Mark Whitfield Prepares for His Show at the Lakeside Guitar Festival

 

This interview originally aired on The Afternoon Cruise on 07/30/25

READ THE COMPLETE TRANSCRIPT BELOW:

 

 

Sean McPherson (Jazz88) 

It’s the Afternoon Cruise, and I’m chatting with guitarist Mark Whitfield. Mark Whitfield and his trio are coming through town to play the Lakeside Guitar Festival on Saturday, August 9, the Lakeside Guitar Festival takes place on the Como Lake Pavilion. Mark Whitfield, thank you for bringing your trio to the Twin Cities, and thank you for connecting with jazz88.

 

Mark Whitfield 

Well, thank you so very much. It’s my pleasure. Thank you for all you do to help us keep the music alive.

 

Sean McPherson (Jazz88) 

Now, I grew up listening to your playing, and it’s an honor to talk to you. My favorite album of yours is Forever Love. I don’t know if it really ever left my CD player for a couple years. It’s just such a wonderful disc. And I was a young man at the time, and you were one of the first instrumentalists I listened to that commanded the intensity and focus of a vocal performance on an instrument. It was one of those things where I listened to you like I listened to singers as I was first getting into instrumental music. And I was curious, were you always comfortable in kind of that lead role of commanding the focus, or is that something you came into a little bit later in your development as a player and performer?

 

Mark Whitfield 

Well, first of all, let me say that’s a compliment of the highest order, and I, as someone who worked really hard on on developing that vocal quality to my playing, I appreciate that quite a bit. That was something that took, you know, I, you know, I stood up next to Carmen McRae, Betty Carter, you know, and all these wonderful singersand little Jimmy Scott, you know. And I was always amazed at the the depth and the conviction and the emotion that they could convey with one note, with one phrase, the weight on each note, and you know, and the amount of intensity they could breathe into a phrase, and to capture that with my instrument, with the guitar, was an elusive skill, to say the least. But, you know, I just continued to focus on capturing, on recreating the sound that I had in what I call my imaginations year, and allowing that to translate, taking my time playing fewer notes and singing through melodies. And eventually I got there, and I really appreciate hearing that, that it translates in that way.

 

Sean McPherson (Jazz88) 

It’s Mark Whitfield. He’s getting ready for a show on Saturday, August 9, Lakeside Guitar Festival, and it’s with the trio. Who are you bringing with for the trio for this gig Mark?

 

Mark Whitfield 

Well, this is a real treat. I bring it. You know, one of the great bass players of our time who happens to be my oldest friend in the world. That’s the wonderful James Genus, you know, he’s been playing bass for Saturday Night Live for years and and last, I don’t know, 10 years or so, touring with the great Herbie Hancock. So I’m not sure how we managed to get him away from Herbie for the weekend, but grateful that we’ve got him so James Genus on bass and Charles Gould on drums. And interesting thing there. Charles’ dad Ned and I played together with the late great Jack McDuff. Some of my first gigs. As you know, out of college was Jack’s band, and one of the first places we went regularly was the old Artist’s Quarter on Nicollet, back in the late 80s. So it’s funny to me to be returning to I’ve always loved playing great stories and great memories about playing in Minneapolis, but to be there and to now be the old guy who’s out there my friend’s sons on the road is just a surreal experience, and I just can’t wait for the world to experience him playing the way that we have here in New York. He’s wonderful. And I’m looking forward to the show.

 

Sean McPherson (Jazz88) 

And now the Whitfield name has also taken on a generational thing in the world of music, right? Because your son is playing on all sorts of records we play on jazz88?

 

Mark Whitfield 

Well, both of the kids actually are just, you know, we had a family band for a while. Mark Jr, of course, plays drums, and Davis plays piano. And then a certain point, a few years ago, they said, you know, Dad,we’ve been thinking, it’s time you let us move on without you. They fired me, which, of course, was the goal all along, right? You know, was but to see them grow and develop, you know. And I’ve always believed, as a generation, you know, you you move the ball forward as far as you can, and then the next one starts there. And it’s really great, you know, great pride that I that I get to watch and listen to them play. Mark Jr, of course, is playing with everyone everywhere, and Davis is right behind him. They tour quite a bit. And I couldn’t be more proud.

