“Six Days at Ronnie Scott’s” by Brian Gruber: a Vivid, Catchy Read

A fly on the wall doesn’t begin to describe the amazing vantage point of author Brian Gruber’s jazzy thrill ride through nearly a week hanging out with legendary drummer Billy Cobham. Gruber’s “Six Days at Ronnie Scott’s” is crisp and conversational, allowing the reader to whip through the book like butter. A thoroughly entertaining journey… Continue Reading →

Brian Gruber headshot

A fly on the wall doesn’t begin to describe the amazing vantage point of author Brian Gruber’s jazzy thrill ride through nearly a week hanging out with legendary drummer Billy Cobham. Gruber’s “Six Days at Ronnie Scott’s” is crisp and conversational, allowing the reader to whip through the book like butter. A thoroughly entertaining journey from Cobham’s growing up days in late 1940s Brooklyn to the marathon six-day run at an iconic jazz club.

What inspired this book, both the subject (Cobham) and particularly the setting of a six-day time frame? 

I met Bill in France some years ago and, as I was developing a live streaming jazz service from iconic clubs around the world, I saw him perform numerous terms. Milan. Rio. Paris. New York. Oakland. Whenever we got together, he would tell these most amazing tales. He really has played with everyone. Miles. Horace Silver. Billy Taylor. The Grateful Dead. Santana. Hendrix. Getz. Finally, I told him to please stop. We had to at least get these stories all properly recorded for posterity. 

British bandleader, trumpeter, and composer Guy Barker was assembling a 17-piece big band with some of London’s top jazz musicians to perform an original arrangement of Bill’s work at Ronnie Scott’s. So we decided, OK then, I would be a fly on the wall for the whole process. The rehearsals, the sound checks, the backstage meals and banter, evenings at the pub or meals at the hotel. It then struck me that one method of storytelling might be six decades of Bill’s extraordinary musical life woven in and out of encounters with musicians, critics, fans, club staff, and friends during Bill and Guy’s six-day run. It was a creative risk, but readers loved it.

How long did your research take? What was the single most daunting challenge of compiling and synthesizing all the information? 

I had followed Bill for some years and watched his musical methods and studied his history. Once we decided to do the project, I spent a few months before the event interviewing him long distance, then the 11 days in London, two months transcribing interviews and doing additional research, then four months writing the book, and another two editing. The biggest challenge was finding the truth in his story, and in the many interviews and anecdotes gathered along the way. Some themes emerged. His interest in educating young people, which connected with his family life and early years performing, his attitudes towards the business of music, the use of the venue as a “character” in the book, the Mahavishnu experience, the notion of jazz fusion. And many of the jazz greats I contacted for interviews – Ron Carter, Randy Brecker, Jan Hammer, Bill Bruford – were just immediately forthcoming as they have genuine esteem for the man. 

What was your method of extracting the best nuggets of each of your interviews, and boiling down a lengthy chat to bring out the material that would move the story forward?

I think it starts with the technical act of transcribing, and then allowing rounds of edits to mold the story, separating key storylines. And then allowing the narrative of the book to emerge, to dictate its own pace and order, until it all starts integrating and making sense.  

Did you find that each new decade of jazz has something different to teach us?

I’m not sure it’s broken into neat decades, or even eras. Jazz survives and lives because its roots are so deeply grounded in the American experience, the human experience, so it keeps reinventing itself. There is an incident where London saxophonist Ronnie Scott wanders Manhattan’s 52nd Street in amazement after World War II. Dizzy Gillespie, Miles Davis, all these masters playing their gigs then jamming with each other past midnight at clubs along the street. White Dixieland players would jam with black bebop musicians, and genres and styles would meld and ferment together. Bill can do it all. He plays with classical orchestras, rock bands, in one show there will be Latin themes – that 6-day run had a big band feel that blew the doors off. 

Can this book be appreciated by those who are not necessarily jazz fans but want a glimpse into our cultural/arts/societal development over the past 60 years? 

It’s a great book for anyone interested in the act of creation, which, as you know, is a phrase in the title. How did a 3-year-old black Panamanian-American kid have his world transformed by listening to the Latino percussionists in Fulton Park outside his Brooklyn bedroom window? And why does he still create year in and year out into his seventies? Not only is there a lot of historiography, but the backstage moments give the reader an understanding of how master musicians and creatives work, collaborate, learn, rebound.

What is the most remarkable element of Cobham’s career thus far?

They keep happening. That’s the miracle of the life of a lifelong artist. The time when John McLaughlin asked him to test some ideas and jam for two weeks straight, which became the Mahavishnu Orchestra after they added Hammer, Laird, and Goodman. The second year of Mahavishnu when Cobham, playing constant gigs, recording often, and with no training in writing music, composed and recorded the hit fusion album Spectrum, most cuts in a couple of takes. His jamming with the Grateful Dead. His performance with the world’s great jazz musicians at the 1977 Montreux Jazz Festival, an almost unbelievable stage of master craftsmen. Being the percussionist in Muhammad Ali’s Broadway play. Endless stories, and all revealing something of the sweep of the jazz world’s changes over a half century. 

Why does jazz fusion speak to you?

The book starts off with a prologue describing how my brother, a rocker, and my father, a jazz lover, made peace by taking me to live shows in New York. Certain fusion strains, whether the jazz samba albums of Getz and Gilberto, or Miles Davis’ Bitches Brew – Bill collaborated with Miles on that and numerous other albums – or Mahavishnu, brought together generations who could now speak via a common idiom. There are numerous passages in the book that address the theoretical and political aspects of fusion and the heady days in the late 60s and early 70s when young and old musicians played with and invented new genres. 

