Danny Green: Luminary

Danny Green

“I’ve known Danny Green since he was 17 years old. At the time he was talented and played primarily guitar and some piano. He has since blossomed into one of San Diego’s finest talents as a pianist, composer, arranger, and band leader.” Those are the words of renowned bassist Rob Thorsen, who has witnessed the spiraling music career of Danny Green first-hand.

At age 43, Green, a San Diego native, has become a major force locally and nationally as a composer and multi-genre pianist with effortless command of the keyboard.

THE EARLY YEARS
Green began piano lessons at age five and continued with three different piano teachers through age 12. “I have perfect pitch,” he explained, “so I was able to learn stuff quickly by ear and was able to mimic what my teacher would play.” As Green began high school at University City High, the age of grunge, ska, and speed metal were hitting the airwaves, at which time he purchased an electric keyboard and formed a ska group. “I connected with a few others who liked ska and so we formed a band, calling ourselves Black Tie Optional. We only played one show, so it was short lived. Shortly after that, my best friend in high school, who played drums, and I started busking at the La Jolla Cove as well,” he concluded.

THE UCSD YEARS
After graduating high school in 2000, Green initially applied as a chemistry major at UCSD before undeclaring at orientation. His initial music classes there were titled The Music of Africa and African Music of the Diaspora with Jason Stanyek, an esteemed scholar of Brazilian music, sonic culture, critical theory, global hip hop, musics of the African diaspora, world music, new media, ethnographic method, and the history of ethnomusicology. “An amazing teacher,” Green exuded. “A brilliant guy, very inspiring who really created a whole community out of his class. I was enthralled when he started talking about ethnic music, particularly from Jamaica and Cuba.”

During Green’s third quarter at UCSD he took a jazz improv class with noted composer/trombonist Michael Dessen. “I was actually playing mostly guitar in that class as I had picked up guitar and electric bass when I was in high school, influenced by the emergence of Nirvana,” he smiled.

After declaring as a music major in his second year at UCSD, he took up study with esteemed pianist Kamau Kenyatta. “He taught me so much about playing jazz while giving me much encouragement along the way. He got me up to speed on chord symbols, scales, modes, and improvisation.”

The first group that Green played with during this time was called Cal-Son, which was led by percussionist/vocalist Alex Galucho. “We played mostly Afro-Cuban music every Friday night for about two or three years at the Calypso Café in Leucadia. The crowds were really into it as Alex was charismatic and a good entertainer.”

Additionally, Green discovered that there was money to be made in gigs at retirement homes. “I got a whole gig circuit going here in San Diego and would perform solo and sometimes with a quartet.” For the next five years after graduating from UCSD, Green immersed himself into the local jazz scene attending jam sessions, fronting a quartet, playing solo gigs, and eventually forming his own trio as bandleader, composer, and arranger alongside bassist Justin Grinnell, whom he met in 2007 and drummer Julien Cantelm whom he met in 2010.

The Danny Green Trio with Justin Grinnell and Julian Cantelm.

Grinnell spoke fondly as he reflected back on his history with Green. “Having shared the stage with Danny Green for over 15 years, I’ve witnessed first-hand his musical journey,” Grinnell stated. “Danny has rightfully earned a reputation as a first-rate pianist, composer, and arranger. Beyond his musical abilities, Danny’s discipline and ability to achieve ambitious goals inspire me both professionally and personally. Our friendship, marked by many milestones from weddings to starting families, has been as rewarding off stage as our musical collaboration has been on stage.”

Cantelm also reflected back. “It’s hard to capture in a short description how Danny has impacted me as a musician, as a friend, professionally, and as a mentor,” Cantelm recollected. “For over 14 years we’ve collaborated on stages ranging from cafes and house concerts to festivals and symphony halls… whether it’s been with his trio playing original compositions or projects involving string quartets, vocalists, guitarists, and horn players. I’ve learned a ton in my musical journey having the opportunities to collaborate so much together, and I’m so grateful for it!”

