They have called him a jazz purist, accused him of not being “eclectic” enough, But still, Nick Forte will not flinch. As a jazz drummer who started playing professionally when he was only 13 years old, Forte understands the deep roots of jazz and has watched the musical form grow, evolve and splinter off. During his formative years he played with some jazz giants, including Gerry Mulligan and Dizzy Gillespie.  He credits early instructors James Stavris Sr. and Alexander Lepak with teaching him the basics and jazz trombonist Sonny Costanzo with giving him important breaks.

Now in his early 50s, Forte, an East Haven resident, has come to believe that genuine jazz, the original American art form, deserves to be preserved in its true essence. “I have a real problem with some people’s definition of jazz,” he says, “Sometimes there will be bands performing at a jazz festival, but they are not true jazz groups.  Much of it may be great Stuff, but it shouldn’t be confused with jazz!”

The roots of jazz run deep in American history, From New Orleans to Chicago and New York, jazz masters like Fletch Henderson, Count Bassie, Duke Ellington and Lionel Hampton all added to the jazz scene.  The swing era of the 30s and 40s gave way to the bebop and cool jazz styles of the post-war decades.  Modern jazz saw attempts to incorporate jazz with classical, rock, Latin, and other musical forms, sometimes resulting in “fusion jazz.”

The history of jazz is rich and complex, but for Forte, drum expert, the difference between true jazz and other music is often in the rhythm. “In general, when you hear jazz it is broken up into groups of threes.  Rock and other music is divided into twos,” he explains.  “Louis Armstrong, the Bill Evans trio, Wynton Marsalis and the early Miles Davis groups are what I would call true jazz players.” “Also,” he adds, “jazz musicians live by these two things: the figured bass line, which is a means of creating a progression or route from one measure to another, and improvisation.

  These jazz roots go back three hundred years,” Forte says. “Certain elements in jazz can be traced back to J.S. Bach, who was a main proponent of the figured bass line and also a great improviser.  

If Forte sounds as if he should teach this stuff, or at least write a book, rest assured he does, and has done, both. He has been passing on the jazz legacy by teaching all kinds of students in many schools.  For the past eight years he has taught drum, classical percussion and rhythm courses at The Neighborhood Music School in New Have.  He wrote “Understanding Rhythm” for “Modern Drummer Magazine,” and the installments were brought together and published as a book called “Progressive Steps to Musical Drumming.”  He has a private, in-home studio, and he continues to study and write about drums.

Best of all, though, Forte likes to play.  “When I’m working with great musicians and we’re having a good night, it’s the ultimate feeling,” he says.  “There are moments when you’re so Elevated, you step outside yourself.” “I would love to bring the big bands back,” he continues “It was a great era in music, now it’s basically gone…. Jazz is a treasure that I feel is slowly becoming contaminated, and it’s too bad,  because a lot of younger people could get hooked on it.  I have to fight to keep the music pure.”

NOTE:  While this article is several years old, Nick continues to “Fight to keep the music pure.”  This is seen through the extensive book catalog currently available through his Forte Music Publications business and his continued work as a professional musician and educator throughout the Connecticut area.