The single best thing about writing this book… has been the extraordinary experience of living with 17 master jazz musicians for 11 days, from the rehearsals through to late night drinks after closing night, seeing them slay their dragons and take a very complex challenge and execute with fire and heart.  That’s the great cheat of the oral historian – you get to go to places you would otherwise never experience and share those stories with the work, hopefully with style, rich detail, and much respect.

Other comments?

I didn’t know how the book would be received but it received universally strong reviews. Downbeat called it an unusual and welcome addition to the jazz bibliography. That’s quite a humbling tribute. 

For more information visit www.amazon.com/dp/1717493009.

Photos courtesy of and with permission of Brian Gruber.
(c) Debbie Burke 2020

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Homero Alvarez Sep7ett Pulls You in from the Jump

Guitarist, composer and leader Homero Alvarez calls his ensemble “some of the best musicians in Stockholm playing new Latin jazz.” This is no lie. His combo has just released its self-named EP where the musical intelligence is strong, the sound is imaginative and the vibe is spirited. There are only three songs but they pack… Continue Reading →

Homero Alvarez c Nina Varumo2

Guitarist, composer and leader Homero Alvarez calls his ensemble “some of the best musicians in Stockholm playing new Latin jazz.”

This is no lie. His combo has just released its self-named EP where the musical intelligence is strong, the sound is imaginative and the vibe is spirited.

There are only three songs but they pack a punch (and more is promised this fall). “Blanca” is light and fizzy, inviting feet to dance without self-consciousness. It has a definitive Latin vibe while breaking ranks with a thick-and-kickin’ keyboard solo. Digging deeper, the assertive rhythm of “Life Hack” flirts with a minor mode, adds unexpected chord changes, and emerges into horn-driven brilliance, but deceptive cadences abound and more modulations bubble up; maybe the “hack” here is taking new routes. “Sӧdermalm” (an island in central Stockholm) is cohesive, bubbly and fun.

The group consists of:

Homero Alvarez on guitar; Karl Olandersson – trumpet; Karin Hammar – trombone; Arnold Rodriguez – piano; Juan Patricio Mendoza – bass; Ola Bothzén – drums and Andreas Ekstedt – percussion.

How does the Latin jazz vibe go so well in the Swedish market?

We are just about to see!

Latin jazz is more considered to be a mix of jazz and rhythms from Cuba or Puerto Rico. Our thing is more general – the whole continent. We’ve done a lot of Brazilian music thoughout the years, samba, Baião and mixes with rhythms from Colombia and Uruguay (Cumbia & Candombe), everything blended with our compositions and improvisations.. So how will it work in Sweden? 

Sweden has an open heart to South America since the 70s, at least. Musically Sweden also has many famous artists like Cornelis Vreeswijk and Lill Lindfors who’ve had important collaborations with Latin American musicians in the 1960s. I believe I follow this tradition and will probably make some genuine stuff of it. 

What’s the biggest challenge of running a jazz club?

Mornington LIVE is situated in the great Mornington Hotel. I handle the programming, choose the bands and keep it alive in every way. We’ve been presenting shows for six years now and I would easily say that it is the second biggest in Stockholm. The biggest challenge in the beginning was simply to get people there and I would say that we managed it all through social media and friends. 

However, due to the pandemic, we shut down in the middle of March and plan to open again in September, which would be wonderful. 

What’s the first song you wrote for the new EP? What emotions do you want to communicate?

I think “Blanca” was the first one. It’s my first daughter’s middle name. I wrote the song many years ago but did the arrangement for the septet just before entering the studio. 

I wanted to create an up-tempo feeling for all three songs.

What was the production process like?

Not tough at all. The recordings went well. We recorded first as a quartet with guitar, keys, bass and drums. Then we added the horns and percussion. But they all played so well that it’s been more a pleasure than anything else. 

Your favorite thing about being a composer, band leader and guitarist?

Being in strong contact with music is my ultimate top. It’s the best thing there is. And the combination of all these roles is the best.

I’m just miss playing live. That’s what we all are longing for. Our first planned gig will be at the Stockholm Jazz festival in October. 

How did the musicians help you achieve the right sound?

I’ve worked for many years with a quartet called Latin the Mood that had a similar approach. There we had alto saxophone and we added trombone and trumpet to the combo.

It’s important to choose people you’ve worked with for many years.

Other comments?

We are struggling to reach out. As an independent label during this pandemic period it’s very much about the internet. We are just now recording four new songs which we plan to release in September or October.

My idea is one more digital release digital and after that a full length vinyl to offer the audiences when we go live. 

For more information, visit www.homeroalvarez.com.

Photos courtesy of and with permission of Homero Alvarez. Second photo (c) Nina Varumo.
© Debbie Burke 2020

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Beauty Tinged with Hope: Hannah Baiardi’s “What Will Our Children Say”

A soft and sweet piano intro sweeps open the curtains, allowing vocalist Hannah Baiardi to sing her latest release, “What Will Our Children Say.” A paean of positivity, the song is socially current and pointedly asks what kind of world we are leaving to our progeny. Baiardi deftly navigates this simple melody with imaginative lyrics… Continue Reading →

Hannah Baiardi CD

A soft and sweet piano intro sweeps open the curtains, allowing vocalist Hannah Baiardi to sing her latest release, “What Will Our Children Say.” A paean of positivity, the song is socially current and pointedly asks what kind of world we are leaving to our progeny. Baiardi deftly navigates this simple melody with imaginative lyrics and a catchy chord progression. If you look to her 2018 EP “The Quietest Place” her versatility is plain to see: she can go funky, bluesy and hip, playing originals and standards alike, one shining example being “The Nearness of You” which brims with emotion and is full of her trademark phrasing.

