Steve Reid, legendary drummer and a man of improvisation and innovation, keeps the music pure and cool. Reid makes his rhythms in real-time, creating spontaneous tunes that keeps the body and spirit moving, especially in his recently release album Daxaar. Recorded in Africa, Daxaar (the original Senegalese spelling for Dakar) intertwines New York jazz-funk with traditional African beats and instruments. He’s currently teamed up with electronics improviser Kieran Hebden (aka Four Tet) on his fourth album. Recently honored with the Lifetime Achievement Award by BBC Radio 1 earlier this year, Reid continues to let the music speak from his heart as he looks forward to opening more musical windows. Optimistic with his joyful signature laugh, Steve Reid shares his positive message of “Stayin’ in the rhythms” and bringing happy, feel good music to the people.

What was it like recording in Africa?

It was beautiful recording the album. Great musicians on there. It was fantastic to get a chance to record in Africa. I like to record in as many different places as possible because it spreads the music around the world. It gives people—all the people—the chance to visit those places at least musically if they don’t have a chance to go there.

What were your influences creating Daxaar?

I was just happy. The first time I went to Africa 37 years ago, I went there to learn. This time I wanted to bring some stuff to them and make a synthesis with them about what I do and where I come from, and what they do and where they come from. I just wanted to portray the happiness I felt when I was over there, and I hope it comes forth in the music. It’s important for me now for music to be good and happy music, and maybe make somebody think something good and different.

“Kieran is a real musician, because he started as a guitar player. He brings music into the equation and formula. He can play it in real-time. A lot of electronic guys can’t do that.”

I really love “Welcome” the first track on Daxaar, especially the vocals (Isa Kouyate).

I don’t take any precursors with me when I go to record. So I like to keep an open mind. I wanted to get the album to open up with something African and Senegalese, which is the kora [West African harp]. I found the kora player and he sounded so good. Beautiful voice. I wanted to open it like that; to be an experience for people. Because it was my album, I felt that I didn’t need to play on the first track or take drum solos. It’s a “we thing” you know, not a “me thing.” That’s the way I like to live and move.

I read that when the players of your ensemble first gathered together, you told them to “just play.”

It was a little strange for them at first because they are used to following certain guidelines. Although African music is based upon improvisation, there’s not much improvisation in it these days. I picked the musicians, the best ones I could find. I got some great ones on there and the music was left open, and we just played. They finally got it together after we played just one tune, and then it was just really beautiful. I understand that change is sometimes scary to some people and some musicians like to know exactly where they’re going before they get there. So I can understand the desire to want to be pre-informed by what we are gonna play, but I just wanted to leave it open and the guys responded very beautifully. I’m very happy with it.

You’ve been working a lot with with Kieran Hebden. What got you interested in electronics?

I’ve always been interested in new sounds and new things. Thirty years ago, I got interested in electronics working with people like Sun Ra and even used electronics in Motown and other places. So I was always interested in that. Kieran is a real musician, because he started as a guitar player. He brings music into the equation and formula. He can play it in real-time. A lot of electronic guys can’t do that…they have to pre-program, but he can just feel it in real time. He puts the music first, most of all. All the guys in the ensemble, they put the music first. That’s what I look for in young musicians: Putting the music first and being really humbled to the music. The music doesn’t belong to anyone. It’s a gift to each of us who is playing it. It is God actually. Everybody has their special gifts, and I just hope that everyone can realize what they are supposed to be doing on the planet and get things going.

What would you say is your fondest memory in making music?

When I wake up in the morning. [Laughs] My favorite musical moment is always the last one, and what I’m looking forward to is the next one. There’s a tune on the album “Don’t Look Back,” so I don’t like to look back on what I’ve done, because it’s what you are doing now that determines what’s gonna happen in the future. So I like to keep right on the now. I want to thank all the young people. They have been very beautiful in making the music survive…Y’all should be proud and pat yourselves on the back. It’s great for all musicians because what you have done is increased the musical menu for people. People now have more variety for what they can listen to and get access to. Just want to say it to the young people to keep it going.

Who do you wish to work with in the future?

I like to work with as many people as I can. If they’re good, and if they move me with some passion from their heart, I want to work with them. See, that’s what its about. Music is a community unifying experience. I believe in working with different people and doing, what people may say, odd collaborations because it brings things together. All music is one thing, right. I hate to hear it separate, called jazz or called electronic or this and that. All the beats are equal too. It’s about reggae, and it’s about dubstep, and it’s about house. It’s about the whole thing. Everybody, every generation has to have its music and it goes for this generation also. So I think that’s really beautiful.

How do you stay in the rhythm?

I stay around the music, I have music on all the time. I just listen to great music from everywhere and anybody. I like to keep young in mind. I manage to keep my ear to what is going on because you have to otherwise you can’t even communicate with your children [laughing] unless you understand what they are talking about. [laughs]

On kieranhebdenandstevereid.com, you say that music is a “big house” and you are making another window…

Yeah. Music is like a spiritual construction, a beautiful house. To me it’s a mansion and a palace. You have different ways of looking out different windows, what I like to call them. You might have an Artic Monkeys window, or a Jimi Hendrix window, or a John Coltrane window, or any kind of musical expression that is real and coming from the gut. It goes back to the musical menu. You can have a lot of windows in the music house, it’d be great where all the sunshine can come in and all the sunshine can go out.

Do you have any advice or enlightenment that you’d like to share with the present and future generation of musicians?

The present generation of musicians and the new generation of musicians has a grave responsibility: they’ve got to hold it up. My advice to them is to always perform from their heart and not to what they think people are gonna like, or to fads of the industry. But to keep it as pure as possible. And, to play whether they are making money or not. And this is how you can tell whether you are doing the job you are supposed to be doing in life. That you like it so much, you would do it if you were not getting paid. So, that is a hell of a test! [laughs] Music, it’s a medicine. It’s very medicinal. Someone can hear something, and it can change their whole mindset. It can make them really happy. It can motivate them. We are like sound doctors and sound scientists. We keep everything really cool. Just let the music speak and that will encourage people that there are beautiful things happening, other than crazy things that we see in newspapers and TV. And we should elect a musician to be the president of the world, then we can get things straightened out. [Laughs]

That’s beautiful. Coming from a jazz legend and veteran like yourself, do you play with your heart or do you play with your mind?

The heart should lead the mind. The mind is a follower. People think that the mind is a leader, but it is a follower. You can lose your mind and be out of here…very quickly! [Laughs] I like to keep things coming from my heart. Music, you may listen to it intellectually, but it’s not an intellectual exercise. It’s a feeling thing. I like for young musicians to keep their emotion in there and keep going regardless. When I started playing, there wasn’t really any money in music, but now there are a few pennies. You cannot let the money change the musical anything. Just give people your version of it. Hopefully, somebody will benefit from it. We have to help each other. There’s so much selfishness going on, and I hate to see it in the music. Musicians should love each other and love the audience… just to make the planet a little more beautiful.

Words: Venise Evangelista