 

Sean McPherson (Jazz88) 

Now I got to ask one question about BrotherJack McDuff, certainly, because he lived in the Twin Cities, but also because I interviewed Mark Ribot a number of years ago, and I believe Mark played with him for a little while, and he said that Jack McDuff went to great lengths to tell Mark that he was no George Benson. Did Jack McDuff ever do that for you and sort of go, Hey, listen, you’re doing fine, but you’re no, George Benson, or was he a little more gentler, but too long.

 

Mark Whitfield 

I wish that the comments he made had been that kind, let’s face it, I already knew I was George. You know, I The funny thing about about Jack McDuff, and one of the amazing things about him was just the reputation he had amongst the world’s great jazz guitar players, you know, people like Joe Pass and John Abercrombie, musicians that you would would not have associated with Jack at all. They, you know, every they all agree that Jack had the had the greatest guitar school in the world. He, you know, which is why George actually insisted that I go to work with Jack when I was young. And without that experience, I don’t think I would have it. So I certainly wouldn’t have become the position that I am today without Jack’s help, without his tutelage and his mentorship and those zinging one liners. I mean, he just, he could drop bombs on me, but he knew that I was, you know, that I was eager to be better and to be, you know, to always play at my best, and we were very close. But I really have have, you know, I have him to thank for so many things that I was able to accomplish and things I’m still doing today.

 

Sean McPherson (Jazz88) 

While we’re speaking of tutelage and mentorship, your visit to the Twin Cities is not just for the performance. You’re also going to be visiting Walker West and St Paul spectacular school that I was actually a student at when I was coming up in my high school years. What do you love about having education be part of your offerings when you travel?

 

Mark Whitfield 

You know, for there was a time when I didn’t really, didn’t believe in what that I was ready, necessarily, to share, to teach that way. You know, that’s a huge for me. It’s a huge responsibility to, you know, to pass wisdom on from from one generation to the next. And I took my time, and I really, you know, have grown into teaching, and I love it now. I teach a couple of jazz history courses here at the University of Jersey City, I teach. You know, I just finished teaching at Juilliard for the summer, and do a lot of private teaching. But any opportunity that I have to share the lessons that I’ve learned with anyone eager to hear them, I take, I take, I cherish. You know, these opportunities, and I take them very seriously. So anyone who’s able to join us for those master classes just you know, a whole lot of your hats, it’s gonna be a lot of stuff coming your way, but I do it because I love it.

 

Sean McPherson (Jazz88) 

Now I wanted to visit one of my favorite performances of yours. You do rendition of My One and Only Love on one of your albums, the one that I’m such a big fan of, the Forever Love, and you have an ability to carry an improvisational spirit even when you’re playing all on your own. And that’s an uphill battle, because a lot of times you’re able to play off of the the you know, performances that you’re surrounded by, and respond to what the bass player is doing to stay in the moment, but you bring that inventive and creative spirit all on your lonesome. How do you make sure that when you’re playing all by yourself, you don’t just turn it into a practice session or a shred session, but you actually communicate and improvise the way I hear you do on records?

 