Why did you write “What Will Our Children Say”?

I wanted to use this song to point out the volatile times we’re living in and how sometimes one can take solace in looking to the next generation. I see young climate activists and social/civil right leaders emerge fiery and ready for change. Their drive inspired me to write this rally cry – this song to encourage people to take action and listen to the children and young leaders for solutions and optimism. This song asks us to acknowledge that decades of climate leadership inaction add up.

The message hits home when you stop and consider our survival and our children’s survival – right down to the air we breathe.

I believe we are truly living in a new age. We’ve turned a corner in history. Look at the nature of our responses to elections, pandemics and environmental/political crises. You see rallies, emerging leaders, group meditations, mobilizing social media campaigns, and musicians who are advocates as much as artists. Look at the number of young leaders emerging like Greta Thunberg and Helena Gualinga. I tried to hear their voices in my head as I wrote the lyrics.

What are your favorite types of songs for performance- ballads, torch songs, etc.?

In college, I was known as the B&B girl – I loved bossas and ballads – that’s my wheelhouse in the jazz idiom. The unique arrangements, like throwing in a conga instead of a drum set, are my favorite types of switch-ups. I also love oldies from the 80s and creating unique arrangements of them, the music my mom and dad grew up listening to and was blasted on the boombox when I was a toddler. Childhood nostalgia informs so much of my music. 

How would you describe your voice?

I began studying voice much later than piano, when I was in high school. From a teen until now, my voice has changed dramatically. In my 20s, I think I am finally learning how to find my voice and my style which is very exciting, thanks to the excellent mentorship I’ve received. I would describe it as soulful and sultry with tinges of Sadé, Norah Jones and a hint of Sarah MacLachlan, depending on the style. 

 In your earlier work, “The Quieter Place,” how did you choose the songs?

It was a compilation of mostly original compositions written during my time as a college student at the University of Michigan. A collaborative effort of U-M music students, it was a very special experience to produce an album as an undergraduate using the University’s famed Duderstadt recording studio. The songs each told a story or shared a message about spreading unity, sharing our light and coming together. Other songs stemmed from personal stories and coming-of-age experiences. 

What was it like to work surrounded by such instrumentally diverse talent on this EP?

“The Quietest Place” was a highly collaborative effort. The producer, Avery Bruni, is now out in California and has gone on to be a successful audio engineer and producer. At the time, everyone was a student. My mission was to collaborate across the genre-divide, with musicians from classical backgrounds and jazz alike. In keeping with the theme of unity, cross-discipline improvisation played a large part in the creation of the album. Each collaborator was also a friend and well-respected colleague of varying degrees, ages and backgrounds. It was quite a unique project and I’m grateful for everyone’s contributions.

What do you want for audiences to get out of your music?

My goal as an artist is to lighten someone’s day through sonic escape. If my music can alleviate stress, strengthen relationships or provide a moment of joy or wonder or pause, then I am happy. Music is such a mysterious and personal experience and is different for everyone, I just hope my lyrics and melodies can bring about a sense of heightened awareness and peace.

What other projects are you working on?

Currently, I am wrapping up the recording for my upcoming album “Straight from the Soul,” which will debut late fall 2020. It is entirely self-produced and will be recorded at Ann Arbor’s one-and-only Solid Sound Studio. Again, collaboration plays a large role in the album. Re-imagined arrangements, original songs and an homage to Carole Bayer Sager, Alan and Marilyn Bergman and Michel LeGrand, it will feature songs near and dear to my heart with a fresh, modern twist. I am very excited to release this album!

Other comments?

I try to reach a diverse cross-section of listeners and adapt my music for different contexts, such as live performance, rally songs, television and movie, and podcasts. I try to create music that is listenable and accessible to a diverse cross-section of music lovers. I also try to remain original to my voice and sound, and yet it is increasingly challenging to be original these days, as young artists are so often compared to another artist, genre or “put in a box.”

My mission is to be true to my ever-evolving sound and channel the purest form of my musicality. While I can’t control how I’m categorized or who I am compared to, I hope my music helps listeners cope, moves them or brings them some measure of joy.

For more information, visit www.hannahbaiardi.com/

Photos courtesy of and with permission of Hannah Baiardi.
© Debbie Burke 2020

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Improvising with Pen and Ink: Albert Shivers

Grit, pulp, realism and jazz all come together with graphic artist Albert Shivers. He’s rendered Miles Davis, stride pianist Dorothy Donegan and many others in a style that pays attention to line, form, movement and attitude. His work will be exhibited on August 22 and 23, 2020 at the Create and Be Art Studio in… Continue Reading →

Grit, pulp, realism and jazz all come together with graphic artist Albert Shivers. He’s rendered Miles Davis, stride pianist Dorothy Donegan and many others in a style that pays attention to line, form, movement and attitude. His work will be exhibited on August 22 and 23, 2020 at the Create and Be Art Studio in Stroudsburg, PA at  https://www.facebook.com/cbartculture/

Why are you most comfortable in pen and ink and secondarily collages? 

My comfort with pen and ink came from long repetition. I always admired and gravitated to artists that worked with pen and ink, as well as having an affinity for working in black and white. Drawing with only ink is a bit of a high-wire act, because there is rarely going back once you put a line down. Comfort came through all the initial mistakes.

