the Carnegie Hall, you did the cover of
"Shine?"

Glenn Zottola:
The story behind that... I was sitting in
Harry James'
chair, and with original
Benny Goodman
arrangements;
little hand-written notes from Harry James.
Harry
loved Louis Armstrong, and he asked
Benny
if he could take a try, because Louis
had a very famous solo on "Shine."
Harry
wanted to take a shot at it.
That's how "Shine" occurred.
It was just Harry playing a couple of
choruses on that very famous
Louis Armstrong
piece. So, it was an
unbelievably historic night,
playing the exact program of '38.
Isaac Stern
was there. Isaac Stern did the
Intermission, and unbelievable;
you should hear him talk about Jazz.
He said that when he came to New York,
he used to hang out on 52nd Street,
and go see Charlie Parker.
He was a big Jazz fan.
He said, "Growing up in Washington,
all of my Classical friends, we used to listen
to
Benny Goodman, this new beat;
we were going crazy, when we were kids."
Who would have thought, right? So,
at the end of the night, Benny Goodman's
daughter came out, and gave Benny's
Clarinet to Isaac Stern, to put into the
Carnegie Hall Archives
. It was a packed
house. I was on air, because the Reviewer
John Wilson
, of the New York Times said...
I don't know if this is true,
but it was a compliment; he said,
"
Harry James was not missed tonight,
with
Glenn Zottola's horn."
The reason why I gave you that "Shine"
track... I never knew that it was recorded.
No one said it was, and no one knew.
I get this tape from a guy that was in the audience. I don't know where it was
recorded. I got that like just last year.
All these years, it was the first time that I
 got to hear the Concert. I'm amazed that
 I could go back and hear it.

OL:

What a terrific story, Glenn! This is indeed
your life! As our readers are
enjoying listening to some of your most
celebrated recordings,
Glenn...
what would be one of your own
favorite recordings, so far?

Glenn Zottola:
I really like the Chick Corea track, for sure.
When I go back over my Anthology,
and I look back over all of the recordings,
I've got to be honest with you.
Every recording has a little something
that I like. There are different
periods of my musical development.
I really can't pick one thing.
I'm glad that they exist.

OL:

In your Career travels, Glenn, give us your
Musician's take on performing on
 both ends of the music world, from the
New York
Jazz music scene,
going all the way to the entertainment
Mecca of Hollywood (Tinseltown),
California?

Glenn Zottola:
Quickly on Europe, because I spent
a lot of time there, and I achieved a lot of
acclaim. The Europeans regarding Jazz,
is a totally different audience.
They are steeped in tradition.
At the time when I was going to Europe in
the 80's, they are not so fad oriented.
They remember and they're very
knowledgeable on Classic Jazz.
A lot of Jazz Musicians move to Europe,
because of that reason. Black Musicians
moved to Paris, and they were treated like
royalty. In Europe, if you say that you're an
Artist, it's like 'oh my God';
it's like saying in America, that you're a
Doctor. Whereas, if you say that you're an
Artist, or a Jazz Musician, in America;
they say, well that's fine, but I don't want
my daughter to marry one, you know!
(laughing
)... So Europe is completely
different, regarding appreciation of
history and the arts.
The two top towns in America,
for Musicians, is obviously
New York
and L.A. The best Musicians in
the world, are in New York, or L.A.
The New York Musician is very different,
than the west coast Musician.
I used to travel in Europe and people didn't
know where I was from. I would play a set,
and I would come off and the guys
 in the Band would say, "You're from
New York, right?" I said, yeah,
how did you know? They said, "By the way
that you play."
New York playing is very
aggressive. It's like the City!
Whereas west coast Jazz is much more laid
back, but Hollywood, is Hollywood.
There's nothing like it. I'm a New Yorker
at heart, you know what I mean?...
but when you talk about Movies and
Hollywood
, New York doesn't have that.

OL:
That's true. Each of the two Mecca's have
their own way of shimmering.
Thank you Glenn.

OL:

We look forward tomorrow in Part 4 of this 7
part Oceanliner Notes Weekly Series,
where we get to shine a one-word spotlight
on Jazz Trumpeter/Saxophonist Musician
Great Glenn Zottola's
One-Word Playback,
for the OL Viewers...
Glenn,
is there any music commentary you'd
like to share with the OL viewers,
as we conclude this Interview 3 of 7 segment?

Glenn Zottola:
New York and L.A.;
they have their own vibe.
I'm anxious to see...
I watched the premier of 
Jimmy Fallon
with The Tonight Show,
which has not been in New York, since like
40 years ago. I'm curious to see how he does
with it. I'm sure he'll do great, but it is
New York
; and you know 'David Letterman'
and you know 'Saturday Night Live'
has a certain vibe, that is not Hollywood.
The cities are very different.

OL:

Thank you Glenn. We'll see you tomorrow!
And thank you all for visiting
OL's Oceanliner Notes Weekly!




OL:
Glad to have You back, Glenn...
this being Part 4 of our 7 day Interview for
OL's Oceanliner Notes Weekly Series.
We're at the segment Interview feature,
where we introduce a 'one word' Interview
question to You, Glenn, and if you can you
please playback a One-word Commentary
Note for the OL Visitors, that would be cool!

OL:

Blow?
Glenn Zottola:

The Trumpet!

OL:

Memories?
Glenn Zottola:

My life in music.

OL:

Lights?
Glenn Zottola:

Television.
 
OL:

Clifford?
Glenn Zottola:
It's hard to do. I have so much emotion, connected with Clifford.

OL:
If You had to choose one word, what would it be?
Glenn Zottola:
My Heart

OL:

Young?
Glenn Zottola:

Me, as a kid.
 
OL:
Contrast?
Glenn Zottola:

Jazz.
 
OL:
Mountain?
Glenn Zottola:

A Career.
 
OL:
Instrumental?
Glenn Zottola:

Orchestra
 
OL:
Illumination?
Glenn Zottola:

The audience.

OL:

Cool?
Glenn Zottola:

Miles Davis

OL:
Thank you very much Glenn,
for coming on as
our Special Guest Artist. Is there any music
commentary you'd like to share with the
viewers, in concluding this OL Interview
4 of 7 segment?

