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Home , Art Taylor, Benny Green (pianist), Bobby Broom, Chris Anderson (pianist), Dana Hall (musician), Dennis Irwin

January-February 2016 Magazine Page 5

in his own words...

Chicago drummer George Fludas was George Fludas born in Chicago on October 10, 1966. He was inspired to play drums by his father, who was also a drummer, and who exposed him to great jazz drummers such as , , and “Philly” Joe Jones. He attended Lane Tech High School where he majored in music and played percussion in their concert band and orchestra. After briefly attending Roosevelt University’s music school in 1985-86, he began freelanc- ing with Chicago greats , Jodie Christian and Lin Halliday, as well as playing in groups with guitarist , and saxophonists Ron Blake and Eric Alexander. He has subsequently played with many stellar musicians such as , , Lou Donald- son, , , , , , , , Cedar Wal- ton, , , , , , Jesse Davis and . Fludas has performed at numerous jazz venues in the U.S. such as the Jazz Show- case in Chicago, Yoshi’s in Oakland, the Blue Note, , and the Jazz Standard in and Catalina’s in Hollywood, as well as many international jazz festivals, including Mon- treal Festival du Jazz, Bern Jazz Fest in Switzerland, Glasgow and Edinburgh Jazz Fests, Vitoria Jazz Fest, San Sebastian Fest in Spain and the USS Norway Jazz Cruise. He toured Europe and Japan extensively as a member of ’s Trio, and with groups led by Hank Jones, Diana Krall, , and Joey DeFrancesco. Fludas lives in Chicago with his wife and two sons and performs regu- larly with local artists and visiting head- liners at , Andy’s Jazz Club and The Green Mill. He can be heard George Fludas performing at ’s Jazz Record Art Collective. Photo by Harvey Tillis on numerous CDs as a sideman with Ray Brown, Eric Alexander, Monty Alexander, Kyle Asche, Geof Bradfield, Scott Burns, terested in the drums. We went to Drums Chicago Jazz Magazine: That expo- changed their personalities completely to Bobby Broom, Lin Halliday and the Unlimited, which was the famous drum sure to multiple styles seems to have ben- fit the role they were playing. Chicago Jazz Orchestra. shop downtown on Wabash. My dad or- efited you. You are able to adapt instantly Fludas: Like the Method School––Gene dered a new Gretsch kit, and got it deliv- to the players around you. Hackman, Pacino, Robert Duvall, Chicago Jazz Magazine: You are a ered. I was so excited. We were a bit low on Fludas: That’s a very nice compliment. Brando—those guys, they are chameleons. born and bred Chicagoan. Wasn’t your fa- cash back then and my aunt Jackie, who That’s something I’m still trying to do, to They can change accents and do whatever ther a drummer? also loved good music, lent him the money be versatile and complementary to the it takes to become that role. I guess I am George Fludas: Yes, but for him it to buy the kit. Thank you Jackie! My dad bandleader. I work almost exclusively as a that “method” style of drummer. That’s in- wasn’t a profession. He got into jazz when talked about drumming all the time with sideman, but at the same time hope that I teresting, I’m actually learning––this is he was a teenager. He was self-taught, al- me. I have memories of him putting a am offering something distinctive or that good! I’m forty-eight. I’m not all of a sud- though he did take some lessons from Wal- record jacket on a chair and playing with has some mark of my own personality. I den going to be that one person, take it or ter Perkins, a great drummer from the brushes, before we got the drums. He think that’s what a good jazz drummer leave it. I’m not superstitious at all, but I South Side, who had the group MJT Plus would show me with the brushes how to should aspire to: being supportive, but con- am a Libra. The stereotype is that they are Three and also played with ’s play a basic beat. I took to it right away tributing something unique. For a long balanced––they like harmony and they trio. My dad had a great passion for jazz and he saw that and encouraged it. All time I didn’t feel like I had anything origi- like to please both sides in an argument. I and a natural ear, not just with rhythms through my single-digit years I would play nal to contribute. I wanted to do a really do have that in my personality and I think and drumming, but melody too. He didn’t