Collage on the other hand feels far more open to me. The blank page with endless roads to go down is a lot of fun. Although I hold myself to an overall plan; collage leaves a lot of room for spontaneity while working on the piece. I feel the two styles balance each other out well for me.

Albert Shivers other pieces

Why did you begin drawing jazz artists and how do you translate the vibe of the music or the spirit of the artist into an illustrated form? 

I began drawing jazz artists because most of my visual art inspiration came from jazz being my favorite genre, very specifically twenties and thirties.

I’d listen while working and the feeling of the music would contribute to the outcome of the particular piece. Often I’ll listen to the same artists while drawing them.

How did you come to the idea of your upcoming show “Jazz Ain’t Dead”? 

I had been doing jazz-related artwork for a long while, and fellow artist and gallery curator Courtney Lauren Natt approached me about a jazz art show at her space in order to share my work, and also help to educate people about the music. I had been using that title as a tagline for my artwork, and it seemed to fit the idea of the show very well.

Talk about the music scene in the Pocono region and why you decided to hold the event at this venue?

The music scene in the Poconos [Pocono Mountains, northeast Pennsylvania] has a solid history, particularly in jazz. The area was a prime vacation spot for people during a time when jazz was the popular music. I was approached to hold the event at the Create & Be Art Studio in Stroudsburg, and am thrilled to be showing there to help try to breathe a little life back into jazz.

Why did you choose these individual musicians to showcase? 

I choose pieces that I felt would best complement the show, and also display the side array of styles and characters that the genre created.

Which drawing was the most challenging – or the most fun – to create? 

Many times the most challenging drawings turn out to be the most fun. For me that piece would be my ink drawing of jazz piano player Dorothy Donegan, simply titled “Donegan.” I didn’t realize it at the time, but that piece turned out to be a major turning point for me in finding my style of ink drawings from then on.

What do you hope the audience derives from this show?

That they walk away from this show with a larger understanding of the vastness of the genre, and the fact that it spans wider than they may realize. It’s much more than what they might hear on radio stations.

Jazz musicians you want to draw in the future? 

There are plenty of them, like Duke Ellington and Jelly Roll Morton. But as far as artists who I haven’t gotten to yet, it’s two trumpeters that first come to mind, Wingy Manone and Valaida Snow.

Future projects? 

I tend to let the ideas come organically from day to day and will continue to portray my interpretation of jazz and other music in drawings as well as collages. I have been walking the line between realism and abstract work, and would like to continue down that path.

 For more information on the artist visit https://www.facebook.com/al.shivers.1 and https://www.eventbrite.com/e/jazz-aint-dead-art-exhibition-and-guided-tour-tickets-112319956012

Photos courtesy of and with permission of Albert Shivers.
(c) Debbie Burke 2020

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Everybody Gets a Seat at the Table: “An Idealist’s Handbook” from Noshir Mody

A new CD is just out from composer and guitarist Noshir Mody called “An Idealist’s Handbook” and it’s a beautiful, intelligent conversation that blends, bends and expands on harmonic ideas. Marrying guitar and piano seems effortless and natural to Mody, who launches the song “Ol’ Splitfoot” with sweetness and lyricism. This soon yields to an… Continue Reading →

Noshir Mody CD cover

A new CD is just out from composer and guitarist Noshir Mody called “An Idealist’s Handbook” and it’s a beautiful, intelligent conversation that blends, bends and expands on harmonic ideas. Marrying guitar and piano seems effortless and natural to Mody, who launches the song “Ol’ Splitfoot” with sweetness and lyricism. This soon yields to an increasing intensity until gleaming horns and full percussion involvement brings about the crescendo. This song is a fantastic showpiece that masters tricky changes in dynamics as well as tempo. “Rise” plays with chords, some dissonant and leading, and midrange vocals that slay. Very skilled picking from Mody on this track as well. In “Under a Starlit Sky” he’s not shy about exploring the high end of the frets and stays very comfortably in that rarefied air with an echo that evokes a harp.

Are you the idealist here?

When creating this project, I was going through the pages of my book that I use to scribble random thoughts, lyrics, chord voicings, lists, etc. and I narrowed down my selection to five pieces that I thought were ready to be shared with the world. As I sat there trying to determine the central theme to these seemingly disjointed songs so I could name the project, it occurred to me that I should just call it what it is – “An Idealist’s Handbook”.

The five songs tackle topics of identity, love and hope that are central to defining our experience today as Americans. The term “idealist” has always come with a negative connotation of weakness, as someone who lacks the practical know-how or ability to execute successfully in this world. I don’t share that view or perception and feel we need more forward thinking, capable idealists to deliver outcomes if we are ever going to manifest a fairer society based on merit.   

Where did you get the initial inspiration for this album from?

I compose as I’m inspired, and this album is a compilation of my compositions/arrangements that occurred over the last two years or so. The material just seemed so timely to me with the current situation of our country.

How do you believe these tracks reflect the diversity of identities in America today?

The album narrative is from my experiences and point of view, but even though I’m an immigrant who is now a naturalized US citizen my experience is not an isolated one. In my interactions I have found that we are in a crisis of identity as Americans – do we stand for tolerance, compassion, courage, innovation, endurance or do we want to be ‘great’ while restricting access, building walls, denying opportunities, designing and implementing vastly different policies for different segments of the population and incurring deficits of humanity towards our own people?

I cannot fathom how we can have a single identity as Americans while enacting an agenda that favors only a section of our country’s population providing only them with opportunities to education, financial well-being, health care services and the fair enforcement of laws and due process.

Do you think music – jazz in particular – provides hope, and how?

