jnj: Please tell me what has turned you into Latin Jazz and made you really want to dig deep into Afro-Cuban music and its origins?
Harvie S: Around 1995 I decided to get a basic understanding of Latin Jazz Afro-Cuban, and Salsa. It became my passion and I got so involved. I started delving into Tito Puente, Eddie Palmieri, NG LaBanda, Celia Cruz, Sonora Matancera, Fania All Stars, Fort Apache band and many others along that line. These musicians definitely had and will always have a great influence on me.
Upon discovering this music I realized how closely related to Jazz Cuban (and music of the Carribean) is, mainly because of the African roots. In the cultures the difference lies. Afro-Cuban (Latin) music as we know it is a combination of African, Flamenco, and European classical (I realize this is a generalization) while Jazz is an African and European classical combination. Therefore they are strongly related but developed distinctly in different parts of the world.
Instead of just having my band play a Latin (for lack of a better term) rhythm and play jazz over it, I incorporate many techniques used by Latin musicians and combine it with the many Jazz techniques I have learned over many years as a professional Jazz Musician


jnj: And why did you learned acoustic bass in the first place? Although the sound of the bass can be really sexy I think it's really unwieldy to carry it with you and usually it's not the average young man's choice as an instrument.
Harvie S: I always liked the sound of the bass. I like to be underneath the music and working closely with the drums and percussion. Playing bass also affords me a chance to solo, play melodies, and counter melodies also. It is an open sky as far as I am concerned.
Yes, it is definately not the most fun to travel with, but I have ways to make it work. I have an electric upright that sounds fantastic and I sometimes travel with it. It is all worth it to me. You be suprised how many young musicians are playing the bass now. We have more than we can handle at the Manhattan School of Music.


jnj: You've worked with an endless number of artists so far. Are there still some artists you'd like to work with you haven't done so far?
Harvie S: I always look forward to playing with great musicians. There are too many to mention.


jnj: How long have you been performing with your band and how have you found the band members?
Harvie S: About 3 years ago I realized I had to make some changes and the first was to find the right pianist. Before I went to a gig one night I had a vision that the pianist I needed would come to me. (This is true). When I walked into the club that night a young eager piano player came up to me and introduced himself and said he just moved to town. I asked him if he wanted to sit in. He said yes. He took such a good solo he brought the house down. I hired him on the spot.
Scott Robert Avidon is the newest member. He actually called me for a gig a few years ago and we became friends. At that time I had no intention to have a tenor in the band. He started coming by and sitting in on some gigs and when I decided to eliminate the guitar I asked him to do a few nights to see if it would work out. He is still with the band I am glad to say. We rehearse a lot and everyone memorizes the music. There is a lot of room for improv and creativity, but all of it related to the tune and style of music.


jnj: What's your opinion of the jazz music scene today? Is it still as vivid as it was or do you think you've heard it all before and there are no real innovations and developments?
Harvie S: I could spend days on this question, but I will try to be brief. Let's just say that Jazz is always evolving and every year it changes a little or alot. Jazz is just a name. To many people it means many different things. Just like the term Pop Music or Latin Music; everybody has an opinion on what it is or should be.
To me the key to Jazz, is improvisation on structures with strong and intersting rhythm and high communication among the musicians. I try to maintain that in what I do. I also feel that self expression is essential to make the music go to great heights.


jnj: What do you think of the internet as a tool for promotion and distribution of your music?
Harvie S: In this day and age you can not avoid the internet. It is here to stay and alot can be done with it to promote. You and I have never met, but I am emailing you an interview. I appreciate that aspect.


jnj: Do you have a favourite song on your new album Texas Rumba and if so what makes this song so special for you?
Harvie S: I really don't have one particular favorite tune. I like each one for a different reason. Every tune I write expresses a piece of me. I am also so happy with the performance of the musicians on the CD. They delivered.


jnj: Why did you choose the live environment to record Texas Rumba? And why have you named it Texas Rumba at all?
Harvie S: I really like the club Sweet Rhythm very much. I had done some gigs there with other bands and felt it would be the perfect place to do a live album. Turns out my CD is the first live recording there under the Sweet Rhythm name.
If you hear the tune Texas Rumba you will know why I had to call it that. It just sounds like a Texas Rumba.
Meanwhile we are gearing up for some touring and working on new music for the next CD. Check out www.harvies.com for updates.