In the early 1960s, Jack DeJohnette, a pianist from Chicago, took a weeklong gig at the Showboat club in Philadelphia alongside saxophonist Eddie Harris, showcasing his talent on the drums—his second instrument, which he played using a set left by a bandmate. During this time, Harris, an up-and-coming musician, pulled DeJohnette aside and remarked, “Man, you play nice piano. But something about your drumming—you’re a natural on drums. You’ve got to decide which one’s going to be your main instrument.”
For anyone familiar with jazz over the past 50 years, DeJohnette’s eventual decision will come as no surprise. Now 82, he is regarded as drumming royalty.
Starting in the mid-60s, DeJohnette embraced the era’s innovative sounds, anchoring a quartet led by saxophonist and flutist Charles Lloyd, which achieved unexpected crossover success. He later joined Miles Davis’s groundbreaking early fusion groups; Davis himself noted in his autobiography that DeJohnette “gave me a certain deep groove that I just loved to play over.” Throughout his career, DeJohnette excelled in various musical settings, from the avant-garde traditionalism of Keith Jarrett’s Standards Trio—which lasted over three decades—to the expansive explorations with trumpeter Wadada Leo Smith, where he seamlessly switched between energetic and impressionistic styles as needed.
Lloyd praised DeJohnette as “in the pantheon of our greatest drummers,” emphasizing the deep connection they established during their first collaboration. Similarly, Jarrett described DeJohnette’s contributions as “just a natural flow of what needed to be done.”
Despite his growing reputation as a drummer, DeJohnette has never abandoned the piano, a fact he will highlight during a rare solo concert on September 28 at the Woodstock Playhouse, where he plans to perform on the piano. His 2016 vinyl release, “Return,” marked his first unaccompanied full-length piano album and showcased his unhurried, luminous style, focused on creating finely tuned atmospheres.
Jon Batiste, who performed with DeJohnette at a concert in Kingston, N.Y., and at Tanglewood this summer, noted that when he hears DeJohnette at the piano, he perceives an artist who has “figured out how to transmit their artistry to the piano,” rather than just a drummer playing another instrument.
DeJohnette remains modest about his skills on the piano. “I don’t think I’m a fantastic pianist,” he admitted in his distinct, airy voice, “but I think I play well enough to tell a story.”
He began piano lessons around age 5, thanks to encouragement from a local teacher and his grandmother, who gifted him a Wurlitzer spinet. Influenced by Fats Domino and local star Ahmad Jamal, DeJohnette started performing with his own bands in his teenage years. As he relocated to New York, he focused on drumming, becoming a prolific bandleader while still composing at the piano. He occasionally played auxiliary keyboards or melodica on recordings, including the 1985 release “The Jack DeJohnette Piano Album,” where he led a trio.
DeJohnette explained, “It made me a better drummer because when I’m playing with a group or a song, I know the chord changes and the form. I have a keener sense of how to interact and inspire and be inspired.”
Pianist George Colligan, a frequent collaborator, emphasized that DeJohnette consistently supports him during their improvisations, saying, “If you’re going somewhere, he’s going to help you get there.”
Due to heart issues, now managed, and a post-COVID aversion to travel, DeJohnette has stepped back from touring. Encouraged by his wife and manager, Lydia, he has performed mostly near their home, inviting world-class musicians to local venues. Colligan recalled a 2023 tribute concert to Miles Davis at the Ulster Performing Arts Center, featuring an all-star lineup, including Carlos Santana and Cindy Blackman Santana, where the atmosphere was more about celebrating DeJohnette’s legacy.
Reflecting on this new, localized phase of his career, DeJohnette remarked, “Going to New York City isn’t grabbing me anymore. Not for a long time, actually.”
While giving a tour of his property, dressed in jeans and a navy windbreaker, he pointed out a stunning view of the Catskill Mountains. He noted a snake slithering through the grass and shared updates on his fruit and vegetable garden, indicating that the blackberries should be ready by mid-August.
Spending more time at home has allowed DeJohnette to reflect on both his music and personal life. Alongside Lydia and their personal assistant, Joan Clancy, he has been cataloging his extensive sonic archive, which holds decades of unreleased recordings. Among them is a lively 1966 live set from Slugs’ Saloon, featuring DeJohnette with renowned musicians like McCoy Tyner and Joe Henderson, set to be released on Blue Note in November as “Forces of Nature,” reflecting the dynamic energy of that performance.
Additionally, DeJohnette shared a more personal inventory that emerged as his touring schedule slowed down. “I was at a low ebb in my life,” he admitted, reflecting on the challenges of balancing his public persona with his personal struggles. He described himself as “self-absorbed,” acknowledging the ongoing efforts of Lydia and others to help him find greater connection with life.
In a phone interview, Lydia noted that DeJohnette has become aware of what he has been missing, mentioning his participation in therapy. “He realizes he was very gifted and is grateful for that, but he also recognizes what he lacked as a human—a certain detachment from life,” she said.
Speaking about his regular music practice at home, DeJohnette suggested that his inner journey continues during these sessions. He plays on a Kawai grand piano in his living room or works in his basement studio with a Korg Kronos keyboard, creating alongside favorite CDs like John Coltrane’s “A Love Supreme” and Davis’s “Seven Steps to Heaven.” He described these moments as a form of communion—“cocreating with the source of everything,” honoring the inspiration that arises.
“I’m not playing for fans; I’m playing for me,” he said, emphasizing that this process helps him discover himself more deeply, enabling him to offer more to others. “To give of myself, and to be able to receive.”
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