To me, music is expression and specifically Jazz is expression through dialog and conversation– the day we stop conversing and discussing is the day issues will spill onto the streets, as we are currently witnessing. So yes, expression/dialog/discussion in any form is hopeful, since as long as we are engaged in the process the expectation for a better outcome still exists.

In my opinion, the cornerstone of jazz which is improvisation over propulsive rhythms artistically embodies the fundamental human desire to be free and evolving.

You have a large ensemble. What caused you to invite these musicians to participate in the album?

For years now, everyone who is in the ensemble is either referred by someone else in the ensemble or is someone that has caught my attention. But at this level I don’t fuss too much about skill since they can all throw down. I’m focused on attracting and keeping quality individuals who are unique in their vision of themselves and the world and as a result can bring something to the table.

I find that musicians gravitate towards certain songs, that there is a natural sympathetic process that lends one musician to excel in a solo for a particular song over another. It’s my function to arrange the music for the recordings highlighting those relationships between artists and material. 

Your favorite track? The most challenging one?

This is hard, I really do love them all since I relate to each one of them in a very unique manner. So, no favorite but for most challenging I’d pick “Ol’ Splitfoot” because we’re switching time signatures within the song – between 7/8 and 4/4 (a composite of 7/8 and 9/8).

What is the overall mood you are going for?

I want listeners to hear this album and be inspired to act. To realize that ultimately, we alone are responsible for how this current situation in our country plays out. I’m not advocating politics, I’m advocating participation. Feel strongly about whatever your position may be and take part in the process. We can all learn from one another and move forward.

What are you most proud of in your music career thus far?

I believe and persevere and that takes its toll as I realize I can be difficult to be around during these periods, but I feel a great sense of pride and gratitude when my visions eventually take shape and inspire people.

Other comments?

Much love to the incredible musicians and engineers on this album – Kate Victor, Mike Mullan, Benjamin Hankle, Campbell Charshee, Yuka Tadano, Jarrett Walser, Brian Sargent, John Davis and Alex DeTurk.

For more information, visit www.noshirmody.net.

© Debbie Burke 2020
Photos courtesy of and with permission of Noshir Mody.

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Deep Breath, Fresh Air up on “Lilac Hill” with Sukyung Kim

Don’t let the delicate title fool you. Yes, there is a very pretty grace about the music on Sukyung Kim’s newest album “Lilac Hill,” but she can pivot and deliver hearty and hale, confident and stately. Warm vibes flow off “Stargazers” which swings and meanders. Her piano is focal but inclusive, proving tight interplay with… Continue Reading →

Sukyung Kim CD Cover Lilac Hill

Don’t let the delicate title fool you. Yes, there is a very pretty grace about the music on Sukyung Kim’s newest album “Lilac Hill,” but she can pivot and deliver hearty and hale, confident and stately.

Warm vibes flow off “Stargazers” which swings and meanders. Her piano is focal but inclusive, proving tight interplay with all voices is easily accomplished. The more pensive “Summer Days” has a drifting, muted quality, smooth and light. Wait for “Bluebird” to break out: the sax firmly takes its space and again, Kim on piano is able to express herself with an intimate understanding of every key, both the black and white ones and the chordal ones. Stirring it up even more, the sax the grabs the melody and runs with it. There’s some counterpoint going on in the second half of the title song “Lilac Hill” where each layer is tasted all at once until a quick surprise stop. The music resumes for a short bit, then ends almost mid-phrase, leaving the palate still wanting.

When and how did you first have the thought to make this album?

I’ve always liked composing and wanted to share my music with a broader audience. One of the classes that I took at NYU was a studio recording class. Each student gets a day to use the Dolan studio at NYU and needs to turn in the results as the final project. I thought it could be an opportunity to finally record what I want and make it into an album.

Is there an overall theme throughout these tracks, or are they related in some other way?

I wanted to write about the feelings and images that I’ve had for a while. I am inspired by the things that really happened to me. Composing feels very similar to writing a diary, except that I can express things that I can’t describe with words. All five tracks are very nostalgic in that sense.

What was the biggest challenge during production?

Self-doubt. I remember that I was scared to listen to my playing after the studio recording session. Even in the process of mixing and mastering, I kept asking myself why I should release the album. I was afraid that I might regret later about releasing the album. Then I took some time off from listening to the tracks so that I could stop judging myself. After a few months, I simply decided to share them.

Why do you find the piano the right instrument for self-expression?

The piano feels very natural to me, probably because I’ve played the piano since I was very young. The more I play, the more I like the feel of touching the wood in certain ways and what a good piano sounds like. It’s satisfying and therapeutic in a special way. I also like that it is a melodic, rhythmic and harmonic instrument and it has the widest range of all instruments. I like that it makes me learn new possibilities.

What do the musicians contribute to the overall flavor of this CD?

I remember changing the arrangements every time we had rehearsal. Each of these musicians had qualities that I admire so much and I wanted to find ways that would really display them. They suggested ideas that I would not have thought of and some of the tunes sound totally different from the way I imagined when I was writing them, but I really like the results.

What was the most useful part of your early music training that you’ve never forgotten?

One of my early classical piano teachers always told me to sing the melodies when I was playing the piano. I remember that I hated this exercise because I was very shy. But later on, I realized that singing while playing the piano really helped me to be more musical and lyrical. Also, I always start by singing a melody in the composition process.

How did you find yourself moving from classical to jazz and what do you like most about improvisation?

My mindset has changed a lot. I used to have a lot of pressure to play written music without missing a note because I was a piano player playing someone else’s compositions.

