Johnny Vidacovich: Magnet In The Middle

The ever changing cast of the Johnny Vidacovich Trio defies the meaning of that word—trio . Historically, jazz trios with a drummer in the middle have included such notables as Art Blakey, Gene Krupa and Max Roach but none of those groups changed cast members on a weekly basis or deviated very far from what they normally played—jazz. These drummers, for the most part, embraced their familiar style of music or genre and played. But every Thursday evening the Vidacovich Trio consists of different players of varying skillsets, all familiar with the gamut of musical styles for which New Orleans is known and more.

Everybody in New Orleans knows how great a drummer Johnny Vidacovich is. It is an old story. Often introduced as the "Picasso of drums," New Orleanians confidently nod to one another, smile knowingly and join in the adulation heaped onto one of their own as a born and raised native son of the city. But how many jazz aficionados in town actually attend those Thursday night gigs at this smaller, rather unpretentious and intimate venue, The Maple Leaf featuring The Johnny Vidacovich Trio to absorb what he offers? While familiarity does not breed contempt, a certain complacency has possibly descended on the local fans, not taking the time to consider exactly what he does and how unique it is to what traditional jazz trios have played in the past.

The man who may know him better than many, his producer Jeff Meyer, has said you really never know what to expect on those Thursday night gigs. And as Vidacovich has commented in the past, even he does not know what to expect as his wife, Deborah Vidacovich, imagines who should play and books the musicians. He is merely the drummer, not the booking agent or one who manages the details of the gigs. Just as often as not, on the way to The Maple Leaf, he'll turn to her and ask with whom he's playing that night.

And recently to celebrate their 43rd wedding anniversary, she asked their old friend, George Porter Jr., if he would come celebrate with them. Upon receiving a positive response, she atypically left the choice for the 3rd member of the trio to him. Choosing a long-time band mate and friend of theirs—Tony DaGradi on sax—what followed was an engaging set featuring Porter's vocals on a few songs.

After a pause to address the audience, Vidacovich resumed with an inventive drum solo leading into "St Thomas," a lively classic with a Latin flair composed by Sonny Rollins. But nothing was planned; it was all improvised as both Porter and Dagradi studied him, looking for an opening to play a song not yet decided upon as the master drummer worked his way through a creative, engaging solo. Improvisation in the truest sense of the word, Vidacovich admitted he was literally the last to know where it was all going.

On other occasions, Vidacovich has accompanied a decidedly very modern jazz trio, verging on something so abstract that no one really knows where the music will go. Steve Masakowski, a long-time member of Astral Project, once showed up to sit in with that trio, which included his son, Martin Masakowski on bass and Khari Allen Lee on saxophone. As Masakowski freely admitted, little did he really know what he was getting into—the set was, as he described it, bafflingly abstract. Though obviously familiar with everyone, he felt a bit like a fish out of water. Hoping the set would evolve and become more "grounded," it did but took a bit longer than expected. Commenting later, he praised the vision of ownership, "It's amazing that you can get away with playing stuff like that at the Maple Leaf where you'd expect to hear something like Professor Longhair."

There's apparently not a player in town who would not want to play with Vidacovich, as his long-standing musical partner, James Singleton, has said "If he's playing drums, you could not help but sound good—he makes everyone sound better." Arriving at a gig with a natural focus on the bass, he sees the big picture—the entire band or presentation and makes everyone better, an ability not entirely common among drummers, who are often taken for granted or, worse yet, discounted.

The diversity and originality of what he does is not lost on his peer group of fellow musicians in town. Invitations to play are rarely refused and only a previous planned engagement or illness have kept some from performing. Roger Lewis, the legendary octogenarian bass saxophonist with The Dirty Dozen Brass Band, welcomes any opportunity to join the trio as it " ... is not a confining experience, he allows everyone to explore the freedom to really play."

Regarded as a consummate professional, adequate compensation for time and trouble is never an issue; musicians know they'll be paid the going rate. But aside from compensation, a recurring theme of courtesy and creativity contributes to what makes working with him always a pleasure. They're always anxious to participate and play. Even David Torkanowsky who has joined Vidacovich in various efforts over the past forty years and eminently familiar with his full repertoire, believes "he's playing the best music of his life right now."