Glenn Zottola:

My commentary, is that I think what OL is
doing, subjectively for me, is a fantastic
service. I want to applaud
Oceanlight Records
for providing a
wonderful platform, so an Artist can
just tell a story.
I think that it's a wonderful thing.
 I wish there was more of it.

OL:

Thank you so much, Glenn,
and we thank you for being
a special part of it. and we have more to
share with our OL Viewers,
as far as our joy of having You on our
Oceanliner Notes Weekly Series.
We look forward tomorrow in
Part 5 of this 7 part
Oceanliner Notes Weekly
Interview,
as Jazz Trumpeter/Saxophonist Musician
Great...Glenn Zottola
tells us about the
successful run of Glenn Zottola Productions
Co.,
with his Production Business Partner,
Bandleader Drummer
Bobby Rosengarden
of
the Dick Cavett Show, & keeping it in the
Family, with a special music project
with his
Brother Trumpeter great,
Bob Zottola & more
...
Thank you all for visiting
OL's Oceanliner Notes Weekly!



OL:
Welcome Back, Glenn.
This being Part 5 of our 7 day Interview for
OL's Oceanliner Notes Weekly Series.
On this segment...
Collaborations!

Glenn Zottola:
Hello again!

OL:
Tell us about Glenn Zottola Productions,
and how your Big Band took off, gigging at
the Rainbow Room, in NYC, and how
Drummer great Bobby Rosengarden played
a partnering role in this successful venture?

Glenn Zottola:
Wow, I'm glad you brought that up because
Bobby
was one of the collaborations like
Suzanne
and Chick. We had a ball;
seven years together.
We actually met on the
Benny Goodman Sextet.
It's a funny story.
Bobby
is one of those real New York
feisty guys. He came up through
all the channels in New York. He was the drummer on The Tonight Show;
all of those years in New York,
for Johnny Carson. And then he was the
Bandleader on the Dick Cavett Show.
He was an incredible studio drummer.
He played with Toscanini and the
NBC Orchestra
and everything.
He's an incredible, incredible musician
and a beautiful jazz player too.
But as I get off and tell this funny story,
so I'm with Benny, right... and we were
planning to do a broadcast for 2020 TV.
The director is counting down like a minute
to go, or whatever. And Benny,
he could get a little spaced out.
He turns around and he sees Bobby
on the drums, and we were going to go on
the air, and he says, "I thought I fired you."
Bobby had this real fast New York
comeback. He said, "Yeah, but you hired me
back!"
And Benny goes, "Okay"...
and he counts off the tune. So Bobby was
one of those real New York Jewish
you know tough guys; you know that don't
take any crap, studio guys that grew up
through all of those channels.
So we first met on Benny's sextet and
then we played some jazz festivals together
and he called me up one night and he said,
"How would you like to lead your own
Big Band in the
Rainbow Room?"
and I said I've never led a big band before.
He said "Don't worry about it. I'll give you my
arrangements, and you can have my
bandstands.  It's
Johnny Desmond going in
and you'll do great."
So he set me all up and
I went into the Rainbow Room,
and it was a huge, huge hit.
I ended up doing many, many engagements
after that. I really appreciated that he
gave me everything that set me up,
and that was really the start of Glenn Zottola
 Productions.
I wanted to come off of the
road. My daughter was 2 1/2 years old
I wanted to spend more time at home.
So, I started to put together booking
people from my house
in Connecticut.


OL:
Okay, well booking over 300 Events a year,
with your Big Band, Glenn,
it must have been both exciting,
and busy at the same time! How did You
schedule in your recording sessions
schedule in between that?

Glenn Zottola:
I was doing 90 hours a week...
I had a band six nights a week at the
Rainbow Room.

I was Entertainment Director of
two major hotels, Crowne Plaza
and the Hyatt.
Plus I was doing Jazz Festivals.
Plus I was going to Europe.
Plus I was doing all of my Jazz shows
and Corporate gigs, too. So, it was intense,
but I loved it. I was young,
and I was on fire.

OL:

Yeah, yeah, well that's great,
so you basically worked 365 days a year?

Glenn Zottola:
It was here and there about seven years.
Bobby
was kind of semi-retired,
he had about 25 gigs a year.
And I built it up to over 300.
In those days, 'live' music was
still happening, it wasn't all DJ's.
You know what I mean?
I had the finest Clientele. I used to do
Oscar de la Renta's
wedding parties.
I did a lot of different parties for the
Rockefellers
.
I worked for the Woolworth Family.
I worked for a lot of upscale people in
Connecticut
and in New York;
the guy who founded American Express,
Great, great Clients that loved good music;
loved to dance, all that stuff.

OL:
Oh, wow,
it must have been really one of a really
 rich period?

Glenn Zottola:
It really was, I think the end;
from what I can tell from people telling me
today; It was kind of the end of the
glorious days of live music, which is sad.

OL:
What would be your fondest memory,
of working with Bobby Rosengarden?

Glenn Zottola:
Well, we had a ball.
We had a lot of laughs. We had really
become very, very close friends.
We would do a gig at the Plaza Hotel.
And afterwards we'd go out for dinner,
and we would have a lot of fun.
We were great teammates with
tremendous respect for each other.
Musically, I learned a lot from him about
being a bandleader for sure.
He was a great bandleader.
I learned a lot about business from him,
and how to run the show.
He was kind of a mentor for me
in that way.

OL:
Also, in the spirit of partnership...
on the classic and beautifully recorded,
Softly As A Morning Sunrise"...
with You on Tenor Sax,
and your Brother Bob Zottola
on Trumpet; take us to the beginning
of how this collaboration project
got started?

Glenn Zottola:
Let me refresh myself on that.
This is with Bob? Excuse me,
I'm sorry about that.
Oh, okay, have you heard that track?

OL:
Yeah, we believe that this is one of
the ones that you recorded first,
and then you set the track to Bob?

Glenn Zottola:
But how did you get that?
I don't even recall sending that to you.


OL:
We did our homework.

Glenn Zottola:
Oh, it's on my website.
Oh, you did your homework, OL.
I take my hat off to you!

OL:
Thank you.