along to records and he would put on al- good job, but I knew, I’m no it shows in my musical approach. I aim to play piano or any melodic instrument, but bums that would be easier to hear what or . I remember the very please, but I also want to be exciting, I I remember him scatting or whistling was happening, like Ahmad Jamal, or Bud first time that I played with Cedar Walton, want to fire it up. I love playing the drums melodies and solos and stuff. He just had Powell––not that it was simple music, but I thought to myself: What am I doing here? and I love the sound of them so much that that natural affinity for it. He started to go you can hear the beat clearly. Errol Garner This is where Billy Higgins was! But I I love to get a full sound, so I hit them to the clubs and sitting in when he was a as well—I learned how to play brushes calmed down and eventually let my per- hard. All my favorite drummers hit them teenager. In those days, they were more le- mainly by listening to Chico Hamilton LPs, sonality flow. hard. First and foremost for me is a drum- nient—you could be eighteen and finagle Errol Garner’s Concert by the Sea, and Chicago Jazz Magazine: One of the mer’s sound. It’s their voice. You can’t mis- your way in, and of course Joe Segal held Ahmad Jamal’s But Not For Me. And I got least appreciated awards is Best Support- take Max’s sound, ’s sound. the Roosevelt jazz sessions, which he told into Art Blakey because of the dramatic ing Actor. It’s not as glamorous as the Best had one of my favorite drum me about. He saw a lot of great people that sound. I loved that! The two main things Actor Oscar, yet the supporting role is per- sounds. Art’s on so many records, he is the I later had the great fortune of playing that I was into as a ten-year-old were base- haps more crucial as it can elevate the per- most recorded guy on . with, like Lin Halliday, John Young, Ira ball and jazz drums! I had pictures from formances of the other actors. You are Philly Joe!? End of story! The dynamics the Sullivan, Jodie Christian. He also told me DownBeat of Blakey and Max Roach on my chameleon-like in that you can step into a greats used were always so important. I’ve very detailed stories about seeing Miles, wall, and then I had Rick Monday and Jose music situation and elevate it, even if there tried to be conscious of that. I’ve gotten Coltrane, Monk, Max Roach and Blakey. Cardenal there, too. I remember going is no “George Fludas Style.” compliments from other musicians: Man, Unfortunately, there was a lot of drug use shopping with him for records when I was Fludas: I hope I have some recogniza- you play so quiet, but you keep it so inter- on the jazz scene at that time and he strug- around seven. He picked out a whole bunch ble style! That’s interesting: a very good esting. But I’ve also heard, Wow, you were gled with it. He stopped hanging out and of rock records, and I was fascinated by the point, and very astute. I’ve never really playing loud! I’ve played with great musi- sitting in by the time he was twenty-two. covers—Jethro Tull, Zeppelin and Genesis. talked to anyone about this, but I think cians, like Tommy Flanagan, Johnny Grif- Chicago Jazz Magazine: Did that He was curious and had a great ear, and I that is part of the insecurity that I have. If fin, and they never told me I was playing fear extend to you and your career? think he always appreciated when music you are a fairly sentient person you are too loud. I dunno, some people just don’t Fludas: A bit, though I wouldn’t call it had a good feel. going question yourself. As a performer I like the heat. Still, I aim to please. fear. I would say it made me aware and I Chicago Jazz Magazine: It’s interest- often think, Do people really like this? Do Chicago Jazz Magazine: Blakey’s an- never inclined towards using drugs, for ing how all of those music elements came they like what I’m doing? I’m trying to be other one that can explode. sure because of his experience. He talked together at an early age and informed your versatile, but some guys are just so distinc- Fludas: Indeed! He’s one of my favorite very openly about it with me when I was musical tastes and playing. tive, what you see is what you get; it’s one and biggest influences. I loved Blakey, and very young. Fludas: Well, the main thing was, it color and it’s coming right down the pipe, I