Va Lynda Robinson: Well, Jamie, I have a two-part question. Number one, I’d like to know what drew you to the flute, and number two, there are a lot of influential jazz flutists out there, including Herbie Mann, Hubert Laws, and Rahsaan Roland Kirk. Was there a performer that you were drawn to?
Jamie Baum: Well, I started playing, piano was really my first instrument because my mom had gone to Juilliard for a year or so before she got married. In those days you got married and that was it! But she started me on piano. After I played piano for a while, once I got to high school, I decided I wanted something mobile so I could play outside with friends. I grew up in Connecticut, near Bridgeport. I did some lessons there and got turned onto Eric Dolphy, Rahsaan Roland Kirk and Hubert Laws.
And in fact, when I was going to New England Conservatory, I took the train to New York a few times and took lessons with Hubert Laws. I was very lucky that I got to connect with him before he moved to Los Angeles.
Va Lynda Robinson: Can you tell us about your latest record with your septet?
Jamie Baum: Well, I started the septet as a septet, a seven piece, back in '99. And it just kind of kept growing. And this last project, with the four different vocalists and percussion, it became like 13 or 14 people! But maybe seven or eight years ago, I started realizing that it was difficult to tour with such a large group. Scheduling, finances... all of that made it challenging with such a large group.
You know, when you write a lot, it’s exciting to have a big group, but it limits some of the spontaneity you would have with a small group for improvisation. I started to miss that side of myself and that side of playing jazz. So I started a quartet that really focuses more on improvising. I love them both, but they’re two sides.
Al Davis: I like the title of the latest septet album. Tell us about “What Times Are These”.
Jamie Baum: Well, it’s based on one of the tracks, which is called “What Kinds of Times Are These,” a poem by Adrienne Rich. I started choosing these tunes right after COVID hit, from this website that Bill Moyers put up: A Poet a Day. That was March 2020, and the album came in 2024. You never know if your concept is going to still be relevant by the time it comes out, you know what I mean? And unfortunately, it’s more relevant than I would have liked!
Al Davis: How have you seen the audience change over the years? I
Jamie Baum: Living in New York City, I think it’s probably a little different than a lot of other places. You have a lot of the schools here and so there’s young people that are studying and coming to New York to play and be around [jazz]. I would say in other parts of the US it’s probably more an older crowd in general. I think that some of the venues have gotten very expensive, you know? Certainly musicians deserve to be paid well, but [for the audience] you might be paying a $35 cover and then a $20 drink minimum… and you’re going to leave a tip. So to go out and hear music for, 60 to 70 bucks... if you’re a young student that’s not so easy. I think it’s kind of tricky, you know. But jazz is not dead, that’s for sure. There’s great enthusiasm even in small houses.
Al Davis: There you go!
Va Lynda Robinson: It’s always, always, alive! Jamie, thank you so much for talking to us today. Hope to see you back soon.
Jamie Baum’s latest album with her septet is “What Times Are These”.