Glenn Zottola:
Well, you know Bob and
I
have been together a long time
as brothers; the family jam sessions.
We have kind of a rapport together,
that's pretty amazing.
That track was just an experiment.
Where I basically...we were at long distance;
he's in Florida and I'm in L.A.
We've been talking about doing the
Zottola Brothers
album, forever.
I laid some stuff down with the Tenor,
and I emailed it to him, and
he laid down some stuff with the Trumpet.
And that's what that tracks all about.
I don't know anybody at that age. Bob is 77,
now... that has those kind of chops,
who plays with that kind of fire.
He's amazing!

OL:
We're sure that this will be
a great family affair.

Glenn Zottola:
He still loves music.
He's definitely not jaded or tired.


OL:
That's wonderful, wonderful.
What would be one of your
favorite moments in performing
and working with your Brother?

Glenn Zottola:
You know,  I just received an
interesting tape from a fan in Finland,
oddly enough. And he was at a club that
Bob
and I were playing at.
The quality is not good,
but the music was unbelievable and
he sent me this tape...
that was one night that really
sticks out for me; and of course
Bob
and I have done a lot of things
together. We did a Broadway show,
we did "Evita" together.
And of course we had the
Family Jazz Club. It was amazing;
that was a real spawning ground
for me. He led the band, there.

OL:
Okay, so working in the club with your
Brother, that was like the pinnacle?

Glenn Zottola:
Well, it was tremendous training.
A lot of stars played in that club;
Tommy Flanagan
and Bob Timmons.
To get to sit in there every week,
was a great spawning ground for me,
even though I was very young.
And then, we played together a lot later.
We were playing together when we
were kids in the house.
We always had that same mindset
on the music


OL:
Wonderful! Who are some of the great
Recording Engineers that you would
work with again, and again?

Glenn Zottola:
Umm... oddly enough,
there was a guy that just passed away
and he did a lot of my early albums.
His name was Richie La Page and
he recorded a lot of albums that I did.
He was great, other than that,
Oddly enough, when I did movies
when I first came to L.A.,
there were a couple of
Engineers in the movie world that I really
and truly loved the way they handled the
sessions. With movies, you know you
play all kinds of music;
if it's a period piece in the 40s.
You would have a lot of 40s music.
I found that the movie engineers could
really shift gears and they would get the
sound of my horn that I would really
want for the certain period.

OL:

Okay, Okay, all right, wonderful.

Glenn Zottola:
Also with Suzanne, there was a guy named
Bob Ludwick
. He was amazing. He was our
live Engineer for our live gigs. He was the
soundman on the TV show. He was the
original sound man that did all of the work for
the group 'Chicago'. So, he really knew how
to mic horns, which I really appreciated;
 this guy was great.
My horn always sounded pristine.

OL:

That's great, Glenn. Thank You once again!

OL:
We look forward tomorrow in Part 6 of this 7
part Oceanliner Notes Weekly Series,
as we cover more of Glenn Zottola's
spectacular Stage events, from performing in
the many Jazz Festivals, performing with his
friend, Jazz Legend Bassist Milt Hinton...
to sharing the stage with
Singer extraordinaire, Patti Austin & more...

OL:
Glenn,
is there any music commentary you'd
like to share with the OL viewers,
as we conclude this Interview 5 of 7 segment?

Glenn Zottola:
Well, now that you brought up Engineers;
you asked me about what was it like
recording by yourself. It's not easy being
the Engineer
and the artist. I have to take my hat off;
Chick's
Engineer is a very good friend
of mine, Bernie Kirsch.
He actually tweaked and polish
Chick's
track.. It's amazing what he did,
like in a half-hour. And then, there is a very
famous guy at Capitol. He's like a legend.
Al Schmidt
, who does all of
Diana Krall's
albums. So, I have to take my
hat off to a great Engineer.
I mean in the old days,
the famous Engineer was
Rudy Van Gelder
.
Those guys get the sound of your
instrument and they carry it forward
and they're really responsible for that sound.
He got the sound on John Coltrane
and Miles, and all of that stuff.
So, my hat is off to  great engineers.
They really make the Artists' job easy,
and they also get the Artists' pure sound
out to the public...
I'll never forget I'll tell you a funny story,
working with Engineers. I remember I was
helping Chick, mix an album that
he did in tribute to Bud Powell.
And there's all this technical stuff
flying around the studio.
Everybody has their own viewpoint.
You know all this technical language.
I'll never forget that day.
I always quote it: Bernie at one point turns
to Chick and says,
"Which one sounds better to you?"
Chick says, "that one,"
and that was the end of the discussion.
Like he was so cool, the way he handled
all of those different viewpoints
in the studio, you know.
He just basically said, "Chick,
which one sounds better?"
So that's the bottom line.

OL:
Thank you Glenn.
We'll see you tomorrow!
And thank you all for visiting
OL's Oceanliner Notes Weekly!




OL:
Welcome once again, Glenn.
This being Part 6 of our 7 day Interview
for OL's Oceanliner Notes Weekly Series,
Quote from Jazz Legend Bassist
 Milt Hinton:
"Glenn Zottola - Top quality trumpet and
saxophone. I'm pleased to add him to the
list of musical giants I've played with.
A great asset to the world of jazz."
-Milt "Judge" Hinton

OL:
These shared thoughts and words from the
great Milt Hinton; Glenn... must have a
life-lasting effect, of which we are all too
happy to highlight this... a true testament
of your friendship and his utmost respect
for your talents?

Glenn Zottola:
A dear, dear friend.
That warms my heart and
I cherish that. Milton at the time was the
most recorded bass player in history.
He played with everybody. Miles, everybody
that you could imagine, Billie Holiday,
he played with everybody
and he was a dear, dear friend.
A fan and supporter and encourager.
And I cherished what he said, there.

OL:
Truly wonderful! You worked with,
honored with a plaque.
and celebrated Mr. Hinton's 80th Birthday,
at the Clearwater Jazz Festival,
with an audience 10,000 people?