loved that Latin rhythm he did, so I tried Chicago Jazz Magazine: He exposed was always very organic—it wasn’t, you are take it or leave it. One of my heroes, Elvin to learn it back then. I got to meet Blakey you to a wide variety of music. Was he still going to go take these lessons, which I sup- Jones, was like this monstrous mountain– when I was eight, and I was petrified. My listening to jazz at the time? pose is more typical way to get a kid –this force of nature that builds up. His dad took me to see him at the Jazz Show- Fludas: Oh yeah, mostly jazz but lots of started on an instrument. For me, the playing was a really distinctive and solid case on Rush Street. I remember feeling good music was always playing at my drums were like another toy in the house thing, completely recognizable in the shape his bass drum and it was like a kick in the house, as long as I can remember. From the and I played with them, then I would play and form––the way he played, his sound, chest. It almost made me scared—incredi- time I was born, I heard great jazz, classi- with my other toys, then I would go back everything. He was really versatile in that ble! And that snare drum roll was a like a cal, Flamenco, rock and salsa. My mom is and play with the drums. Music was on all he could play with so many different types lion’s roar. On the break my dad went up from Puerto Rico and he took a liking to day long. There was Chico Hamilton or of musicians, but it was Elvin all the way. I to Blakey and says, “My son plays drums salsa as well. They met in the Humboldt Miles or Basie’s band or Duke. Whatever it wish I had some of that! and loves you. He listens to your records.” Park neighborhood in 1964. In addition to was, something good was playing so I tried Chicago Jazz Magazine: Some of the So Blakey says, “Oh really? You want to go Jazz , I heard a lot of classical, Latin music, to emulate what I heard, and it was fun. It old movie actors––John Wayne, Cary up and play?” I was way too nervous and good funk, good R&B, good , and was second nature; it wasn’t something I Grant, Paul Newman––no matter the role, said, “No, no!” So he laughed, pulled out a classic rock. He was into all of that too. So, had to figure out or study, like an assign- they were always the same. The later ac- used pair of sticks from his stick bag and by the time I was four or five, I became in- ment. tors, like Brando and early DeNiro, was about to hand then to me, but then he Page 6 Chicago Jazz Magazine January-February 2016

Art Blakey and Fludas at Bradley's in New York, 1989. said, “Hold on––let me give you a new dose.” So that was a big blow. He was my pair.” And I remember thinking, I want the favorite. I ended up going to many rock used ones with the notches! But I had those concerts in high school, and my dad never sticks for a long time until I was playing discouraged me or acted like a jazz snob. and broke one, stupidly. My dad took me to My first was Ozzy Osbourne’s Blizzard of John Webber, Fludas and bassist at Bradley's in June, 1989. hear many great players, like , Oz tour with Randy Rhoads at the Aragon Blakey and Max Roach and I loved listen- Ballroom! I saw Rush, Genesis, Bowie, The ing to the records. By the time I was twelve Police. I used to obsessively learn and prac- years old I knew way more about jazz than tice Zeppelin and Rush tunes. I think it sionist! So, I was able to change, and I was frustrating. I felt like I wasn’t going to go rock or pop music. Confession: I liked Kiss was actually great practice for my ears. It’s so glad, because it was a completely differ- anywhere––I wanted to go to New York. in seventh grade and was in the Kiss Army. funny now, but I learned every Zeppelin ent vibe. Basically the second half of the But my dad had kidney failure at that time [laughs] But, by eighth grade I got into the song more meticulously than I ever day was all music. I loved playing in the and needed help. My parents were going music my friends were into, which was ba- learned any jazz music. I read ’s concert band and especially in Lane’s or- through personal differences and they got sically hard rock––Led Zeppelin, Rush, interview [Chicago Jazz Magazine, chestra. Mr. Cina was the director and we a divorce. I met my wife Cheryl in 1987 and AC/DC, Deep Purple. Actually, my dad took May/June 2015], which I really enjoyed. played