THE SDSU YEARS
In 2009 Green enrolled in the Jazz Studies Master’s Program at San Diego State University, completing his degree in 2011. “It was a tremendous experience. I studied with jazz pianist professor Rick Helzer, whom I initially studied with independently in 2006…such an amazing teacher with a wealth of knowledge. Also during that time I was fortunate to attend the annual California Brazil Camp, a locale that featured the best of Brazilian jazz, which provided me the chance to explore the genre with some of the best.”

FAMILY

Danny and Emily on their wedding day.

Green met his future wife, Emily, in 2007; they tied the knot in 2009. “She’s great and has been incredibly supportive of my musical career here and also when I have gigs on the road, she’s even gotten involved in booking our trio across the country.”

They have two children, Ben, 12, and Hailey, 10. For many in that situation it’s all about a balancing act. “Family life is great, I love it,” Green said. “I’m very involved in my children’s lives, especially not being in a nine-to-five working scenario. It gives me a lot of purpose in my life as we share many experiences together. It’s worked incredibly well for us,” he continued. “Emily works from home, so I often pick the kids up from school and am able to do some homework with them, and the reverse is true when I have gigs and we switch roles.” Both son Ben and daughter Hailey are currently taking piano lessons from Jay Jay Lim.

CD RECORDINGS
In 2009, Green was ready to record his first album, a solo piano project titled With You in Mind, an album that spotlighted Green’s musical diversity with compositions ranging from classical to jazz to Brazilian. “It was cool, I recorded it myself. Since then I’ve definitely changed in my writing style and playing style, but overall I have good memories listening back to those songs that I don’t tend to play that much anymore.”

His second album in 2012, A Thousand Ways Home, had a good straight-ahead jazz vibe with a cool vocal track, “Quintal da Solidao,” from Brazilian vocalist Claudia Villela, featuring his set rhythm section trio of Grinnell on bass and Cantelm on drums, along with a slew of instrumental guest artists. “I put a lot of thought into creating each composition,” Green stated, “exhibiting my jazz, Brazilian, and classical music influences.”

His third CD in 2015, After the Calm, is just the trio with Grinnell on bass and Cantelm on drums, displaying a nice combination of original ballads and hard-driving grooves. His fourth album, Altered Narratives, in 2016, was recorded in New York City with his existing trio of Grinnell and Cantelm, with the addition of a string quartet on three of his original tracks. “I had a group of supporters that funded that project,” Green recalled. “It was the first time I was working with a producer, Matt Pierson, who suggested I use a string quartet on a few selected tunes. I liked the idea and enjoyed writing the string arrangements.”

Danny and Peter Sprague at Sprague Land Studio.

Green continued the concept on his fifth album in 2018, One Day It Will, employing a string quartet again alongside Grinnell and Cantelm. “I wanted the quartet to play more of a role on this project,” Green explained. “A string quartet hits more dynamically than the weight of a full orchestra.”

Green’s most recent album in 2020, Heard and Seen, adds vocalist Leonard Patton into the mix alongside Grinnell and Cantelm with a new group moniker, LP and the Vinyl. Patton commented on his excitement working with Green. “Danny Green is one of the most creative pianists and musicians that I know,” Patton described. “He is the catalyst for our band as he is an incredible arranger and composer. He’s always fun to collaborate with and loves to find ways to bring non-jazz tunes into the jazz world…he does it beautifully.”

The quartet takes on cover tunes ranging from the Beatles and David Bowie to Oasis and Stevie Wonder. “I look at it as an addition to my recording catalog rather than a transition,” Green explained. “The main idea was to take cover tunes and rearrange them our own way. Our booking agent, Marian Liebowitz, has been able to book us all over the United States. It’s been really successful touring the country, we’ve done a lot of cool shows.”

Danny and Rob Thorsen.