Glenn Zottola:
Yeah, I had the whole audience sing happy
birthday that night. I have a moving story.
We went to the Sarasota Jazz Festival,
and at that festival, I think it's okay to tell
this. I don't think he'd mind. Ronald Reagan
sent a letter to Milt, declaring Milt Hinton
day
in Jackson, Mississippi
where he grew up.
He came up to me and he had tears
in his eyes literally, and he said you know
you're the only one that would really
understand that. He said,
"My Grandmother was a Slave,
in
Jackson and when they would
let the dogs out, to chase runaway slaves.
She would put pepper in our shoes.
They would smell the pepper and go the
other way."
He said "Because I play the
bass, because of jazz.
I play bass and music,
It's gone from that to
Milt Hinton day
in the same town."
He's was crying,
he said, "I wish my Grandma could
see this,"
and we hugged each other.
It was a beautiful, beautiful program.

OL:
We are sure, no doubt that her spirit was
there with Milt...

Glenn Zottola:
Absolutely. The point he was making.
Because of music, he was able to achieve
that. From being a kid, growing up in
Jackson
, to being a Jazz Star. 
Universal, Isn't it? Louis Armstrong
used to travel around the world.
An ambassador in Africa.
They didn't speak the language,
but the music spoke the language.
You don't need language with music.

OL:

That's right! Who are some of your
contemporaries that
You enjoy working with?

Glenn Zottola:
Well, mostly, I don't work with many
contemporaries.
The most contemporary guy would be Chick,
really. I moved to Hollywood when I
 kind of left the jazz scene and went to join
Suzanne Somers.
I left all the guys that were in my click;
 which were people like Scott Hamilton,
Ken Peplowski, Butch Miles
and
Howard Alden.
Pretty much swing-oriented
players... great players, but swing oriented.
They weren't really
contemporary players...
Warren Vache
. So, Chick was in another
world, because Chick is truly a
contemporary  player.
When I came to L.A.,
I did work with some wonderful Musicians.
I think I included for you, a track with a
beautiful Bass Player.
His name is Jim DeJulio,
who I met with Sinatra.
It was beautiful recording that I did
with him, and he had Roy McCurdy
on drums, who played with
Cannonball Adderley
.
I would say that that session
was more contemporary than the
usual session,
that I had with Swing Players.

OL:
Well, we are excited about everyone
hearing your wonderful tracks on this
OL Interview
and for sure on your Site.

Glenn Zottola:
Thank you.

OL:
Who are some of your contemporaries,
or fellow Musicians, that You enjoy listening
to and would love to work with?

Glenn Zottola:
Well, I like Joshua Redman,
on Tenor Saxophone.
I think he's a wonderful, wonderful player.
I met him, because he was in
Chick's Band
.
And he's a really cool guy.
I like the guy that works for Chick a lot.
He's from England...
Tim Garland
. I've been in communication
lately, with Wallace Roney, who was in
Chick's Band
because he was a big
Clifford
fan. I was telling him about my
'Clifford Brown'
Project. So, thank God,
there's a lot of really good players
out there. Joe Lovano, I love him.
He's a wonderful player...Eddie Daniels.
There's a lot of really, really good players
out there... even though I have my
complaint. There's a select few that I like,
and I just feel that Jazz Education
could be doing a better job.
There's a hand full that I love.
There is more that could done with
Jazz Education; that's why I respect what
Wynton Marsalis
is doing at Lincoln Center,
a lot. Exposing people to the history of Jazz;
Louis Armstrong
on up. It's really, really
important..he made that comment,
"The difference between a Jazz Musician,
and a Classical Musician, is that the
Jazz Musician doesn't respect the tradition
of the music."
It's a heavy statement, right? But,
a lot of these guys in school,
they start with John Coltrane;
they move up
 from there. John Coltrane would be the
first one to tell you, Jazz didn't start
with me.
So, I respect what Wynton
is doing. You never hear a
Classical Musician saying, Oh, Bach
and Mozart, yeah that's old stuff.
You never hear a Classical Musician call
Bach
or Mozart, old stuff. So, I think that
needs to happen in the Jazz world...
people have to go back and revisit these Legends. Everything that I can do and play,
I owe it to the Legends,
the Founding Fathers of Jazz.

OL
Right! Just as people are still
studying still, how Beethoven wrote
his Symphonies.

Glenn Zottola:
Exactly. They're re-discovering it.
My Brother said something about
Schubert
re-discovering Bach.
When you re-visit again,
you find out about things that you didn't
even realize.
So you go back to listen to
Charlie Parker
, or Louis Armstrong,
Lester Young
, or Roy Eldrige, or Clifford,
or anybody. That's the foundation.
You've got to do that, you know;
no matter what kind of music that you
want to play.

OL:
That's a key word there,
Glenn
that you said, Foundation?

Glenn Zottola:
Oh, absolutely.
What was I reading, recently?
Somebody really great. Basically, Miles.
I heard an Interview with Miles, on TV.
He was saying that it's an
evolutionary thing. They asked Miles,
"Who do you like... what do you think about
Louis Armstrong? He said, "Of Course,
we all build from each other, forward."
Miles didn't start the Trumpet, hello.
He was asked, "How do you summarize
Jazz?"
He said, "In two names,
Louis Armstrong and Charlie Parker."
He didn't say, Jazz started with me.
He innovated some things sure,
but that's not the point.
So, that's what I would like to see happen,
and that's what I'm trying to do with my
Jazz Education Products.
I would like to see a little more attention
put on the Founding Fathers.

OL:
This is a continuing goal, Glenn.
We hope that we get closer and closer
to that goal.

Glenn Zottola:

Yes, trying to keep it pure.

OL:
Just to name a few more from your
9 year stint, performing on the
Suzanne Somers TV Show,
we see that
You've also worked with... Marilyn McCoo,
Hector Elizondo, Ben Vereen, Nell Carter,

and let's not forget one of our favorites,
Singer Patti Austin, who like You, Glenn,
is so musically diverse, in various genre's.
Again, on your terrific site,
You have a video clip
of a nice swing version of,
"Wrap Your Troubles in Dreams,"
with Suzanne and Patti doing a closing
duet... and thanks in part,
to your trumpet solo, this number really
swings with that New Orleans Jazz Louie
feel. Do You have an overall picture of how
You want to perform your solo parts,
depending on who the Guest Artist is?

