The Creative Yet Stable Life of Pianist George Cables

Time was when success for a jazz musician meant just one thing: You simply played your instrument, and with luck you kept working.

George Cables typifies the 1980s artist in that he is able to spread his creative wings. Currently he has four areas of activity, as pianist/leader, sideman or co-leader, composer and teacher.

His endeavors have been overlapping with increasing frequency. His trio will be performing tonight at the Biltmore’s Grand Avenue Bar. Some time this month, too, he will play on a session with the vibraphonist Bobby Hutcherson, who has recorded more of Cables’ compositions than anyone else. Cables’ last album was a duo set with the alto sax virtuoso Frank Morgan. He works now and then with the saxophonist Chico Freeman as co-leader.

Devoting himself exclusively to the acoustic grand piano, Cables has had a stable career that has seen him in a succession of remarkable settings. Over the last 20 years he has worked with Art Blakey, Max Roach, Sonny Rollins, Bobby Hutcherson and, since the early ‘70s, quite often with Freddie Hubbard.

Along the way he has gigged and recorded with his own groups, mainly for Contemporary Records. In his remarkable “Cables’ Vision” LP three men who are leaders in their own right--Hubbard, Hutcherson and Ernie Watts--became Cables’ sidemen.

“I enjoy diversifying my career,” he said from New York. “When I lead a trio in the East I’ll hire my New York rhythm section, and out here I will have Ralph Penland on drums and Tony Dumas on bass.

“I don’t mind working as a co-leader or sideman occasionally. Last year Chico Freeman and I took a group to Japan; then we recorded an album in Chicago with Chico’s father, Von Freeman, who’s also a fine saxophonist.

“Japan has become so important to me--I think I’ve been there eight times--that I can just about speak Japanese; at least I remember enough to have a head start every time I arrive there.”

Though he has had dozens of compositions recorded--by Dexter Gordon, Hubbard, Hutcherson, Woody Herman and Woody Shaw among others--Cables has done less writing recently, perhaps because, as he says, “It’s a lot of fun rewriting other people’s music, as I did on the ‘By George’ album of Gershwin’s music last year.”

Teaching, particularly at college clinics, has become a growing interest. “When I was getting starting I wasn’t aware of any jazz programs in schools, and that wasn’t such a long time ago, but things have changed amazingly.

“The level of student performance has definitely improved, and I enjoy working with young musicians. I did Bud Shank’s workshop at his home town in Port Townsend, Wash.; I went to Brigham Young University in Provo, Utah, where they have a surprisingly good jazz band; and I’m going to do some guest work with a band at Oberlin. It’s great that so many of these players today have a place to test the waters, to try out their individual ideas. During my early days we didn’t have opportunities like that.”

If he was unable to find outlets of that kind, Cables at least had the right education--at the High School of Performing Arts and later at Mannes College in New York--and was guided by the appropriate sources of inspiration. His idols on piano were Wynton Kelly, Buddy Montgomery, Herbie Hancock and McCoy Tyner; as overall influences he names Miles Davis and John Coltrane. Traces of all these men may be found in his writing or playing; he has forged this eclecticism into a vital, technically and creatively exceptional persona.

Cables today is reaping the rewards of his 20 years of effort. “Things are finally going just the way I want,” he said. “I’ve been playing in cities I haven’t visited in ages. I’m working every single day. In fact, the only complaint I have is, I’m crying for a rest.”