Baptized By Fire – 14 Questions with Carl Allen

How did you first get involved with drums?

I am the youngest of five children and was raised by my mother in Milwaukee. She was a Gospel singer, so I grew up playing music in church. At the time it just seemed normal because there were so many talented kids in the neighborhood—it was just another thing to do. At one point all of my siblings except my sister sung or played an instrument. My oldest brother had taken a few drum lessons and the sticks were just lying around so I picked them up and started to bang on things. It got to a point where it was easier and cheaper for my Mom to get me a used drum to play on instead of destroying her pots.

What were your first professional opportunities as a musician? How did this impact your development?

My first paid gig was playing timpani in a church Christmas program when I was 13 years old. I was excited because I got paid $25 and it was right before Christmas. I was happy that I could buy some gifts. My first professional jazz gig was at 16 years old playing in a local jazz club. I was in the house band playing behind saxophone legends Sonny Stitt and Red Holloway. I was scared to death but somehow I got through it. After that gig—and getting beat up musically—I knew that this was something that I wanted to do. You can say that I had been baptized by fire.

In addition to performing, you’ve also been involved in music education, including a tenure as Director of Jazz Studies at Juilliard.  How important is sharing your knowledge and engaging with the next generation of musical innovators?

Education is very important to me. I always say that I would not be where I am now if it were not for the countless musicians who mentored me on and off the bandstand. We all have an obligation to share what has been given to us and the music belongs to everyone. I do believe in paying dues, but we all need access to be successful.

I recently accepted the position of Endowed Chair of Jazz Studies at University of Missouri–Kansas City (UMKC). I am very excited about this next chapter in my journey because it gives me another opportunity to pour into the lives of so many young artists. I am fully aware that many of this next generation will have only heard or read about many of the jazz legends that I was blessed to play and record with. They need to know about the lessons that these artists left for us. It is my privilege to be able to teach them these valuable and sometimes life changing lessons.

One of the greatest lessons that I learned is the importance of respecting the music, the bandstand, the process and everything that goes with it.

Speaking of the next generation, your son is a filmmaker. Does creativity run in your family? What kind of encouragement and lessons from your experience in the entertainment industry have you been able to share with your son?

Yes my son is a filmmaker, editor and content creator. When he was younger he played drums for a bit but I think he just did it because I was playing. He later found his calling in film. I do think that creativity runs in my family. As I mentioned previously, at one point most of my family were musicians.

I have taken my son to the studio with me many times for him to observe the process, as well as having him on the set when I have worked—acting or playing drums—in films. Of course he has been to many rehearsals and performances. I explained to him what we were working on and sometimes had him record video during the session. He learned how to respect the musicians’ space when filming and not be a distraction. This was huge for him because he got to see that, even though the music and film work together, it has to be separated as well.

His main passion is editing which can be very tedious and it’s a world that I don’t understand but I am constantly asking him questions that will help him see things from various perspectives. He knows that I am his biggest fan.