Glenn Zottola:
Well you know, first of all, I have to give
Suzanne
credit. She's kind of like me,
like a chameleon. You see her with Patti.
Suzanne's
an Actress first, you know,
and Patti a Singer. She seems to fit into
any scenario, it's unbelievable.
I've got to give her credit, it's the way
she sounded on that tune. So, for me,
I'm just always listening.
Like I mentioned to you,
how I love playing with Singers, right,
and filling the holes and all of that.
I'm always listening and getting my signals
from the Singer, from the Stars that I'm
working with... and then I do my best to
contribute my message to that; rather than
being on some weird ego trip.
I always want to play in good taste.

OL
Everyone should see that video and hear all
of the great work that You did on that show.

Glenn Zottola:
Thank you. I mentioned this earlier,
it was a pinnacle for me, I had a great time,
I really did... and a lot of it had to do with

Suzanne. She gave me carte blanche
musically, to do whatever I wanted.
I remember once, one of the Directors came
up to me and he said, "Can't you play some
Rolling Stones?"
I'm looking at him like,
are you out in space, somewhere? It's a
Jazz Band, it doesn't even have a guitar
in it. So, I went to Suzanne, and I said,
You know, so and so is bugging me about playing the Rolling Stones. Suzanne said, "Just stop, don't worry about it." She went to this guy, and she just really
laid him down. I never heard anymore
of him telling me what to play.
She backed me up 100% on that show.


OL:
Switching gears & mouthpieces...
It's great Glenn, that Musician Trumpeters,
can get a wonderful endorsed product of
yours, through your association RS Berkeley
Musical Instruments Co.

They have released
a copy of your trumpet mouthpiece,
called the "Glenn Zottola Trumpet
Mouthpiece"
as part of their Legend
Series
; of which it is now available at select
retailers around the world?

Glenn Zottola:
Yes, I'm so excited,
it's a real tribute to my Dad...
Master Mouthpiece maker.
This Company, R.S. Berkley,
is a great Company. They make wonderful
Saxophones, and they started this
Legends Mouthpiece Series.

They did a tribute to Stan Getz.
I'm friends with Stan's Daughter.
They got Stan's mouthpiece from
Stan Getz's
Daughter. They put out a
Stan Getz
model. They put out a
Charlie Parker model
, for the Alto.
They have Louis Armstrong, Woody Shaw,
and Dizzy Gillespie. I was really honored
when he asked me to do my mouthpiece.
In 1979, I went to my Dad.
I was getting very busy,
in the professional scene,
doing a lot of varied work.
I had my Dad take one of the mouthpieces
that he made.
I played with my Dad's mouthpiece
my whole life, but I had to make some very
minor alterations to fit the bill for me;
for all of the different styles that I had to
play. So, that's the mouthpiece that I
played with, my whole Career.
It's a one of a kind. You really can't get it.
So I'm thrilled that I was able to get that
duplicated, so others could have it.
That Company is R.S. Berkley
in New Jersey. Beautiful guy, his name is
Les Silver
; who runs the Company.
He's a Saxophone Player, and he's a really sweet guy. He has a tremendous love
for Musicians.

OL:
Anyone can purchase the
Glenn Zottola
mouthpiece at R.S. Berkley?


Glenn Zottola:
Yes, that's correct.
 
OL:

How do You feel about Social Media,
as it relates to your Career, now...
and what would You say, Glenn,
would be the
advantages, if used responsibly?

Glenn Zottola:
As you know, Social Media,
you can't deny it. It is what's happening.
Even major Celebrities are on Twitter.
So, I'm trying to learn more,
and more about it. I'm on Facebook,
I'm on Linked In, I'm on Twitter,
and I have a Website. I'm trying to learn
more and more about it, because through
media like YouTube, it is a way to reach
a lot of people. I already have reached a lot
of people, and I'm thrilled about that...
but I do want to expand it, because whether
you like it or not, it is the future.
I mean there are some things that
I don't like about it, for sure.
I feel that it can get impersonal,
but you can't deny the power that the
internet and social media has.

OL:

Yes, that's right Glenn...
If it's used in a really positive and
responsible way, like you said,
it's a very powerful tool?

Glenn Zottola:
Absoulutely. I mean it's part of the world
that's changed, for sure. You saw the role
Facebook played during the revolution in
Egypt. It's unbelievable that social media
would have caused a revolution.
It's powerful stuff, and also a word of
warning as we all know,
it can be dangerous too.
Like anything that is powerful,
it can be used for good, or bad.

OL:

We look forward tomorrow in
Part 7 of this 7 part Oceanliner Notes
Weekly Series,
as we take a tour on
the best of
Glenn Zottola's Broadway Gigs,

his recordings and works with
Saxophonist Great Zoot Sims
and famed
Talk Show Host / Musician
Steve Allen...
and then wrapping things up, finding out
about what's next for Jazz
Trumpeter/Saxophonist Musician Great
Glenn Zottola
...

OL:

Glenn,
is there any music commentary
you'd like to share with the OL viewers,
as we conclude this Interview
6 of 7 segment?

Glenn Zottola:
So yeah, I would like to up my presence,
now that I have all of these Products out
there. I've got a Website, and I have
Interviews, including this one.
I would like to get a wider reach.
I'm not on Television every night,
right now... so a good way to do that,
would probably be through Social Media.

OL:

Thank you Glenn. We'll see you tomorrow!
And thank you all for visiting
OL's Oceanliner Notes Weekly!



OL:
OL would like to extend our
immeasurable thanks to You, Glenn...
for sharing some of your very
valuable time with all of our OL Viewers
for this week...
This being Part 7 of our 7 day Interview for
OL's Oceanliner Notes Weekly Series.
 
We have no doubt that Musicians
reading this worldwide, have come away
from this OL Interview,
with knowing even more highlights 
about your 'shining' Career!
Thanks for sharing, Glenn!


OL:
A Quote from Saxophonist great
Zoot Sims:
"Glenn has 'big ears' - he is a natural jazz
musician... I find him equally talented on
both trumpet and alto."