Recruiting musicians to contribute to his album Out Da Box, (Paw Paw Music, 2023), was easy. Seemingly out of nowhere, Vidacovich called to ask a younger bassist, David Grayson Brockamp, to join in. Immediately accepting the invitation, he recalled, " I was so excited when he called; it was too good to be true, and a real badge of honor." The pleasure is not theirs alone as he, too, feels honored when a young musician readily accepts an invitation to collaborate. After all, Vidacovich is now, as he describes himself, "an old guy."

Whether playing with old friends or musicians whom he does not know, it is all the same to him; he comes to play. But sometimes even he is surprised at a player's skill level. Previously unfamiliar with John Michael Bradford, Vidacovich was amazed at trumpet player he found himself performing with—a young talent and once a child prodigy—who had escaped his attention until that first moment on stage. But how would he know, as he is often too busy doing what he does—playing and teaching rather than taking in a set somewhere around town. The infrastructure surrounding musicians in New Orleans today hardly allows for idle free time; they're always working.

If still unconvinced or unfamiliar with the diversity of the Vidacovich Trio repertoire, once a year during Jazz Fest, he collaborates with Sonny Landreth, of slide guitar blues fame, at the Maple Leaf which for some is a much-anticipated set. The blues may seem like a less than creative showcase for a drummer of his abilities, but he's not averse to just 'keeping the beat,' allowing Landreth to display a skill set considered by many as beyond compare. And it is Landreth who guided the music in their performance together this past spring, but inevitably and invariably he returned to their shared southern roots allowing Johnny to display his "chops" and play in a manner he knows too well—a syncopated Louisiana rhythm he's heard forever growing up in New Orleans.

Hardly a jazz set, the many facets of the trio's repertoire are not lost on others who have known and played with him over the years. George Porter, Jr. (formerly of The Meters, presently appearing with his own band—The Runnin' Pardners) says, "Johnny's tool kit is hundreds of feet deep and he can dig deep, into that kit and be whatever he's needed to be at any time."

Nothing he does surprises trad jazz stalwart and trumpet player Wendell Brunious either. He once played with the progressive Astral Project group featuring Vidacovich in the '80s, years later remains awestruck by his chameleon qualities, "He's waving his arms in the air, deciding what he's going to play—a stick-man looking guy improvising right before your eyes. But he can go straight from that into rock and roll easily."

Everybody's heard stories about musicians and their lives, often regarded as eccentric at best, i.e. Bob Dylan introduced his electric band at an appearance at the Newport Folk Festival, garbed in a patent leather suit more befitting a rock star than a folk music icon. Or incorrigible at worst—think Chuck Berry and his demands to be paid with only cash as he toured without a regular band, appearing only with mediocre local musicians.

Nothing like these stories surround the legendary Johnny Vidacovich. Always kind, ever courteous and, not to mention, spiritual, still Vidacovich is known for his occasional quirky vocals, philosophical musings and no-nonsense approach to his music. Faultlessly considerate, his wife maintains that the affection shown for him throughout the city is based on who he is deep down inside—a kind man. He does not take himself so seriously. One might even notice a glint in the eye and hint of a mischievous smile creasing his face at that description.

Vidacovich is a soft spoken fellow, and not one to promote himself or what he does. He simply plays and enjoys doing so without a second thought; it is his life and has been for decades. Still, Khari Allen Lee, a young saxophonist recruited for the occasional cameo appearance with the trio who also played on Vidacovich's Out Da Box recording session believes he is "one of the great stories of New Orleans" that never happens anywhere else and "too often taken for granted." If given a second thought, most New Orleanians would agree.

But in the end, who knows Johnny Vidacovich better than himself and if prompted, he might offer a humorous anecdote to complement the legend and tales of a life lived and youth well spent. His high school band teacher still vividly recalls the unusual talent that walked into the band room for the first time ... " a musician first, then a drummer." Since first discovered as a youth until now—a mature "elder" offered unconditional respect by all—he has literally been the magnet in the middle of New Orleans music and musicians throughout his long career.

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