great repertoire. I got to play tym- we were married in 1990. There was a lot me to see the Led Zeppelin live movie, The There was a part in there where he said he pani too, which I loved! happening at that time, and I was really Song Remains the Same when I was learned Rush songs note for note. I was Chicago Jazz Magazine: Is that when enjoying getting my feet wet in New York, twelve. We saw the movie at the Carnegie talking with him one day and said, “We you started thinking that music was going but my dad was getting worse. My buddy Theatre and I will never forget the impres- were both probably working on the same to be your career? Webber was like, “You gotta come out. The sion it had on me. John Bonham’s sound riffs at the same time!” So we had a laugh Fludas: Right after my freshman year cats are out here.” And it was true––he and feel mesmerized me. The song that re- over that. Anyway, my dad was cool, and is when I seriously thought I wanted to be started working with when ally got me was “No Quarter.” It’s got the supportive. He tolerated all that loud noise a musician someday. I thought I was going he moved to New York, so I started salivat- Fender Rhodes, it has sort of a jazz feel, be- from the basement! My whole family did. to be a rock musician, because that’s what ing. I went to New York for some short vis- cause the chords are more complex, and They were great. I was into at that time, and I was in a re- its, but after my dad started to decline, I ally good high school rock band. It was knew I needed to be in Chicago. He passed then it has this extended guitar solo. I was Chicago Jazz Magazine: It’s a differ- so taken by that when we got home I ent mindset, musically. In most rock bands, power trio called Nuclear Waste. [laughs] away in 1991. needed to find the record with the song “No the object is to play the music as close to But after I graduated from Lane in 1984, I Chicago Jazz Magazine: Didn’t you Quarter” on it! Houses of The Holy. That’s the original as possible; in jazz, the object lost interest in playing rock and gravitated end up working with Lou Donaldson? when I got into rock music. I was still into is to put your own stamp on the music. towards jazz. I enrolled at Roosevelt Uni- Fludas: Yeah, my first real gig of note versity as a music major. was playing with Lou Donaldson at jazz––I was still playing along with “Night Fludas: I suppose so, but my favorite in Tunisia” and learning jazz tunes, but I rock drummers had that looseness too, and Chicago Jazz Magazine: Obviously it George’s on Kinzie. John Webber and really wanted to play rock. definitely put their own stamp on the didn’t inspire you––you left after only a Kenny Washington recommended me for couple of years. that. I was twenty-one, and my dad was so Chicago Jazz Magazine: It’s interest- music. Later on, I discovered great soul ing that your dad saw your musical shift and R&B drummers like Bernard Purdie, Fludas: Yes, I went there for a year and happy––I’m playing with one of the jazz and did what he could to facilitate your ex- Al Jackson Jr., Roger Hawkins, James a half––fall of ‘85 to spring of ‘86. But I met greats. I was nervous as hell on that gig. posure to live rock music, just as he had Gadson. All these cats have that distinctive some great people in that time—like John Lou Donaldson is notorious for being very done with jazz. touch, sound and feel that I love. The genre Webber, a great bass player who lives in outspoken. He knows what he likes, and he New York. We clicked. He was into the knows what he doesn’t like. So we started Fludas: Yes, it was 1980, and I was just doesn’t matter to me. If it sounds good, it entering Lane Tech as an engineering is good! same stuff: Miles, and the playing his hit tune “The Masquerade is stuff that swung. A lot of guys were inter- Over,” and I didn’t really know the drafting major, if you can believe that, and Chicago Jazz Magazine: How did you I found out that Led Zeppelin was going to make the change from engineering draft- ested in fusion, or not swinging. The funny arrangement from the album. The song is come to the Chicago Stadium in November. ing to music at Lane? thing is, I liked rock, but I didn’t like fu- basically a conga beat on the drum set, and sion. Now I can appreciate it a little more, I’m just swinging behind him, and after I asked him if I could go