-Zoot Sims

OL:
Glenn,
as a young lad,
You've had wonderful
opportunities to play with so many
of the celebrated great Jazz Musicians
of the world...
One night on a Jazz & Blues Club Gig...
Zoot Sims
was on Tenor Sax,
and You were on Alto Sax.
Would You say that often being in the
special  moments & Gigs like this,
stays with You, and puts a Musician into a
new dimension of performing?

Glenn Zottola:
Well, Zoot is a Legend to me, and many
others. Milt Hinton, one; we did that gig
with Zoot. My first gig with him,
he called him "The salt of the earth;"
which he was. He was very underrated,
I think. They both came up together,
Stan Getz
and Zoot. They were both in
Woody Herman's Band
. Stan went to much
higher levels, with the public awareness,
with his hit 'Ipanema' and so on.
But Zoot was equally talented,
and he never reached that kind of fame.
Although the character on the
Muppett Show
, called 'Zoot',
is named after the one that plays the
Saxophone. But the point is,
that he never reached the fame and the
monetary reward  that Stan did.
So, when I first met Zoot;
he found out that I was a player
who played by ear,
he said, "Me, too!" So,
we really hit it off; both being ear players,
playing by ear. We had instant simpatico,
we really did... kind of like when I first
performed with Suzanne.
It was a beautiful thing,
and he was a Legend to me.
He was very nice to me, and very
complimentary. Again, that's another thing
that I highly cherish.

OL:
Glenn,
what would be your own
special quote
for the great Musician, Zoot Sims,
as You think about him, today?

Glenn Zottola:
Well, I think that I'll have to quote
Milt Hinton
, saying that,
"He was the salt of the earth."
What I mean that... he swung like crazy,
but he played with so much soul. Really,
so much soul. I remember doing
a tune; I'm a young guy, and I'm hot stuff,
on this gig... and I played this solo,
with a million notes. It was a good solo,
I got a standing ovation...
but then Zoot comes in, he waits a little,
but he comes in and played one note,
but it was the right note, with the right
sound. He made the one note swing,
and he put it in the right place.
Bells went off in my mind.
I said, oh my God, that's where it's at.
It was like four years worth of College
in one note. That's the way I learned how
to play music. I learned so much just being
next to these guys. It's just osmosis,
you know what I mean?

OL:
Yes, from interviewing You Glenn,
it's very evident that You also listen to the
orbits that they are in?

Glenn Zottola:
Absolutely, you said it right.
You know it's like in Star Trek,
the Vulcan's mind meld. I get in their heads and in a few seconds,
it's amazing on what I can find out.
It's like the greatest way to learn.

OL:
That's a great analogy, we love that.

Glenn Zottola:
Yeah...what a privilege to play next to
Benny Goodman
every night. I mean,
why not get in their heads,
and find out what they're doing.
Playing with Chick Corea, playing with
Zoot Sims, Milt Hinton;
on and on and on.
Why not get into their heads and absorb all
of that experience?

OL:
Right... and at the same time, you're
balancing your own orbit?

Glenn Zottola:
Absolutely. You can never be anybody else.
I tell people that. You don't have to be
afraid. Imitation, or another word for it;
that's a tremendous learning tool.
'Emulation'. Emulate to greatness,
you know. I want to advise people,
that is the quickest way to having your
own individual style...
is to emulate those you love.
That's the fastest route that I can
think of.

OL:
Like You said,
"Everyone listens to someone."

Glenn Zottola:
Absolutely. For a while in the 60's and 70's,
people were like,
"I don't want to sound like
anybody else, I want to be different."
I don't think any great player, ever set out
as a goal, to be different. They became
different, naturally, organically.
But I never resisted...
oh I don't want to play like him,
I want to be different. That's not the route.
You arrive at your own individual sound,
by emulating those before you,
not by resisting it.

OL:
Available now and on iTunes...
You are featured throughout; on the
incredible Concord Records CD,
"Steve Allen Plays Jazz Tonight..."
of what was at the request and the
visionary insistence of
Talk Show Host Legend Musician,
Mr. Steve Allen,
himself.
That's quite an honor, Glenn!
We especially love You being featured on
Trumpet...for the track,
"You Go To My Head."
Put us all there right at this session,
with Mr. Allen's free-style approach
for the Band?

Glenn Zottola:

Well, Steve blew me away,
because I didn't know that he could play
that good. He's a Comedian, right?
He did liner notes for the CD I did,
called "It's About Time."
The one with Jim DeJulio. That has
"Dewey Square"
on it. I gave you that
track. Anyway, he did the liner notes.
He heard my playing and he never
heard me before, he flipped out.
He loved it. Concord wanted to do
Warren Vache
, because Warren has been
recording on Concord, forever.
Steve
insisted that I do the session.
And I never even met him.
He didn't even know me, but he heard me,
right? So I get to the session.
And I knew the guys on the session.
And Steve, he didn't say anything.
He just sat down at the piano,
with no arrangements. He started playing
songs and we had to make up arrangements
as we went. It's a great band;
Ken
Peplowski on Tenor, Howard Alden,
Frank Capp
, kind of like the west coast
version of Bobby Rosengarden,
and the bass player,
Chuck Berghoffer
.
It's a great album and I love that album.
In the beginning when I started my career
in New York, the founder of Concord,
Carl Jefferson
; he sent an A&R guy to
New York
, to interview me and talk
with me. He said he wanted to sign me
with a label. At that time, he only had
Scott Hamilton
and Warren Vache,
 I believe. So we sit down
for a while, and the A&R guy says,
"Well, you know I love your playing, etc,
etc; but you know if you play the trumpet,
or saxophone, you'd be a lot easier to
market."
So I said, well, let me get this
straight. Are you implying that I give up
an ability that only one in three people
in the entire planet has, to solve your
marketing problems? Anyway,
the deal didn't happen and we just parted
ways. Now 30 years later, I'm doing this album with Steve Allen for Concord.
So, after the session's over,
Jefferson
comes up to me.
He's the founder of Concord, he says,
"My God, you are amazing, and I have to
apologize for what happened
30 years ago."
And he said, "Would you be willing to
record for me, now?"
I said absolutely,
but he passed away, shortly after that.
So, it never came to fruition, sadly,
as Carl Jefferson did so much
for music...
So, that's the wild story on 'that session.
So, after that session was over,
the beautiful thing was Steve
invited me down a couple of times to his
office, in Beverly Hills. We sat down,
and he ordered out for lunch.
We had lunch, and we talked.
He played the piano, I played saxophone,
with him in his office,
and we just hung out. It was unbelievable.
He had so many stories,
he's got such a history, you know?

