Blackman’s
ability to transcend genres is not surprising considering the eclectic musical
flavors that abounded within her family. For instance, when she was a small
child, Blackman’s mother took her to the Hartford (Connecticut) Symphony
Orchestra. “The other kids didn’t want to go (to the orchestra), but I wanted
to go. I was her little symphonic orchestra partner. I got exposed to
different types of music. It all helps in your growth and the way in which
you hear (music),” says Blackman recalling those orchestral excursions.
Blackman’s older sister Anasa also had a profound effect on her younger sibling’s musical development. Despite dealing with the effects of a heavy cold, at the time of our conversation, Blackman came to life and was practically bubbling while recalling Anasa’s influence. “She had a fantastic record collection. She had everything in that collection, including the Beatles, Sly and the Family Stone, James Brown, Miles Davis, John Coltrane, Chaka Khan, Earth, Wind & Fire and Betty Davis. She had just about everybody in rock, except unfortunately Led Zeppelin. I was able to listen to all kinds of music while growing up. Rock was not a stretch for me at all, because I grew up listening to that, and playing it. For a while after she (her sister) moved out of the house, she left her record collection with us. I inherited her room, which meant that I also inherited her music collection. I was able to listen to those records every day. I was certainly lucky in that respect.”
Even though familial ties and influences infuse Cindy Blackman’s music, it was great bebop jazz drummer Art Blakey who became a mentor to her. “He had such a great and beautiful spirit. When I first came to New York, he befriended me. I would call him papa and he would call me his daughter. I would ask him questions and he would show me stuff, as he did with a lot of drummers. If I was in the audience, he would pull me up to play. There was one time when he was playing at the Village Gate, with Walter Davis Jr. on piano, and Art called me up. She lowers her voice imitating Blakey’s instructions to her, ‘Start off right here and don’t let it go. Keep up that tempo.’ He wanted me to play a certain groove, so he showed me the tempo and I kept it there,” says Blackman as she goes on to tell me about numerous other occasions when Blakey would take her under his wing and mentor her concerning the nuances of tempo and technique.
“I
really loved Art Blakey so much, and I really miss his energy. When he passed
away, there was a big whole in the scene. For so many years, all the musicians
would flock to New York and audition for a place in his band. He was a calling
card and a reason for young players to come to
New York.
One of the things that he was famous for was creating a forum for young
players,” says Blackman.
While speaking with Cindy Blackman you become very aware that you are in the presence of someone who has truly mastered her craft. She is to the drum kit, what Eric Clapton is to the guitar, John Coltrane and Charlie Parker were to the saxophone and Stanley Clarke is to the bass. She is an innovator, not content to settle, but to continually raise the bar, and push the envelope. It is that desire for continually creating a new standard of excellence that always allows the truly great artists to rise above the rest.