and he said sure. Fludas: I went up to talk to the band So I filled out the form to get tickets––I director, whose name was Maurice Golden. but then, I didn’t care about Mahavishnu about eight bars he stops in the middle of sent it in at six in the morning, so the tick- He was an old school, authoritative band or Return to Forever or Billy Cobham. I his phrase and yells, “Conga beat, man! ets would be in the first round. And then I director type, but a great teacher and per- wanted to swing! Roosevelt to me was just Conga!” [laughs] He just screamed at me. get to school and this kid next to me says, son. I told him I had chosen the wrong “Hey, did you hear that the drummer from major and I wanted to be in the music de- Led Zeppelin died?” I said, “You don’t know partment. He asked me if I was a percus- what you are talking about, man.” And he sionist or was a “dumber”? [laughs] He said said, “No, man, it was on the radio this a dumber only plays the drums, but a per- morning––he died of alcohol or an over- cussionist plays percussion. I said percus-

We Always Skip January Due To the Weather! NEXT ILLIANA CONCERT WILL BE FEBRUARY 21, 2016 Dave Drazin and presents… His Ambassadors AT THE GLENDORA HOUSE 2016 102nd and Harlem CONCERT Chicago Ridge, IL DATES: 2/21; 3/20, $18.00 in advance 4/17, 5/15, $20.00 at the door 6/12, 7/17, Students with ID - free admission 8/21, 9/18, FREE PARKING/Hardwood Dance Floor 10/16, 11/20 For ticket information or to become a member visit www.illianajazz.com or call Herta: 708 672-3561 write to P.O. Box 1459, Oak Park, IL 60304 Illiana Club of Traditional Jazz is a 501C3 Non-profit organization with no paid employees. The Big Deal Trio: Fludas, Bobby Broom and Dennis Carroll at the Underground Wonder Bar, 1991. January-February 2016 Chicago Jazz Magazine Page 7

Nicholas Payton, Fludas, Ray Brown, Larry Fuller and Kevin Mahogany in May 2001, at the Vienna Konz- erthaus for Ray Brown's 75th birthday concert.

aldson. Playing with pianist turn it down the second time, so I went at Bradley’s in in June down to the Showcase after the matinee 1989, with Junior Cook. That felt like a big and played two or three tunes. So Ray says, break because Art Blakey, Tommy Flana- “If you want it, first gig is in Irvine, Cali- gan, Cedar Walton and many other heavies fornia.” With Ray, every song was were in the club that night. arranged––each tune had an intro, a Chicago Jazz Magazine: Did Von give specifically arranged melody, and a shout you any advice that resonated with you? chorus—typically for the drums to fill in— Fludas: I don’t recall anything specific. and specific endings. So he sent me about It’s more of a vibe––the way he would lock seventy songs to learn: live recordings with the beat in, or center things with his phras- Greg Hutchinson, and then there was a ing. It’s more of a feel thing, and I’ve found multitude of CDs with and that with so many other musicians too. later Benny Green and Jeff Hamilton. Musicians like Jodie Christian, because I There was a lot of music to learn for that started to work with Jodie after that. It gig. When I joined, Larry Fuller was the pi- was more unspoken, and it was more pro- anist. I went to L.A. to rehearse with him found than words. I learned so much play- for five days, Monday through Friday, and ing with people like Von Freeman, Jodie we rehearsed at this famous piano store for Christian, Lin Halliday, Earma Thompson, five days––without pay, I found out later. Fludas and Lin Halliday at the Get Me High Lounge, 1988. Photo by Rusty Jones Eddie Johnson. They all had that real jazz But Ray Brown said, “I don’t pay for re- feeling, and played with taste and swing. hearsals; I pay for the gig. When you’re They all had that poetry––just beautiful learning the music, that’s on you.” [laughs] So I hit that conga beat! I played with Lou Von Freeman. Webber was playing with players and people. That’s one thing I think That was summer of 2000. several times after that. him at the time and he introduced me. Von is harder for younger student-level players Chicago Jazz Magazine: From a per- Chicago Jazz Magazine: Any regrets? said, “Oh baby, come on up and play one.” now. That link to the legends is fading, sonality standpoint, when you are first Fludas: I have some. I don’t regret He brought me up to sit in, and I was really nearly gone. There are