As far as some of Green’s favorite recorded musical artists, primarily on keys, he has many influences throughout the world of many jazz, classical, and Latin icons. “Chucho Valdes was my piano hero in the early 2000s,” he said. “Brad Mehldau—he’s at the top of the list for me with his approach to jazz standards along with his classical works. His left hand is as good as anyone I’ve ever heard. Fred Hersch, too. Love his playing—solo, duo, and trio stuff—with his classical influence and counterpoint lines. I love Chick Corea’s tremendous compositions and badass musical lines. I wrote a 30-page paper on Bill Evans, a big influence, for my jazz studies program. I love Oscar Peterson’s sound and swing feel. Art Tatum is my go-to person for reharmonizing songs. Geoffrey Keezer has a tremendous technique and is a great composer and arranger; I’m always blown away when I hear him play. Finally, Andre Mehmari, is an incredible Brazilian pianist.”

AS SIDEMAN
Outside of his own band leader gigs, Green works frequently with other local music heavyweights, often with guitarist Peter Sprague. “It’s one of my great joys working with him,” Green said. “He calls me often for almost everything when he needs a pianist for his gigs and projects. I love his musical sensibilities; he’s a great role model for how to be a complete musician.” Sprague didn’t hold back on his admiration for Green. “When you have Danny showing up for the gig you know you’re in for some magic music,” Sprague raved. “A beautiful touch, with creative ideas rooted in jazz, classical, and Brazilian music. He has the ability to deal with some of my 13-page charts and pull them off. Additionally, he’s got good brains and a wonderful sense of humor. He’s a true hero of music and I’m so fortunate to have him in our band.”

Danny with Allison Adams Tucker and Leonard Patton at Brasil Festa.

Also, his work with vocalist Allison Adams Tucker. “What can I say about Danny Green? He became an integral part of my musical family and creative journey shortly after I entered the jazz world back in 2006 when he was just a pup,” Tucker reminisced. “He’s gone on to be my first call for collaborations, arranging, recording, and performing ever since. Danny introduced me to so much music back in those early days, which has led me down unforeseen paths that have blossomed in my own career. The thing I love most about Danny is that he’s wildly intelligent and eternally inquisitive, yet easygoing and compassionate with a surprising sense of humor. He’s 100% reliable and hard working, and his perfect pitch and knowledge of music make these virtues even more valuable. I’ve always believed a person’s character can be known by the fruits of their labor and, after 17 years, Danny’s fruits hold true. Danny is a cherished friend, and I’m excited to see what lies ahead for him.”

TEACHING

Portrait of Danny Green by Katya Mezhova.

As with many working musicians, teaching becomes another avenue to generate extra income, provided one has the desire, patience, and organization to share their knowledge as Green detailed. “Teaching is such a huge part of what I do now. A lot of how I teach is based on how I learned from Rick Helzer in my SDSU days,” he stated. Green teaches in-house, on Zoom, and group clinics locally and on the road, in addition to doing arrangements and transcriptions for students as well.

In 2011 Green got hired by Grossmont College to teach piano there. “I was teaching beginning-level piano classes. There was lots of preparation but I enjoyed the students,” he said. “I stopped once Covid hit, which affected college enrollments everywhere.”

Additionally, Green has been hired as faculty at various summer music camps. “Those have been good with the first-week middle school attendees and the second week high schoolers; it’s a fun hang with the other faculty members too… I really look forward to the whole experience each summer.”

LOOKING AHEAD

Photo by Michael Oletta.

“I’m really enjoying what I’m doing right now,” Green stated emphatically, “doing my own projects and working as much as I am now with Peter Sprague, really dedicating myself to learning his music and collaborating with other musical artists too.” Green is also looking forward to continuing the success of LP and the Vinyl, with an upcoming musical showcase in Spokane that should get him some more exposure with bookings outside of the local area.

Green certainly has his priorities in order as he looks to the future. “Overall, I’m just trying to create a balance between work and other things,” he surmised, “with health being a priority—I’ve been doing a lot of exercising over the last year as I continue the joy of raising my kids.”

A very humble and down-to-earth person, Green summed it up concisely in the simplest of terms: “I’m gonna keep doing my thing and try to get better.”