As a jazz musician, however, there is so much more freedom in making choices. Jazz to me is about communicating with other musicians and with audiences and learning the language and history. I was first interested in jazz because I was simply drawn towards the liveliness and intuitiveness that jazz had. I like that there is not a distinction between composing and playing in improvisation. And I’ve always wanted to be both a player and a composer.

How do you feel about releasing this, your first CD?

Honestly, I am both happy and nervous to share my music with the world, knowing that it will be the first thing that somebody will hear when they click my name. I’ve decided to consider it as just the beginning. Getting feedback from listeners has been a great experience and I want to use that energy to keep moving forward.

For more information, visit www.suekimmusic.com.

Photos courtesy of and with permission of Sukyung Kim.

© Debbie Burke 2020

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Tribute to a Friend: Alfred Sergel IV Remembers “Brother John”

John Alexander The just-released single “Brother John” from composer and drummer Alfred Sergel IV is a broth of inspiration, affection and the acknowledgement of a unique talent not to be forgotten. Released as an entry into the tiny desk concert contest in April of this year, the song soars with hope as it celebrates his… Continue Reading →

Alfred Sergel single cover

John Alexander from Alfred Sergel interview

John Alexander

The just-released single “Brother John” from composer and drummer Alfred Sergel IV is a broth of inspiration, affection and the acknowledgement of a unique talent not to be forgotten.

Released as an entry into the tiny desk concert contest in April of this year, the song soars with hope as it celebrates his friend and fellow musician John Alexander, who passed away in 2017. The song has a world music feel where intelligent percussion is woven with clean vocal harmonies. It shimmers in its simplicity and peaceably emits rays of light and love outward.

How would you describe the effect John Alexander’s music has had on your own career and your sound in jazz?

John was one of the top players in Charlotte, NC. He and Ron Brendle (bassist) gave me my start in the jazz scene in Charlotte. His band “Brothers” played the Piccolo Spoleto festival and many others. It was a great experience because, in that band, we played John’s original music and I think that planted a seed within me to continue promoting original jazz music within the Charlotte scene.

What did you want to communicate in this new release?

“Brother John” is me, musically, processing life and death.  The song writing process started spontaneously the morning I got the news that John was diagnosed with cancer. I went to pray for John and his family and I felt compelled to sit at my old upright piano. Within a minute or so, the left-hand piano line just wrote itself. As a contemplative person, I often have more questions than answers, but ultimately, in this process, I started to embrace both the joy and sorrow of my emotions as a growing process; a way of growing as a human being. 

Why did you collab with these musicians in particular?

It made sense to use John Ray on bass. John played bass on my EP and my single “Y Closed”. He has a great recording setup at his house and he knows my vibe.  Martin Bejerano and I were scheduled to play a trio concert together back in May. It got canceled due to COVID, so I thought it was perfect timing to collaborate with him. Martin and I were roommates in college and played nonstop back then. We’ve always had a natural connection musically and I was thrilled they he could record on this single. His solo gives me chill bumps.

How do the drums speak through you?

Short answer, I don’t really know.

With my original music, the drum parts are usually the toughest part for me. I want them to make musical sense and work well with the composition. In that way, I think more like a pop drummer than a jazz drummer. I want the main drum parts to have a signature of sorts. There are times that I am spontaneous, but “Brother John” had a lot of re-writes in the drum parts. 

Are there particular melodic or rhythmic elements that are important to you that you like to use in your music?

Melody is everything to me. When I hear a beautiful melody by an artist, I am inspired and my imagination soars. Melody for me is like words to a storyteller. I’m trying to tell a story with my melodies. More often than not, it’s a story of hope.

What excites you most about being a jazz musician today?

What excites me the most about being a musician today – in any genre – is the diversity of expression. I constantly have to remind myself to “take the lid off” of my thinking; that I’m not bound by any formulas or standards. 

My only limitation is me and knowing that inspires me to try new ways of expressing myself through my music.

For more information, visit https://mailchi.mp/200a44966506/alfredsergeliv.
Photos courtesy of and with permission of Alfred Sergel IV. Third photo John Alexander © WFAE/Charlotte, NC.
© Debbie Burke 2020

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A Crash, a Sigh and A Groove – Debut EP “Awareness” from Joe Sturges

Joe Sturges thinks of his drums as more than a rhythm machine. In fact he celebrates its melodic capabilities, an idea which is a revelation for many casual jazz listeners. With his brand-spanking new debut on the EP called “Awareness” he boldly demonstrates the different dimensions of the drums while also creating a warm, inviting… Continue Reading →

Joe Sturges CD cover

Joe Sturges thinks of his drums as more than a rhythm machine. In fact he celebrates its melodic capabilities, an idea which is a revelation for many casual jazz listeners. With his brand-spanking new debut on the EP called “Awareness” he boldly demonstrates the different dimensions of the drums while also creating a warm, inviting atmosphere. The title track “Awareness”  – named for “being present and living for the now” – shows Sturges’s delicacy and amazing tonal range on percussion, while “Summer” is pastel-hued perfection (bravo, keys, and kudos for the lusciousness on trumpet). “Near a Cherry Tree” shoots off a high-spun energy that gives way to the melody served up by the sizzling sax and beautiful coloration coming from piano. Soon, a heavy, tense crescendo elbows its way through, but the idea exhausts itself and lands softly.

If these are different aspects of Sturges’s “now” then it’s unquestionably a place of solace for all of us.

How do you convey emotion with drums, and in this CD, where do you feel it was an important voice?