a few left, but it was starting out with a bassist, do your person- sticking around and taking care of my fa- nervous. He put me on the spot––to play different then. You learned more as an ap- alities have to click? ther, and making a family in Chicago. But “Caravan.” I guess Von liked me because prentice, on the gig, from masters. Fludas: Yeah, to an extent. If you are I do regret that I didn’t have that “growth after that he was always very gracious and Chicago Jazz Magazine: How did you speaking specifically about Ray, it’s a dif- opportunity” by sticking it out in New York welcoming. I loved to go down to the New meet Ray Brown? ferent dynamic, because I was much and developing. I think that it was impor- Apartment Lounge and sit in. There was Fludas: I was offered the gig in the younger, and basically in awe of him. He’s tant because I was able to establish some another place he played at, called the New summer of 1998 when Greg Hutchinson a jazz legend, so the dynamic was different connections with New York musicians. I Pumpkin. I guess there must have been an was leaving the band. My first son George that way. We were kind of like the master was meeting all these great musicians who Old Pumpkin Lounge? I think it was on was about to be born, so I said no, respect- and the pupil. I knew I could learn a lot went to Paterson College. Eric Alexander, 78th or 79th. That was one break, I guess, fully. Then, two years later, my wife was from playing with him. Ray Brown’s beat Peter Bernstein. Jesse Davis, whom I al- being able to meet Von and feel like, yeah, pregnant with our second son, Ted. Kar- is unlike anyone else’s. I always felt like his ready knew from Chicago. We had a little I think I can do this. Also, meeting and riem Riggins called me. Same deal: “Hey beat was so strong he didn’t need a drum- band together here with and playing with Lin Halliday in 1987, and man, I’m leaving the band, and Ray says John Webber, and a pianist named Kenny playing at George’s in 1988 with Lou Don- the gig is yours if you want it.” I couldn’t story continued... Prince. Kenny and Jodie Christian are two pianists I learned a lot from about how to play jazz in real time, and not just playing along with records. “Real time” is when you are on the bandstand and you have to know what to do, and when to do it. I en- He’s available now! Call Steve’s cell at 630-865-6849. dured the look from Jodie many times, whether it was, You should (or shouldn’t) be playing brushes now or You should (or should not) be playing more actively now. Those kinds of things, you really refine on the job. I also learned a lot working with Bobby Broom. His sense of time is unlike ?de_]ckÑo any other––it is so unique and monumen- tal. His phrasing––the way he phrases over the bar line for a drummer––is incredible. Rejp]ca]j`?qopki It’s really a good healthy challenge, be- cause you have to be listening constantly to where he is venturing. He pushes you. Ola_e]heopo Working with Tommy Flanagan also made me really focus on finesse, dynamics and t Great vibe control. So even though I didn’t live in New t Friendly, knowledgeable staff York, I started to get calls. When Eric Alexander moved to New York I would go t Stock always changing often, and we would hang out and play at sessions. A lot of cats would ask me if I was t Always buying moving to New York soon. So that was a t4IPXDBTFPGSBSF IJTUPSJD good feeling. It felt like: Oh, I could do this if I moved to New York. I might actually be drum sets and snare drums able to get some good work and be success- ful. But it seemed like every time that I Iroquois Center went to New York something came up–– 1163 E. Ogden Avenue, #709 first my dad; then some issues with my Naperville, IL 60563 Ph: 630-778-8060 aunt Jackie, who was going through a hard Hours: 11–6 Friday; 10–5 Saturday personal time. Additional hours by appointment Chicago Jazz Magazine: Whether in or out of college, what would you consider to be one of your first big breaks? www.maxwelldrums.com Fludas: I don’t know if I would call it a break, but one of the changing moments was when I went to Andy’s in 1985, to hear Page 8 Chicago Jazz Magazine January-February 2016

