A cutting-edge saxophonist, composer, and producer.
Project Jumpstart’s theme for the month of November is “Breaking the Mold,” and we’ve been featuring guests whose ability to think outside the box has led them to new territories in their musical endeavors. Recently-appointed IU professor Greg Ward, whose creativity has brought him success not only in jazz but also in the worlds of contemporary classical music and ballet, is a perfect example of this kind of innovative thinking.
Greg Ward is a saxophonist and composer that was born in Peoria, IL. Currently based in Chicago, Ward has had the opportunity to perform and record with a varied group of artists like Prefuse 73, Lupe Fiasco, Tortoise, William Parker, Andrew D’Angelo, and Mike Reed. After completing his degree at Northern Illinois University in 2004, Ward moved to Chicago and lived their performing with a wide variety of groups, as well as being commissioned as a composer for many esteemed groups such as the International Contemporary Ensemble, and the Peoria Ballet among many others. In 2009, Ward moved to New York City and, almost instantly, began working with JazzReach, a NYC-based jazz education program. Ward worked extensively in NYC including touring and recording with world-renowned bassist, Linda May Han Oh, while still continuing his recording and work with the top musicians in Chicago. In 2015, Ward moved back to Chicago and has recently began working as the Saxophone Professor in the IU Jazz Studies program in 2019.
Ward recorded and released his first CD, South Side Story, in 2010, to much critical acclaim, garnering the Chicago Tribune‘s “Recording of the Year,” and jumpstarting his career as an innovative recording artist. Read more about his latest record release, Stomping Off from Greenwood, as well his advice for young jazz musicians and his experiences along the way, in the interview below!
THE INTERVIEW
PJ: You began performing in jazz clubs around your sophomore year of college. What advice would you give to musicians who are also beginning to make the transition from student to professional?
GW: I have found that it is important to remember that, no matter what stage in your career you are, when you are entering into a new creative scene you are actually becoming a member of that community. It’s very important to observe the community as it is and to think of ways in which you can contribute to the richness of that particular community with your own creativity. With this mind-set, I’m positive that doors will open and that the current members of any community that you are interested in being a part of will offer guidance to the young professional.
PJ: What is one of the most memorable experiences you’ve had during your musical career, and why?
GW: My first commission was from the Peoria Ballet Company and I received this opportunity at a stage in my career when I lacked the skill to pull something like this off. Over the course of 2 years, I worked hard and produced a project called Wings, which was a 5-movement dance piece for 40 dancers, a 5-piece band, and set design by Preston Jackson. The choreography and set design were all created after I composed and recorded the music. After the premiere, the director took me out on the stage of the concert hall and said, “Look at what your music created. This happened because of your work.” This moment really encouraged me to think outside of the box when it comes to where and how music can be absorbed. Since then, I’ve found myself in some pretty incredible situations.
PJ: What is one thing you wish you’d started doing earlier?
GW: I wish that I had started investing as soon as I graduated from college.
PJ: How do you avoid burnout when juggling a busy performing and teaching schedule?
GW: It’s important to have other interests that you are serious about. For example, I love to run long distances. I started this when I was 11 years old and hope to continue for as long as possible. Running has made me determined and has taught me about patience in life. Everything is a marathon. When I’m feeling stressed or on the verge of burning out, I go out for a long run. I really get to think through everything during this time. It’s important to be able to do something simple that helps you reset.
PJ: You have worked extensively across genres in your career and created amazing projects such as your critically-acclaimed recent jazz album, Stomping Off from Greenwood, as well as non-jazz compositions for the Peoria Ballet Company, Chicago Symphony Orchestra’s Chamber Music Series, and the International Contemporary Ensemble. Where do you find your inspiration for these diverse projects, and do your ventures into outside genres influence your own musicianship as a jazz saxophonist?
GW: Like I mentioned earlier, putting myself into situations that are unfamiliar helps me grow. I look at these artistic settings as problems to solve and find joy in discovering a thread that connects the various mediums for these collaborative projects. When performing as a saxophonist, no matter the context, seeking the connective thread in each musical moment keeps me on my toes and makes me a better listener and contributor.
PJ: You’ve lived in two of the most jazz-saturated cities in the world, New York City and Chicago. Moving from Chicago to New York, what went into that decision, and how did you feel like it was the right professional move for you at that time in your career? What were the major differences between the two cities, and do you find it necessary for jazz musicians to spend some time in NYC?
GW: I was a member of the Chicago music and arts community for 9 years before working up the courage to move to NYC. I remember 2 other attempts to move to New York City before actually doing it in 2009. Both times, I chickened out when another opportunity presented itself in Chicago. Before moving to NYC, my time in Chicago was incredible. I learned so much and had many opportunities to develop my ideas in a rich and encouraging community.
I started traveling with groups I was in more frequently in 2007. We’d pass through New York and I’d have an opportunity to check out the scene. My curiosity built and I decided to take the leap because it was clear to me that if I wanted to be a part of the projects that were happening there, then, I’d have to be there, at least for a while. Creatively, this was one of the best moves I could have made at that point in my life. Being around such an intensely creative place, with all of the stresses of life and art intertwined, really pushed me into the next stage in my development. Professionally, moving to NYC was tough. In Chicago, I was making a great living and had all kinds of opportunities to perform and to create. The sacrifices I made by moving to NYC really paid off and I’m glad I did it the way that I did it. I knew who I was as a person and as an artist and had the maturity to take advantage of a place like New York City, which can really beat you down if you let it. Spending time in NYC can be great for any kind of artist. Putting yourself under stress can produce great results. I do think it’s important to know when you’ve had enough though.
PJ: During your early college years, how important was it to have older mentors on the scene for you? How important was the jazz jam session scene for you?
GW: Mentorship at every stage in your life is extremely important, formal and informal. I feel very fortunate to have had incredible mentors that shared their wisdom with me freely. At first, a lot of my mentorships began at jam sessions. For example, when attending the jam at the Velvet Lounge in Chicago, I was fortunate to meet the owner, legendary saxophonist Fred Anderson, who would become a great friend and mentor and would give me opportunities to perform and to develop a career for myself. He changed my life and I will forever be grateful for the friendship and guidance he offered me during my early years in Chicago.
PJ: Many students look up to you and see the exceptional career you’ve had in an extremely competitive art form. Can you speak a little about the hardships along the way, and how you overcame those obstacles?
GW: I believe a lot of what I’ve said throughout this interview can be helpful as younger people move into the professional world of art. First, be a good member of the community that you are a part of. You’ll need people that you can count on when things get tough. Challenges will come, so expect them. This life is a marathon so keep moving forward towards your short-term, mid-term, and long-term goals and don’t stop learning and growing. Seek uncomfortable situations. Be honest with yourself and do the work. Keep the right ideas of success clear in your mind. Find fulfillment in the journey.
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