I feel drums are very underrated in terms of the melodic possibilities it can bring. It’s a beautiful instrument, and apart from the obvious rhythmic qualities that everyone is drawn to, it´s an instrument in itself built from a lot of instruments (toms, snare, bass drum, cymbals). So if you take into account the possibilities that playing with a melodic mindset can bring, focusing not only on the phrasing and rhythms, but on the choice and orchestration of the notes in relation to a composition, it adds another beautiful quality to the instrument. 

I feel it was a very important choice for me to play always in relation to the melody, the harmony, and the overall sound and attitude of the composition, running away from trying to play fast complex rhythms or any other aspect that really doesn’t relate to the composition as a whole. 

What inspires you when you compose for films and games – is it different than writing music for live performances or for a CD?

Very different, for me at least. When writing an album or stand-alone compositions I relate the meaning of the song to my experiences and thoughts, where on the other hand when writing for movies or games you have a set story to relate everything to, with its characters, places, and story arc. It’s just writing with another mindset.

Which drummers are you influenced by and why?

I get very inspired by Mark Guiliana, Nate Smith, Steve Jordan, or Ian Chang. I look up to all of them, as I think they are visionaries in the instrument, and are taking it to unexplored places.

What was the biggest challenge in bringing this CD to life?

Knowing when to let go of the compositions. It’s very easy to try to make things more complex, more busy, more more more… Most of the time, I would get a pretty strong gut feeling when I thought the piece was done, and it was a learning curve for to always listen to that feeling.

How does the title express where you’re going with this music?

I feel that we reminisce too much on past moments, or focus on the future. It’s important to stay aware of the now, and how crucial it is to enjoy it.

Which track was the most fun to produce?

“Awareness” for sure. It was the most simple one, and the track with less notes on it, while being the one that meant the most. It was very inspiring letting that song in particular be as driven by the moment as possible, and I think the result was beautiful, and everyone playing in it felt it was the right take instantly. On the second take we had it, and I let it go right there.

How would you describe the experience of creating and then releasing this CD which is your debut?

Very humbling. Before writing, rehearsing, and recording everything, the concept of releasing my own music felt very distant and a bit crazy. Looking back at it, I feel honored to have had the musicians and team I´ve had behind “Awareness” and it inspires me to keep creating more.

For more information, visit www.joesturgesmusic.com.

Photos courtesy of and with permission of Joe Sturges.
© Debbie Burke 2020

All About Jazz Orthmann review 4

Fresh, Organic Music in “Tiny Grass is Dreaming” by Jonathan Andersen

Bassist Jonathan Andersen of Denmark started with scraps and roots of songs that grew into his debut album “Tiny Grass is Dreaming.” A serious display of talent and heart, the album explores the width of the emotional spectrum with pieces that are sometimes frail, sometimes hearty; sometimes hopeless and sometimes starry-eyed. “Dry Air” is an… Continue Reading →

Jonathan Andersen CD cover

Bassist Jonathan Andersen of Denmark started with scraps and roots of songs that grew into his debut album “Tiny Grass is Dreaming.” A serious display of talent and heart, the album explores the width of the emotional spectrum with pieces that are sometimes frail, sometimes hearty; sometimes hopeless and sometimes starry-eyed.

“Dry Air” is an excellent opportunity to witness the fine chops of Andersen on bass. The piano’s blocked chords, strong rhythm on bass and percussion that highlight the off beats and the chatter of a sax which turns to the lyrical – these elements convene to make “Hello Gulina” an expressive and uplifting ride. “Macroscope” pairs sax and bass with a unified melody and really brings out not just what they share but the scintillating textural differences between them. Not one of the tracks is derivative of any other, but they form a complete whole because of the soul-searching love that consistently pours from each musician into the same pitcher.

How does the bass capture your voice- how does it allow you to express yourself, why did you choose it?

I usually tell people that the bass choose me and not the other way around.

It all started in music class in elementary school. One day our teacher started to hand out random instruments to the pupils, and it just so happened that I got the electric bass guitar. It just felt right right away and there and then I decided to become a bass player.

Somewhere along the way, when my skills improved, I was also encouraged to try out more advanced music. That eventually led me to the world of jazz and improvised music. From that, the switch to the double bass came as a natural extension, since it is the sound that suits this type of music best.

I am content with not being the one in the spotlight all the time. I enjoy laying out the foundation of the music, along with the rest of rhythm section. Creating what makes the soloist sound good and makes that person secure enough to sound his/her best is rewarding in so many ways. I like the dark, deep notes and how they influence the feel of a tune.

How long have you been planning this CD and when did you start writing this music?

I decided to launch this project in July last year and I knew I had to plan ahead if I wanted it to happen. The musicians on the album are all very busy people, so I needed to book them and the recording studio far in advance to be sure they had vacant spots in their schedule. We went to the recording studio for two days in October and did 42 takes of which 12 were selected for the album.

The tunes come from different stages in my life. Some of them are very recent and some very old. The title track “Tiny Grass Is Dreaming” and “Macroscope” are written especially for this album. I thought hard about what tunes would suit each other on an album. I wanted the overall feeling to be just right. 

What inspired this CD and how did you come up with the name?

The album title came from a faulty translated Chinese sign I saw on the internet. It was probably supposed to say “Please keep off the grass” but came out very differently in the translation. At first I found it amusing and it made me laugh. But then I realized I actually found it very beautiful, poetic and fragile in a way. Instead of a harsh command, it was a gentle suggestion and it also made me wonder: What does grass dream about? Inspired by that, I wrote the theme in one afternoon around a simple bass line that I was already working on.