Fludas, Von Freeman, Ron Perrillo and Dennis Carroll on a layover at Rome airport en route to the Estoril Jazz Fest in 2005. mer. The strength in his quarter note is Chicago Jazz Magazine: Did you like a freight train. Ray also played on top meet Benny through Ray? of the beat and pushed the beat, so I had to Fludas: No, I met him while he was adjust to that too and try not to rush. I working with Ray in Chicago. Kenny quickly found out playing with him he Washington told Benny about me and rec- liked to get to a point of excitement and ur- ommended me for some gigs he couldn’t gency right away. He didn’t want a gradual make. That’s also how I got to play with buildup; he wanted shit to be popping right Johnny Griffin and Tommy Flanagan. from he start. When he played with Oscar Kenny was very supportive and encourag- and Ed, he learned to get the music “pop- ing to me, he helped me lot when I was ping right from the jump,” and there was starting out. Pianist Michael Weiss was “no need to take your time.” I can’t say our too. They both played with Griff. personalities clicked. It’s a bonus when Chicago Jazz Magazine: Talk about they do though, for sure. your time with Monty Alexander. Chicago Jazz Magazine: You seem to Fludas: Lotta fun! He swings so hard be a build-up type of player. and is a very funny cat. I met Monty while Fludas: Yeah, I think I lean more to- working with Ray. We played a few gigs to- ward that, so for me it was a bit of an ad- gether with Ray and had good chemistry. I justment. You had to kick it into a higher started working with him on a semi-regu- gear with Ray sooner––otherwise you lar basis in 2003. Monty had a couple dif- would get steamrolled. He would say some- ferent drummers he would use––in Europe thing with that big grin––that grin that he would use this guy Frits Landesbergen, wasn’t always a grin of joy! It was like, Get and then he started calling me frequently on this now. He would say, “Let’s go! All to do gigs. I also worked with him on his right! C’mon—now!” It was like a coach Jazz & Roots Jamaican project that he was From front to back: Dennis Carroll, , Fludas and Eric Alexander at Pearl’s Restaurant in saying things to prod or encourage you. doing. He has a Jamaican rhythm section Chicago, while playing at the Jazz Showcase in May 2011. Ray was constantly seeking gigs, loved onstage and his trio, and he alternates be- working, and hated days off. I learned so tween grooves. People loved that in Eu- it finally happened in 2014. He’s a phenom- while now, and I want to have something much about how to work arrangements rope; it was always a successful show and enal natural musician. He has the whole under my own name; it’s just a question of and build intensity. I worked with Ray for a lot of fun. I played all over Europe with jazz organ history at his command and he finding the right combination of people. about a year and a half. him from 2004 to about 2010. It was great plays the like Miles. One night, we There are so many musicians that I really Chicago Jazz Magazine: Didn’t you learning to play a bunch of Jamaican were playing “Budo,” and he is walking the enjoy playing with, especially Ron Perrillo work with Diana Krall shortly after that? music, reggae and ska. I spent a lot of time bass line in his left hand, and the solo on and Dennis Carroll. Fludas: Yeah, I did. I met Diana in with Cedar Walton too. I played the last gig trumpet. Amazing! It’s hard to walk a bass Chicago Jazz Magazine: Is that the 2001, while I was on tour with Ray at the Cedar did in the ––a week- line fast and then noodle with the right most likely scenario? Blue Note in New York. She had heard long gig at the Village Vanguard. He died hand on the trumpet. Jeff Parker, the gui- Fludas: I would say so. I would like to about me before that and had called me, in- the following month, that August 2013. tar player, and I looked at each other like, do something to document the sound that quiring about some dates in the mid- That was a big loss for me, I loved playing What on earth? How is he doing this?! It’s we have as a trio. In my opinion, it’s one of nineties, because I worked with Benny with Cedar and he was just a great cat, all one thing to play a ballad on trumpet and the finest trios anywhere. Ron is a world- Green for a while, around ’93 and ’94, and around. the bass pedals, but he was walking the class pianist who deserves wider recogni- they had the same manager. I played a cou- Chicago Jazz Magazine: Were you bass and playing the trumpet solo, on an