OL:
Incredible, wow. We enjoyed that.

Glenn Zottola:
He had a lot of Jazz Legends on the
Steve Allen Show:
Art Tatum,
Oscar Peterson
, Lester Young, and
 Coleman Hawkins
. He had a lot of jazz
players come on his show.

OL:
In today's music world, and with
the vast use of the internet & Social Media,
more and more Artists are taking more
direct control of their Careers,
via marketing and promoting.
While Major Record Companies are
streamlining their Artists Roster line-up,
more and more Independent Record Labels
are growing in numbers, but pale in
comparison to some of the major
Record Labels as far production
and budget,
and things like that. Do You believe that
there can be a happy medium between
these two entities in working together?

Glenn Zottola:
Well, I've got to be honest. I'm a little lost
on the subject, because there are those
that say the CD business is over,
with the advent that what Steve Jobs
did with the digital downloads.
I think it's a moving target. I think it's
changing. I don't know if it's really
settled yet. I know that there's a lot
more avenues, and a sense that an
artist now, can put out their own CD's;
let's say, put it on CD Baby or iTunes.
So, you can get around the major labels,
which is a good thing. But then again,
the major labels have the money to
promote your product, which means a lot.
So, again, back to your earlier question;
I think it's going to be a question of each
individual artist really learning about the
business, from this angle. There's a lot to
learn; social media, marketing,
promotional independent.
There's a learning curve there, for sure.

OL:
So, would you say,
it's pretty much like a work in progress?
 
Glenn Zottola:
Well, it is for me. Maybe if you talked to
someone more knowledgeable, they would
have a better take on it. At least for jazz,
but I'm told that even the pop artists are in
trouble as far as record sales.
So, I don't know where it's really settling
out. I do know that there's a lot more
routes for people to take, for sure.
Like a friend of mine, he was hoping to
get a Grammy nomination, at least.
So, he produced the CD himself,
he's a very good player in New York.
He put it on CD Baby.
He did it all himself, no record label.
Nothing happened,
in terms of the Grammys.
So, I don't know if the game is fixed;
in the sense that I don't have the statistics
on how many independent records are
winning Grammys. For example,
I'm sure that there are some maybe,
that have, but I don't know how many.
Because it seems like the record labels
do control the environment, a little bit,
you know? For example, I use for my
research; I use Spotify,
it's a free service. It's amazing,
I can go on there and listen to
any CD. In fact, I have a friend who runs a
radio station, in New Jersey. She programs
her entire show from Spotify.
She has no hard copy CDs, in the Library.
So, for me, let's say I'm doing an album
with 15 tunes, in all truth of the matter,
it might be hard to get someone to really
want 15 songs. They might want just one.
They want to compile their own set list.
Now, the reverse side of that, is that older
people, who don't have any skills with the
Internet; but they're not a large part of
the buying public.

OL:
But happily, LP's are coming back.
Especially in the European Market,
people are demanding that they want
something to show for their purchase.
LP's are starting to slowly creep back into
the market, and that's an exciting thing.

Glenn Zottola:
I went into the Whole Foods Store
the other day,
and I saw this huge bin of LP's.
I couldn't believe it.

OL:
Glenn,
on our last tour stop with You,
on this OL Interview for the week,
we've come to an equally impressive
dimension of your Music Career...
to where You've played in the
Orchestra Pit,
on the best of of Big Apple City Stage
Arenas...
...BROADWAY...
Rattling off some of the
Hit Broadway Shows
that You were a
part of..."Annie", the original "Evita",
"Dancin"
, "Barnham", "42nd Street",
& on the road playing lead trumpet in the
original "Chicago" national tour with
Jerry Orbach, Gwen Verdon
and
Chita Rivera.
Tell us about this
extraordinary run of shows and how
B'way rehearsals in particular differ from
preparation for TV Show rehearsals?

Glenn Zottola:
Chita
was amazing. They're all amazing...
Jerry
, too.
There is a big number in "Chicago,
"All That Jazz",
where the star character
Roxie Hart
makes an entrance down the stairs
from the Bandstand.
Every night, when we would do a show,
Chita
would just come up and lean on my
shoulders, waiting for the
entrance, and we would chat
and have fun. She was so relaxed
and such a pro, and made it fun!
We worked seven shows,
eight shows a week.
She was an amazing, amazing Entertainer.
Oh God, I was so impressed with her.
That was a great experience.
I try to tell people... I was just telling
someone yesterday, about this; you used
everything, I used it all. I use my efforts,
and everything that I did to television.
I ran that show like a jazz gig,
I used all of my experience with
Broadway
, from playing Weddings...
As a musician, you do all kinds of work.
If you're smart, you will use it all.
It all comes to your rescue, at times.
So, Broadway was a whole other genre.
I couldn't stay there. Like my Brother,
Bob
, did Les Mis for 17 years.
I couldn't have that kind of discipline.
There is a benefit to that, and incredible
pension. But it wasn't in my nature.
I was groomed to be in front of the
audience. A funny story:
I walk into the studio one day,
and they were ripping pages
from out of this script.
The director is frantic.
He did all of Dick Clark shows.
He said, "My God, what are we going to do,
we have to write all new music,
we don't have any time, we're going on the
air."
I said, wait a minute Barry, relax.
Just give me whatever color or mood,
whatever you want; like 30 seconds before
the commercial break, and you've got it.
And that's what he did.
I gave him a perfect show
with no music, with a script that
had completely changed. And he said,
"I never saw anybody on television,
operate that way ever."
I said, Barry,
I'm a jazz player. That's what I do,
improvise. He actually recommended me
for The Tonight Show,
because Branford Marsalis
was leaving. He was so impressed with my
work. What I'm saying is, you bring it all
to the table.

OL:
How did Broadway rehearsals differ from
preparations for a Television show?

