Terri Lyne Carrington

Terri Lyne Carrington teaches music at Berklee College of Music, her alma mater. She played drums on the Arsenio Hall Show in the ’80s, and for Quincy Jones’ late night show Vibe, hosted by Sinbad, in the ’90s. She’s worked with a list of influential musicians like Stevie Wonder, Dianne Reeves, Herbie Hancock, Esperanza Spalding. She’s put out five CDs of music she either wrote or co-wrote, and led her own bands, most notably the all-women ensembles of the Mosaic Project. And she’s a three-time Grammy winner. She spoke to the Weekly in advance of her appearances at the Monterey Jazz Festival.

Weekly: What does it mean to you to be the festival’s artist-in-residence?

Carrington: It’s a great honor. There are a lot of amazing musicians that have been the artist-in-residence, and I’m happy to be in that company. I come to the Jazz Festival as often as I can.

What’s your guiding principle for who to play with or bring into your band?

I like modern players, people who have been through all the tradition and understand bebop, postbop and all that. I also like to hear they are stepping forward with something that feels like new ground. I’m a stickler for sound. I really appreciate a good sound on any instrument. I like a certain soulful quality but not too steeped in the blues. It’s also the feeling of the person; how they play is generally how they are as a person.

You have been a band leader and a sidewoman. What does it take to be good at both?

First, I like to serve the music. Then I serve the leader. Somewhere down the line, my own artistry. I feel it is a service, playing, serving the listeners. It’s a calling. I think that’s what makes me a good sideperson and hopefully a good leader. It takes a certain kindness, a compassionate quality, to be critical of somebody and they walk away thinking it’s a learning experience.

You were involved in the last Next Generation Jazz Festival. When do you know you’re ready to pass on your wisdom?

I’ve been feeling more ready to pass on wisdom, as you call it, over the last 10 years. Up until 10 years ago I still felt like a child in this business. A more authentic wisdom takes a while, to feel confident and sure about your beliefs and your thoughts. I think it’s my duty to pass it on. It’s been done for me.

Is it important to you to be a woman playing jazz at this level?

It became important when I realized I was a trailblazer and pioneer on the [drums] for women. There’s a certain amount of responsibility that comes with that. My dad always told me nobody cares if you’re male or female, if you’re 8 or 80, it really boils down to how you play. In some ways it’s incidental. In other ways it’s an important fact.

Which Grammy was most meaningful?

The first one, for the Mosaic Project. I felt like it was validation for my career up to that point. For Money Jungle, because I was the first woman to win in [the instrumental] category, that was significant. The third Grammy was for producing Dianne Reeves’ album Beautiful Life. I get just as much pleasure and artistic satisfaction from producing as playing.

What is your goal for your MJF sets?

I’m just a guest with the Next Generation Jazz Orchestra. I don’t consider myself a big band drummer. For Mosaic Project, I want to create an organic feeling on stage. The audience can respond intellectually, to the feeling of it. Sometimes music just feels good and makes you want to dance. I want them to have a visceral reaction. It would be nice for them to look up at the musicians and see all these women. I hope people feel inspired, go back home or to work and do whatever they do at the highest level.

Terri Lyne Carrington performs 8:50pm Saturday with her Mosaic Project, and with the Next Generation Jazz Orchestra 12:30pm Sunday at the Monterey Jazz Festival.