Will Calhoun is known by most as the drummer of the popular 80s hard rock band Living Colour. The band produced hits like “Cult of Personality” and “Time’s Up,” winning Grammys for both. Opening for the Rolling Stones, they played all the big stadiums. Calhoun’s reputation amongst non-Berklee affiliated, non-jazz-oriented contemporary musicians might be limited to his work with Living Colour, but let’s put this matter to rest right now: Will Calhoun, more than just a rock drummer with soul, is a phenomenal jazz musician.
Calhoun’s new record, Life In This World, was released in the U.S. in May 2013 and features some of the best current jazz musicians around, including Calhoun himself on drums and percussion. His trio, with Charnett Mofffett on bass and Marc Cary on piano, played the Berklee Beantown Jazz Festival in September 2013. I had a chance to catch Mr. Calhoun a few moments after his set to talk about his time at Berklee, the new record, and his future.“I always played jazz; I mean, I played jazz first. I did the rock thing cause I really loved rock,” he said right off the bat. You can indisputably hear his jazz background in anything he plays, even some “Living Colour” tunes. The only time jazz wasn’t on his mind “was when Living Colour became very popular. We opened for the Stones, played all these stadiums… it was fun.”
At Berklee, Calhoun worked on himself: unconcerned with what others were doing, he studied the kind of drummer he wanted to be, so that when that first important gig came along, he was ready. It did…and he was. His first job after school was touring with calypso legend Harry Belafonte. As if the job itself wasn’t good enough, touring with Belafonte was as enriching a life experience as it was musical. “He was the best. Great bandleader, special guy… They don’t make ‘em like that anymore, man.”
To say that Calhoun is a well-rounded working musician would be a terrible understatement; his work as a touring musician and experience in playing just about every musical style lends him chameleon-like abilities on the drum set. His ability to change genres on command explains his longevity in the business. As his current solo career with a trio of seasoned jazz musicians illustrates, his artistry and musicianship are as effortless as ever.
Life In This World, ironically, takes you to another planet. Beginning with one of bassist Charnett Moffet’s tunes, “Brother Will,” it’s an homage to each of Calhoun’s major influences. The brilliantly arranged album is a tribute to Cole Porter and John Coltrane on their tunes “Love For Sale” and “Naima,” respectively; both tunes showcase Calhoun’s tremendous feel for the classics.
The X-factor of the album, in my opinion, is the sixth track, Thelonius Monk’s “Evidence.” Calhoun’s drum solo near the end of the track is a powerful explanation of what he’s learned over the course of his musical journey. The record closes with two of his own compositions: “Dorita,” recorded on his previous record, Native Lands, and “Love’s Parody,” a beautifully moving ballad that features Calhoun’s skills as a lyricist. He writes, “Although you say love is a miracle, we’ll part someday, feeling hypocritical. Tomorrow lies, love’s fantasy. It’s not quite heat, but love’s parody.” The melody and harmony, shifting back and forth between a major and minor color, make it difficult for any listener to disagree.
Calhoun, Moffett, and Cary opened their 2013 Beantown Jazz Fest set with Mongo Santamaría’s standard, “Afro Blue,” a tune Calhoun recorded on his 2005 release Native Lands. Throughout their hour-long set, they treated a full audience to raw, real, authentic jazz. After watching videos of Living Colour, reading about Calhoun at Berklee, and even screeching a poor rendition of “Cult of Personality” at my middle school talent show, sitting down with Calhoun after that incredible set was the culmination of years of admiration. He is a perfect example of how to listen to music: organically, non-exclusively, and from the heart. “I didn’t go by styles, I went by sounds. I love rock, I love jazz, I love funk; I love it all. It’s all music.” Before I wrapped up my interview, a Berklee staff member approached Calhoun, apologizing for the delay of the start of his set and any sound problems that might have happened. Throwing his head back and laughing, Will smiled and said, “Hey, I just played music man, it’s a beautiful day.” Coming from a guy like Calhoun, who could possibly disagree?
-Jake Ohlbaum
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