tion. Every good musician acknowledges ple tours with Benny. He was the first per- with Ray in Indianapolis when he died? up-tempo! He is a monster. that he is on a high level artistically––he son I went out of the country with––we did Fludas: No. I left Ray in fall of 2001. I Chicago Jazz Magazine: Speaking of is an uncompromising artist. But there are some tours for a Spanish promoter named gave him notice after his seventy-fifth versatility, are you a closet singer? That is, other possibilities, maybe with a group of Jordi Sunol. For a while there, Jordi called birthday concert. He didn’t like that at all; did you ever have any aspirations to be a my favorite New York musicians. Not sure me to play with many great jazz players, he was irate. But my wife’s mother was ill singer? yet. One of the great things about this and I got a lot of good exposure thanks to and my aunt had just been diagnosed with Fludas: Yes, maybe! Art Blakey, Buddy music is that there are so many possibili- him. I played with Diana in 2002. Basi- cancer. It became a strain to be away from Rich, Grady Tate… it seems like a lot of ties. It’s related to the people that you cally I subbed for Jeff Hamilton for a short home so much with two small kids at drummers want to sing, but I don’t think I meet, so I really don’t know what’s next. while. It was an interesting experience. It home. would ever. I don’t have the confidence to The only thing I can say is that I look for- was great to see the world. I got to see ten Chicago Jazz Magazine: Right after get up on a stage behind a mic, at least not ward to whatever it is, because I know countries in Asia. We flew in on a private Monty you toured with Joey DeFrancesco. anytime soon. But I do like to scat or whis- there’s always going to be some new inspi- jet to Beijing to play the MTV Asian Music Fludas: Yes, I played with him for a lit- tle and I have a pretty decent ear and vo- ration or new horizon, and that those op- awards. I had a roadie on the tour. Not the tle over a year. We both would say we cabulary. Often times when we are running portunities are going to change my playing. usual scene for me! needed to play together at some point and something down in a rehearsal, I will joke I want to be constantly evolving. So that’s and say to the cats, I will leave that up to what’s next, is being open to the new op- you “musicians,” because of the old joke portunities and experiences that the music that a drummer is not a musician. But a lot provides. of musicians know that they can rely on me ■CJM for accuracy when it comes to a hyde park jazz society melody or something like that: George, is that right? Yeah, I Presents Sunday JAZZ Founded by James W. Wagner would like to sing at some point, so in that regard you can say I Cash Admission: $10 am a closeted singer. ROOM 43 Students w/university ID and 1043 E. 43RD STREET children accompanied by an adult: $5 Chicago Jazz Magazine: Easy on-street parking available. What does George Fludas still EVERY SUNDAY – 7:30 TO 11:30pm want to do with his career? Fludas: Mostly, I want to con- JANUARY 2016 FEBRUARY 2016 tinue playing with great musi- 3 ISAIAH COLLIER, saxes 7 SUPER BOWL—CLOSED cians, and travel the world doing Jazz Bites it. I wouldn’t necessarily want to 10 MARQUIS HILL, trumpet and 14 PETER LERNER, guitar lead my own group because I see Beverages 17 XAVIER BREAKER, drums 21 BILL MCFARLAND & THE CHICAGO HORNS other people who are bandlead- available ers and they go through so many 24 , saxes 28 FRANK RUSSELL, bass guitar headaches organizing re- 31 5TH SUNDAY JAM hosted by JOAN COLLASO hearsals, getting musicians to HPJS & LOGAN CENTER PRESENT commit to a schedule, looking for 3RD TUESDAYS at Café Logan 7:30 & 9:00 funding. There are so many CHECK WEBSITE to get current 915 E. 60th Street, 1st floor (beer, wine, snacks) things that I enjoy about being a information on performances: Parking: FREE Admission: FREE sideman. I like to try fit into dif- ferent situations and to see what www.hydeparkjazzsociety.com Jan. 19: QUARTET I can bring to them, and I enjoy Feb. 16: DARIUS HAMPTON QUARTET the variety. Honestly, I should make a recording of my own. I Jimmy Cobb and Fludas at St. Peter's Church in New York at the Sponsored by Chicago Jazz Magazine • CHICAGOJAZZ.COM have thought about this for a Cedar Walton's memorial, November 2013.