I decided to put out this music and see if it would carry its own weight. I took a look at all the compositions I had written up to that point and selected the ones that would reflect well with each other in a common context.

What ideas inspire you when you compose?

People, places, time and spaces. It can come from numerous sources. I have different methods of working with composition and develop structures and melody, so if I am stuck, I can move to another. Usually I start by picking out a work title from somewhere and see where that takes me. It can be a word or a short sentence that describes something that makes me think or wonder. From there, I try to translate that into sound. Not mathematically but more on an emotionally level.

Literature and travels can be really inspiring as well. I have fractions of melodic lines popping up in my head from time to time from my travels in Tuscany Italy and New York. Eventually they will become new tunes. 

I am also inspired by the masters that came before me; artists like Dave Holland, Larry Grenadier, Scott Colley and Michael Grenadier. A tune of theirs can make me want to recreate a certain feeling or groove and I examine them to see how I can make that happen.

The tune “KOAN” was partly inspired by one of my favorite ballads called Elm by the great pianist Richie Beirach. I wanted to recreate that sound from his arrangement of the piano part and make it my own. Another example: I was toying around with a chord structure on my bass and slowly a melody emerged that started to remind me of light. That made me think what if, if you needed light, you had to go to the well and hoist it up in your bucket. The tune “Lightwell” emerged from that. It’s a bit silly I know, but I like that stuff and I like to mix up the seriousness that sometimes surrounds the whole jazz thing with a little silliness.

What does it mean to you to come out with your first CD?

It means that for the first time I get exposure on a larger level, which is exciting but also provokes a certain level of anxiety. What if people don’t like it or even worse, just don’t care? It’s also a personal landmark and I get to show how I sound. I guess you could also see it as a kind of “proof of life”. Most of all, people now get to listen to my music, instead of it just being stored away in my drawer.

What does each musician bring to the table?

For this project I had a vision of how these musicians would sound together as a band. They each have got their own bands and projects going on and a unique sound. I had the feeling that something very special would come out of it, if I brought them together on this album. Fortunately they all liked the idea and the music.

I know Magnus Thuelund (saxophone) from when we both studied at the music academy. We have been playing together on a regular basis since then. We listen to a lot of the same music and having this same reference really helps in our mutual understanding of where to take the music. This means that he immediately understands my music when I bring in new stuff.

Espen Laub Von Lillienskjold (drums) is rock steady and has got a music vocabulary that extends over many styles. He just makes everybody sound good and I just love his commentary style of playing. With him I feel like I am always “in the pocket.”.He never himself suggests a drum solo, because as he says himself, I’m already doing it, I don’t need a showcase. And he is right. He improvises and varies his playing all the time, but you might not notice it because he is really subtle about it.

Jacob Anderskov (piano) is literately the Professor. He is a Professor at the Music Academy in Copenhagen (RMC). He has a wide knowledge of music and his harmonic repertoire is endless. He has a background in the avant-garde and his sound is very personal. I´ve been listening to his recordings for years and I just knew he would give an interpretation of my compositions that would bring more of an edge to my music, and he really did. I feel very fortunate to have these remarkable musicians with me on this project.

Describing my own sound/groove doesn’t come all that easy for me. Being a bass player I of course need to keep the beat steady and all, but I’ve always been more inspired by players with a more commentary style that contributes to the melodic elements as well, instead of just “minding the shop.”

What was the most challenging track and why?

“Mending the Broken” was the most challenging, at least for me. The bass line in the A part is basically the melody. It’s got a lot of notes and a lot is going on. The saxophone comes in on top playing second voice and they really need to be interlocked in order for it to work. Getting that to sound effortlessly and not rushed was a little difficult I have to admit.

If you were to ask the band, I have to say they would point towards “Woodcraft” as being the difficult one. It contains a lot of so-called hybrid chords, so it can be complex to work with. The guys did an excellent job with it.  

Being your first album, what was your favorite part of the entire process?

Doing the actual recording session was my absolute favorite part. After many hours of planning and preparing, it was a joy to go in and let the tape roll and just play music.

We did not have time for many rehearsals prior to the session, but we worked really concentrated and everybody knew exactly what to do. The fact that everybody worked very professionally and were committed made it all fluent. Also I kept my mind open to suggestions from the guys in the band. They are all very creative and I value their opinion highly. They came up with several ideas that sent the music into a slightly different direction and changed it for the better. Experiencing that level of devotion to music made it worthwhile and memorable.  

Where and when will you perform this music?

We were scheduled to play a concert at a club during the Copenhagen Jazz Festival in Denmark in July and it was to be the first concert with this band and a celebration of the release. We had other concerts pending but then the COVID-19 turned the world upside down and naturally all planning came to an end. Hopefully things will come back to natural within a foreseeable future. I just can’t wait to play this music live. 

Other comments?

I like to create music around a storyline and at the same time encourage the listener to make the experience their own and finish the story in their imagination. I am really excited to get feedback from listeners. 

For more information, visit https://fandalism.com/jonathan74.

Photos courtesy of and with permission of Jonathan Andersen. Top photo (c) Jonas Lyngdam.
© Debbie Burke 2020

All About Jazz Orthmann review 2

#BLACKLIVESMATTER

I stand with my jazz brothers and sisters. THIS HAS TO STOP.
 
Miles Davis (c) Jerry Kinstler/NY Daily News
(c) Debbie Burke 2020

I stand with my jazz brothers and sisters. THIS HAS TO STOP.

 

Miles Davis (c) Jerry Kinstler/NY Daily News
(c) Debbie Burke 2020