New Interveiw   Recently Reggie Quinerly was selected among eight others to be researched by independent screen writer/journalist Bradley Dorsett as possible character development for an on going project. As of this writing the focus of the project involves the juxtaposition of subjects ranging from modern art, the decay of social environments and technology. On the eve of the New York area's worst snow storm to date, Reggie Quinerly and Dorsett sat in a Greenwich Village restaurant to discuss topics related to the project/film as well as material relevant to this website. (Note: the interview has been edited at the request of Mr. Dorsett) -Bradley Dorsett: As a young artist in New York in what will later be termed as the "turn of the century" how do you view yourself among the other expressionists of the day? - Reggie Quinerly:(pauses) Currently more than anything I see myself as an observer. There have been times since arriving to New York where I considered myself more along the lines of an absorber. Times where I took in everything my teachers and peers spoke and put what I thought under their ideas, suppressing them out of fear that it might show how much I didn't know(or thought I didn't know) about a subject. Now after all this time I'm trying to get back to the point where I express my thoughts first and form all other outside influences in perspective. It's a process and I'm still just trying, but it's a start. In no way would that negate the possibility of learning from others. It's actually just the opposite. -BD: Let's talk a little about your musical background? -RQ: I was born and raised in Houston, Texas. I wouldn't say I came from a musical family per se(albeit my first cousin of the same age Cora Coleman-Dunham is also a successful percussionist based on the west coast) but I will say they all have a deep appreciation for music. I remember hearing my grandparents eight track recordings of Louis Jordan, Muddy Waters, Bobby Blue Bland and stuff like that. I started playing the drums around eight or so and after totally destroying everything in the house with my sticks(laughs), my parents got me a very able teacher (Sam Dinkins) and things just kinda progressed from there. Houston has always produced some great jazz drummers, i.e., G.T. Hogan, Malcolm Pinson, Sebastian Whittiker, Eric Harland, Chris Dave, Kendrick Scott and so many others and these are some of the cats that I feel had a direct effect in shaping my musical scope. In addition to that I was basically raised next to an old school red-light juke joint and grew up in church so from a young age I saw the effect music could have on people. (shaking head for emphasis) So I always viewed the drums as the main catalyst for the styles I heard. -BD: How was the transition to New York from the deep south? -R.Q.: Not hard at all for me. When I touched down back in 99 I saw that the speed might've been a little faster, but essentially everybody is just trying to carve a normal existence in spite of their circumstances which is the same the world over. It was still kinda hip to think of all the famous people that lived in my old Harlem neighborhood, but I'm the type that can be comfortable in any location. Just give me my books, my drums and I'll be all right. It's just been business as usual from day one. -B.D.: In many of my talks with other jazz musicians they often lament the current status of jazz and it's connection(or lack there of) to the young people of the day. What do you think about its relevancy to today's generation? -R.Q.: First of all, I directly relate to this question because I consider myself and my peers as a part of this younger generation I assume you are referring to. As a question jazz has never stopped being completely relevant to the public. At times I feel the music industry hasn't always seen (or should I say recognized) the highest possible profitability in the jazz market, and in effect hasn't always gone to great lengths to expand its support base which could include the younger generation, but to me the common denominator of this music includes a tradition of creativity, expression and story telling which all people regardless of age can relate to. The main differences lie in presentation and what is considered an acceptable way to experience this art form. Jazz in particular has always been a social barometer, especially its development in America and in a historical sense it has been documented in relation to prohibition, segregation, technological advancements, social movements and much more. At the same time it doesn't live exclusively in the hills of academia or in a glass case in some fine arts center. It's living, breathing, walking around and interacting. The vestiges of this musical tradition reside in our slang, our dress and other art forms all the way down to the advertisement of goods and services. You dig? These factors both historical and practical have the ability to make this music more tangible to younger listeners especially. B.D.-Is that where you come in? R.Q.-It is my intent and motivation to show all people young and older ones as well that this music can come in all forms. From the groove oriented soul and highly complex fusion to bebop and swing big bands there are a wealth of possibilities to potential consumers. I believe the common goal of any jazz musician is to present this music (no matter what the setting) on the highest level at all times, from there with the right amount of exposure anything and everything remains (hand gesture reinforce excitement) possible (Excerpts of part I)