Glenn Zottola:
Broadway
is definitely more expansive,
because it's all written music. I had more
control over the TV show, because I was
improvising a lot of it,
and I was the Band Leader.
So, I was able to have control on how
I was going to fit the music into the show.
On Broadway, it's all scripted out,
you're just reading music.
You've got to basically, do a lot more
rehearsals and it's not subject to change.
Don't forget I'm playing a show for a cast.

OL:
What would be one of your
favorite Broadway Shows
that You've worked on?

Glenn Zottola:
It would be "Chicago."
First of all, it's a jazz oriented show.
It's in the 20's. The music was jazzy.
I loved the fact that we were
on stage, not in the pit.
The band was on stage for
the whole show. So, it's like doing
 a real jazz gig, you know what I mean?

OL:

Wonderful!
As we come to a close for this
OL Interview, Glenn...
can You expound upon your own quote of
what the "vintage period of jazz..."
and what the preservation of it means to
You, in the music world of today?

Glenn Zottola:
Well, I call it the Golden Age of Jazz.
You find that in a lot of genres.
You'll find the Golden age of film,
all of those incredible productions.
I saw the other night, "Funny Girl,"
with Barbra Streisand. Oh my God,
you can't still see movies like that anymore.
So, the Golden Age of Film, you have the
Renaissance of Paintings.
Then, you have the Golden Age of Music,
which started with
Louis Armstrong
in 1920,
and kind of ended with Charlie Parker in
1950. Those golden ages, I feel need to be
cherished, preserved and studied.
Of course,
things move forward, there's nothing wrong
with that; but if you don't have a
foundation, as you don't take what came
before, it's not going to have the same
substance. So, I keep trying to fight this
point that the golden age needs to be
validated. And that's why I say,
I respect what Wynton Marsalis
is trying to do at Lincoln Center.
I wish that the jazz education system
would do a better job at that;
really putting attention on the
Golden Age of Jazz.

OL:
There are some who touch people
with their talents,
and Jazz Trumpeter great Glenn Zottola
is one who has touched so many people,
let alone other great Artists.
It is therefore fitting that anyone who
reads this OL Interview and listening to
his wide range of classic recordings,
will also feel his musical touch for a
lifetime! OL celebrates the major Stage,
Recordings & Screen contributions of this
exciting and enduring Artist...
Jazz Trumpeter Glenn Zottola!


Glenn Zottola:
I want to say one more thing; I repeat
myself...on a fantastic job and platform
that you have given me. As I said,
I've done a lot of interviews around the
world; this is probably the best one
I've ever done. Because OL has done its
homework. Your tremendous love for
artists, your questions are
right inside of my head.
I just want to validate what you are
doing. I think you've done a fantastic job,
and I love what Oceanlight Records is all
about. I just want to tell people that your
Oceanliner Notes Weekly Series
should be
supported, also.

OL:

Thank you so much, Glenn.
We can't tell you enough how much that
means to Oceanlight Records and the
Oceanliner Notes Weekly Series
.
Thank you so much for doing such a
wonderful and informative interview.
It is a joy to have you on the OL Series,
one of our top interviews of all time...
 
Glenn Zottola:
Thank you. I thoroughly enjoyed it.
You're very welcome.

OL:
Jazz Trumpeter/Saxophonist Musician
Great...Glenn Zottola
!
And thank you all for visiting
OL's Oceanliner Notes Weekly!




Playlist samples:
Jazz Trumpeter / Saxophonist Great
GLENN ZOTTOLA

1. Just The Two Of Us (Only Trust Your Heart" CD) -
feat. Glenn Zottola & Sonny Constanzo
Personnel on track one:
Sonny Costanza, Mel Lewis, Gene Bertoncini,
Michael Moore, Harold Danko
2. But Not For Me -
(Chick Corea Trio & Glenn Zottola: Trumpet and Alto Sax)
3. But Beautiful:
 Suzanne Somers and  Glenn Zottola
4. So Many Stars (Only Trust Your Heart" CD)
5. Milt Hinton Clearwater Jazz Festival
6. Greensleeves (Glenn at 16 years old)
7. Stardust
8. Killing Time (Glenn w/ Maxine Sullivan)
9. Samba Rioja
10. Wrap Your Troubles In Dreams -
(Suzanne Somers TV Show w/Guest Patti Austin)
11. Sweet Thing
(Guests Tisha Campbell/Tichina Arnold -
on the Suzanne Somers TV Show)
12. Dewey Square
13. Fine and Dandy (Steve Allen Band and Glenn Zottola)
14. Cottontail
15. I've Got To Wear You Off Of My Mind  (w/ Peggy Lee)
16. Gentle Rain (Only Trust Your Heart" CD)
17. Struttin' With Some Barbecue
18. China Boy
19. Shine (Glenn Zottola ' live' at Carnegie Hall)
Special Guest Artist Online Interview Feature...
GLENN ZOTTOLA
JAZZ TRUMPETER / SAXOPHONIST GREAT
www.glennzottola.com
Original  OL Records Artist Interview: 4/27/14 - 5/3/14


OL Quote Pick of the Guest Artist's Interview!

""Louis Armstrong
used to travel
 around the world.
An ambassador in
Africa.
They didn't
 speak the language,
but the music spoke
 the language.
You don't need language
 with music."

...Glenn Zottola


The Chick Corea Sessions
SUZANNE SOMERS TV SHOW
The Suzanne Somers TV Show (Suzanne Somers & Glenn Zottola)
Glenn Zottola: Live at Eddie Condon's CD
Jazz Bassist Legend Milt Hinton
Tichina Arnold & Tisha Campbell-Martin of the "Martino" TV Show Performing on the Suzanne Somers TV Show with Glenn Zottola
Glenn Zottola (The Early Years)
Glenn Zottola: Sitting in for Harry James 'live' at Carnegie Hall: Benny Goodman
The Classic Jazz Trio
:Love Held Lightly" CD -by Peggy Lee (with Guest Trumpeter Glenn Zottola)
Suzanne Somers TV Show with Guest Patti Austin feat. Glenn Zottola on Trumpet
Steve Allen Plays Jazz Tonight - feat. Glenn Zottola