Mark Whitfield 

Oh, thanks for the compliments and the kind words. First of all, much of it is because it’s about having a, you know, a sound in mind, a goal in mind, when you approach, you know, approaching playing unaccompanied music that way. I’m very fortunate that, as when I was very, you know, my parents were huge jazz fans, and growing up on Long Island, they took every opportunity to bring me to, you know, to hear their music and to see great musicians. And I’m still adamant for young especially, like for young people, you know, the best way to experience jazz music is to be, is to is to be there while it’s being  performed live in front of you. So I’ll tell you I was playing. My parents retired after I finished 10th grade on Long Island, and they retired to a little suburb outside of Seattle, Washington, and I was still playing bass in the school orchestra at the time, we took a trip to Disneyland to compete in a high school orchestra competition. Just happened to wander off by myself, one one of the one of the afternoons, and as I as I crossed through the giant teacup, Iheard some guitar being played just by itself. Actually sounded like a record. I, you know, walked into this little place, and as it turns out, it was Joe Pass, right? So the union there would send legendary musicians.Do these kind of, you know, sort of solo performances. Wasn’t like it was greatly advertised. I stumbled in there by accident, thank God, and I stood there for 45 minutes watching Joe Pass play solo guitar. So I’m watching, you know, one of the greatest, not the greatest of all. You know solo, you know jazz, tar players playing into the unaccompanied context. And this is my first time seeing someone do this, and it was just a mesmerizing experience. You know, he everything he did was musical. It wasn’t about a specific concept. It was about everything. He just, just music pouring out of him. And he and the entire audience, myself included, was captivated. So there were, you know, he paid attention to melody, paid attention to harmony, to pace, rhythm, took his time.The most important thing was it was at no and this was one of the things you mentioned in your in your question, at no point in time did it ever feel likehe we were we were disconnected. It was never about an exercise or a thing he was trying to do or it was always aboutcreating this beautiful sound and sharing it with everyone in a way that you couldn’t it was you couldn’t miss. You couldn’t be it hit us all dead center. And so I, you know, it was from that moment that I really started to focus on being able to do that. And I’m glad that it comes across that way. It’s not, surely, it’s not, not an easy thing to do. But nothing about playing this music is easy. We work very hard to develop the skills to create, you know, to share our you know, what the thing, the sounds that we hear, the music that we feel and to and to have that translate and impact the listener, so that we that, that that’s our that’s our give and take, that’s our call and response. That’s, and that’s what I live for.

 

Sean McPherson (Jazz88) 

What a high bar. The first time you see somebody play solo guitar, it’s Joe Pass, it’s got to be kind of all downhill?

 

Mark Whitfield 

Extremely high bar at the same time, I was 15, right, right? So I didn’t even, I think if I understood, been able to really understand, how what I was experiencing. I don’t think I would have been so brave at much if trying to jump in and recreate that sound, but I didn’t know any better. So that innocence at the time actually worked to my advantage.

 

Sean McPherson (Jazz88) 

I’ve been chatting with Mark Whitfield, who’s coming through town to play the lakeside Guitar Festival. It’s the Como Lake pavilion. His set is on Saturday, August 9. He’ll also be doing a clinic at Walker West in St Paul mark. Tomorrow is Kenny Burrell’s birthday. I just want to see if you had any Kenny Burrell reflections before we bid you adieu and wish you good luck at the show next weekend. Kenny

 

Mark Whitfield 

Burrell has always, always been one of my biggest inspirations, I you know, I my brother, one of my older brothers, took me to see him at the Vanguard when I was about 16 or so, and I feel I shook his hand, and my first impression was his hand was the size of a catcher’s mitt, right. And he just said, Young man, are you learning how to use your right hand? Meaning, was I working with any classical books or teachers? And at the time, I hadn’t been, but I just said no. But if you see, if you say I should, then that’s the I’ll get on that right away. But you know, talk about the versatility the entire world. You know someone who can playunaccompanied orfeatured nylon string guitar in the settings of guitar forms, and also played, played the guitar and Midnight Special with Jimmy Smith. I mean, he just, you know, he was the epitome of the consummate guitarist. And, you know, a consummate gentleman. Then I while I was going to Berkeley, which, you know, sneak down in New York on the weekend sometimes, and I got to see his guitar band. He had, he had a guitar band featured Rodney Jones and Bobby Broom with rhythm section. And he saw three guitars as I remember going to the Blue Note and experiencing that and thinking to myself, what, you know, what an amazing human being, not only is he continuing to, you know, keep the bar high for himself, but also presenting these young guitarists and giving everyone a platform to share their, you know, to share the talent and to grow and thank God for him. You know, when I was doing some research for my jazz history class, I read that heactually wanted to play the saxophone, because at the time, you know, during the Great War effort, there was a metal shortage in Detroit, his parents had him a guitar because they couldn’t find the tenor saxophone.That’s exactly that’s how we ended up with Kenny Burrell being a great guitarist. We we almost lost him to the saxophone just like that.

 

Sean McPherson (Jazz88) 

Well, we’re thanking our lucky stars that we didn’t, because he’s made quite a contribution to jazz guitar as have you, sir. Thank you for the impact your music has had on my life and on so many people’s lives all across the world. So glad you’re coming to St Paul. The show is on August 9. Thank you for taking some time today, Mark Whitfield, and we’ll catch you next weekend.

 

Mark Whitfield 

I can’t wait man. Thank you so very much.

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