Graham Dechter provides rhythm to a big band sound
Musical talent and creativity work their ways through generations in fascinating ways.
The prolific soundtrack composer Brad Dechter was initially an accomplished saxophonist. His name was familiar on 1980s bandstands: Ann Patterson’s all-woman jazz orchestra Maiden Voyage, for one, usually played at least one Dechter chart per night. His son Graham found his own musical voice on the guitar.
The 29-year-old Graham is known for tasty playing, functioning foremost as an asset to the ensemble. A head for arrangement and composition inform his solos, which often touch on guitar greats like Joe Pass, Barney Kessel, Grant Green and Jim Hall. But his work with the Clayton-Hamilton Jazz Orchestra has allowed Dechter to explore an aspect of his instrument that is all but extinct: that of rhythm guitarist to a big band.
Dechter, who plays the jazz vespers service at Pasadena’s All Saints Church on Sunday, came to the work of rhythm guitar masters like Freddie Green and Steve Jordan through his first guitar mentor, Jim Fox.
“My favorite guitar albums were Wes Montgomery’s ‘Boss Guitar’ and ‘Jim Hall & Pat Metheny,’” Dechter says. “But Jim got me into Freddie Green, and it was an entirely different way to play.”
Freddie never soloed. He concentrated instead on reinforcing the four-to-the-bar beat of the Count Basie Orchestra. Green’s steady chording gave Basie’s minimal piano a solid foundation.
That selflessness applied to another Dechter idol, the Texas-born jazz guitarist Herb Ellis.
“Herb’s rhythm playing was utterly unique,” Dechter enthuses, “even though it came out of Freddie Green. The way he did it with the Oscar Peterson Trio was entirely infused with the blues.”
Pianist Tamir Hendelmen has played in Dechter’s quartet for a number of years. The guitarist’s team-player approach to band leading is not lost on him.
“It’s unique to work with a guitarist like Graham who is so attuned to the other people in the group. His first priority is to make the group sound good. His years with Clayton-Hamilton have made Graham a master of laying down those quarter notes in the big band, the way Freddie used to do it. He pays close attention to accompanying and the details, rather than just soloing. But as a soloist, he can hold his own — he takes his time and really builds something each time.”
Hendelmen has a related point about the associations that the co-leaders (alto saxophonist Jeff Clayton, his bassist/composer brother John, and drummer Jeff Hamilton) cultivated with past masters like bassist Ray Brown and pianist-bandleader Count Basie.
“Clayton-Hamilton is like a family,” Tamir stresses. “The leaders have taken the lessons they’ve learned from Ray Brown and Count Basie and built their band around them. There’s real joy on the bandstand, with everyone contributing to the whole. But beyond that they’re there for each other and for the people in the band. The musicians all know that they’ve got those resources any time they need to call on them.”
At All Saints, Dechter will adhere to the church’s music-in-the-round format: the musicians are on the chancel, with the audience around them. But two nights later, Dechter plays duets with New York guitarist Peter Bernstein at Bacchus Kitchen (1384 E. Washington Blvd., Pasadena; bacchuslive.com) on Tuesday.
“Peter’s probably my biggest influence right now,” Dechter excitedly remarks. “I love his choice of notes, his harmony and his overall conception. Most guitarists plan out their solos; Peter is so spontaneous he’s incredible.”
“I’ve played the jazz vespers service before,” he says, “as a leader and backing other people. It’s interactive, with readings and prayer, and music. While I don’t have an organized spiritual practice I’m involved in, I guess I have to say that if I did, it would be music.”
What: All Saints Church Jazz Vespers, with Graham Dechter
Where: All Saints Church, 132 N. Euclid Ave., Pasadena
When: Sunday, Nov. 15, 5 p.m.
Contact: (626) 583-2725
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KIRK SILSBEE writes about jazz and culture for Marquee.